From: Simon Cozens Date: Wed, 25 Jun 2025 09:23:26 +0000 (+0100) Subject: New dashboard X-Git-Url: http://git.ipfire.org/cgi-bin/gitweb.cgi?a=commitdiff_plain;h=261f0eabaacffe2cb626f0b8a1da0b13ad007a6b;p=thirdparty%2Fgoogle%2Ffonts.git New dashboard --- diff --git a/.ci/dashboard/observablehq.config.js b/.ci/dashboard/observablehq.config.js new file mode 100644 index 000000000..22bfcf420 --- /dev/null +++ b/.ci/dashboard/observablehq.config.js @@ -0,0 +1,10 @@ +// See https://observablehq.com/framework/config for documentation. +export default { + title: "Google Fonts QA Dashboard", + root: "src", + footer: "", + sidebar: true, // whether to show the sidebar + output: "build", // path to the output root for build + preserveExtension: true, + style: "style.css", +}; diff --git a/.ci/fontspector-dashboard/package.json b/.ci/dashboard/package.json similarity index 75% rename from .ci/fontspector-dashboard/package.json rename to .ci/dashboard/package.json index 16105996f..240437506 100644 --- a/.ci/fontspector-dashboard/package.json +++ b/.ci/dashboard/package.json @@ -10,10 +10,12 @@ }, "dependencies": { "@duckdb/node-api": "^1.2.1-alpha.16", - "@observablehq/framework": "^1.13.2", - "@observablehq/stdlib": "^5.8.8" + "@observablehq/framework": "^1.13.3", + "@observablehq/stdlib": "^5.8.8", + "d3-time": "^3.1.0" }, "devDependencies": { + "octokit": "^5.0.3", "rimraf": "^5.0.5" }, "engines": { diff --git a/.ci/dashboard/scripts/update_servers.py b/.ci/dashboard/scripts/update_servers.py new file mode 100644 index 000000000..9b4a13b4b --- /dev/null +++ b/.ci/dashboard/scripts/update_servers.py @@ -0,0 +1,53 @@ +from gftools.push.servers import GFServers +from gftools.util.google_fonts import Metadata +from pathlib import Path +import json +import datetime +import glob +import os + +gfpath = os.environ["GF_PATH"] + +server_data = Path("src/data/servers.json") + +if not server_data.exists(): + print(f"{server_data} not found. Generating file. This may take a while") + servers = GFServers() +else: + servers = GFServers.open(server_data) + +servers.update_all() +servers.save(server_data) + + +if os.path.exists("src/data/versionhistory.json"): + versionhistory = json.load(open("src/data/versionhistory.json")) +else: + versionhistory = {} + + +for directory in glob.glob(gfpath + "/ofl/*"): + try: + metadata = Metadata(directory) + except Exception as e: + print(e) + continue + + if metadata.name not in versionhistory: + versionhistory[metadata.name] = {} + + for s in servers: + if metadata.name not in s.families: + continue + if s.name not in versionhistory[metadata.name]: + versionhistory[metadata.name][s.name] = [] + current_version = s.families[metadata.name].version + versions = [x["version"] for x in versionhistory[metadata.name][s.name]] + if current_version not in versions: + versionhistory[metadata.name][s.name].append( + { + "version": current_version, + "date": datetime.datetime.now().isoformat(), + } + ) +json.dump(versionhistory, open("src/data/versionhistory.json", "w"), indent=2) diff --git a/.ci/fontspector-dashboard/src/.gitignore b/.ci/dashboard/src/.gitignore similarity index 100% rename from .ci/fontspector-dashboard/src/.gitignore rename to .ci/dashboard/src/.gitignore diff --git a/.ci/dashboard/src/components/Family.jsx b/.ci/dashboard/src/components/Family.jsx new file mode 100644 index 000000000..2330d7eae --- /dev/null +++ b/.ci/dashboard/src/components/Family.jsx @@ -0,0 +1,183 @@ +export function RenderFamily({family, directory, allResults, metadata, servers, updates, pullRequests} = {}) { + let result = allResults.latestResult[directory]; + let fbStuff =
; + let history = []; + let pullsForThisDirectory = pullRequests?.filter(pr => pr.directories.includes(directory)) || []; + if (updates[family]) { + for (let [server, moves] of Object.entries(updates[family])) { + for (let {version, date} of moves) { + if (date != "1970-01-01T00:00:00") { + history.push({server, version, date}); + } + } + } + } + history = history.sort((a, b) => new Date(b.date) - new Date(a.date)); + if (result) { + for (let section of Object.keys(result)) { + // If no check has status: WARN or status: FAIL, skip the section + let checks = result[section]; + if (checks.filter(check => check.status === 'WARN' || check.status === 'FAIL').length == 0) { + delete result[section]; + } + } + fbStuff = Object.entries(result).map( + ([section, checks]) => { + return
+

{section}

+
    + {checks.filter(check => check.status == "WARN" || check.status == "FAIL" || check.status == "ERROR").map(check => { + let unique_codes = check.codes ? check.codes.split(' ').map(code => code.trim()).filter((v, i, a) => a.indexOf(v) === i) : []; + check.codes = unique_codes.join(', '); + return
  • + {check.check_id}: {check.status} + {check.codes ? - {check.codes} : ''} + +
    • ; + })} +
+
; + } + ); + } + let repo_metadata = metadata[directory]; + let dev_metadata = servers?.dev?.metadata[family] || {}; + let sandbox_metadata = servers?.sandbox?.metadata[family] || {}; + let production_metadata = servers?.production?.metadata[family] || {}; + + let lastUpdated = (history?.[0]) ? new Date(history[0].date).toLocaleDateString() : 'Unknown'; + return
+

{family}

+ + + + + + + + + { pullsForThisDirectory.length > 0 ? + + + : ''} +
Directory {directory}
Date added {new Date(repo_metadata.dateAdded).toLocaleDateString()}
Last updated {lastUpdated}
Repo version {repo_metadata.version}
Dev version {servers?.dev.families[family]?.version || "None"}
Sandbox version {servers?.sandbox.families[family]?.version || "None"}
Production version {servers?.production.families[family]?.version || "None"}
Pull requests +
    + {pullsForThisDirectory.map(pr => { + return
  • + #{pr.number} {pr.title} +
    • ; + })} +
+
+ + {CompareMetadata({ + repo: repo_metadata, + dev: dev_metadata, + sandbox: sandbox_metadata, + production: production_metadata, + })} + +
+ Version history +
    + {history.map(({server, version, date}) => { + return
  • + {new Date(date).toLocaleDateString()}: -> {server}: {version} +
    • ; + })} +
+
+ +
+ Upstream repository + {repo_metadata?.source?.repositoryUrl} +
+ +
+ Fontspector results + {fbStuff} +
+
+
; +} + +function CompareMetadata({repo, dev, sandbox, production}) { + let allKeys = new Set([ + ...Object.keys(repo), + ...Object.keys(dev), + ...Object.keys(sandbox), + ...Object.keys(production), + ]); + // Skip "version", we did that + allKeys.delete("version"); + allKeys.delete("dateAdded"); + allKeys.delete("isNoto"); + let s = (key, txt) => { + if (key == "designer") { + // May be a string or a list. Convert list to comma-separated string + if (Array.isArray(txt)) { + return txt.join(', '); + } + return txt; + } + return txt + } + let truthy = (value) => { + return value !== undefined && value !== null && value !== ''; + }; + let allEmpty = (key) => { + return !truthy(repo[key]) && !truthy(dev[key]) && !truthy(sandbox[key]) && !truthy(production[key]); + }; + let servers = { "repo": repo, "dev": dev, "sandbox": sandbox, "production": production }; + let furthest = (serverlist) => { + if (serverlist.includes("production")) { + return "production"; + } + if (serverlist.includes("sandbox")) { + return "sandbox"; + } + if (serverlist.includes("dev")) { + return "dev"; + } + return "repo"; + } + + let rows = Array.from(allKeys).filter((key) => !allEmpty(key) && (!repo[key] || !(repo[key] instanceof Object))).map(key => { + let clusters = {}; + for (let [server, data] of Object.entries(servers)) { + let entry = s(key, data[key]); + if (!clusters[entry]) { + clusters[entry] = []; + } + clusters[entry].push(server); + } + return + {key} + { + Object.keys(clusters).length == 1 ? Object.keys(clusters)[0] : + + } + ; + }) + return + + {rows} + +
; +} + +export function hasVersionDifference(family, metadata, servers) { + let repoVersion = metadata[family]?.version?.split(";")[0]; + let devVersion = servers?.dev?.families[family]?.version.split(";")[0]; + let sandboxVersion = servers?.sandbox?.families[family]?.version.split(";")[0]; + let productionVersion = servers?.production?.families[family]?.version.split(";")[0]; + return (repoVersion && repoVersion !== devVersion) || + (sandboxVersion && sandboxVersion !== devVersion) || + (productionVersion && productionVersion !== sandboxVersion); +} \ No newline at end of file diff --git a/.ci/dashboard/src/components/Fontc.jsx b/.ci/dashboard/src/components/Fontc.jsx new file mode 100644 index 000000000..9b90795c9 --- /dev/null +++ b/.ci/dashboard/src/components/Fontc.jsx @@ -0,0 +1,86 @@ +function RenderFamily(family) { + let match = family.match(/^([^\/]+)\/([^\/]+)\/(\S+)\?([a-f0-9]+) \((\S+)\) (\S+)/); + if (!match) { + return {family}; + } + let [_, owner, repo, path, sha, config, mode] = match; + return ( + + + {owner}/{repo} + / + {path + } @ + {sha.substring(0, 7)} + ({config}) {mode} + + ); +} + +function RenderCompileFailed(failure) { + return ["fontmake", "fontc"].map(compiler => { + if (failure[compiler]) { + return ( +
+

{compiler} failed

+ 
% {failure[compiler].command}
+ 
{failure[compiler].stderr}
+
+ ); + } + return
; + }); +} + +export function RenderFailures({failures} = {}) { + return
+ { + Object.entries(failures).map(([family, problems]) => ( +
+ {RenderFamily(family)} + {problems.compile_failed && RenderCompileFailed(problems.compile_failed)} + +
+ )) + } +
+} + +function RenderDiffs(diffs) { + return
+

Diffs

+
    + {Object.entries(diffs).map(([area, diff]) => ( +
  • { area} : { diff }
    • + ))} +
+
+} + +let pct = (problems) => problems.diffs ? (problems.diffs.total * 100.0) : 100; + +export function RenderSuccesses({successes} = {}) { + return
+ { + Object.entries(successes).filter( ([family, problems]) => { + return problems.diffs && problems.diffs.total > 0; + }).sort( ([familyA, problemsA], [familyB, problemsB]) => { + return pct(problemsB) - pct(problemsA); + }).map(([family, problems]) => ( +
+ {RenderFamily(family)} ({pct(problems).toFixed(2)}%) + {problems.diffs && RenderDiffs(problems.diffs)} + +
+ )) + } +
+} \ No newline at end of file diff --git a/.ci/dashboard/src/data/fontc.json.js b/.ci/dashboard/src/data/fontc.json.js new file mode 100644 index 000000000..bad7d37fc --- /dev/null +++ b/.ci/dashboard/src/data/fontc.json.js @@ -0,0 +1,17 @@ +const resultUrl = + "https://raw.githubusercontent.com/googlefonts/fontc_crater/refs/heads/main/results/"; +const summary_request = await fetch(resultUrl + "summary.json"); +const summary = await summary_request.json(); +let lastRunFile = summary[summary.length - 1].results_file; +let details_request = await fetch(resultUrl + lastRunFile); +let lastRun = await details_request.json(); +console.log( + JSON.stringify( + { + summary, + lastRun, + }, + null, + 2 + ) +); diff --git a/.ci/dashboard/src/data/fontspector.json.js b/.ci/dashboard/src/data/fontspector.json.js new file mode 100644 index 000000000..b03e0772c --- /dev/null +++ b/.ci/dashboard/src/data/fontspector.json.js @@ -0,0 +1,128 @@ +import { DuckDBInstance } from "@duckdb/node-api"; + +const instance = await DuckDBInstance.create("fontspector.db"); +const db = await instance.connect(); + +const reader = await db.runAndReadAll( + "SELECT distinct run FROM run_summary ORDER BY run DESC" +); +const rows = reader.getRows(); +let allRuns = rows.map((c) => Number(c[0].micros) / 1000); +let latestRun = allRuns[0]; + +let headline = await db.runAndReadAll(` +select status, status_count as count FROM run_summary WHERE run = (select max(run) from run_summary) AND (status == 'FAIL' or status == 'WARN') +`); +const headlineRows = headline.getRows(); + +let fails_by_run = ( + await db.runAndReadAll(` +select run, status, status_count as count from run_summary +where status == 'WARN' or status == 'FAIL' +order by run, status; +`) +).getRows(); +fails_by_run = fails_by_run.map((c) => { + return { + run: Number(c[0].micros) / 1000, + status: c[1], + count: Number(c[2]), + }; +}); + +let most_failing_checks = ( + await db.runAndReadAll(` +select run, check_id, status, status_count as count + FROM fontspector.statuses_by_check + order by count desc; +`) +).getRows(); +let mfc = {}; +for (var row of most_failing_checks) { + let key = Number(row[0].micros) / 1000; + if (!mfc[key]) { + mfc[key] = []; + } + if (mfc[key].length < 10) { + mfc[key].push({ + check_id: row[1], + status: row[2], + count: Number(row[3]), + }); + } +} + +let mff = {}; +for (var run of allRuns) { + let most_failing_families = ( + await db.runAndReadAll(` +select family, status, status_count + FROM fontspector.statuses_by_family WHERE epoch_ms(run) == ${run} + AND family IN ( + select family from fontspector.statuses_by_family + WHERE epoch_ms(run) == ${run} + group by family + order by sum(status_count) desc + limit 10 + ) + order by status_count + `) + ).getRows(); + mff[run] = []; + for (var row of most_failing_families) { + mff[run].push({ + family: row[0], + status: row[1], + count: Number(row[2]), + }); + } +} +let latestResultSQL = ( + await db.runAndReadAll( + `select directory, file, section, check_id, status, codes + FROM fontspector.results + WHERE status NOT IN ('PASS', 'SKIP') + ` + ) +).getRows(); +let latestResult = {}; +for (var row of latestResultSQL) { + let [directory, file, section, check_id, status, codes] = row; + if (!latestResult[directory]) { + latestResult[directory] = []; + } + latestResult[directory].push({ + file, + section, + check_id, + status, + codes, + }); +} + +// Organise latestResult by section and file +for (const dir in latestResult) { + const files = latestResult[dir]; + const organisedFiles = {}; + for (const file of files) { + if (!organisedFiles[file.section]) { + organisedFiles[file.section] = []; + } + organisedFiles[file.section].push(file); + } + latestResult[dir] = organisedFiles; +} + +const results = { + headline: { + [headlineRows[0][0]]: Number(headlineRows[0][1]), + [headlineRows[1][0]]: Number(headlineRows[1][1]), + }, + allRuns, + fails_by_run, + most_failing_checks: mfc, + most_failing_families: mff, + latestResult, +}; + +process.stdout.write(JSON.stringify(results)); diff --git a/.ci/dashboard/src/data/gf_repo_data.json.py b/.ci/dashboard/src/data/gf_repo_data.json.py new file mode 100644 index 000000000..b1e395b87 --- /dev/null +++ b/.ci/dashboard/src/data/gf_repo_data.json.py @@ -0,0 +1,74 @@ +from gftools.push.trafficjam import PushItems +from datetime import datetime +import pygit2 +import os +import json + +def get_commits(repo): + commits = list(repo.walk(repo.head.target)) + res = [] + for idx in range(1, len(commits)): + current_commit = commits[idx - 1] + prev_commit = commits[idx] + + # Basic meta + author = current_commit.author.name + title = current_commit.message.split("\n")[0] + date = datetime.fromtimestamp(int(current_commit.commit_time)) + + if "Merge branch" in current_commit.message: + continue + diff = prev_commit.tree.diff_to_tree(current_commit.tree) + # Commit has all new files + if all(d.status == 1 for d in diff.deltas): + status = "new" + # Contains modifications + elif any(d.status == 3 for d in diff.deltas): + status = "modified" + else: + status = "modified" + + # Type of commit + if any(d.new_file.path.endswith(("ttf", "otf")) for d in diff.deltas): + kind = "family" + elif any( + d.new_file.path.endswith(("metadata.pb", "DESCRIPTION.en_us.html")) + for d in diff.deltas + ): + kind = "metadata" + elif any(d.new_file.path.endswith("info.pb") for d in diff.deltas): + kind = "designer" + else: + kind = "infrastructure" + + res.append( + { + "date": date.isoformat(), + "title": title, + "author": author, + "status": status, + "kind": kind, + "id": str(current_commit.id), + } + ) + return res + +repo_path = os.environ["GF_REPO_PATH"] +repo = pygit2.Repository(repo_path) +commits = get_commits(repo) + +sb_path = os.path.join(repo_path, "to_sandbox.txt") +sb_families = PushItems.from_server_file(sb_path) +prod_path = os.path.join(repo_path, "to_production.txt") +prod_families = PushItems.from_server_file(prod_path) + +commit_data = { + "last_run": datetime.now().strftime("%Y-%m-%d"), + "commits": commits, + "pushes": { + "sandbox": [i.to_json() for i in sb_families], + "production": [i.to_json() for i in prod_families], + }, +} + +print(json.dumps(commit_data)) \ No newline at end of file diff --git a/.ci/dashboard/src/data/github.json.js b/.ci/dashboard/src/data/github.json.js new file mode 100644 index 000000000..5fda58073 --- /dev/null +++ b/.ci/dashboard/src/data/github.json.js @@ -0,0 +1,24 @@ +import { Octokit } from "octokit"; + +const octokit = new Octokit({ + auth: process.env.GITHUB_TOKEN, +}); + +let pulls = await octokit.rest.pulls.list({ + owner: "google", + repo: "fonts", +}); +for (let pull of pulls.data) { + let files = await octokit.rest.pulls.listFiles({ + owner: "google", + repo: "fonts", + pull_number: pull.number, + }); + let directories = files.data.map((file) => file.filename.split("/")[1]); + pull.directories = [...new Set(directories)]; // Remove duplicates +} +console.log( + JSON.stringify({ + pullRequests: pulls.data, + }) +); diff --git a/.ci/dashboard/src/data/metadata.json.py b/.ci/dashboard/src/data/metadata.json.py new file mode 100644 index 000000000..c73502b54 --- /dev/null +++ b/.ci/dashboard/src/data/metadata.json.py @@ -0,0 +1,47 @@ +import json +import os +from glob import glob +from pathlib import Path +from gftools.util.google_fonts import Metadata, GetExemplarFont +from fontTools.ttLib import TTFont +from google.protobuf.json_format import MessageToDict +from gftools.push.items import parse_html + +repo_path = os.environ["GF_REPO_PATH"] +metadata = {} + +for directory in glob(os.path.join(repo_path, "ofl", "*")): + if not os.path.isdir(directory): + continue + + try: + md = Metadata(directory) + except Exception as e: + continue + + fp = Path(directory) + + this_md = metadata[fp.stem] = MessageToDict(md) + # Also load font version, description, article + try: + exemplar = GetExemplarFont(md) + font = TTFont(os.path.join(directory, exemplar.filename)) + this_md["version"] = font["name"].getName(5, 3, 1, 0x409).toUnicode() + except Exception as e: + this_md["version"] = "Error loading version: " + str(e) + article_fp = fp / "article" / "ARTICLE.en_us.html" + if article_fp.exists(): + this_md["article"] = parse_html(open(article_fp, encoding="utf-8").read()) + else: + this_md["article"] = None + + description_fp = fp / "DESCRIPTION.en_us.html" + if description_fp.exists(): + this_md["description"] = parse_html( + open(description_fp, encoding="utf8").read() + ) + else: + this_md["description"] = None + this_md["license"] = this_md["license"].lower() + +print(json.dumps(metadata, indent=2, ensure_ascii=False)) diff --git a/.ci/dashboard/src/data/servers.json b/.ci/dashboard/src/data/servers.json new file mode 100644 index 000000000..ed6d84030 --- /dev/null +++ b/.ci/dashboard/src/data/servers.json @@ -0,0 +1,148984 @@ +{ + "last_checked": "2025-06-25", + "dev": { + "name": "dev", + "url": "https://fonts-dev.sandbox.google.com/metadata/fonts", + "dl_url": "https://fonts-dev.sandbox.google.com/download?family={}", + "version_url": "https://fonts-dev.sandbox.google.com/metadata/versions", + "families": { + "42dot Sans": { + "name": "42dot Sans", + "version": "Version 1.000" + }, + "ABeeZee": { + "name": "ABeeZee", + "version": "Version 1.003; ttfautohint (v1.8.3)" + }, + "ADLaM Display": { + "name": "ADLaM Display", + "version": "Version 2.000; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.28]" + }, + "AR One Sans": { + "name": "AR One Sans", + "version": "Version 1.001;gftools[0.9.33]" + }, + "Abel": { + "name": "Abel", + "version": "Version 1.003" + }, + "Abhaya Libre": { + "name": "Abhaya Libre", + "version": "Version 1.050 ; ttfautohint (v1.6)" + }, + "Aboreto": { + "name": "Aboreto", + "version": "Version 1.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Abril Fatface": { + "name": "Abril Fatface", + "version": "Version 1.001" + }, + "Abyssinica SIL": { + "name": "Abyssinica SIL", + "version": "Version 2.300" + }, + "Aclonica": { + "name": "Aclonica", + "version": "Version 1.001" + }, + "Acme": { + "name": "Acme", + "version": "Version 1.002" + }, + "Actor": { + "name": "Actor", + "version": "Version 1.001" + }, + "Adamina": { + "name": "Adamina", + "version": "Version 1.013" + }, + "Adobe Blank": { + "name": "Adobe Blank", + "version": "Version 1.045;PS 1.045;hotconv 1.0.82;makeotf.lib2.5.63406" + }, + "Advent Pro": { + "name": "Advent Pro", + "version": "Version 3.000" + }, + "Afacad": { + "name": "Afacad", + "version": "Version 1.000" + }, + "Afacad Flux": { + "name": "Afacad Flux", + "version": "Version 1.100" + }, + "Agbalumo": { + "name": "Agbalumo", + "version": "Version 2.000; ttfautohint (v1.8.4.7-5d5b)" + }, + "Agdasima": { + "name": "Agdasima", + "version": "Version 2.002" + }, + "Agu Display": { + "name": "Agu Display", + "version": "Version 1.103" + }, + "Aguafina Script": { + "name": "Aguafina Script", + "version": "Version 1.000" + }, + "Akatab": { + "name": "Akatab", + "version": "Version 4.000" + }, + "Akaya Kanadaka": { + "name": "Akaya Kanadaka", + "version": "Version 1.002; ttfautohint (v1.8.3)" + }, + "Akaya Telivigala": { + "name": "Akaya Telivigala", + "version": "Version 1.002; ttfautohint (v1.8.3)" + }, + "Akronim": { + "name": "Akronim", + "version": "Version 1.002" + }, + "Akshar": { + "name": "Akshar", + "version": "Version 1.100" + }, + "Aladin": { + "name": "Aladin", + "version": "Version 1.000" + }, + "Alata": { + "name": "Alata", + "version": "Version 1.005; ttfautohint (v1.8.4.7-5d5b)" + }, + "Alatsi": { + "name": "Alatsi", + "version": "Version 1.008; ttfautohint (v1.8.4.7-5d5b)" + }, + "Albert Sans": { + "name": "Albert Sans", + "version": "Version 1.025" + }, + "Aldrich": { + "name": "Aldrich", + "version": "Version 1.002 2011" + }, + "Alef": { + "name": "Alef", + "version": "Version 1.002;PS 001.002;hotconv 1.0.56;makeotf.lib2.0.21325" + }, + "Alegreya": { + "name": "Alegreya", + "version": "Version 2.009" + }, + "Alegreya SC": { + "name": "Alegreya SC", + "version": "Version 2.003; ttfautohint (v1.6)" + }, + "Alegreya Sans": { + "name": "Alegreya Sans", + "version": "Version 2.004; ttfautohint (v1.6)" + }, + "Alegreya Sans SC": { + "name": "Alegreya Sans SC", + "version": "Version 2.003; ttfautohint (v1.6)" + }, + "Aleo": { + "name": "Aleo", + "version": "Version 2.001;gftools[0.9.29]" + }, + "Alex Brush": { + "name": "Alex Brush", + "version": "Version 1.111; ttfautohint (v1.8.4.7-5d5b)" + }, + "Alexandria": { + "name": "Alexandria", + "version": "Version 5.100" + }, + "Alfa Slab One": { + "name": "Alfa Slab One", + "version": "Version 2.000" + }, + "Alice": { + "name": "Alice", + "version": "Version 2.003; ttfautohint (v1.8.3)" + }, + "Alike": { + "name": "Alike", + "version": "Version 1.301; ttfautohint (v1.8.4.7-5d5b)" + }, + "Alike Angular": { + "name": "Alike Angular", + "version": "Version 1.300; ttfautohint (v1.8.4.7-5d5b)" + }, + "Alkalami": { + "name": "Alkalami", + "version": "Version 3.000" + }, + "Alkatra": { + "name": "Alkatra", + "version": "Version 1.100;gftools[0.9.22]" + }, + "Allan": { + "name": "Allan", + "version": "Version 1.002" + }, + "Allerta": { + "name": "Allerta", + "version": "Version 1.0 " + }, + "Allerta Stencil": { + "name": "Allerta Stencil", + "version": "Version 1.02 " + }, + "Allison": { + "name": "Allison", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Allura": { + "name": "Allura", + "version": "Version 1.110" + }, + "Almarai": { + "name": "Almarai", + "version": "Version 1.10" + }, + "Almendra": { + "name": "Almendra", + "version": "Version 1.004" + }, + "Almendra Display": { + "name": "Almendra Display", + "version": "Version 1.004" + }, + "Almendra SC": { + "name": "Almendra SC", + "version": "Version 1.002" + }, + "Alumni Sans": { + "name": "Alumni Sans", + "version": "Version 1.018" + }, + "Alumni Sans Collegiate One": { + "name": "Alumni Sans Collegiate One", + "version": "Version 1.100" + }, + "Alumni Sans Collegiate One SC": { + "name": "Alumni Sans Collegiate One SC", + "version": "Version 1.100" + }, + "Alumni Sans Inline One": { + "name": "Alumni Sans Inline One", + "version": "Version 1.100; ttfautohint (v1.8.3)" + }, + "Alumni Sans Pinstripe": { + "name": "Alumni Sans Pinstripe", + "version": "Version 1.010; ttfautohint (v1.8.4.7-5d5b)" + }, + "Alumni Sans SC": { + "name": "Alumni Sans SC", + "version": "Version 1.018" + }, + "Amarante": { + "name": "Amarante", + "version": "Version 1.001" + }, + "Amaranth": { + "name": "Amaranth", + "version": "Version 1.001" + }, + "Amatic SC": { + "name": "Amatic SC", + "version": "Version 2.505" + }, + "Amethysta": { + "name": "Amethysta", + "version": "Version 1.003" + }, + "Amiko": { + "name": "Amiko", + "version": "Version 1.001; ttfautohint (v1.3)" + }, + "Amiri": { + "name": "Amiri", + "version": "Version 1.000" + }, + "Amiri Quran": { + "name": "Amiri Quran", + "version": "0.117-H1" + }, + "Amiri Quran Colored": { + "name": "Amiri Quran Colored", + "version": "Version 0.114" + }, + "Amita": { + "name": "Amita", + "version": "Version 1.004" + }, + "Anaheim": { + "name": "Anaheim", + "version": "Version 2.001" + }, + "Ancizar Sans": { + "name": "Ancizar Sans", + "version": "Version 8.100" + }, + "Ancizar Serif": { + "name": "Ancizar Serif", + "version": "Version 8.100" + }, + "Andada Pro": { + "name": "Andada Pro", + "version": "Version 3.003" + }, + "Andika": { + "name": "Andika", + "version": "Version 6.101" + }, + "Andika New Basic": { + "name": "Andika New Basic", + "version": "Version 5.500; ttfautohint (v1.8.3)" + }, + "Anek Bangla": { + "name": "Anek Bangla", + "version": "Version 1.003" + }, + "Anek Devanagari": { + "name": "Anek Devanagari", + "version": "Version 1.003" + }, + "Anek Gujarati": { + "name": "Anek Gujarati", + "version": "Version 1.003" + }, + "Anek Gurmukhi": { + "name": "Anek Gurmukhi", + "version": "Version 1.003" + }, + "Anek Kannada": { + "name": "Anek Kannada", + "version": "Version 1.003" + }, + "Anek Latin": { + "name": "Anek Latin", + "version": "Version 1.003" + }, + "Anek Malayalam": { + "name": "Anek Malayalam", + "version": "Version 1.003" + }, + "Anek Odia": { + "name": "Anek Odia", + "version": "Version 1.003" + }, + "Anek Tamil": { + "name": "Anek Tamil", + "version": "Version 1.003" + }, + "Anek Telugu": { + "name": "Anek Telugu", + "version": "Version 1.003" + }, + "Angkor": { + "name": "Angkor", + "version": "Version 8.000; ttfautohint (v1.8.3)" + }, + "Annapurna SIL": { + "name": "Annapurna SIL", + "version": "Version 2.000" + }, + "Annie Use Your Telescope": { + "name": "Annie Use Your Telescope", + "version": "Version 1.003 2001" + }, + "Anonymous Pro": { + "name": "Anonymous Pro", + "version": "Version 1.003" + }, + "Anta": { + "name": "Anta", + "version": "Version 1.000; ttfautohint (v1.8.4.7-5d5b)" + }, + "Antic": { + "name": "Antic", + "version": "Version 1.0012 " + }, + "Antic Didone": { + "name": "Antic Didone", + "version": "Version 2.001" + }, + "Antic Slab": { + "name": "Antic Slab", + "version": "Version 001.002 " + }, + "Anton": { + "name": "Anton", + "version": "Version 2.116; ttfautohint (v1.8.3)" + }, + "Anton SC": { + "name": "Anton SC", + "version": "Version 2.116; ttfautohint (v1.8.4.7-5d5b)" + }, + "Antonio": { + "name": "Antonio", + "version": "Version 1.002" + }, + "Anuphan": { + "name": "Anuphan", + "version": "Version 3.002" + }, + "Anybody": { + "name": "Anybody", + "version": "Version 1.114;gftools[0.9.25]" + }, + "Aoboshi One": { + "name": "Aoboshi One", + "version": "Version 1.000; ttfautohint (v1.8.3)" + }, + "Arapey": { + "name": "Arapey", + "version": "Version 1.002" + }, + "Arbutus": { + "name": "Arbutus", + "version": "Version 1.003" + }, + "Arbutus Slab": { + "name": "Arbutus Slab", + "version": "Version 1.002; ttfautohint (v0.92) -l 10 -r 16 -G 200 -x 7 -w \"GD\"" + }, + "Architects Daughter": { + "name": "Architects Daughter", + "version": "Version 1.003 2010" + }, + "Archivo": { + "name": "Archivo", + "version": "Version 2.001" + }, + "Archivo Black": { + "name": "Archivo Black", + "version": "Version 1.006" + }, + "Archivo Narrow": { + "name": "Archivo Narrow", + "version": "Version 3.002" + }, + "Are You Serious": { + "name": "Are You Serious", + "version": "Version 1.100" + }, + "Aref Ruqaa": { + "name": "Aref Ruqaa", + "version": "Version 1.003" + }, + "Aref Ruqaa Ink": { + "name": "Aref Ruqaa Ink", + "version": "Version 1.005" + }, + "Arima": { + "name": "Arima", + "version": "Version 1.101;gftools[0.9.23]" + }, + "Arima Madurai": { + "name": "Arima Madurai", + "version": "Version 1.020; ttfautohint (v1.5) -l 7 -r 28 -G 50 -x 13 -D latn -f none -w G -X \"\"" + }, + "Arimo": { + "name": "Arimo", + "version": "Version 1.33" + }, + "Arizonia": { + "name": "Arizonia", + "version": "Version 1.010; ttfautohint (v1.8.4.7-5d5b)" + }, + "Armata": { + "name": "Armata", + "version": "Version 1.003" + }, + "Arsenal": { + "name": "Arsenal", + "version": "Version 2.000" + }, + "Arsenal SC": { + "name": "Arsenal SC", + "version": "Version 2.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Artifika": { + "name": "Artifika", + "version": "Version 1.102; ttfautohint (v1.8.4.7-5d5b)" + }, + "Arvo": { + "name": "Arvo", + "version": "Version 1.006 2010 beta release; ttfautohint (v1.8.2)" + }, + "Arya": { + "name": "Arya", + "version": "Version 1.002" + }, + "Asap": { + "name": "Asap", + "version": "Version 3.002" + }, + "Asap Condensed": { + "name": "Asap Condensed", + "version": "Version 3.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Asar": { + "name": "Asar", + "version": "Version 1.003; ttfautohint (v1.3) -l 8 -r 50 -G 0 -x 0 -H 45 -D deva -f latn -m \"\" -w gG -t -X \"\"" + }, + "Asset": { + "name": "Asset", + "version": "Version 1.003; ttfautohint (v1.8.4.7-5d5b)" + }, + "Assistant": { + "name": "Assistant", + "version": "Version 3.000" + }, + "Asta Sans": { + "name": "Asta Sans", + "version": "Version 1.000" + }, + "Astloch": { + "name": "Astloch", + "version": "Version 1.002" + }, + "Asul": { + "name": "Asul", + "version": "Version 1.002" + }, + "Athiti": { + "name": "Athiti", + "version": "Version 1.033" + }, + "Atkinson Hyperlegible": { + "name": "Atkinson Hyperlegible", + "version": "Version 1.006; ttfautohint (v1.8.3)" + }, + "Atkinson Hyperlegible Mono": { + "name": "Atkinson Hyperlegible Mono", + "version": "Version 2.001" + }, + "Atkinson Hyperlegible Next": { + "name": "Atkinson Hyperlegible Next", + "version": "Version 2.001" + }, + "Atma": { + "name": "Atma", + "version": "Version 1.102;PS 1.100;hotconv 1.0.86;makeotf.lib2.5.63406" + }, + "Atomic Age": { + "name": "Atomic Age", + "version": "Version 1.008; ttfautohint (v1.4.1) -l 6 -r 46 -G 0 -x 0 -H 200 " + }, + "Aubrey": { + "name": "Aubrey", + "version": "Version 1.102; ttfautohint (v1.8.3)" + }, + "Audiowide": { + "name": "Audiowide", + "version": "Version 1.003" + }, + "Autour One": { + "name": "Autour One", + "version": "Version 1.007; ttfautohint (v0.92) -l 24 -r 24 -G 200 -x 7 -w \"GD\"" + }, + "Average": { + "name": "Average", + "version": "Version 1.003; ttfautohint (v1.8.4.7-5d5b)" + }, + "Average Sans": { + "name": "Average Sans", + "version": "Version 1.002" + }, + "Averia Gruesa Libre": { + "name": "Averia Gruesa Libre", + "version": "Version 1.002" + }, + "Averia Libre": { + "name": "Averia Libre", + "version": "Version 1.002" + }, + "Averia Sans Libre": { + "name": "Averia Sans Libre", + "version": "Version 1.002" + }, + "Averia Serif Libre": { + "name": "Averia Serif Libre", + "version": "Version 1.002" + }, + "Azeret Mono": { + "name": "Azeret Mono", + "version": "Version 1.002" + }, + "B612": { + "name": "B612", + "version": "Version 1.008" + }, + "B612 Mono": { + "name": "B612 Mono", + "version": "Version 1.008" + }, + "BIZ UDGothic": { + "name": "BIZ UDGothic", + "version": "Version 1.05" + }, + "BIZ UDMincho": { + "name": "BIZ UDMincho", + "version": "Version 1.06" + }, + "BIZ UDPGothic": { + "name": "BIZ UDPGothic", + "version": "Version 1.051" + }, + "BIZ UDPMincho": { + "name": "BIZ UDPMincho", + "version": "Version 1.06" + }, + "Babylonica": { + "name": "Babylonica", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Bacasime Antique": { + "name": "Bacasime Antique", + "version": "Version 2.000" + }, + "Bad Script": { + "name": "Bad Script", + "version": "Version 2.000; ttfautohint (v1.8.4.7-5d5b)" + }, + "Badeen Display": { + "name": "Badeen Display", + "version": "Version 1.000; ttfautohint (v1.8.4.7-5d5b)" + }, + "Bagel Fat One": { + "name": "Bagel Fat One", + "version": "Version 1.000; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.28]" + }, + "Bahiana": { + "name": "Bahiana", + "version": "Version 1.005" + }, + "Bahianita": { + "name": "Bahianita", + "version": "Version 1.008" + }, + "Bai Jamjuree": { + "name": "Bai Jamjuree", + "version": "Version 1.000; ttfautohint (v1.6)" + }, + "Bakbak One": { + "name": "Bakbak One", + "version": "Version 1.003; ttfautohint (v1.8.3)" + }, + "Ballet": { + "name": "Ballet", + "version": "Version 1.100" + }, + "Baloo 2": { + "name": "Baloo 2", + "version": "Version 1.700" + }, + "Baloo Bhai 2": { + "name": "Baloo Bhai 2", + "version": "Version 1.700" + }, + "Baloo Bhaijaan 2": { + "name": "Baloo Bhaijaan 2", + "version": "Version 1.701" + }, + "Baloo Bhaina 2": { + "name": "Baloo Bhaina 2", + "version": "Version 1.700" + }, + "Baloo Chettan 2": { + "name": "Baloo Chettan 2", + "version": "Version 1.700" + }, + "Baloo Da 2": { + "name": "Baloo Da 2", + "version": "Version 1.700" + }, + "Baloo Paaji 2": { + "name": "Baloo Paaji 2", + "version": "Version 1.700" + }, + "Baloo Tamma 2": { + "name": "Baloo Tamma 2", + "version": "Version 1.700" + }, + "Baloo Tammudu": { + "name": "Baloo Tammudu", + "version": "Version 1.444;PS 1.000;hotconv 16.6.51;makeotf.lib2.5.65220; ttfautohint (v1.6)" + }, + "Baloo Tammudu 2": { + "name": "Baloo Tammudu 2", + "version": "Version 1.700" + }, + "Baloo Thambi 2": { + "name": "Baloo Thambi 2", + "version": "Version 1.700" + }, + "Balsamiq Sans": { + "name": "Balsamiq Sans", + "version": "Version 1.020; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.26]" + }, + "Balthazar": { + "name": "Balthazar", + "version": "Version 1.000" + }, + "Bangers": { + "name": "Bangers", + "version": "Version 2.100; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.31]" + }, + "Barlow": { + "name": "Barlow", + "version": "Version 1.408" + }, + "Barlow Condensed": { + "name": "Barlow Condensed", + "version": "Version 1.408" + }, + "Barlow Semi Condensed": { + "name": "Barlow Semi Condensed", + "version": "Version 1.408" + }, + "Barriecito": { + "name": "Barriecito", + "version": "Version 1.001" + }, + "Barrio": { + "name": "Barrio", + "version": "Version 1.005" + }, + "Basic": { + "name": "Basic", + "version": "Version 1.003; ttfautohint (v1.1) -l 6 -r 16 -G 0 -x 16 -D latn " + }, + "Baskervville": { + "name": "Baskervville", + "version": "Version 1.100" + }, + "Baskervville SC": { + "name": "Baskervville SC", + "version": "Version 1.100" + }, + "Batang": { + "name": "Batang", + "version": "Version 2.21" + }, + "BatangChe": { + "name": "BatangChe", + "version": "Version 2.21" + }, + "Battambang": { + "name": "Battambang", + "version": "Version 8.002; ttfautohint (v1.8.3)" + }, + "Baumans": { + "name": "Baumans", + "version": "Version 001.002" + }, + "Bayon": { + "name": "Bayon", + "version": "Version 8.001; ttfautohint (v1.8.3)" + }, + "Be Vietnam": { + "name": "Be Vietnam", + "version": "Version 4.000" + }, + "Be Vietnam Pro": { + "name": "Be Vietnam Pro", + "version": "Version 1.002; ttfautohint (v1.8.3)" + }, + "Beau Rivage": { + "name": "Beau Rivage", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Bebas Neue": { + "name": "Bebas Neue", + "version": "Version 2.000" + }, + "Beiruti": { + "name": "Beiruti", + "version": "Version 1.41" + }, + "Belanosima": { + "name": "Belanosima", + "version": "Version 2.000" + }, + "Belgrano": { + "name": "Belgrano", + "version": "Version 1.003" + }, + "Bellefair": { + "name": "Bellefair", + "version": "Version 1.003" + }, + "Belleza": { + "name": "Belleza", + "version": "Version 1.003; ttfautohint (v1.8.4.7-5d5b)" + }, + "Bellota": { + "name": "Bellota", + "version": "Version 4.001" + }, + "Bellota Text": { + "name": "Bellota Text", + "version": "Version 4.001" + }, + "BenchNine": { + "name": "BenchNine", + "version": "Version 1 ; ttfautohint (v0.92.18-e454-dirty) -l 8 -r 50 -G 200 -x 0 -w \"g\"" + }, + "Benne": { + "name": "Benne", + "version": "Version 1.001" + }, + "Bentham": { + "name": "Bentham", + "version": "Version 002.002 " + }, + "Berkshire Swash": { + "name": "Berkshire Swash", + "version": "Version 1.001" + }, + "Besley": { + "name": "Besley", + "version": "Version 2.001" + }, + "Beth Ellen": { + "name": "Beth Ellen", + "version": "Version 2.000" + }, + "Bevan": { + "name": "Bevan", + "version": "Version 2.100; ttfautohint (v1.8.3)" + }, + "Bhavuka": { + "name": "Bhavuka", + "version": "2.94.0; ttfautohint (v1.2) -l 7 -r 28 -G 50 -x 13 -D deva -f dev" + }, + "BhuTuka Expanded One": { + "name": "BhuTuka Expanded One", + "version": "Version 1.000; ttfautohint (v1.8.3)" + }, + "Big Shoulders": { + "name": "Big Shoulders", + "version": "Version 2.002" + }, + "Big Shoulders Display": { + "name": "Big Shoulders Display", + "version": "Version 2.002" + }, + "Big Shoulders Display SC": { + "name": "Big Shoulders Display SC", + "version": "Version 2.002" + }, + "Big Shoulders Inline": { + "name": "Big Shoulders Inline", + "version": "Version 2.002" + }, + "Big Shoulders Inline Display": { + "name": "Big Shoulders Inline Display", + "version": "Version 2.002" + }, + "Big Shoulders Inline Display SC": { + "name": "Big Shoulders Inline Display SC", + "version": "Version 2.002" + }, + "Big Shoulders Inline Text": { + "name": "Big Shoulders Inline Text", + "version": "Version 2.002" + }, + "Big Shoulders Inline Text SC": { + "name": "Big Shoulders Inline Text SC", + "version": "Version 2.002" + }, + "Big Shoulders Stencil": { + "name": "Big Shoulders Stencil", + "version": "Version 2.001" + }, + "Big Shoulders Stencil Display": { + "name": "Big Shoulders Stencil Display", + "version": "Version 2.001" + }, + "Big Shoulders Stencil Display SC": { + "name": "Big Shoulders Stencil Display SC", + "version": "Version 2.001" + }, + "Big Shoulders Stencil Text": { + "name": "Big Shoulders Stencil Text", + "version": "Version 2.001" + }, + "Big Shoulders Stencil Text SC": { + "name": "Big Shoulders Stencil Text SC", + "version": "Version 2.001" + }, + "Big Shoulders Text": { + "name": "Big Shoulders Text", + "version": "Version 2.002" + }, + "Big Shoulders Text SC": { + "name": "Big Shoulders Text SC", + "version": "Version 2.002" + }, + "Bigelow Rules": { + "name": "Bigelow Rules", + "version": "Version 1.001" + }, + "Bigshot One": { + "name": "Bigshot One", + "version": "Version 1.001" + }, + "Bilbo": { + "name": "Bilbo", + "version": "Version 1.100" + }, + "Bilbo Swash Caps": { + "name": "Bilbo Swash Caps", + "version": "Version 1.003" + }, + "Bio Rhyme": { + "name": "BioRhyme", + "version": "Version 1.001" + }, + "Bio Rhyme Expanded": { + "name": "BioRhyme Expanded", + "version": "Version 1.001" + }, + "BioRhyme": { + "name": "BioRhyme", + "version": "Version 1.600;gftools[0.9.33]" + }, + "BioRhyme Expanded": { + "name": "BioRhyme Expanded", + "version": "Version 1.001" + }, + "Birthstone": { + "name": "Birthstone", + "version": "Version 1.013; ttfautohint (v1.8.3)" + }, + "Birthstone Bounce": { + "name": "Birthstone Bounce", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Biryani": { + "name": "Biryani", + "version": "Version 1.004; ttfautohint (v1.1) -l 5 -r 5 -G 72 -x 0 -D latn -f none -w gGD -W -c" + }, + "Bitcount": { + "name": "Bitcount", + "version": "Version 1.0" + }, + "Bitcount Grid Double": { + "name": "Bitcount Grid Double", + "version": "Version 1.0" + }, + "Bitcount Grid Single": { + "name": "Bitcount Grid Single", + "version": "Version 1.0" + }, + "Bitcount Prop Double": { + "name": "Bitcount Prop Double", + "version": "Version 1.0" + }, + "Bitcount Prop Single": { + "name": "Bitcount Prop Single", + "version": "Version 1.0" + }, + "Bitcount Prop Single Ink": { + "name": "Bitcount Prop Single Ink", + "version": "Version 1.0" + }, + "Bitcount Single": { + "name": "Bitcount Single", + "version": "Version 1.0" + }, + "Bitcount Single Ink": { + "name": "Bitcount Single Ink", + "version": "Version 1.0" + }, + "Bitter": { + "name": "Bitter", + "version": "Version 3.021" + }, + "Black And White Picture": { + "name": "Black And White Picture", + "version": "Version 1.64" + }, + "Black Han Sans": { + "name": "Black Han Sans", + "version": "Version 1.001" + }, + "Black Ops One": { + "name": "Black Ops One", + "version": "Version 1.004; ttfautohint (v1.8.4.7-5d5b)" + }, + "Blaka": { + "name": "Blaka", + "version": "Version 1.003; ttfautohint (v1.8.4.7-5d5b)" + }, + "Blaka Hollow": { + "name": "Blaka Hollow", + "version": "Version 1.003; ttfautohint (v1.8.4.7-5d5b)" + }, + "Blaka Ink": { + "name": "Blaka Ink", + "version": "Version 1.003; ttfautohint (v1.8.4.7-5d5b)" + }, + "Blinker": { + "name": "Blinker", + "version": "Version 1.015;PS 1.15;hotconv 1.0.88;makeotf.lib2.5.647800" + }, + "Bodoni Moda": { + "name": "Bodoni Moda", + "version": "Version 2.005" + }, + "Bodoni Moda SC": { + "name": "Bodoni Moda SC", + "version": "Version 2.005" + }, + "Bokor": { + "name": "Bokor", + "version": "Version 8.002; ttfautohint (v1.8.3)" + }, + "Boldonse": { + "name": "Boldonse", + "version": "Version 1.000; ttfautohint (v1.8.4.7-5d5b)" + }, + "Bona Nova": { + "name": "Bona Nova", + "version": "Version 4.001; ttfautohint (v1.8.3)" + }, + "Bona Nova SC": { + "name": "Bona Nova SC", + "version": "Version 4.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Bonbon": { + "name": "Bonbon", + "version": "Version 1.001" + }, + "Bonheur Royale": { + "name": "Bonheur Royale", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Boogaloo": { + "name": "Boogaloo", + "version": "Version 1.002" + }, + "Borel": { + "name": "Borel", + "version": "Version 1.005; ttfautohint (v1.8.4.7-5d5b)" + }, + "Bowlby One": { + "name": "Bowlby One", + "version": "Version 1.001" + }, + "Bowlby One SC": { + "name": "Bowlby One SC", + "version": "Version 1.2" + }, + "Braah One": { + "name": "Braah One", + "version": "Version 1.001; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.29]" + }, + "Brawler": { + "name": "Brawler", + "version": "Version 1.101; ttfautohint (v1.8.3)" + }, + "Bree Serif": { + "name": "Bree Serif", + "version": "Version 1.002" + }, + "Bricolage Grotesque": { + "name": "Bricolage Grotesque", + "version": "Version 1.001;gftools[0.9.33.dev8+g029e19f]" + }, + "Briem Hand": { + "name": "Briem Hand", + "version": "Version 1.004" + }, + "Bruno Ace": { + "name": "Bruno Ace", + "version": "Version 1.100; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.27]" + }, + "Bruno Ace SC": { + "name": "Bruno Ace SC", + "version": "Version 1.100; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.27]" + }, + "Brygada 1918": { + "name": "Brygada 1918", + "version": "Version 3.006" + }, + "Bubblegum Sans": { + "name": "Bubblegum Sans", + "version": "Version 1.001" + }, + "Bubbler One": { + "name": "Bubbler One", + "version": "Version 1.003" + }, + "Buda": { + "name": "Buda", + "version": "Version 1.003 " + }, + "Buenard": { + "name": "Buenard", + "version": "Version 2.000" + }, + "Bungee": { + "name": "Bungee", + "version": "Version 2.000" + }, + "Bungee Color": { + "name": "Bungee Color", + "version": "Version 1.000;PS 1.0;hotconv 1.0.72;makeotf.lib2.5.5900" + }, + "Bungee Hairline": { + "name": "Bungee Hairline", + "version": "Version 2.000" + }, + "Bungee Inline": { + "name": "Bungee Inline", + "version": "Version 2.000" + }, + "Bungee Outline": { + "name": "Bungee Outline", + "version": "Version 2.000" + }, + "Bungee Shade": { + "name": "Bungee Shade", + "version": "Version 2.000" + }, + "Bungee Spice": { + "name": "Bungee Spice", + "version": "Version 2.000" + }, + "Bungee Tint": { + "name": "Bungee Tint", + "version": "Version 2.001" + }, + "Butcherman": { + "name": "Butcherman", + "version": "Version 001.004 " + }, + "Butterfly Kids": { + "name": "Butterfly Kids", + "version": "Version 1.001" + }, + "Bytesized": { + "name": "Bytesized", + "version": "Version 1.000" + }, + "Cabin": { + "name": "Cabin", + "version": "Version 3.001" + }, + "Cabin Condensed": { + "name": "Cabin Condensed", + "version": "Version 2.200" + }, + "Cabin Sketch": { + "name": "Cabin Sketch", + "version": "Version 1.100" + }, + "Cactus Classical Serif": { + "name": "Cactus Classical Serif", + "version": "Version 1.005" + }, + "Caesar Dressing": { + "name": "Caesar Dressing", + "version": "Version 1.000" + }, + "Cagliostro": { + "name": "Cagliostro", + "version": "Version " + }, + "Cairo": { + "name": "Cairo", + "version": "Version 3.130;gftools[0.9.24]" + }, + "Cairo Play": { + "name": "Cairo Play", + "version": "Version 3.130;gftools[0.9.24]" + }, + "Cal Sans": { + "name": "Cal Sans", + "version": "Version 1.000; ttfautohint (v1.8.4.7-5d5b)" + }, + "Caladea": { + "name": "Caladea", + "version": "Version 1.001" + }, + "Calistoga": { + "name": "Calistoga", + "version": "Version 1.010; ttfautohint (v1.8.4.7-5d5b)" + }, + "Calligraffitti": { + "name": "Calligraffitti", + "version": "Version 1.002" + }, + "Cambay": { + "name": "Cambay", + "version": "Version 1.181;PS 001.181;hotconv 1.0.70;makeotf.lib2.5.58329" + }, + "Cambo": { + "name": "Cambo", + "version": "Version 2.001" + }, + "Candal": { + "name": "Candal", + "version": "Version 1.000" + }, + "Cantarell": { + "name": "Cantarell", + "version": "Version 1.004" + }, + "Cantata One": { + "name": "Cantata One", + "version": "Version 1.002" + }, + "Cantora One": { + "name": "Cantora One", + "version": "Version 1.002; ttfautohint (v0.8) -G 200 -r 50" + }, + "Caprasimo": { + "name": "Caprasimo", + "version": "Version 1.001" + }, + "Capriola": { + "name": "Capriola", + "version": "Version 1.007" + }, + "Caramel": { + "name": "Caramel", + "version": "Version 1.010" + }, + "Carattere": { + "name": "Carattere", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Cardo": { + "name": "Cardo", + "version": "Version 1.0451" + }, + "Carlito": { + "name": "Carlito", + "version": "Version 1.104" + }, + "Carme": { + "name": "Carme", + "version": "1.000" + }, + "Carrois Gothic": { + "name": "Carrois Gothic", + "version": "Version 1.002" + }, + "Carrois Gothic SC": { + "name": "Carrois Gothic SC", + "version": "Version 1.002" + }, + "Carter One": { + "name": "Carter One", + "version": "Version 1.000" + }, + "Cascadia Code": { + "name": "Cascadia Code", + "version": "Version 2407.024" + }, + "Cascadia Mono": { + "name": "Cascadia Mono", + "version": "Version 2407.024" + }, + "Castoro": { + "name": "Castoro", + "version": "Version 2.04" + }, + "Castoro Titling": { + "name": "Castoro Titling", + "version": "Version 2.04" + }, + "Catamaran": { + "name": "Catamaran", + "version": "Version 2.000" + }, + "Caudex": { + "name": "Caudex", + "version": "Version 1.01 " + }, + "Caveat": { + "name": "Caveat", + "version": "Version 2.000" + }, + "Caveat Brush": { + "name": "Caveat Brush", + "version": "Version 1.096; ttfautohint (v1.3)" + }, + "Cedarville Cursive": { + "name": "Cedarville Cursive", + "version": "Version 1.001 2010" + }, + "Ceviche One": { + "name": "Ceviche One", + "version": "Version 1.002" + }, + "Chakra Petch": { + "name": "Chakra Petch", + "version": "Version 1.000; ttfautohint (v1.6)" + }, + "Changa": { + "name": "Changa", + "version": "Version 3.003" + }, + "Changa One": { + "name": "Changa One", + "version": "Version 1.003" + }, + "Chango": { + "name": "Chango", + "version": "Version 1.001" + }, + "Charis SIL": { + "name": "Charis SIL", + "version": "Version 6.101" + }, + "Charm": { + "name": "Charm", + "version": "Version 1.001" + }, + "Charmonman": { + "name": "Charmonman", + "version": "Version 1.000; ttfautohint (v1.6)" + }, + "Chathura": { + "name": "Chathura", + "version": "Version 1.002 2016" + }, + "Chau Philomene One": { + "name": "Chau Philomene One", + "version": "Version 1.002" + }, + "Chela One": { + "name": "Chela One", + "version": "Version 1.001" + }, + "Chelsea Market": { + "name": "Chelsea Market", + "version": "Version 1.001" + }, + "Chenla": { + "name": "Chenla", + "version": "Version 6.00 December 28, 2010" + }, + "Cherish": { + "name": "Cherish", + "version": "Version 1.005" + }, + "Cherry Bomb": { + "name": "Cherry Bomb", + "version": "Version 4.000" + }, + "Cherry Bomb One": { + "name": "Cherry Bomb One", + "version": "Version 4.100; ttfautohint (v1.8.3)" + }, + "Cherry Cream Soda": { + "name": "Cherry Cream Soda", + "version": "Version 1.001" + }, + "Cherry Swash": { + "name": "Cherry Swash", + "version": "Version 1.001" + }, + "Chewy": { + "name": "Chewy", + "version": "Version 1.001" + }, + "Chicle": { + "name": "Chicle", + "version": "Version 1.000" + }, + "Chilanka": { + "name": "Chilanka", + "version": "Version 1.600" + }, + "Chiron Hei HK": { + "name": "Chiron Hei HK", + "version": "Version 2.525" + }, + "Chiron Sung HK": { + "name": "Chiron Sung HK", + "version": "Version 1.019" + }, + "Chivo": { + "name": "Chivo", + "version": "Version 2.002" + }, + "Chivo Mono": { + "name": "Chivo Mono", + "version": "Version 1.008" + }, + "Chocolate Classical Sans": { + "name": "Chocolate Classical Sans", + "version": "Version 1.005" + }, + "Chokokutai": { + "name": "Chokokutai", + "version": "Version 1.000; ttfautohint (v1.8.3)" + }, + "Chonburi": { + "name": "Chonburi", + "version": "Version 1.000g" + }, + "Cinzel": { + "name": "Cinzel", + "version": "Version 2.000" + }, + "Cinzel Decorative": { + "name": "Cinzel Decorative", + "version": "Version 1.002;PS 001.002;hotconv 1.0.56;makeotf.lib2.0.21325" + }, + "Clicker Script": { + "name": "Clicker Script", + "version": "Version 1.000" + }, + "Climate Crisis": { + "name": "Climate Crisis", + "version": "Version 1.003" + }, + "Coda": { + "name": "Coda", + "version": "Version 2.001; ttfautohint (v0.8) -r 50 -G 200 -x" + }, + "Coda Caption": { + "name": "Coda Caption", + "version": "Version 1.002" + }, + "Codystar": { + "name": "Codystar", + "version": "Version 1.000" + }, + "Coiny": { + "name": "Coiny", + "version": "Version 001.001" + }, + "Combo": { + "name": "Combo", + "version": "Version 1.001" + }, + "Comfortaa": { + "name": "Comfortaa", + "version": "Version 3.105" + }, + "Comforter": { + "name": "Comforter", + "version": "Version 1.013; ttfautohint (v1.8.3)" + }, + "Comforter Brush": { + "name": "Comforter Brush", + "version": "Version 1.013" + }, + "Comic Neue": { + "name": "Comic Neue", + "version": "Version 2.003" + }, + "Comic Relief": { + "name": "Comic Relief", + "version": "Version 1.200; ttfautohint (v1.8.4.7-5d5b)" + }, + "Coming Soon": { + "name": "Coming Soon", + "version": "Version 1.002" + }, + "Comme": { + "name": "Comme", + "version": "Version 1.000;gftools[0.9.27]" + }, + "Commissioner": { + "name": "Commissioner", + "version": "Version 1.001;gftools[0.9.23]" + }, + "Concert One": { + "name": "Concert One", + "version": "Version 1.003" + }, + "Condiment": { + "name": "Condiment", + "version": "Version 1.001" + }, + "Content": { + "name": "Content", + "version": "Version 6.00 December 28, 2010" + }, + "Contrail One": { + "name": "Contrail One", + "version": "Version 1.003" + }, + "Convergence": { + "name": "Convergence", + "version": "Version 1.002" + }, + "Cookie": { + "name": "Cookie", + "version": "Version 1.004" + }, + "Copse": { + "name": "Copse", + "version": "Version 1.000" + }, + "Coral Pixels": { + "name": "Coral Pixels", + "version": "Version 1.000; ttfautohint (v1.8.4.7-5d5b)" + }, + "Corben": { + "name": "Corben", + "version": "Version 1.101" + }, + "Corinthia": { + "name": "Corinthia", + "version": "Version 1.013; ttfautohint (v1.8.3)" + }, + "Cormorant": { + "name": "Cormorant", + "version": "Version 4.000" + }, + "Cormorant Garamond": { + "name": "Cormorant Garamond", + "version": "Version 4.001" + }, + "Cormorant Infant": { + "name": "Cormorant Infant", + "version": "Version 4.001" + }, + "Cormorant SC": { + "name": "Cormorant SC", + "version": "Version 4.000" + }, + "Cormorant Unicase": { + "name": "Cormorant Unicase", + "version": "Version 4.000" + }, + "Cormorant Upright": { + "name": "Cormorant Upright", + "version": "Version 3.302" + }, + "Courgette": { + "name": "Courgette", + "version": "Version 1.002" + }, + "Courier Prime": { + "name": "Courier Prime", + "version": "Version 3.018" + }, + "Cousine": { + "name": "Cousine", + "version": "Version 1.21" + }, + "Coustard": { + "name": "Coustard", + "version": "Version 1.001" + }, + "Covered By Your Grace": { + "name": "Covered By Your Grace", + "version": "1.0" + }, + "Crafty Girls": { + "name": "Crafty Girls", + "version": "Version 1.001" + }, + "Creepster": { + "name": "Creepster", + "version": "Version 1.002" + }, + "Creepster Caps": { + "name": "Creepster Caps", + "version": "Version 1.000" + }, + "Crete Round": { + "name": "Crete Round", + "version": "Version 1.001" + }, + "Crimson Pro": { + "name": "Crimson Pro", + "version": "Version 1.003" + }, + "Crimson Text": { + "name": "Crimson Text", + "version": "Version 1.100; ttfautohint (v1.8.4)" + }, + "Croissant One": { + "name": "Croissant One", + "version": "Version 1.001" + }, + "Crushed": { + "name": "Crushed", + "version": "Version 001.001" + }, + "Cuprum": { + "name": "Cuprum", + "version": "Version 3.000" + }, + "Cute Font": { + "name": "Cute Font", + "version": "Version 1.00" + }, + "Cutive": { + "name": "Cutive", + "version": "Version 1.110; ttfautohint (v1.8.4.7-5d5b)" + }, + "Cutive Mono": { + "name": "Cutive Mono", + "version": "Version 1.110; ttfautohint (v1.8.4.7-5d5b)" + }, + "DM Mono": { + "name": "DM Mono", + "version": "Version 1.000; ttfautohint (v1.8.2.53-6de2)" + }, + "DM Sans": { + "name": "DM Sans", + "version": "Version 4.004;gftools[0.9.30]" + }, + "DM Serif Display": { + "name": "DM Serif Display", + "version": "Version 5.200; ttfautohint (v1.8.3)" + }, + "DM Serif Text": { + "name": "DM Serif Text", + "version": "Version 5.200; ttfautohint (v1.8.3)" + }, + "Dai Banna SIL": { + "name": "Dai Banna SIL", + "version": "Version 4.000" + }, + "Damion": { + "name": "Damion", + "version": "Version 1.100; ttfautohint (v1.8.4.7-5d5b)" + }, + "Dancing Script": { + "name": "Dancing Script", + "version": "Version 2.001" + }, + "Danfo": { + "name": "Danfo", + "version": "Version 1.000" + }, + "Dangrek": { + "name": "Dangrek", + "version": "Version 8.001; ttfautohint (v1.8.3)" + }, + "Darker Grotesque": { + "name": "Darker Grotesque", + "version": "Version 1.000;gftools[0.9.28]" + }, + "Daruma Drop One": { + "name": "Daruma Drop One", + "version": "Version 1.000" + }, + "Darumadrop One": { + "name": "Darumadrop One", + "version": "Version 1.000" + }, + "David Libre": { + "name": "David Libre", + "version": "Version 1.100; ttfautohint (v1.8.4.7-5d5b)" + }, + "Dawning of a New Day": { + "name": "Dawning of a New Day", + "version": "Version 1.002 2010" + }, + "Days One": { + "name": "Days One", + "version": "Version 1.002" + }, + "Dekko": { + "name": "Dekko", + "version": "Version 1.001; ttfautohint (v1.1) -l 8 -r 50 -G 0 -x 0 -D deva -f latn -w gG -W" + }, + "Dela Gothic One": { + "name": "Dela Gothic One", + "version": "Version 1.005" + }, + "Delicious Handrawn": { + "name": "Delicious Handrawn", + "version": "Version 1.002; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.27]" + }, + "Delius": { + "name": "Delius", + "version": "Version 1.001" + }, + "Delius Swash Caps": { + "name": "Delius Swash Caps", + "version": "Version 1.002" + }, + "Delius Unicase": { + "name": "Delius Unicase", + "version": "Version 1.002" + }, + "Della Respira": { + "name": "Della Respira", + "version": "Version 0.201" + }, + "Denk One": { + "name": "Denk One", + "version": "Version 1.004; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.23]" + }, + "Devonshire": { + "name": "Devonshire", + "version": "Version 1.001" + }, + "Dhurjati": { + "name": "Dhurjati", + "version": "Version 1.0.5; ttfautohint (v1.2.25-373a) -l 7 -r 28 -G 50 -x 13 -D telu -f latn -w G -X \"\"" + }, + "Dhyana": { + "name": "Dhyana", + "version": "Version 1.002; ttfautohint (v0.8.51-6076)" + }, + "Didact Gothic": { + "name": "Didact Gothic", + "version": "Version 2.101" + }, + "Digital Numbers": { + "name": "Digital Numbers", + "version": "Version 001.102" + }, + "Diphylleia": { + "name": "Diphylleia", + "version": "Version 1.000; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.28]" + }, + "Diplomata": { + "name": "Diplomata", + "version": "Version 1.002; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.23]" + }, + "Diplomata SC": { + "name": "Diplomata SC", + "version": "Version 1.002; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.23]" + }, + "Do Hyeon": { + "name": "Do Hyeon", + "version": "Version 1.001" + }, + "Dokdo": { + "name": "Dokdo", + "version": "Version 2.00" + }, + "Domine": { + "name": "Domine", + "version": "Version 2.000" + }, + "Donegal One": { + "name": "Donegal One", + "version": "Version 1.004" + }, + "Dongle": { + "name": "Dongle", + "version": "Version 2.000" + }, + "Doppio One": { + "name": "Doppio One", + "version": "Version 1.002" + }, + "Dorsa": { + "name": "Dorsa", + "version": "Version 1.002 " + }, + "Dosis": { + "name": "Dosis", + "version": "Version 3.002" + }, + "DotGothic16": { + "name": "DotGothic16", + "version": "Version 1.100" + }, + "Doto": { + "name": "Doto", + "version": "Version 1.000" + }, + "Dotum": { + "name": "Dotum", + "version": "Version 2.21" + }, + "DotumChe": { + "name": "DotumChe", + "version": "Version 2.21" + }, + "Dr Sugiyama": { + "name": "Dr Sugiyama", + "version": "Version 1.000" + }, + "Duru Sans": { + "name": "Duru Sans", + "version": "Version 1.002" + }, + "DynaPuff": { + "name": "DynaPuff", + "version": "Version 2.000" + }, + "Dynalight": { + "name": "Dynalight", + "version": "Version 1.000" + }, + "EB Garamond": { + "name": "EB Garamond", + "version": "Version 1.001" + }, + "Eagle Lake": { + "name": "Eagle Lake", + "version": "Version 1.000" + }, + "East Sea Dokdo": { + "name": "East Sea Dokdo", + "version": "Version 1.00" + }, + "Eater": { + "name": "Eater", + "version": "Version 001.002 " + }, + "Economica": { + "name": "Economica", + "version": "Version 1.101" + }, + "Eczar": { + "name": "Eczar", + "version": "Version 2.000" + }, + "Edu AU VIC WA NT Arrows": { + "name": "Edu AU VIC WA NT Arrows", + "version": "Version 1.001" + }, + "Edu AU VIC WA NT Dots": { + "name": "Edu AU VIC WA NT Dots", + "version": "Version 1.001" + }, + "Edu AU VIC WA NT Guides": { + "name": "Edu AU VIC WA NT Guides", + "version": "Version 1.001" + }, + "Edu AU VIC WA NT Hand": { + "name": "Edu AU VIC WA NT Hand", + "version": "Version 1.001" + }, + "Edu AU VIC WA NT Pre": { + "name": "Edu AU VIC WA NT Pre", + "version": "Version 1.001" + }, + "Edu NSW ACT Cursive": { + "name": "Edu NSW ACT Cursive", + "version": "Version 2.000" + }, + "Edu NSW ACT Foundation": { + "name": "Edu NSW ACT Foundation", + "version": "Version 1.003" + }, + "Edu NSW ACT Hand": { + "name": "Edu NSW ACT Hand", + "version": "Version 2.000" + }, + "Edu NSW ACT Hand Pre": { + "name": "Edu NSW ACT Hand Pre", + "version": "Version 2.000" + }, + "Edu QLD Beginner": { + "name": "Edu QLD Beginner", + "version": "Version 1.003" + }, + "Edu QLD Beginners": { + "name": "Edu QLD Beginners", + "version": "Version 1.001" + }, + "Edu QLD Hand": { + "name": "Edu QLD Hand", + "version": "Version 2.000" + }, + "Edu SA Beginner": { + "name": "Edu SA Beginner", + "version": "Version 1.003" + }, + "Edu SA Dotted Guide": { + "name": "Edu SA Dotted Guide", + "version": "Version 2.000" + }, + "Edu SA Hand": { + "name": "Edu SA Hand", + "version": "Version 2.000" + }, + "Edu SA Hand Cursive": { + "name": "Edu SA Hand Cursive", + "version": "Version 2.000" + }, + "Edu TAS Beginner": { + "name": "Edu TAS Beginner", + "version": "Version 1.003" + }, + "Edu VIC WA NT Beginner": { + "name": "Edu VIC WA NT Beginner", + "version": "Version 1.003" + }, + "Edu VIC WA NT Guide": { + "name": "Edu VIC WA NT Guide", + "version": "Version 1.000" + }, + "Edu VIC WA NT Hand": { + "name": "Edu VIC WA NT Hand", + "version": "Version 1.000" + }, + "Edu VIC WA NT Hand Pre": { + "name": "Edu VIC WA NT Hand Pre", + "version": "Version 1.000" + }, + "Edu VIC WA NT Pre Guide": { + "name": "Edu VIC WA NT Pre Guide", + "version": "Version 1.000" + }, + "Ek Mukta": { + "name": "Ek Mukta", + "version": "Version 2.538;PS 1.002;hotconv 16.6.51;makeotf.lib2.5.65220; ttfautohint (v1.6)" + }, + "El Messiri": { + "name": "El Messiri", + "version": "Version 2.020" + }, + "Electrolize": { + "name": "Electrolize", + "version": "Version 1.002" + }, + "Elsie": { + "name": "Elsie", + "version": "1.003" + }, + "Elsie Swash Caps": { + "name": "Elsie Swash Caps", + "version": "1.002" + }, + "Emblema One": { + "name": "Emblema One", + "version": "Version 1.003" + }, + "Emilys Candy": { + "name": "Emilys Candy", + "version": "Version 1.000" + }, + "Encode Sans": { + "name": "Encode Sans", + "version": "Version 3.002" + }, + "Encode Sans Condensed": { + "name": "Encode Sans Condensed", + "version": "Version 2.000" + }, + "Encode Sans Expanded": { + "name": "Encode Sans Expanded", + "version": "Version 2.000" + }, + "Encode Sans SC": { + "name": "Encode Sans SC", + "version": "Version 3.002" + }, + "Encode Sans Semi Condensed": { + "name": "Encode Sans Semi Condensed", + "version": "Version 2.000" + }, + "Encode Sans Semi Expanded": { + "name": "Encode Sans Semi Expanded", + "version": "Version 2.000" + }, + "Engagement": { + "name": "Engagement", + "version": "Version 1.000" + }, + "Englebert": { + "name": "Englebert", + "version": "Version 1.010" + }, + "Enriqueta": { + "name": "Enriqueta", + "version": "Version 2.000" + }, + "Ephesis": { + "name": "Ephesis", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Epilogue": { + "name": "Epilogue", + "version": "Version 2.112" + }, + "Epunda Sans": { + "name": "Epunda Sans", + "version": "Version 2.204" + }, + "Epunda Slab": { + "name": "Epunda Slab", + "version": "Version 1.102" + }, + "Erica One": { + "name": "Erica One", + "version": "Version 1.003" + }, + "Esteban": { + "name": "Esteban", + "version": "Version 1.002" + }, + "Estonia": { + "name": "Estonia", + "version": "Version 1.014; ttfautohint (v1.8.3)" + }, + "Euphoria Script": { + "name": "Euphoria Script", + "version": "Version 1.002" + }, + "Ewert": { + "name": "Ewert", + "version": "Version 1.001" + }, + "Exile": { + "name": "Exile", + "version": "Version 1.000; ttfautohint (v1.8.4.7-5d5b)" + }, + "Exo": { + "name": "Exo", + "version": "Version 2.001" + }, + "Exo 2": { + "name": "Exo 2", + "version": "Version 2.010" + }, + "Expletus Sans": { + "name": "Expletus Sans", + "version": "Version 7.500" + }, + "Explora": { + "name": "Explora", + "version": "Version 1.010" + }, + "Faculty Glyphic": { + "name": "Faculty Glyphic", + "version": "Version 1.004; ttfautohint (v1.8.4.7-5d5b)" + }, + "Fahkwang": { + "name": "Fahkwang", + "version": "Version 1.000; ttfautohint (v1.6)" + }, + "Familjen Grotesk": { + "name": "Familjen Grotesk", + "version": "Version 2.002" + }, + "Fanwood Text": { + "name": "Fanwood Text", + "version": "Version 1.1001 " + }, + "Farro": { + "name": "Farro", + "version": "Version 1.101" + }, + "Farsan": { + "name": "Farsan", + "version": "Version 1.001g;PS 1.001;hotconv 1.0.86;makeotf.lib2.5.63406 DEVELOPMENT" + }, + "Fascinate": { + "name": "Fascinate", + "version": "Version 1.000" + }, + "Fascinate Inline": { + "name": "Fascinate Inline", + "version": "Version 1.000" + }, + "Faster One": { + "name": "Faster One", + "version": "Version 1.003; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.23]" + }, + "Fasthand": { + "name": "Fasthand", + "version": "Version 8.002; ttfautohint (v1.8.3)" + }, + "Fauna One": { + "name": "Fauna One", + "version": "Version 2.001; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.23]" + }, + "Faustina": { + "name": "Faustina", + "version": "Version 1.200" + }, + "Federant": { + "name": "Federant", + "version": "Version 1.011; ttfautohint (v1.4.1)" + }, + "Federo": { + "name": "Federo", + "version": "Version 1.000" + }, + "Felipa": { + "name": "Felipa", + "version": "Version 1.001" + }, + "Fenix": { + "name": "Fenix", + "version": "004.301" + }, + "Festive": { + "name": "Festive", + "version": "Version 1.101; ttfautohint (v1.8.3)" + }, + "Figtree": { + "name": "Figtree", + "version": "Version 2.002" + }, + "Finger Paint": { + "name": "Finger Paint", + "version": "Version 1.002" + }, + "Finlandica": { + "name": "Finlandica", + "version": "Version 1.064" + }, + "Fira Code": { + "name": "Fira Code", + "version": "Version 5.002" + }, + "Fira Mono": { + "name": "Fira Mono", + "version": "Version 3.206" + }, + "Fira Sans": { + "name": "Fira Sans", + "version": "Version 4.203" + }, + "Fira Sans Condensed": { + "name": "Fira Sans Condensed", + "version": "Version 4.203" + }, + "Fira Sans Extra Condensed": { + "name": "Fira Sans Extra Condensed", + "version": "Version 4.203" + }, + "Fjalla One": { + "name": "Fjalla One", + "version": "Version 1.002; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.25]" + }, + "Fjord One": { + "name": "Fjord", + "version": "Version 1.002" + }, + "Flamenco": { + "name": "Flamenco", + "version": "Version 1.003" + }, + "Flavors": { + "name": "Flavors", + "version": "Version 1.001" + }, + "Fleur De Leah": { + "name": "Fleur De Leah", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Flow Block": { + "name": "Flow Block", + "version": "Version 1.101; ttfautohint (v1.8.3)" + }, + "Flow Circular": { + "name": "Flow Circular", + "version": "Version 1.101; ttfautohint (v1.8.3)" + }, + "Flow Rounded": { + "name": "Flow Rounded", + "version": "Version 1.101; ttfautohint (v1.8.3)" + }, + "Foldit": { + "name": "Foldit", + "version": "Version 1.003" + }, + "Fondamento": { + "name": "Fondamento", + "version": "Version 1.000" + }, + "Fontdiner Swanky": { + "name": "Fontdiner Swanky", + "version": "Version 1.001" + }, + "Forum": { + "name": "Forum", + "version": "Version 1.000" + }, + "Fragment Mono": { + "name": "Fragment Mono", + "version": "Version 1.011; ttfautohint (v1.8.4.7-5d5b)" + }, + "Fragment Mono SC": { + "name": "Fragment Mono SC", + "version": "Version 1.012; ttfautohint (v1.8.4.7-5d5b)" + }, + "Francois One": { + "name": "Francois One", + "version": "Version 2.000" + }, + "Frank Ruhl Libre": { + "name": "Frank Ruhl Libre", + "version": "Version 6.004" + }, + "Fraunces": { + "name": "Fraunces", + "version": "Version 1.000;[b76b70a41]" + }, + "Freckle Face": { + "name": "Freckle Face", + "version": "Version 1.000" + }, + "Fredericka the Great": { + "name": "Fredericka the Great", + "version": "Version 1.001" + }, + "Fredoka": { + "name": "Fredoka", + "version": "Version 2.001" + }, + "Fredoka One": { + "name": "Fredoka One", + "version": "Version 1.001" + }, + "Freehand": { + "name": "Freehand", + "version": "Version 8.002; ttfautohint (v1.8.3)" + }, + "Freeman": { + "name": "Freeman", + "version": "Version 1.000; ttfautohint (v1.8.4.7-5d5b)" + }, + "Fresca": { + "name": "Fresca", + "version": "Version 1.001" + }, + "Frijole": { + "name": "Frijole", + "version": "Version 1.000" + }, + "Fruktur": { + "name": "Fruktur", + "version": "Version 1.008; ttfautohint (v1.8.4.7-5d5b)" + }, + "Fugaz One": { + "name": "Fugaz One", + "version": "Version 1.002" + }, + "Fuggles": { + "name": "Fuggles", + "version": "Version 1.100; ttfautohint (v1.8.3)" + }, + "Funnel Display": { + "name": "Funnel Display", + "version": "Version 1.000" + }, + "Funnel Sans": { + "name": "Funnel Sans", + "version": "Version 1.000" + }, + "Fustat": { + "name": "Fustat", + "version": "Version 1.010" + }, + "Fuzzy Bubbles": { + "name": "Fuzzy Bubbles", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "GFS Didot": { + "name": "GFS Didot", + "version": "Version 1.0 " + }, + "GFS Neohellenic": { + "name": "GFS Neohellenic", + "version": "Version 1.0 " + }, + "Ga Maamli": { + "name": "Ga Maamli", + "version": "Version 1.000; ttfautohint (v1.8.4.7-5d5b)" + }, + "Gabarito": { + "name": "Gabarito", + "version": "Version 1.000" + }, + "Gabriela": { + "name": "Gabriela", + "version": "Version 2.001;gftools[0.9.26]" + }, + "Gaegu": { + "name": "Gaegu", + "version": "Version 1.00" + }, + "Gafata": { + "name": "Gafata", + "version": "Version 4.002; ttfautohint (v0.94.20-1c74) -l 7 -r 28 -G 0 -x 13" + }, + "Gajraj One": { + "name": "Gajraj One", + "version": "Version 1.000" + }, + "Galada": { + "name": "Galada", + "version": "Version 1.261;PS 1.261;hotconv 1.0.86;makeotf.lib2.5.63406" + }, + "Galdeano": { + "name": "Galdeano", + "version": "Version 1.001" + }, + "Galindo": { + "name": "Galindo", + "version": "Version 1.000" + }, + "Gamja Flower": { + "name": "Gamja Flower", + "version": "Version 3.00;build 20171102" + }, + "Gantari": { + "name": "Gantari", + "version": "Version 1.000" + }, + "Gasoek One": { + "name": "Gasoek One", + "version": "Version 1.000; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.29]" + }, + "Gayathri": { + "name": "Gayathri", + "version": "Version 1.000" + }, + "Geist": { + "name": "Geist", + "version": "Version 1.401" + }, + "Geist Mono": { + "name": "Geist Mono", + "version": "Version 1.401" + }, + "Gelasio": { + "name": "Gelasio", + "version": "Version 1.008" + }, + "Gemunu Libre": { + "name": "Gemunu Libre", + "version": "Version 1.100" + }, + "Genos": { + "name": "Genos", + "version": "Version 1.010" + }, + "Gentium Basic": { + "name": "Gentium Basic", + "version": "Version 1.102; 2013; Maintenance release" + }, + "Gentium Book Basic": { + "name": "Gentium Book Basic", + "version": "Version 1.102; 2013; Maintenance release" + }, + "Gentium Book Plus": { + "name": "Gentium Book Plus", + "version": "Version 6.101" + }, + "Gentium Plus": { + "name": "Gentium Plus", + "version": "Version 6.101" + }, + "Geo": { + "name": "Geo", + "version": "Version 001.2 " + }, + "Geologica": { + "name": "Geologica", + "version": "Version 1.010;gftools[0.9.28]" + }, + "Georama": { + "name": "Georama", + "version": "Version 1.001" + }, + "Geostar": { + "name": "Geostar", + "version": "Version 1.002" + }, + "Geostar Fill": { + "name": "Geostar Fill", + "version": "Version 1.002" + }, + "Germania One": { + "name": "Germania One", + "version": "Version 1.001" + }, + "Gideon Roman": { + "name": "Gideon Roman", + "version": "Version 2.010" + }, + "Gidole": { + "name": "Gidole", + "version": "Version 2.100; ttfautohint (v1.8.4.7-5d5b)" + }, + "Gidugu": { + "name": "Gidugu", + "version": "Version 2.000; ttfautohint (v1.8.4.7-5d5b)" + }, + "Gilda Display": { + "name": "Gilda Display", + "version": "Version 1.002; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.22]" + }, + "Girassol": { + "name": "Girassol", + "version": "Version 1.004" + }, + "Give You Glory": { + "name": "Give You Glory", + "version": "Version 1.002" + }, + "Glass Antiqua": { + "name": "Glass Antiqua", + "version": "1.001" + }, + "Glegoo": { + "name": "Glegoo", + "version": "Version 2.0.1; ttfautohint (v0.9) -r 48 -G 60" + }, + "Gloock": { + "name": "Gloock", + "version": "Version 1.000; ttfautohint (v1.8.4.7-5d5b)" + }, + "Gloria Hallelujah": { + "name": "Gloria Hallelujah", + "version": "Version 1.004 2010" + }, + "Glory": { + "name": "Glory", + "version": "Version 1.011" + }, + "Gluten": { + "name": "Gluten", + "version": "Version 1.300" + }, + "Goblin One": { + "name": "Goblin One", + "version": "Version 1.001" + }, + "Gochi Hand": { + "name": "Gochi Hand", + "version": "Version 1.001" + }, + "Goldman": { + "name": "Goldman", + "version": "Version 1.000; ttfautohint (v1.8.3)" + }, + "Golos Text": { + "name": "Golos Text", + "version": "Version 2.004" + }, + "Gorditas": { + "name": "Gorditas", + "version": "Version 1.001" + }, + "Gothic A1": { + "name": "Gothic A1", + "version": "Version 2.50" + }, + "Gotu": { + "name": "Gotu", + "version": "Version 2.320;hotconv 1.0.109;makeotfexe 2.5.65596; ttfautohint (v1.8.1)" + }, + "Goudy Bookletter 1911": { + "name": "Goudy Bookletter 1911", + "version": "Version 2010.07.03 " + }, + "Gowun Batang": { + "name": "Gowun Batang", + "version": "Version 2.000" + }, + "Gowun Dodum": { + "name": "Gowun Dodum", + "version": "Version 2.000" + }, + "Graduate": { + "name": "Graduate", + "version": "Version 1.100; ttfautohint (v1.8.4.7-5d5b)" + }, + "Grand Hotel": { + "name": "Grand Hotel", + "version": "Version 001.000" + }, + "Grandiflora One": { + "name": "Grandiflora One", + "version": "Version 1.000; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.28]" + }, + "Grandstander": { + "name": "Grandstander", + "version": "Version 1.200" + }, + "Grape Nuts": { + "name": "Grape Nuts", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Gravitas One": { + "name": "Gravitas One", + "version": "Version 1.001" + }, + "Great Vibes": { + "name": "Great Vibes", + "version": "Version 1.103; ttfautohint (v1.8.4.7-5d5b)" + }, + "Grechen Fuemen": { + "name": "Grechen Fuemen", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Grenze": { + "name": "Grenze", + "version": "Version 1.002; ttfautohint (v1.8)" + }, + "Grenze Gotisch": { + "name": "Grenze Gotisch", + "version": "Version 1.002" + }, + "Grey Qo": { + "name": "Grey Qo", + "version": "Version 2.010" + }, + "Griffy": { + "name": "Griffy", + "version": "Version 1.000" + }, + "Gruppo": { + "name": "Gruppo", + "version": "Version 1.001; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.28]" + }, + "Gudea": { + "name": "Gudea", + "version": "Version 1.003" + }, + "Gugi": { + "name": "Gugi", + "version": "Version 3.00" + }, + "Gulim": { + "name": "Gulim", + "version": "Version 2.21" + }, + "GulimChe": { + "name": "GulimChe", + "version": "Version 2.21" + }, + "Gulzar": { + "name": "Gulzar", + "version": "Version 1.000;[7b34f74]; ttfautohint (v1.8.4)" + }, + "Gungsuh": { + "name": "Gungsuh", + "version": "Version 2.21" + }, + "GungsuhChe": { + "name": "GungsuhChe", + "version": "Version 2.21" + }, + "Gupter": { + "name": "Gupter", + "version": "Version 1.000" + }, + "Gurajada": { + "name": "Gurajada", + "version": "Version 1.0.3; ttfautohint (v1.2.42-39fb)" + }, + "Gwendolyn": { + "name": "Gwendolyn", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Habibi": { + "name": "Habibi", + "version": "Version 1.001" + }, + "Hachi Maru Pop": { + "name": "Hachi Maru Pop", + "version": "Version 1.300" + }, + "Hahmlet": { + "name": "Hahmlet", + "version": "Version 1.002" + }, + "Halant": { + "name": "Halant", + "version": "Version 1.101;PS 1.0;hotconv 1.0.78;makeotf.lib2.5.61930; ttfautohint (v1.1) -l 8 -r 50 -G 200 -x 14 -D latn -f deva -w gGD -W -c" + }, + "Hammersmith One": { + "name": "Hammersmith One", + "version": "Version 1.003" + }, + "Hanalei": { + "name": "Hanalei", + "version": "Version 1.000" + }, + "Hanalei Fill": { + "name": "Hanalei Fill", + "version": "Version 1.000" + }, + "Handjet": { + "name": "Handjet", + "version": "Version 2.003" + }, + "Handlee": { + "name": "Handlee", + "version": "Version 1.001" + }, + "Hanken Grotesk": { + "name": "Hanken Grotesk", + "version": "Version 3.013" + }, + "Hanuman": { + "name": "Hanuman", + "version": "Version 9.000" + }, + "Happy Monkey": { + "name": "Happy Monkey", + "version": "Version 1.001" + }, + "Harmattan": { + "name": "Harmattan", + "version": "Version 4.300" + }, + "Headland One": { + "name": "HeadlandOne", + "version": "Version 1.002" + }, + "Hedvig Letters Sans": { + "name": "Hedvig Letters Sans", + "version": "Version 1.000; ttfautohint (v1.8.4.7-5d5b)" + }, + "Hedvig Letters Serif": { + "name": "Hedvig Letters Serif", + "version": "Version 1.000" + }, + "Heebo": { + "name": "Heebo", + "version": "Version 3.100" + }, + "Henny Penny": { + "name": "Henny Penny", + "version": "Version 1.001" + }, + "Hepta Slab": { + "name": "Hepta Slab", + "version": "Version 1.102" + }, + "Hermeneus One": { + "name": "Hermeneus One", + "version": "Version 1.002; ttfautohint (v0.93) -l 8 -r 50 -G 200 -x 14 -w \"G" + }, + "Herr Von Muellerhoff": { + "name": "Herr Von Muellerhoff", + "version": "Version 1.000" + }, + "Hi Melody": { + "name": "Hi Melody", + "version": "Version 3.00" + }, + "Hina Mincho": { + "name": "Hina Mincho", + "version": "Version 1.100" + }, + "Hind": { + "name": "Hind", + "version": "Version 2.001;PS 1.0;hotconv 1.0.79;makeotf.lib2.5.61930; ttfautohint (v1.5.33-1714) -l 8 -r 50 -G 200 -x 13 -D latn -f deva -w G -W -c -X \"\"" + }, + "Hind Colombo": { + "name": "Hind Colombo", + "version": "Version 1.000;PS 1.0;hotconv 1.0.86;makeotf.lib2.5.63406; ttfaut" + }, + "Hind Guntur": { + "name": "Hind Guntur", + "version": "Version 1.002;PS 1.0;hotconv 1.0.86;makeotf.lib2.5.63406; ttfautohint (v1.8.2) -l 8 -r 50 -G 200 -x 13 -D telu -f latn -a qsq -W -X \"\"" + }, + "Hind Jalandhar": { + "name": "Hind Jalandhar", + "version": "Version 0.702;PS 1.0;hotconv 1.0.81;makeotf.lib2.5.63406" + }, + "Hind Kochi": { + "name": "Hind Kochi", + "version": "Version 0.702;PS 1.0;hotconv 1.0.81;makeotf.lib2.5.63406" + }, + "Hind Madurai": { + "name": "Hind Madurai", + "version": "Version 1.001;PS 1.0;hotconv 1.0.86;makeotf.lib2.5.63406; ttfautohint (v1.5.33-1714) -l 8 -r 50 -G 200 -x 13 -D latn -f taml -w G -W -c -X \"\"" + }, + "Hind Mysuru": { + "name": "Hind Mysuru", + "version": "Version 0.703;PS 1.0;hotconv 1.0.86;makeotf.lib2.5.63406" + }, + "Hind Siliguri": { + "name": "Hind Siliguri", + "version": "Version 1.001;PS 1.0;hotconv 1.0.86;makeotf.lib2.5.63406; ttfautohint (v1.5.33-1714) -l 8 -r 50 -G 200 -x 13 -D latn -f beng -w G -W -c -X \"\"" + }, + "Hind Vadodara": { + "name": "Hind Vadodara", + "version": "Version 1.001;PS 1.0;hotconv 1.0.86;makeotf.lib2.5.63406; ttfautohint (v1.5.33-1714) -l 8 -r 50 -G 200 -x 13 -D latn -f gujr -w G -W -c -X \"\"" + }, + "Holtwood One SC": { + "name": "Holtwood One SC", + "version": "Version 1.100; ttfautohint (v1.8.4.7-5d5b)" + }, + "Homemade Apple": { + "name": "Homemade Apple", + "version": "Version 1.001" + }, + "Homenaje": { + "name": "Homenaje", + "version": "Version 1.100" + }, + "Honk": { + "name": "Honk", + "version": "Version 1.000" + }, + "Host Grotesk": { + "name": "Host Grotesk", + "version": "Version 1.003" + }, + "Hubballi": { + "name": "Hubballi", + "version": "Version 1.000; ttfautohint (v1.8.3)" + }, + "Hubot Sans": { + "name": "Hubot Sans", + "version": "Version 2.000" + }, + "Huninn": { + "name": "Huninn", + "version": "Version 1.003" + }, + "Hurricane": { + "name": "Hurricane", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "IBM Plex Mono": { + "name": "IBM Plex Mono", + "version": "Version 2.3" + }, + "IBM Plex Sans": { + "name": "IBM Plex Sans", + "version": "Version 3.201" + }, + "IBM Plex Sans Arabic": { + "name": "IBM Plex Sans Arabic", + "version": "Version 1.101" + }, + "IBM Plex Sans Condensed": { + "name": "IBM Plex Sans Condensed", + "version": "Version 1.3" + }, + "IBM Plex Sans Devanagari": { + "name": "IBM Plex Sans Devanagari", + "version": "Version 1.1" + }, + "IBM Plex Sans Hebrew": { + "name": "IBM Plex Sans Hebrew", + "version": "Version 1.2" + }, + "IBM Plex Sans JP": { + "name": "IBM Plex Sans JP", + "version": "Version 1.001" + }, + "IBM Plex Sans KR": { + "name": "IBM Plex Sans KR", + "version": "Version 1.001" + }, + "IBM Plex Sans Thai": { + "name": "IBM Plex Sans Thai", + "version": "Version 1.1" + }, + "IBM Plex Sans Thai Looped": { + "name": "IBM Plex Sans Thai Looped", + "version": "Version 1.1" + }, + "IBM Plex Serif": { + "name": "IBM Plex Serif", + "version": "Version 2.6" + }, + "IM Fell DW Pica": { + "name": "IM FELL DW Pica", + "version": "3.00" + }, + "IM Fell DW Pica SC": { + "name": "IM FELL DW Pica SC", + "version": "3.00" + }, + "IM Fell Double Pica": { + "name": "IM FELL Double Pica", + "version": "3.00" + }, + "IM Fell Double Pica SC": { + "name": "IM FELL Double Pica SC", + "version": "3.00" + }, + "IM Fell English": { + "name": "IM FELL English", + "version": "3.00" + }, + "IM Fell English SC": { + "name": "IM FELL English SC", + "version": "3.00" + }, + "IM Fell French Canon": { + "name": "IM FELL French Canon", + "version": "3.00" + }, + "IM Fell French Canon SC": { + "name": "IM FELL French Canon SC", + "version": "3.00" + }, + "IM Fell Great Primer": { + "name": "IM FELL Great Primer", + "version": "3.00" + }, + "IM Fell Great Primer SC": { + "name": "IM FELL Great Primer SC", + "version": "3.00" + }, + "Iansui": { + "name": "Iansui", + "version": "Version 1.012" + }, + "Ibarra Real Nova": { + "name": "Ibarra Real Nova", + "version": "Version 2.000" + }, + "Iceberg": { + "name": "Iceberg", + "version": "Version 1.002" + }, + "Iceland": { + "name": "Iceland", + "version": "Version 1.001" + }, + "Imbue": { + "name": "Imbue", + "version": "Version 1.102" + }, + "Imperial Script": { + "name": "Imperial Script", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Imprima": { + "name": "Imprima", + "version": "Version 1.002; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.23]" + }, + "Inclusive Sans": { + "name": "Inclusive Sans", + "version": "Version 2.004" + }, + "Inconsolata": { + "name": "Inconsolata", + "version": "Version 3.001" + }, + "Inder": { + "name": "Inder", + "version": "Version 1.001" + }, + "Indie Flower": { + "name": "Indie Flower", + "version": "Version 2.000" + }, + "Ingrid Darling": { + "name": "Ingrid Darling", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Inika": { + "name": "Inika", + "version": "Version 1.001" + }, + "Inknut Antiqua": { + "name": "Inknut Antiqua", + "version": "Version 1.003; ttfautohint (v1.8.2) -l 8 -r 50 -G 200 -x 14 -D latn -f none -a qsq -W -X \"\"" + }, + "Inria Sans": { + "name": "Inria Sans", + "version": "Version 1.2; ttfautohint (v1.8.3)" + }, + "Inria Serif": { + "name": "Inria Serif", + "version": "Version 1.000; ttfautohint (v1.8.3)" + }, + "Inspiration": { + "name": "Inspiration", + "version": "Version 2.010; ttfautohint (v1.8.3)" + }, + "Instrument Sans": { + "name": "Instrument Sans", + "version": "Version 1.000;gftools[0.9.28]" + }, + "Instrument Serif": { + "name": "Instrument Serif", + "version": "Version 1.000; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.27]" + }, + "Intel One Mono": { + "name": "Intel One Mono", + "version": "Version 1.005; ttfautohint (v1.8.4.7-5d5b)" + }, + "Inter": { + "name": "Inter", + "version": "Version 4.001;git-66647c0bb" + }, + "Inter Tight": { + "name": "Inter Tight", + "version": "Version 3.004" + }, + "Irish Grover": { + "name": "Irish Grover", + "version": "Version 1.001" + }, + "Island Moments": { + "name": "Island Moments", + "version": "Version 1.010" + }, + "Istok Web": { + "name": "Istok Web", + "version": "Version 1.0.2g" + }, + "Italiana": { + "name": "Italiana", + "version": "Version 001.001 " + }, + "Italianno": { + "name": "Italianno", + "version": "Version 1.100; ttfautohint (v1.8.3)" + }, + "Itim": { + "name": "Itim", + "version": "Version 1.002g" + }, + "Jacquard 12": { + "name": "Jacquard 12", + "version": "Version 1.002; ttfautohint (v1.8.4.7-5d5b)" + }, + "Jacquard 12 Charted": { + "name": "Jacquard 12 Charted", + "version": "Version 1.002" + }, + "Jacquard 24": { + "name": "Jacquard 24", + "version": "Version 1.002; ttfautohint (v1.8.4.7-5d5b)" + }, + "Jacquard 24 Charted": { + "name": "Jacquard 24 Charted", + "version": "Version 1.002" + }, + "Jacquarda Bastarda 9": { + "name": "Jacquarda Bastarda 9", + "version": "Version 1.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Jacquarda Bastarda 9 Charted": { + "name": "Jacquarda Bastarda 9 Charted", + "version": "Version 1.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Jacques Francois": { + "name": "Jacques Francois", + "version": "Version 1.003" + }, + "Jacques Francois Shadow": { + "name": "Jacques Francois Shadow", + "version": "Version 1.003" + }, + "Jaini": { + "name": "Jaini", + "version": "Version 2.000; ttfautohint (v1.8.4.7-5d5b)" + }, + "Jaini Purva": { + "name": "Jaini Purva", + "version": "Version 2.000; ttfautohint (v1.8.4.7-5d5b)" + }, + "Jaldi": { + "name": "Jaldi", + "version": "Version 1.007" + }, + "Jaro": { + "name": "Jaro", + "version": "Version 1.000" + }, + "Jersey 10": { + "name": "Jersey 10", + "version": "Version 1.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Jersey 10 Charted": { + "name": "Jersey 10 Charted", + "version": "Version 1.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Jersey 15": { + "name": "Jersey 15", + "version": "Version 1.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Jersey 15 Charted": { + "name": "Jersey 15 Charted", + "version": "Version 1.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Jersey 20": { + "name": "Jersey 20", + "version": "Version 1.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Jersey 20 Charted": { + "name": "Jersey 20 Charted", + "version": "Version 1.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Jersey 25": { + "name": "Jersey 25", + "version": "Version 1.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Jersey 25 Charted": { + "name": "Jersey 25 Charted", + "version": "Version 1.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "JetBrains Mono": { + "name": "JetBrains Mono", + "version": "Version 2.211" + }, + "Jim Nightshade": { + "name": "Jim Nightshade", + "version": "Version 1.000" + }, + "Joan": { + "name": "Joan", + "version": "Version 1.001; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.30]" + }, + "Jockey One": { + "name": "Jockey One", + "version": "Version 1.002" + }, + "Jolly Lodger": { + "name": "Jolly Lodger", + "version": "Version 1.000" + }, + "Jomhuria": { + "name": "Jomhuria", + "version": "Version 1.0010 " + }, + "Jomolhari": { + "name": "Jomolhari", + "version": "Version 1.000" + }, + "Josefin Sans": { + "name": "Josefin Sans", + "version": "Version 2.001" + }, + "Josefin Slab": { + "name": "Josefin Slab", + "version": "Version 2.100" + }, + "Jost": { + "name": "Jost", + "version": "Version 3.710" + }, + "Joti One": { + "name": "Joti One", + "version": "Version 1.002; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.24]" + }, + "Jua": { + "name": "Jua", + "version": "Version 1.001" + }, + "Judson": { + "name": "Judson", + "version": "Version 20110429 " + }, + "Julee": { + "name": "Julee", + "version": "Version 1.002; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.23]" + }, + "Julius Sans One": { + "name": "Julius Sans One", + "version": "Version 1.002; ttfautohint (v1.3)" + }, + "Junge": { + "name": "Junge", + "version": "Version 1.002" + }, + "Jura": { + "name": "Jura", + "version": "Version 5.106" + }, + "Just Another Hand": { + "name": "Just Another Hand", + "version": "Version 1.001" + }, + "Just Me Again Down Here": { + "name": "Just Me Again Down Here", + "version": "Version 1.002 2007" + }, + "K2D": { + "name": "K2D", + "version": "Version 1.000; ttfautohint (v1.6)" + }, + "Kablammo": { + "name": "Kablammo", + "version": "Version 1.002" + }, + "Kadwa": { + "name": "Kadwa", + "version": "Version 1.001;PS 001.000;hotconv 1.0.70;makeotf.lib2.5.58329 DEVELOPMENT; ttfautohint (v1.00) -l 8 -r 50 -G 200 -x 14 -D latn -f none -w G" + }, + "Kaisei Decol": { + "name": "Kaisei Decol", + "version": "Version 5.003" + }, + "Kaisei HarunoUmi": { + "name": "Kaisei HarunoUmi", + "version": "Version 5.003" + }, + "Kaisei Opti": { + "name": "Kaisei Opti", + "version": "Version 5.003" + }, + "Kaisei Tokumin": { + "name": "Kaisei Tokumin", + "version": "Version 5.003" + }, + "Kalam": { + "name": "Kalam", + "version": "Version 2.001;PS 1.0;hotconv 1.0.79;makeotf.lib2.5.61930; ttfautohint (v1.3)" + }, + "Kalnia": { + "name": "Kalnia", + "version": "Version 1.105" + }, + "Kalnia Glaze": { + "name": "Kalnia Glaze", + "version": "Version 1.110" + }, + "Kameron": { + "name": "Kameron", + "version": "Version 1.100" + }, + "Kanchenjunga": { + "name": "Kanchenjunga", + "version": "Version 2.001" + }, + "Kanit": { + "name": "Kanit", + "version": "Version 2.000; ttfautohint (v1.8.3)" + }, + "Kantumruy": { + "name": "Kantumruy", + "version": "Version 1.300" + }, + "Kantumruy Pro": { + "name": "Kantumruy Pro", + "version": "Version 1.002" + }, + "Kapakana": { + "name": "Kapakana", + "version": "Version 1.002" + }, + "Karantina": { + "name": "Karantina", + "version": "Version 1.000; ttfautohint (v1.8.3)" + }, + "Karla": { + "name": "Karla", + "version": "Version 2.004;gftools[0.9.33]" + }, + "Karla Tamil Inclined": { + "name": "Karla Tamil Inclined", + "version": "Version 1.001" + }, + "Karla Tamil Upright": { + "name": "Karla Tamil Upright", + "version": "Version 1.001" + }, + "Karma": { + "name": "Karma", + "version": "Version 1.202;PS 1.0;hotconv 1.0.78;makeotf.lib2.5.61930; ttfautohint (v1.1) -l 7 -r 28 -G 50 -x 13 -D latn -f deva -w G" + }, + "Katibeh": { + "name": "Katibeh", + "version": "Version 1.0010g" + }, + "Kaushan Script": { + "name": "Kaushan Script", + "version": "Version 1.002" + }, + "Kavivanar": { + "name": "Kavivanar", + "version": "Version 1.88" + }, + "Kavoon": { + "name": "Kavoon", + "version": "Version 1.004; ttfautohint (v1.4.1)" + }, + "Kay Pho Du": { + "name": "Kay Pho Du", + "version": "Version 3.000" + }, + "Kdam Thmor": { + "name": "Kdam Thmor", + "version": "Version 1.20" + }, + "Kdam Thmor Pro": { + "name": "Kdam Thmor Pro", + "version": "Version 1.003; ttfautohint (v1.8.4.7-5d5b)" + }, + "Keania One": { + "name": "Keania One", + "version": "Version 1.003" + }, + "Kelly Slab": { + "name": "Kelly Slab", + "version": "Version 1.001" + }, + "Kenia": { + "name": "Kenia", + "version": "Version 1.001" + }, + "Khand": { + "name": "Khand", + "version": "Version 1.102;PS 1.0;hotconv 1.0.78;makeotf.lib2.5.61930; ttfautohint (v1.8.3)" + }, + "Khmer": { + "name": "Khmer", + "version": "Version 2.00 February 8, 2013" + }, + "Khula": { + "name": "Khula", + "version": "Version 1.002;PS 1.0;hotconv 1.0.72;makeotf.lib2.5.5900; ttfautohint (v1.8.2) -l 8 -r 50 -G 200 -x 14 -D deva -f latn -a qsq -W -X \"\"" + }, + "Kings": { + "name": "Kings", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Kirang Haerang": { + "name": "Kirang Haerang", + "version": "Version 1.001" + }, + "Kite One": { + "name": "Kite One", + "version": "Version 1.002; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.23]" + }, + "Kiwi Maru": { + "name": "Kiwi Maru", + "version": "Version 1.100" + }, + "Klee One": { + "name": "Klee One", + "version": "Version 1.100" + }, + "Knewave": { + "name": "Knewave", + "version": "Version 1.001" + }, + "KoHo": { + "name": "KoHo", + "version": "Version 1.000; ttfautohint (v1.6)" + }, + "Kodchasan": { + "name": "Kodchasan", + "version": "Version 1.000; ttfautohint (v1.6)" + }, + "Kode Mono": { + "name": "Kode Mono", + "version": "Version 1.206;gftools[0.9.28]" + }, + "Koh Santepheap": { + "name": "Koh Santepheap", + "version": "Version 2.002; ttfautohint (v1.8.3)" + }, + "Kolker Brush": { + "name": "Kolker Brush", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Konkhmer Sleokchher": { + "name": "Konkhmer Sleokchher", + "version": "Version 1.000; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.23]" + }, + "Kosugi": { + "name": "Kosugi", + "version": "Version 4.002" + }, + "Kosugi Maru": { + "name": "Kosugi Maru", + "version": "Version 4.002" + }, + "Kotta One": { + "name": "Kotta One", + "version": "Version 1.001" + }, + "Koulen": { + "name": "Koulen", + "version": "Version 8.000; ttfautohint (v1.8.3)" + }, + "Kranky": { + "name": "Kranky", + "version": "Version 1.001" + }, + "Kreon": { + "name": "Kreon", + "version": "Version 2.002" + }, + "Kristi": { + "name": "Kristi", + "version": "Version 1.004 " + }, + "Krona One": { + "name": "Krona One", + "version": "Version 1.003" + }, + "Krub": { + "name": "Krub", + "version": "Version 1.000; ttfautohint (v1.6)" + }, + "Kufam": { + "name": "Kufam", + "version": "Version 1.301; ttfautohint (v1.8.3)" + }, + "Kulim Park": { + "name": "Kulim Park", + "version": "Version 1.000; ttfautohint (v1.8.3)" + }, + "Kumar One": { + "name": "Kumar One", + "version": "Version 1.001;PS 1.001;hotconv 1.0.88;makeotf.lib2.5.647800" + }, + "Kumar One Outline": { + "name": "Kumar One Outline", + "version": "Version 1.000;PS 1.000;hotconv 1.0.88;makeotf.lib2.5.647800" + }, + "Kumbh Sans": { + "name": "Kumbh Sans", + "version": "Version 1.005" + }, + "Kurale": { + "name": "Kurale", + "version": "Version 2.000" + }, + "LXGW Marker Gothic": { + "name": "LXGW Marker Gothic", + "version": "Version 1.001" + }, + "LXGW WenKai Mono TC": { + "name": "LXGW WenKai Mono TC", + "version": "Version 1.330" + }, + "LXGW WenKai TC": { + "name": "LXGW WenKai TC", + "version": "Version 1.330" + }, + "La Belle Aurore": { + "name": "La Belle Aurore", + "version": "Version 1.001 2001" + }, + "Labrada": { + "name": "Labrada", + "version": "Version 1.000" + }, + "Lacquer": { + "name": "Lacquer", + "version": "Version 1.100" + }, + "Laila": { + "name": "Laila", + "version": "Version 1.302;PS 1.0;hotconv 1.0.78;makeotf.lib2.5.61930; ttfautohint (v1.1) -l 8 -r 50 -G 200 -x 14 -D latn -f deva -w gGD -W -c" + }, + "Lakki Reddy": { + "name": "Lakki Reddy", + "version": "Version 1.0.4; ttfautohint (v1.2.42-39fb)" + }, + "Lalezar": { + "name": "Lalezar", + "version": "Version 1.004" + }, + "Lancelot": { + "name": "Lancelot", + "version": "1.004" + }, + "Langar": { + "name": "Langar", + "version": "Version 1.001; ttfautohint (v1.8.3)" + }, + "Lateef": { + "name": "Lateef", + "version": "Version 4.300" + }, + "Lato": { + "name": "Lato", + "version": "Version 2.015; 2015-08-06; http://www.latofonts.com/" + }, + "Lavishly Yours": { + "name": "Lavishly Yours", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "League Gothic": { + "name": "League Gothic", + "version": "Version 2.001" + }, + "League Script": { + "name": "League Script", + "version": "Version 1.001 " + }, + "League Spartan": { + "name": "League Spartan", + "version": "Version 2.002" + }, + "Leckerli One": { + "name": "Leckerli One", + "version": "Version 1.001" + }, + "Ledger": { + "name": "Ledger", + "version": "1.003" + }, + "Lekton": { + "name": "Lekton", + "version": "Version 34.000" + }, + "Lemon": { + "name": "Lemon", + "version": "Version 1.003; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.24]" + }, + "Lemonada": { + "name": "Lemonada", + "version": "Version 4.005" + }, + "Lexend": { + "name": "Lexend", + "version": "Version 1.007" + }, + "Lexend Deca": { + "name": "Lexend Deca", + "version": "Version 1.007" + }, + "Lexend Exa": { + "name": "Lexend Exa", + "version": "Version 1.007" + }, + "Lexend Giga": { + "name": "Lexend Giga", + "version": "Version 1.007" + }, + "Lexend Mega": { + "name": "Lexend Mega", + "version": "Version 1.007" + }, + "Lexend Peta": { + "name": "Lexend Peta", + "version": "Version 1.007" + }, + "Lexend Tera": { + "name": "Lexend Tera", + "version": "Version 1.007" + }, + "Lexend Zetta": { + "name": "Lexend Zetta", + "version": "Version 1.007" + }, + "Libertinus Math": { + "name": "Libertinus Math", + "version": "Version 7.051;RELEASE" + }, + "Libertinus Mono": { + "name": "Libertinus Mono", + "version": "Version 7.051;RELEASE" + }, + "Libre Barcode 128": { + "name": "Libre Barcode 128", + "version": "Version 1.005; ttfautohint (v1.8.3)" + }, + "Libre Barcode 128 Text": { + "name": "Libre Barcode 128 Text", + "version": "Version 1.005; ttfautohint (v1.8.3)" + }, + "Libre Barcode 39": { + "name": "Libre Barcode 39", + "version": "Version 1.005; ttfautohint (v1.8.3)" + }, + "Libre Barcode 39 Extended": { + "name": "Libre Barcode 39 Extended", + "version": "Version 1.005; ttfautohint (v1.8.3)" + }, + "Libre Barcode 39 Extended Text": { + "name": "Libre Barcode 39 Extended Text", + "version": "Version 1.005; ttfautohint (v1.8.3)" + }, + "Libre Barcode 39 Text": { + "name": "Libre Barcode 39 Text", + "version": "Version 1.005; ttfautohint (v1.8.3)" + }, + "Libre Barcode EAN13 Text": { + "name": "Libre Barcode EAN13 Text", + "version": "Version 1.008; ttfautohint (v1.8.3)" + }, + "Libre Baskerville": { + "name": "Libre Baskerville", + "version": "Version 1.051; ttfautohint (v1.8.4.7-5d5b)" + }, + "Libre Bodoni": { + "name": "Libre Bodoni", + "version": "Version 2.005;gftools[0.9.23]" + }, + "Libre Caslon Display": { + "name": "Libre Caslon Display", + "version": "Version 1.100; ttfautohint (v1.6) -l 8 -r 50 -G 200 -x 14 -D lat" + }, + "Libre Caslon Text": { + "name": "Libre Caslon Text", + "version": "Version 2.000" + }, + "Libre Franklin": { + "name": "Libre Franklin", + "version": "Version 3.000" + }, + "Licorice": { + "name": "Licorice", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Life Savers": { + "name": "Life Savers", + "version": "Version 3.100; ttfautohint (v1.8.4.7-5d5b)" + }, + "Lilita One": { + "name": "Lilita One", + "version": "Version 1.002" + }, + "Lily Script One": { + "name": "Lily Script One", + "version": "Version 1.002;PS 001.001;hotconv 1.0.70;makeotf.lib2.5.58329" + }, + "Limelight": { + "name": "Limelight", + "version": "Version 1.002" + }, + "Linden Hill": { + "name": "Linden Hill", + "version": "Version 1.202 " + }, + "Linefont": { + "name": "Linefont", + "version": "Version 3.002;gftools[0.9.33]" + }, + "Lisu Bosa": { + "name": "Lisu Bosa", + "version": "Version 2.000" + }, + "Liter": { + "name": "Liter", + "version": "Version 1.004; ttfautohint (v1.8.4.7-5d5b)" + }, + "Literata": { + "name": "Literata", + "version": "Version 3.103;gftools[0.9.29]" + }, + "Liu Jian Mao Cao": { + "name": "Liu Jian Mao Cao", + "version": "Version 1.003" + }, + "Livvic": { + "name": "Livvic", + "version": "Version 1.001; ttfautohint (v1.8.2)" + }, + "Lobster": { + "name": "Lobster", + "version": "Version 2.100" + }, + "Lobster Two": { + "name": "Lobster Two", + "version": "Version 1.006" + }, + "Lohit Bengali": { + "name": "Lohit Bengali", + "version": "Version 2.5.1" + }, + "Lohit Tamil": { + "name": "Lohit Tamil", + "version": "Version 2.5.0" + }, + "Londrina Outline": { + "name": "Londrina Outline", + "version": "Version 1.002" + }, + "Londrina Shadow": { + "name": "Londrina Shadow", + "version": "Version 1.002" + }, + "Londrina Sketch": { + "name": "Londrina Sketch", + "version": "Version 1.002" + }, + "Londrina Solid": { + "name": "Londrina Solid", + "version": "Version 1.002" + }, + "Long Cang": { + "name": "Long Cang", + "version": "Version 2.001" + }, + "Lora": { + "name": "Lora", + "version": "Version 3.008" + }, + "Love Light": { + "name": "Love Light", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Love Ya Like A Sister": { + "name": "Love Ya Like A Sister", + "version": "Version 1.002 2007" + }, + "Loved by the King": { + "name": "Loved by the King", + "version": "Version 1.002 2006" + }, + "Lovers Quarrel": { + "name": "Lovers Quarrel", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Luckiest Guy": { + "name": "Luckiest Guy", + "version": "Version 1.001" + }, + "Lugrasimo": { + "name": "Lugrasimo", + "version": "Version 1.001" + }, + "Lumanosimo": { + "name": "Lumanosimo", + "version": "Version 1.010" + }, + "Lunasima": { + "name": "Lunasima", + "version": "Version 2.009" + }, + "Lusitana": { + "name": "Lusitana", + "version": "Version 1.001" + }, + "Lustria": { + "name": "Lustria", + "version": "Version 001.001" + }, + "Luxurious Roman": { + "name": "Luxurious Roman", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Luxurious Script": { + "name": "Luxurious Script", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "M PLUS 1": { + "name": "M PLUS 1", + "version": "Version 1.001" + }, + "M PLUS 1 Code": { + "name": "M PLUS 1 Code", + "version": "Version 1.005" + }, + "M PLUS 1p": { + "name": "M PLUS 1p", + "version": "Version 1.062" + }, + "M PLUS 2": { + "name": "M PLUS 2", + "version": "Version 1.001" + }, + "M PLUS Code Latin": { + "name": "M PLUS Code Latin", + "version": "Version 1.005; ttfautohint (v1.8.3)" + }, + "M PLUS Rounded 1c": { + "name": "M PLUS Rounded 1c", + "version": "Version 1.059.20150529" + }, + "Ma Shan Zheng": { + "name": "Ma Shan Zheng", + "version": "Version 2.001" + }, + "Macondo": { + "name": "Macondo", + "version": "Version 2.001" + }, + "Macondo Swash Caps": { + "name": "Macondo Swash Caps", + "version": "Version 2.001" + }, + "Mada": { + "name": "Mada", + "version": "Version 1.5" + }, + "Madimi One": { + "name": "Madimi One", + "version": "Version 1.000; ttfautohint (v1.8.4.7-5d5b)" + }, + "Magra": { + "name": "Magra", + "version": "Version 1.001" + }, + "Maiden Orange": { + "name": "Maiden Orange", + "version": "Version 1.001" + }, + "Maitree": { + "name": "Maitree", + "version": "Version 1.003" + }, + "Major Mono Display": { + "name": "Major Mono Display", + "version": "Version 2.000; ttfautohint (v1.8) -l 8 -r 50 -G 200 -x 14 -D lat" + }, + "Mako": { + "name": "Mako", + "version": "Version 1.100; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.33]" + }, + "Mali": { + "name": "Mali", + "version": "Version 1.000; ttfautohint (v1.6)" + }, + "Mallanna": { + "name": "Mallanna", + "version": "Version 1.0.4; ttfautohint (vUNKNOWN) -l 7 -r 28 -G 50 -x 13 -D " + }, + "Maname": { + "name": "Maname", + "version": "Version 1.002; ttfautohint (v1.8.4.7-5d5b)" + }, + "Mandali": { + "name": "Mandali", + "version": "Version 1.0.5; ttfautohint (v1.2.25-373a) -l 7 -r 28 -G 50 -x 13" + }, + "Manjari": { + "name": "Manjari", + "version": "Version 2.000" + }, + "Manrope": { + "name": "Manrope", + "version": "Version 4.504" + }, + "Mansalva": { + "name": "Mansalva", + "version": "Version 2.112; ttfautohint (v1.8.4.7-5d5b)" + }, + "Manuale": { + "name": "Manuale", + "version": "Version 1.002" + }, + "Manufacturing Consent": { + "name": "Manufacturing Consent", + "version": "Version 3.000; ttfautohint (v1.8.4.7-5d5b)" + }, + "Marcellus": { + "name": "Marcellus", + "version": "Version 1.000" + }, + "Marcellus SC": { + "name": "Marcellus SC", + "version": "Version 1.001" + }, + "Marck Script": { + "name": "Marck Script", + "version": "Version 1.002" + }, + "Margarine": { + "name": "Margarine", + "version": "Version 1.000" + }, + "Marhey": { + "name": "Marhey", + "version": "Version 1.000" + }, + "Markazi Text": { + "name": "Markazi Text", + "version": "Version 1.001" + }, + "Marko One": { + "name": "Marko One", + "version": "Version 1.003" + }, + "Marmelad": { + "name": "Marmelad", + "version": "Version 1.110; ttfautohint (v1.8.4.7-5d5b)" + }, + "Martel": { + "name": "Martel", + "version": "Version 1.001; ttfautohint (v1.1) -l 5 -r 5 -G 72 -x 0 -D latn -" + }, + "Martel Sans": { + "name": "Martel Sans", + "version": "Version 1.002; ttfautohint (v1.1) -l 5 -r 5 -G 72 -x 0 -D latn -" + }, + "Martian Mono": { + "name": "Martian Mono", + "version": "Version 1.000" + }, + "Marvel": { + "name": "Marvel", + "version": "Version 1.001" + }, + "Matangi": { + "name": "Matangi", + "version": "Version 3.002" + }, + "Mate": { + "name": "Mate", + "version": "Version 1.003; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.24]" + }, + "Mate SC": { + "name": "Mate SC", + "version": "Version 1.003; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.24]" + }, + "Matemasie": { + "name": "Matemasie", + "version": "Version 1.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Maven Pro": { + "name": "Maven Pro", + "version": "Version 2.103" + }, + "McLaren": { + "name": "McLaren", + "version": "Version 1.000" + }, + "Mea Culpa": { + "name": "Mea Culpa", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Meddon": { + "name": "Meddon", + "version": "Version 1.000" + }, + "MedievalSharp": { + "name": "MedievalSharp", + "version": "Version 1.0" + }, + "Medula One": { + "name": "Medula One", + "version": "Version 1.002" + }, + "Meera Inimai": { + "name": "Meera Inimai", + "version": "2.0.0+20160526" + }, + "Megrim": { + "name": "Megrim", + "version": "Version 20110427 " + }, + "Meie Script": { + "name": "Meie Script", + "version": "Version 1.001" + }, + "Menbere": { + "name": "Menbere", + "version": "Version 1.000" + }, + "Meow Script": { + "name": "Meow Script", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Merge One": { + "name": "Merge One", + "version": "Version 1.001" + }, + "Merienda": { + "name": "Merienda", + "version": "Version 2.001" + }, + "Merienda One": { + "name": "Merienda One", + "version": "Version 1.001" + }, + "Merriweather": { + "name": "Merriweather", + "version": "Version 2.100" + }, + "Merriweather Sans": { + "name": "Merriweather Sans", + "version": "Version 2.001" + }, + "Mervale Script": { + "name": "Mervale Script", + "version": "Version 1.000" + }, + "Metal": { + "name": "Metal", + "version": "Version 8.002; ttfautohint (v1.8.3)" + }, + "Metal Mania": { + "name": "Metal Mania", + "version": "Version 1.002" + }, + "Metamorphous": { + "name": "Metamorphous", + "version": "Version 1.001" + }, + "Metrophobic": { + "name": "Metrophobic", + "version": "Version 3.200; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.23]" + }, + "Miama": { + "name": "Miama", + "version": "0.32" + }, + "Michroma": { + "name": "Michroma", + "version": "Version 1.100; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.29]" + }, + "Micro 5": { + "name": "Micro 5", + "version": "Version 1.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Micro 5 Charted": { + "name": "Micro 5 Charted", + "version": "Version 1.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Milonga": { + "name": "Milonga", + "version": "Version 1.000; ttfautohint (v0.93) -l 8 -r 50 -G 200 -x 14 -w \"G" + }, + "Miltonian": { + "name": "Miltonian", + "version": "Version 1.008" + }, + "Miltonian Tattoo": { + "name": "Miltonian Tattoo", + "version": "Version 1.008" + }, + "Mina": { + "name": "Mina", + "version": "Version 1.000" + }, + "Mingzat": { + "name": "Mingzat", + "version": "Version 1.100" + }, + "Miniver": { + "name": "Miniver", + "version": "Version 1.000" + }, + "Miriam Libre": { + "name": "Miriam Libre", + "version": "Version 2.000" + }, + "Mirza": { + "name": "Mirza", + "version": "Version 1.0010g" + }, + "Miss Fajardose": { + "name": "Miss Fajardose", + "version": "Version 1.000" + }, + "Mitr": { + "name": "Mitr", + "version": "Version 1.001" + }, + "Mochiy Pop One": { + "name": "Mochiy Pop One", + "version": "Version 2.000" + }, + "Mochiy Pop P One": { + "name": "Mochiy Pop P One", + "version": "Version 2.000" + }, + "Modak": { + "name": "Modak", + "version": "Version 1.036;PS Version 1.000;hotconv 1.0.79;makeotf.lib2.5.61930; ttfautohint (v1.2.42-39fb)" + }, + "Modern Antiqua": { + "name": "Modern Antiqua", + "version": "Version 1.0" + }, + "Moderustic": { + "name": "Moderustic", + "version": "Version 2.120" + }, + "Mogra": { + "name": "Mogra", + "version": "Version 1.002" + }, + "Mohave": { + "name": "Mohave", + "version": "Version 2.003" + }, + "Moirai One": { + "name": "Moirai One", + "version": "Version 1.000; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.29]" + }, + "Molengo": { + "name": "Molengo", + "version": "Version 0.11; ttfautohint (v0.8) -G 32 -r 16 -x" + }, + "Molle": { + "name": "Molle", + "version": "Version 1.002" + }, + "Mona Sans": { + "name": "Mona Sans", + "version": "Version 2.000" + }, + "Monda": { + "name": "Monda", + "version": "Version 2.200" + }, + "Monofett": { + "name": "Monofett", + "version": "Version 1.100; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.28]" + }, + "Monomakh": { + "name": "Monomakh", + "version": "Version 1.200; ttfautohint (v1.8.4.7-5d5b)" + }, + "Monomaniac One": { + "name": "Monomaniac One", + "version": "Version 1.000; ttfautohint (v1.8.3)" + }, + "Monoton": { + "name": "Monoton", + "version": "Version 1.000" + }, + "Monsieur La Doulaise": { + "name": "Monsieur La Doulaise", + "version": "Version 1.000" + }, + "Montaga": { + "name": "Montaga", + "version": "Version 1.001" + }, + "Montagu Slab": { + "name": "Montagu Slab", + "version": "Version 1.000" + }, + "MonteCarlo": { + "name": "MonteCarlo", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Montez": { + "name": "Montez", + "version": "Version 1.001" + }, + "Montserrat": { + "name": "Montserrat", + "version": "Version 9.000" + }, + "Montserrat Alternates": { + "name": "Montserrat Alternates", + "version": "Version 7.200" + }, + "Montserrat Subrayada": { + "name": "Montserrat Subrayada", + "version": "Version 2.001" + }, + "Montserrat Underline": { + "name": "Montserrat Underline", + "version": "Version 9.000" + }, + "Moo Lah Lah": { + "name": "Moo Lah Lah", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Mooli": { + "name": "Mooli", + "version": "Version 1.000; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.33]" + }, + "Moon Dance": { + "name": "Moon Dance", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Moul": { + "name": "Moul", + "version": "Version 8.002; ttfautohint (v1.8.3)" + }, + "Moulpali": { + "name": "Moulpali", + "version": "Version 8.002; ttfautohint (v1.8.3)" + }, + "Mountains of Christmas": { + "name": "Mountains of Christmas", + "version": "Version 1.003" + }, + "Mouse Memoirs": { + "name": "Mouse Memoirs", + "version": "Version 1.000" + }, + "Mr Bedfort": { + "name": "Mr Bedfort", + "version": "Version 1.000" + }, + "Mr Dafoe": { + "name": "Mr Dafoe", + "version": "Version 1.000" + }, + "Mr De Haviland": { + "name": "Mr De Haviland", + "version": "Version 1.000" + }, + "Mrs Saint Delafield": { + "name": "Mrs Saint Delafield", + "version": "Version 1.001" + }, + "Mrs Sheppards": { + "name": "Mrs Sheppards", + "version": "Version 1.000" + }, + "Ms Madi": { + "name": "Ms Madi", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Mukta": { + "name": "Mukta", + "version": "Version 2.538;PS 1.002;hotconv 16.6.51;makeotf.lib2.5.65220; ttfautohint (v1.6)" + }, + "Mukta Mahee": { + "name": "Mukta Mahee", + "version": "Version 2.538;PS 1.000;hotconv 16.6.51;makeotf.lib2.5.65220; ttfautohint (v1.6)" + }, + "Mukta Malar": { + "name": "Mukta Malar", + "version": "Version 2.538;PS 1.000;hotconv 16.6.51;makeotf.lib2.5.65220; ttfautohint (v1.6)" + }, + "Mukta Vaani": { + "name": "Mukta Vaani", + "version": "Version 2.538;PS 1.000;hotconv 16.6.51;makeotf.lib2.5.65220; ttfautohint (v1.6)" + }, + "Muli": { + "name": "Muli", + "version": "Version 2.100; ttfautohint (v1.8.1.43-b0c9)" + }, + "Mulish": { + "name": "Mulish", + "version": "Version 3.603" + }, + "Murecho": { + "name": "Murecho", + "version": "Version 1.010" + }, + "MuseoModerno": { + "name": "MuseoModerno", + "version": "Version 1.003" + }, + "My Soul": { + "name": "My Soul", + "version": "Version 1.010; ttfautohint (v1.8.4.7-5d5b)" + }, + "Mynerve": { + "name": "Mynerve", + "version": "Version 1.000; ttfautohint (v1.8.4.7-5d5b)" + }, + "Mystery Quest": { + "name": "Mystery Quest", + "version": "Version 1.000" + }, + "NATS": { + "name": "NATS", + "version": "Version 1.0.4; ttfautohint (v1.2.25-373a) -l 7 -r 28 -G 50 -x 13 -D telu -f latn -w G -X \"\"" + }, + "NTR": { + "name": "NTR", + "version": "Version 1.0.5; ttfautohint (v1.2.25-373a) -l 7 -r 28 -G 50 -x 13 -D telu -f latn -w G -X \"\"" + }, + "Nabla": { + "name": "Nabla", + "version": "Version 1.003" + }, + "Namdhinggo": { + "name": "Namdhinggo", + "version": "Version 3.001" + }, + "Nanum Brush Script": { + "name": "Nanum Brush Script", + "version": "Version 1.100;PS 1;hotconv 1.0.57;makeotf.lib2.0.21895" + }, + "Nanum Gothic": { + "name": "Nanum Gothic", + "version": "Version 3.020;PS 1;hotconv 1.0.57;makeotf.lib2.0.21895" + }, + "Nanum Gothic Coding": { + "name": "Nanum Gothic Coding", + "version": "Version 2.000;PS 1;hotconv 1.0.49;makeotf.lib2.0.14853" + }, + "Nanum Myeongjo": { + "name": "Nanum Myeongjo", + "version": "Version 2.030;PS 1;hotconv 1.0.56;makeotf.lib2.0.21325" + }, + "Nanum Pen Script": { + "name": "Nanum Pen Script", + "version": "Version 1.10" + }, + "Narnoor": { + "name": "Narnoor", + "version": "Version 3.000" + }, + "National Park": { + "name": "National Park", + "version": "Version 1.009" + }, + "Neonderthaw": { + "name": "Neonderthaw", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Nerko One": { + "name": "Nerko One", + "version": "Version 1.101" + }, + "Neucha": { + "name": "Neucha", + "version": "Version 001.001" + }, + "Neuton": { + "name": "Neuton", + "version": "Version 1.560" + }, + "New Amsterdam": { + "name": "New Amsterdam", + "version": "Version 1.000; ttfautohint (v1.8.4.7-5d5b)" + }, + "New Rocker": { + "name": "New Rocker", + "version": "Version 1.000; ttfautohint (v0.93) -l 8 -r 50 -G 200 -x 14 -w \"G\"" + }, + "New Tegomin": { + "name": "New Tegomin", + "version": "Version 1.000" + }, + "News Cycle": { + "name": "News Cycle", + "version": "Version 0.5.1" + }, + "Newsreader": { + "name": "Newsreader", + "version": "Version 1.003" + }, + "Niconne": { + "name": "Niconne", + "version": "Version 1.002" + }, + "Niramit": { + "name": "Niramit", + "version": "Version 1.001; ttfautohint (v1.6)" + }, + "Nixie One": { + "name": "Nixie One", + "version": "Version 1.004" + }, + "Nobile": { + "name": "Nobile", + "version": "Version 001.001" + }, + "Nokora": { + "name": "Nokora", + "version": "Version 9.000" + }, + "Norican": { + "name": "Norican", + "version": "Version 1.100; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.33]" + }, + "Nosifer": { + "name": "Nosifer", + "version": "Version 001.002 " + }, + "Nosifer Caps": { + "name": "Nosifer Caps", + "version": "Version 001.002 " + }, + "Notable": { + "name": "Notable", + "version": "Version 1.100" + }, + "Nothing You Could Do": { + "name": "Nothing You Could Do", + "version": "Version 1.005" + }, + "Noticia Text": { + "name": "Noticia Text", + "version": "Version 1.003" + }, + "Noto Color Emoji Compat Test": { + "name": "Noto Color Emoji Compat Test", + "version": "Version 1.000" + }, + "Noto Emoji": { + "name": "Noto Emoji", + "version": "Version 2.001" + }, + "Noto Kufi Arabic": { + "name": "Noto Kufi Arabic", + "version": "Version 2.109" + }, + "Noto Music": { + "name": "Noto Music", + "version": "Version 2.003; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Naskh Arabic": { + "name": "Noto Naskh Arabic", + "version": "Version 2.019" + }, + "Noto Naskh Arabic UI": { + "name": "Noto Naskh Arabic UI", + "version": "2.015" + }, + "Noto Nastaliq Urdu": { + "name": "Noto Nastaliq Urdu", + "version": "Version 3.009" + }, + "Noto Rashi Hebrew": { + "name": "Noto Rashi Hebrew", + "version": "Version 1.007" + }, + "Noto Sans": { + "name": "Noto Sans", + "version": "Version 2.015" + }, + "Noto Sans Adlam": { + "name": "Noto Sans Adlam", + "version": "Version 3.001" + }, + "Noto Sans Adlam Unjoined": { + "name": "Noto Sans Adlam Unjoined", + "version": "Version 3.003" + }, + "Noto Sans Anatolian Hieroglyphs": { + "name": "Noto Sans Anatolian Hieroglyphs", + "version": "Version 2.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Arabic": { + "name": "Noto Sans Arabic", + "version": "Version 2.012" + }, + "Noto Sans Arabic UI": { + "name": "Noto Sans Arabic UI", + "version": "Version 2.004" + }, + "Noto Sans Armenian": { + "name": "Noto Sans Armenian", + "version": "Version 2.008" + }, + "Noto Sans Avestan": { + "name": "Noto Sans Avestan", + "version": "Version 2.003; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Balinese": { + "name": "Noto Sans Balinese", + "version": "Version 2.006" + }, + "Noto Sans Bamum": { + "name": "Noto Sans Bamum", + "version": "Version 2.002" + }, + "Noto Sans Bassa Vah": { + "name": "Noto Sans Bassa Vah", + "version": "Version 2.002" + }, + "Noto Sans Batak": { + "name": "Noto Sans Batak", + "version": "Version 2.003; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Bengali": { + "name": "Noto Sans Bengali", + "version": "Version 2.003" + }, + "Noto Sans Bengali UI": { + "name": "Noto Sans Bengali UI", + "version": "Version 2.001" + }, + "Noto Sans Bhaiksuki": { + "name": "Noto Sans Bhaiksuki", + "version": "Version 2.002; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Brahmi": { + "name": "Noto Sans Brahmi", + "version": "Version 2.004; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Buginese": { + "name": "Noto Sans Buginese", + "version": "Version 2.002; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Buhid": { + "name": "Noto Sans Buhid", + "version": "Version 2.001" + }, + "Noto Sans Canadian Aboriginal": { + "name": "Noto Sans Canadian Aboriginal", + "version": "Version 2.004" + }, + "Noto Sans Carian": { + "name": "Noto Sans Carian", + "version": "Version 2.002; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Caucasian Albanian": { + "name": "Noto Sans Caucasian Albanian", + "version": "Version 2.005; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Chakma": { + "name": "Noto Sans Chakma", + "version": "Version 2.003; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Cham": { + "name": "Noto Sans Cham", + "version": "Version 2.005" + }, + "Noto Sans Cherokee": { + "name": "Noto Sans Cherokee", + "version": "Version 2.001" + }, + "Noto Sans Chorasmian": { + "name": "Noto Sans Chorasmian", + "version": "Version 1.004; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Coptic": { + "name": "Noto Sans Coptic", + "version": "Version 2.004; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Cuneiform": { + "name": "Noto Sans Cuneiform", + "version": "Version 2.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Cypriot": { + "name": "Noto Sans Cypriot", + "version": "Version 2.003; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Cypro Minoan": { + "name": "Noto Sans Cypro Minoan", + "version": "Version 1.503; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Deseret": { + "name": "Noto Sans Deseret", + "version": "Version 2.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Devanagari": { + "name": "Noto Sans Devanagari", + "version": "Version 2.006" + }, + "Noto Sans Devanagari UI": { + "name": "Noto Sans Devanagari UI", + "version": "Version 2.001; ttfautohint (v1.8.3) -l 8 -r 50 -G 200 -x 14 -D deva -f none -a qsq -X \"\"" + }, + "Noto Sans Display": { + "name": "Noto Sans Display", + "version": "Version 2.003" + }, + "Noto Sans Duployan": { + "name": "Noto Sans Duployan", + "version": "Version 3.002" + }, + "Noto Sans Egyptian Hieroglyphs": { + "name": "Noto Sans Egyptian Hieroglyphs", + "version": "Version 2.002; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Elbasan": { + "name": "Noto Sans Elbasan", + "version": "Version 2.004; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Elymaic": { + "name": "Noto Sans Elymaic", + "version": "Version 1.002; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Ethiopic": { + "name": "Noto Sans Ethiopic", + "version": "Version 2.102" + }, + "Noto Sans Georgian": { + "name": "Noto Sans Georgian", + "version": "Version 2.005" + }, + "Noto Sans Glagolitic": { + "name": "Noto Sans Glagolitic", + "version": "Version 2.004; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Gothic": { + "name": "Noto Sans Gothic", + "version": "Version 2.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Grantha": { + "name": "Noto Sans Grantha", + "version": "Version 2.005; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Gujarati": { + "name": "Noto Sans Gujarati", + "version": "Version 2.106" + }, + "Noto Sans Gujarati UI": { + "name": "Noto Sans Gujarati UI", + "version": "Version 2.001; ttfautohint (v1.8.3) -l 8 -r 50 -G 200 -x 14 -D gujr -f none -a qsq -X \"\"" + }, + "Noto Sans Gunjala Gondi": { + "name": "Noto Sans Gunjala Gondi", + "version": "Version 1.004" + }, + "Noto Sans Gurmukhi": { + "name": "Noto Sans Gurmukhi", + "version": "Version 2.004" + }, + "Noto Sans Gurmukhi UI": { + "name": "Noto Sans Gurmukhi UI", + "version": "Version 2.001" + }, + "Noto Sans HK": { + "name": "Noto Sans HK", + "version": "Version 2.004-H2;hotconv 1.0.118;makeotfexe 2.5.65603" + }, + "Noto Sans Hanifi Rohingya": { + "name": "Noto Sans Hanifi Rohingya", + "version": "Version 2.102" + }, + "Noto Sans Hanunoo": { + "name": "Noto Sans Hanunoo", + "version": "Version 2.004; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Hatran": { + "name": "Noto Sans Hatran", + "version": "Version 2.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Hebrew": { + "name": "Noto Sans Hebrew", + "version": "Version 3.001" + }, + "Noto Sans Imperial Aramaic": { + "name": "Noto Sans Imperial Aramaic", + "version": "Version 2.002; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Indic Siyaq Numbers": { + "name": "Noto Sans Indic Siyaq Numbers", + "version": "Version 2.002; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Inscriptional Pahlavi": { + "name": "Noto Sans Inscriptional Pahlavi", + "version": "Version 2.004; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Inscriptional Parthian": { + "name": "Noto Sans Inscriptional Parthian", + "version": "Version 2.004; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans JP": { + "name": "Noto Sans JP", + "version": "Version 2.004-H2;hotconv 1.0.118;makeotfexe 2.5.65603" + }, + "Noto Sans Javanese": { + "name": "Noto Sans Javanese", + "version": "Version 2.005" + }, + "Noto Sans KR": { + "name": "Noto Sans KR", + "version": "Version 2.004-H2;hotconv 1.0.118;makeotfexe 2.5.65603" + }, + "Noto Sans Kaithi": { + "name": "Noto Sans Kaithi", + "version": "Version 2.006; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Kannada": { + "name": "Noto Sans Kannada", + "version": "Version 2.005" + }, + "Noto Sans Kannada UI": { + "name": "Noto Sans Kannada UI", + "version": "Version 2.001" + }, + "Noto Sans Kawi": { + "name": "Noto Sans Kawi", + "version": "Version 1.000" + }, + "Noto Sans Kayah Li": { + "name": "Noto Sans Kayah Li", + "version": "Version 2.002" + }, + "Noto Sans Kharoshthi": { + "name": "Noto Sans Kharoshthi", + "version": "Version 2.004; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Khmer": { + "name": "Noto Sans Khmer", + "version": "Version 2.004" + }, + "Noto Sans Khmer UI": { + "name": "Noto Sans Khmer UI", + "version": "Version 2.001" + }, + "Noto Sans Khojki": { + "name": "Noto Sans Khojki", + "version": "Version 2.005; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Khudawadi": { + "name": "Noto Sans Khudawadi", + "version": "Version 2.004; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Lao": { + "name": "Noto Sans Lao", + "version": "Version 2.003" + }, + "Noto Sans Lao Looped": { + "name": "Noto Sans Lao Looped", + "version": "Version 1.002" + }, + "Noto Sans Lao UI": { + "name": "Noto Sans Lao UI", + "version": "Version 2.000" + }, + "Noto Sans Lepcha": { + "name": "Noto Sans Lepcha", + "version": "Version 2.006; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Limbu": { + "name": "Noto Sans Limbu", + "version": "Version 2.005; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Linear A": { + "name": "Noto Sans Linear A", + "version": "Version 2.002; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Linear B": { + "name": "Noto Sans Linear B", + "version": "Version 2.002; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Lisu": { + "name": "Noto Sans Lisu", + "version": "Version 2.102" + }, + "Noto Sans Lycian": { + "name": "Noto Sans Lycian", + "version": "Version 2.002; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Lydian": { + "name": "Noto Sans Lydian", + "version": "Version 2.002; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Mahajani": { + "name": "Noto Sans Mahajani", + "version": "Version 2.003; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Malayalam": { + "name": "Noto Sans Malayalam", + "version": "Version 2.104" + }, + "Noto Sans Malayalam UI": { + "name": "Noto Sans Malayalam UI", + "version": "Version 2.001" + }, + "Noto Sans Mandaic": { + "name": "Noto Sans Mandaic", + "version": "Version 2.003; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Manichaean": { + "name": "Noto Sans Manichaean", + "version": "Version 2.005; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Marchen": { + "name": "Noto Sans Marchen", + "version": "Version 2.004; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Masaram Gondi": { + "name": "Noto Sans Masaram Gondi", + "version": "Version 1.005; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Math": { + "name": "Noto Sans Math", + "version": "Version 3.000; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Mayan Numerals": { + "name": "Noto Sans Mayan Numerals", + "version": "Version 2.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Medefaidrin": { + "name": "Noto Sans Medefaidrin", + "version": "Version 1.002" + }, + "Noto Sans Meetei Mayek": { + "name": "Noto Sans Meetei Mayek", + "version": "Version 2.002" + }, + "Noto Sans MeeteiMayek": { + "name": "Noto Sans MeeteiMayek", + "version": "Version 2.001" + }, + "Noto Sans Mende Kikakui": { + "name": "Noto Sans Mende Kikakui", + "version": "Version 2.003; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Meroitic": { + "name": "Noto Sans Meroitic", + "version": "Version 2.002; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Miao": { + "name": "Noto Sans Miao", + "version": "Version 2.003; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Modi": { + "name": "Noto Sans Modi", + "version": "Version 2.004; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Mongolian": { + "name": "Noto Sans Mongolian", + "version": "Version 3.002; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Mono": { + "name": "Noto Sans Mono", + "version": "Version 2.014" + }, + "Noto Sans Mro": { + "name": "Noto Sans Mro", + "version": "Version 2.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Multani": { + "name": "Noto Sans Multani", + "version": "Version 2.002; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Myanmar": { + "name": "Noto Sans Myanmar", + "version": "Version 2.107" + }, + "Noto Sans Myanmar UI": { + "name": "Noto Sans Myanmar UI", + "version": "Version 2.000; ttfautohint (v1.8.3) -l 8 -r 50 -G 200 -x 14 -D mymr -f none -a qsq -X \"\"" + }, + "Noto Sans N Ko": { + "name": "Noto Sans N Ko", + "version": "Version 2.001; ttfautohint (v1.8.3) -l 8 -r 50 -G 200 -x 14 -D nkoo -f none -a qsq -X \"\"" + }, + "Noto Sans NKo": { + "name": "Noto Sans NKo", + "version": "Version 2.004; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans NKo Unjoined": { + "name": "Noto Sans NKo Unjoined", + "version": "Version 2.004" + }, + "Noto Sans Nabataean": { + "name": "Noto Sans Nabataean", + "version": "Version 2.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Nag Mundari": { + "name": "Noto Sans Nag Mundari", + "version": "Version 1.001" + }, + "Noto Sans Nandinagari": { + "name": "Noto Sans Nandinagari", + "version": "Version 1.003; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans New Tai Lue": { + "name": "Noto Sans New Tai Lue", + "version": "Version 2.004" + }, + "Noto Sans Newa": { + "name": "Noto Sans Newa", + "version": "Version 2.007; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Nushu": { + "name": "Noto Sans Nushu", + "version": "Version 1.003; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Ogham": { + "name": "Noto Sans Ogham", + "version": "Version 2.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Ol Chiki": { + "name": "Noto Sans Ol Chiki", + "version": "Version 2.003" + }, + "Noto Sans Old Hungarian": { + "name": "Noto Sans Old Hungarian", + "version": "Version 2.005; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Old Italic": { + "name": "Noto Sans Old Italic", + "version": "Version 2.004; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Old North Arabian": { + "name": "Noto Sans Old North Arabian", + "version": "Version 2.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Old Permic": { + "name": "Noto Sans Old Permic", + "version": "Version 2.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Old Persian": { + "name": "Noto Sans Old Persian", + "version": "Version 2.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Old Sogdian": { + "name": "Noto Sans Old Sogdian", + "version": "Version 2.003; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Old South Arabian": { + "name": "Noto Sans Old South Arabian", + "version": "Version 2.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Old Turkic": { + "name": "Noto Sans Old Turkic", + "version": "Version 2.004; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Oriya": { + "name": "Noto Sans Oriya", + "version": "Version 2.006" + }, + "Noto Sans Oriya UI": { + "name": "Noto Sans Oriya UI", + "version": "Version 2.000" + }, + "Noto Sans Osage": { + "name": "Noto Sans Osage", + "version": "Version 2.002; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Osmanya": { + "name": "Noto Sans Osmanya", + "version": "Version 2.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Pahawh Hmong": { + "name": "Noto Sans Pahawh Hmong", + "version": "Version 2.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Palmyrene": { + "name": "Noto Sans Palmyrene", + "version": "Version 2.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Pau Cin Hau": { + "name": "Noto Sans Pau Cin Hau", + "version": "Version 2.002; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Phags Pa": { + "name": "Noto Sans PhagsPa", + "version": "Version 2.000" + }, + "Noto Sans PhagsPa": { + "name": "Noto Sans PhagsPa", + "version": "Version 2.004; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Phoenician": { + "name": "Noto Sans Phoenician", + "version": "Version 2.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Psalter Pahlavi": { + "name": "Noto Sans Psalter Pahlavi", + "version": "Version 2.003; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Rejang": { + "name": "Noto Sans Rejang", + "version": "Version 2.002; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Runic": { + "name": "Noto Sans Runic", + "version": "Version 2.002; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans SC": { + "name": "Noto Sans SC", + "version": "Version 2.004-H2;hotconv 1.0.118;makeotfexe 2.5.65603" + }, + "Noto Sans Samaritan": { + "name": "Noto Sans Samaritan", + "version": "Version 2.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Saurashtra": { + "name": "Noto Sans Saurashtra", + "version": "Version 2.002; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Sharada": { + "name": "Noto Sans Sharada", + "version": "Version 2.006; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Shavian": { + "name": "Noto Sans Shavian", + "version": "Version 2.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Siddham": { + "name": "Noto Sans Siddham", + "version": "Version 2.005; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans SignWriting": { + "name": "Noto Sans SignWriting", + "version": "Version 2.005; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Sinhala": { + "name": "Noto Sans Sinhala", + "version": "Version 2.006" + }, + "Noto Sans Sinhala UI": { + "name": "Noto Sans Sinhala UI", + "version": "Version 2.001" + }, + "Noto Sans Sogdian": { + "name": "Noto Sans Sogdian", + "version": "Version 2.002; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Sora Sompeng": { + "name": "Noto Sans Sora Sompeng", + "version": "Version 2.101" + }, + "Noto Sans Soyombo": { + "name": "Noto Sans Soyombo", + "version": "Version 2.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Sundanese": { + "name": "Noto Sans Sundanese", + "version": "Version 2.005" + }, + "Noto Sans Sunuwar": { + "name": "Noto Sans Sunuwar", + "version": "Version 1.000; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Syloti Nagri": { + "name": "Noto Sans Syloti Nagri", + "version": "Version 2.004; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Symbols": { + "name": "Noto Sans Symbols", + "version": "Version 2.003" + }, + "Noto Sans Symbols 2": { + "name": "Noto Sans Symbols 2", + "version": "Version 2.008; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Syriac": { + "name": "Noto Sans Syriac", + "version": "Version 3.000" + }, + "Noto Sans Syriac Eastern": { + "name": "Noto Sans Syriac Eastern", + "version": "Version 3.001" + }, + "Noto Sans TC": { + "name": "Noto Sans TC", + "version": "Version 2.004-H2;hotconv 1.0.118;makeotfexe 2.5.65603" + }, + "Noto Sans Tagalog": { + "name": "Noto Sans Tagalog", + "version": "Version 2.002; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Tagbanwa": { + "name": "Noto Sans Tagbanwa", + "version": "Version 2.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Tai Le": { + "name": "Noto Sans Tai Le", + "version": "Version 2.002; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Tai Tham": { + "name": "Noto Sans Tai Tham", + "version": "Version 2.002" + }, + "Noto Sans Tai Viet": { + "name": "Noto Sans Tai Viet", + "version": "Version 2.004; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Takri": { + "name": "Noto Sans Takri", + "version": "Version 2.005; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Tamil": { + "name": "Noto Sans Tamil", + "version": "Version 2.004" + }, + "Noto Sans Tamil Supplement": { + "name": "Noto Sans Tamil Supplement", + "version": "Version 2.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Tamil UI": { + "name": "Noto Sans Tamil UI", + "version": "Version 2.001" + }, + "Noto Sans Tangsa": { + "name": "Noto Sans Tangsa", + "version": "Version 1.506" + }, + "Noto Sans Telugu": { + "name": "Noto Sans Telugu", + "version": "Version 2.005" + }, + "Noto Sans Telugu UI": { + "name": "Noto Sans Telugu UI", + "version": "Version 2.001" + }, + "Noto Sans Thaana": { + "name": "Noto Sans Thaana", + "version": "Version 3.001" + }, + "Noto Sans Thai": { + "name": "Noto Sans Thai", + "version": "Version 2.002" + }, + "Noto Sans Thai Looped": { + "name": "Noto Sans Thai Looped", + "version": "Version 2.000" + }, + "Noto Sans Thai UI": { + "name": "Noto Sans Thai UI", + "version": "Version 2.000" + }, + "Noto Sans Tifinagh": { + "name": "Noto Sans Tifinagh", + "version": "Version 2.006; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Tirhuta": { + "name": "Noto Sans Tirhuta", + "version": "Version 2.003; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans UI": { + "name": "Noto Sans UI", + "version": "Version 1.04" + }, + "Noto Sans Ugaritic": { + "name": "Noto Sans Ugaritic", + "version": "Version 2.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Vai": { + "name": "Noto Sans Vai", + "version": "Version 2.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Vithkuqi": { + "name": "Noto Sans Vithkuqi", + "version": "Version 1.001" + }, + "Noto Sans Wancho": { + "name": "Noto Sans Wancho", + "version": "Version 2.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Warang Citi": { + "name": "Noto Sans Warang Citi", + "version": "Version 3.002; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Yi": { + "name": "Noto Sans Yi", + "version": "Version 2.002; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Zanabazar Square": { + "name": "Noto Sans Zanabazar Square", + "version": "Version 2.006; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Serif": { + "name": "Noto Serif", + "version": "Version 2.015" + }, + "Noto Serif Ahom": { + "name": "Noto Serif Ahom", + "version": "Version 2.007; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Serif Armenian": { + "name": "Noto Serif Armenian", + "version": "Version 2.008" + }, + "Noto Serif Balinese": { + "name": "Noto Serif Balinese", + "version": "Version 2.007; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Serif Bengali": { + "name": "Noto Serif Bengali", + "version": "Version 2.003" + }, + "Noto Serif Devanagari": { + "name": "Noto Serif Devanagari", + "version": "Version 2.006" + }, + "Noto Serif Display": { + "name": "Noto Serif Display", + "version": "Version 2.003" + }, + "Noto Serif Dives Akuru": { + "name": "Noto Serif Dives Akuru", + "version": "Version 2.000; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Serif Dogra": { + "name": "Noto Serif Dogra", + "version": "Version 1.007; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Serif Ethiopic": { + "name": "Noto Serif Ethiopic", + "version": "Version 2.102" + }, + "Noto Serif Georgian": { + "name": "Noto Serif Georgian", + "version": "Version 2.003" + }, + "Noto Serif Grantha": { + "name": "Noto Serif Grantha", + "version": "Version 2.005; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Serif Gujarati": { + "name": "Noto Serif Gujarati", + "version": "Version 2.106" + }, + "Noto Serif Gurmukhi": { + "name": "Noto Serif Gurmukhi", + "version": "Version 2.004" + }, + "Noto Serif HK": { + "name": "Noto Serif HK", + "version": "Version 2.003-H1;hotconv 1.1.1;makeotfexe 2.6.0" + }, + "Noto Serif Hebrew": { + "name": "Noto Serif Hebrew", + "version": "Version 2.004" + }, + "Noto Serif Hentaigana": { + "name": "Noto Serif Hentaigana", + "version": "Version 1.000" + }, + "Noto Serif JP": { + "name": "Noto Serif JP", + "version": "Version 2.003-H1;hotconv 1.1.1;makeotfexe 2.6.0" + }, + "Noto Serif KR": { + "name": "Noto Serif KR", + "version": "Version 2.003-H1;hotconv 1.1.1;makeotfexe 2.6.0" + }, + "Noto Serif Kannada": { + "name": "Noto Serif Kannada", + "version": "Version 2.005" + }, + "Noto Serif Khitan Small Script": { + "name": "Noto Serif Khitan Small Script", + "version": "Version 1.000; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Serif Khmer": { + "name": "Noto Serif Khmer", + "version": "Version 2.004" + }, + "Noto Serif Khojki": { + "name": "Noto Serif Khojki", + "version": "Version 2.005" + }, + "Noto Serif Lao": { + "name": "Noto Serif Lao", + "version": "Version 2.003" + }, + "Noto Serif Makasar": { + "name": "Noto Serif Makasar", + "version": "Version 1.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Serif Malayalam": { + "name": "Noto Serif Malayalam", + "version": "Version 2.104" + }, + "Noto Serif Myanmar": { + "name": "Noto Serif Myanmar", + "version": "Version 2.001; ttfautohint (v1.8.3) -l 8 -r 50 -G 200 -x 14 -D mymr -f none -a qsq -X \"\"" + }, + "Noto Serif NP Hmong": { + "name": "Noto Serif NP Hmong", + "version": "Version 1.001" + }, + "Noto Serif Nyiakeng Puachue Hmong": { + "name": "Noto Serif Nyiakeng Puachue Hmong", + "version": "Version 1.000" + }, + "Noto Serif Old Uyghur": { + "name": "Noto Serif Old Uyghur", + "version": "Version 1.004; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Serif Oriya": { + "name": "Noto Serif Oriya", + "version": "Version 1.051" + }, + "Noto Serif Ottoman Siyaq": { + "name": "Noto Serif Ottoman Siyaq", + "version": "Version 1.006; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Serif SC": { + "name": "Noto Serif SC", + "version": "Version 2.003-H1;hotconv 1.1.1;makeotfexe 2.6.0" + }, + "Noto Serif Sinhala": { + "name": "Noto Serif Sinhala", + "version": "Version 2.007" + }, + "Noto Serif TC": { + "name": "Noto Serif TC", + "version": "Version 2.003-H1;hotconv 1.1.1;makeotfexe 2.6.0" + }, + "Noto Serif Tamil": { + "name": "Noto Serif Tamil", + "version": "Version 2.004" + }, + "Noto Serif Tangut": { + "name": "Noto Serif Tangut", + "version": "Version 2.169; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Serif Telugu": { + "name": "Noto Serif Telugu", + "version": "Version 2.005" + }, + "Noto Serif Thai": { + "name": "Noto Serif Thai", + "version": "Version 2.002" + }, + "Noto Serif Tibetan": { + "name": "Noto Serif Tibetan", + "version": "Version 2.103" + }, + "Noto Serif Todhri": { + "name": "Noto Serif Todhri", + "version": "Version 1.000; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Serif Toto": { + "name": "Noto Serif Toto", + "version": "Version 2.002" + }, + "Noto Serif Vithkuqi": { + "name": "Noto Serif Vithkuqi", + "version": "Version 1.005" + }, + "Noto Serif Yezidi": { + "name": "Noto Serif Yezidi", + "version": "Version 1.001" + }, + "Noto Traditional Nushu": { + "name": "Noto Traditional Nushu", + "version": "Version 2.003" + }, + "Noto Znamenny Musical Notation": { + "name": "Noto Znamenny Musical Notation", + "version": "Version 1.003; ttfautohint (v1.8.4.7-5d5b)" + }, + "NotoSerifTamilSlanted": { + "name": "NotoSerifTamilSlanted", + "version": "Version 2.001" + }, + "Nova Cut": { + "name": "Nova Cut", + "version": "Version 2.000" + }, + "Nova Flat": { + "name": "Nova Flat", + "version": "Version 2.000" + }, + "Nova Mono": { + "name": "Nova Mono", + "version": "Version 1.2" + }, + "Nova Oval": { + "name": "Nova Oval", + "version": "Version 2.000" + }, + "Nova Round": { + "name": "Nova Round", + "version": "Version 2.000" + }, + "Nova Script": { + "name": "Nova Script", + "version": "Version 2.001" + }, + "Nova Slim": { + "name": "Nova Slim", + "version": "Version 2.000" + }, + "Nova Square": { + "name": "Nova Square", + "version": "Version 2.000" + }, + "Numans": { + "name": "Numans", + "version": "Version 001.001" + }, + "Nunito": { + "name": "Nunito", + "version": "Version 3.602" + }, + "Nunito Sans": { + "name": "Nunito Sans", + "version": "Version 3.101;gftools[0.9.27]" + }, + "Nuosu SIL": { + "name": "Nuosu SIL", + "version": "Version 2.300" + }, + "OFL Sorts Mill Goudy TT": { + "name": "OFL Sorts Mill Goudy TT", + "version": "Version 003.000 " + }, + "Odibee Sans": { + "name": "Odibee Sans", + "version": "Version 2.001; ttfautohint (v1.8.3)" + }, + "Odor Mean Chey": { + "name": "Odor Mean Chey", + "version": "Version 8.002; ttfautohint (v1.8.3)" + }, + "Offside": { + "name": "Offside", + "version": "Version 1.002; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.23]" + }, + "Oi": { + "name": "Oi", + "version": "Version 4.000" + }, + "Ojuju": { + "name": "Ojuju", + "version": "Version 1.000" + }, + "Old Standard TT": { + "name": "Old Standard TT", + "version": "Version 3.000" + }, + "Oldenburg": { + "name": "Oldenburg", + "version": "Version 1.001" + }, + "Ole": { + "name": "Ole", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Oleo Script": { + "name": "Oleo Script", + "version": "Version 1.002" + }, + "Oleo Script Swash Caps": { + "name": "Oleo Script Swash Caps", + "version": "Version 1.002" + }, + "Onest": { + "name": "Onest", + "version": "Version 1.000;gftools[0.9.33]" + }, + "Oooh Baby": { + "name": "Oooh Baby", + "version": "Version 1.011; ttfautohint (v1.8.3)" + }, + "Open Sans": { + "name": "Open Sans", + "version": "Version 3.003" + }, + "Open Sans Condensed": { + "name": "Open Sans Condensed", + "version": "Version 1.10" + }, + "Oranienbaum": { + "name": "Oranienbaum", + "version": "Version 1.001; ttfautohint (v0.91) -l 8 -r 50 -G 200 -x 0 -w \"gGD\"" + }, + "Orbit": { + "name": "Orbit", + "version": "Version 1.000; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.29]" + }, + "Orbitron": { + "name": "Orbitron", + "version": "Version 2.001" + }, + "Oregano": { + "name": "Oregano", + "version": "Version 1.000" + }, + "Orelega One": { + "name": "Orelega One", + "version": "Version 1.1 ; ttfautohint (v1.8.3)" + }, + "Orienta": { + "name": "Orienta", + "version": "Version 1.002; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.23]" + }, + "Original Surfer": { + "name": "Original Surfer", + "version": "Version 1.001" + }, + "Oswald": { + "name": "Oswald", + "version": "Version 4.103;gftools[0.9.33.dev8+g029e19f]" + }, + "Otomanopee One": { + "name": "Otomanopee One", + "version": "Version 3.003; ttfautohint (v1.8.3)" + }, + "Outfit": { + "name": "Outfit", + "version": "Version 1.100;gftools[0.9.27]" + }, + "Over the Rainbow": { + "name": "Over the Rainbow", + "version": "Version 1.002 2010" + }, + "Overlock": { + "name": "Overlock", + "version": "Version 1.002" + }, + "Overlock SC": { + "name": "Overlock SC", + "version": "Version 1.001" + }, + "Overpass": { + "name": "Overpass", + "version": "Version 4.000" + }, + "Overpass Mono": { + "name": "Overpass Mono", + "version": "Version 4.000" + }, + "Ovo": { + "name": "Ovo", + "version": "Version 1.001" + }, + "Oxanium": { + "name": "Oxanium", + "version": "Version 2.000" + }, + "Oxygen": { + "name": "Oxygen", + "version": "Version Release 0.2.3 webfont; ttfautohint (v0.93.3-1d66) -l 8 -r 50 -G 200 -x 0 -w \"gGD\" -c" + }, + "Oxygen Mono": { + "name": "Oxygen Mono", + "version": "Version 0.201; ttfautohint (v0.8) -r 50 -G 200 -x" + }, + "PT Mono": { + "name": "PT Mono", + "version": "Version 1.001W OFL" + }, + "PT Sans": { + "name": "PT Sans", + "version": "Version 2.003W OFL" + }, + "PT Sans Caption": { + "name": "PT Sans Caption", + "version": "Version 2.004W OFL" + }, + "PT Sans Narrow": { + "name": "PT Sans Narrow", + "version": "Version 2.003W OFL" + }, + "PT Serif": { + "name": "PT Serif", + "version": "Version 1.000W OFL" + }, + "PT Serif Caption": { + "name": "PT Serif Caption", + "version": "Version 1.000W OFL" + }, + "Pacifico": { + "name": "Pacifico", + "version": "Version 3.001" + }, + "Padauk": { + "name": "Padauk", + "version": "Version 5.001" + }, + "Padyakke Expanded One": { + "name": "Padyakke Expanded One", + "version": "Version 1.500; ttfautohint (v1.8.4.7-5d5b)" + }, + "Palanquin": { + "name": "Palanquin", + "version": "Version 1.001" + }, + "Palanquin Dark": { + "name": "Palanquin Dark", + "version": "Version 1.001" + }, + "Palette Mosaic": { + "name": "Palette Mosaic", + "version": "Version 1.001" + }, + "Pangolin": { + "name": "Pangolin", + "version": "Version 1.101" + }, + "Paprika": { + "name": "Paprika", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Parastoo": { + "name": "Parastoo", + "version": "Version 3.000" + }, + "Parisienne": { + "name": "Parisienne", + "version": "Version 1.000" + }, + "Parkinsans": { + "name": "Parkinsans", + "version": "Version 1.000" + }, + "Passero One": { + "name": "Passero One", + "version": "Version 1.003" + }, + "Passion One": { + "name": "Passion One", + "version": "Version 1.002" + }, + "Passions Conflict": { + "name": "Passions Conflict", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Pathway Extreme": { + "name": "Pathway Extreme", + "version": "Version 1.001;gftools[0.9.26]" + }, + "Pathway Gothic One": { + "name": "Pathway Gothic One", + "version": "Version 1.003; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.26]" + }, + "Patrick Hand": { + "name": "Patrick Hand", + "version": "Version 1.003;PS 001.003;hotconv 1.0.70;makeotf.lib2.5.58329; tt" + }, + "Patrick Hand SC": { + "name": "Patrick Hand SC", + "version": "Version 2.001; ttfautohint (v1.8.2)" + }, + "Pattaya": { + "name": "Pattaya", + "version": "Version 2.001" + }, + "Patua One": { + "name": "Patua One", + "version": "Version 1.002" + }, + "Pavanam": { + "name": "Pavanam", + "version": "Version 1.86; ttfautohint (v1.3) -l 8 -r 50 -G 200 -x 14 -D latn -f none -m \"\" -w G -t -X \"\"" + }, + "Paytone One": { + "name": "Paytone One", + "version": "Version 1.002; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.23]" + }, + "Peddana": { + "name": "Peddana", + "version": "Version 1.0.4; ttfautohint (v1.2.25-373a) -l 7 -r 28 -G 50 -x 13 -D telu -f latn -w G -X \"\"" + }, + "Peralta": { + "name": "Peralta", + "version": "Version 1.000" + }, + "Permanent Marker": { + "name": "Permanent Marker", + "version": "Version 1.001" + }, + "Petemoss": { + "name": "Petemoss", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Petit Formal Script": { + "name": "Petit Formal Script", + "version": "Version 1.001; ttfautohint (v0.8) -G 200 -r 50" + }, + "Petrona": { + "name": "Petrona", + "version": "Version 2.001; ttfautohint (v1.8.3)" + }, + "Phetsarath": { + "name": "Phetsarath", + "version": "Version 1.01" + }, + "Philosopher": { + "name": "Philosopher", + "version": "Version 2.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Phudu": { + "name": "Phudu", + "version": "Version 1.005;gftools[0.9.23]" + }, + "Piazzolla": { + "name": "Piazzolla", + "version": "Version 2.005" + }, + "Piedra": { + "name": "Piedra", + "version": "Version 1.000" + }, + "Pinyon Script": { + "name": "Pinyon Script", + "version": "Version 1.008; ttfautohint (v1.8.4.7-5d5b)" + }, + "Pirata One": { + "name": "Pirata One", + "version": "Version 1.001" + }, + "Pixelify Sans": { + "name": "Pixelify Sans", + "version": "Version 1.000" + }, + "Plaster": { + "name": "Plaster", + "version": "Version 1.007" + }, + "Platypi": { + "name": "Platypi", + "version": "Version 1.200" + }, + "Play": { + "name": "Play", + "version": "Version 2.101; ttfautohint (v1.6)" + }, + "Playball": { + "name": "Playball", + "version": "Version 1.010" + }, + "Playfair": { + "name": "Playfair", + "version": "Version 2.203" + }, + "Playfair Display": { + "name": "Playfair Display", + "version": "Version 1.203" + }, + "Playfair Display SC": { + "name": "Playfair Display SC", + "version": "Version 1.200; ttfautohint (v1.6)" + }, + "Playpen Sans": { + "name": "Playpen Sans", + "version": "Version 2.000" + }, + "Playpen Sans Arabic": { + "name": "Playpen Sans Arabic", + "version": "Version 2.000" + }, + "Playpen Sans Deva": { + "name": "Playpen Sans Deva", + "version": "Version 2.000" + }, + "Playpen Sans Hebrew": { + "name": "Playpen Sans Hebrew", + "version": "Version 2.000" + }, + "Playpen Sans Thai": { + "name": "Playpen Sans Thai", + "version": "Version 2.000" + }, + "Playwrite AR": { + "name": "Playwrite AR", + "version": "Version 1.003" + }, + "Playwrite AR Guides": { + "name": "Playwrite AR Guides", + "version": "Version 1.003" + }, + "Playwrite AT": { + "name": "Playwrite AT", + "version": "Version 1.003" + }, + "Playwrite AT Guides": { + "name": "Playwrite AT Guides", + "version": "Version 1.003" + }, + "Playwrite AU NSW": { + "name": "Playwrite AU NSW", + "version": "Version 1.003" + }, + "Playwrite AU NSW Guides": { + "name": "Playwrite AU NSW Guides", + "version": "Version 1.003" + }, + "Playwrite AU QLD": { + "name": "Playwrite AU QLD", + "version": "Version 1.003" + }, + "Playwrite AU QLD Guides": { + "name": "Playwrite AU QLD Guides", + "version": "Version 1.003" + }, + "Playwrite AU SA": { + "name": "Playwrite AU SA", + "version": "Version 1.003" + }, + "Playwrite AU SA Guides": { + "name": "Playwrite AU SA Guides", + "version": "Version 1.003" + }, + "Playwrite AU TAS": { + "name": "Playwrite AU TAS", + "version": "Version 1.003" + }, + "Playwrite AU TAS Guides": { + "name": "Playwrite AU TAS Guides", + "version": "Version 1.003" + }, + "Playwrite AU VIC": { + "name": "Playwrite AU VIC", + "version": "Version 1.003" + }, + "Playwrite AU VIC Guides": { + "name": "Playwrite AU VIC Guides", + "version": "Version 1.003" + }, + "Playwrite BE VLG": { + "name": "Playwrite BE VLG", + "version": "Version 1.003" + }, + "Playwrite BE VLG Guides": { + "name": "Playwrite BE VLG Guides", + "version": "Version 1.003" + }, + "Playwrite BE WAL": { + "name": "Playwrite BE WAL", + "version": "Version 1.003" + }, + "Playwrite BE WAL Guides": { + "name": "Playwrite BE WAL Guides", + "version": "Version 1.003" + }, + "Playwrite BR": { + "name": "Playwrite BR", + "version": "Version 1.003" + }, + "Playwrite BR Guides": { + "name": "Playwrite BR Guides", + "version": "Version 1.003" + }, + "Playwrite CA": { + "name": "Playwrite CA", + "version": "Version 1.003" + }, + "Playwrite CA Guides": { + "name": "Playwrite CA Guides", + "version": "Version 1.003" + }, + "Playwrite CL": { + "name": "Playwrite CL", + "version": "Version 1.003" + }, + "Playwrite CL Guides": { + "name": "Playwrite CL Guides", + "version": "Version 1.003" + }, + "Playwrite CO": { + "name": "Playwrite CO", + "version": "Version 1.003" + }, + "Playwrite CO Guides": { + "name": "Playwrite CO Guides", + "version": "Version 1.003" + }, + "Playwrite CU": { + "name": "Playwrite CU", + "version": "Version 1.003" + }, + "Playwrite CU Guides": { + "name": "Playwrite CU Guides", + "version": "Version 1.003" + }, + "Playwrite CZ": { + "name": "Playwrite CZ", + "version": "Version 1.003" + }, + "Playwrite CZ Guides": { + "name": "Playwrite CZ Guides", + "version": "Version 1.003" + }, + "Playwrite DE Grund": { + "name": "Playwrite DE Grund", + "version": "Version 1.003" + }, + "Playwrite DE Grund Guides": { + "name": "Playwrite DE Grund Guides", + "version": "Version 1.003" + }, + "Playwrite DE LA": { + "name": "Playwrite DE LA", + "version": "Version 1.003" + }, + "Playwrite DE LA Guides": { + "name": "Playwrite DE LA Guides", + "version": "Version 1.003" + }, + "Playwrite DE SAS": { + "name": "Playwrite DE SAS", + "version": "Version 1.003" + }, + "Playwrite DE SAS Guides": { + "name": "Playwrite DE SAS Guides", + "version": "Version 1.003" + }, + "Playwrite DE VA": { + "name": "Playwrite DE VA", + "version": "Version 1.003" + }, + "Playwrite DE VA Guides": { + "name": "Playwrite DE VA Guides", + "version": "Version 1.003" + }, + "Playwrite DK Loopet": { + "name": "Playwrite DK Loopet", + "version": "Version 1.003" + }, + "Playwrite DK Loopet Guides": { + "name": "Playwrite DK Loopet Guides", + "version": "Version 1.003" + }, + "Playwrite DK Uloopet": { + "name": "Playwrite DK Uloopet", + "version": "Version 1.003" + }, + "Playwrite DK Uloopet Guides": { + "name": "Playwrite DK Uloopet Guides", + "version": "Version 1.003" + }, + "Playwrite ES": { + "name": "Playwrite ES", + "version": "Version 1.003" + }, + "Playwrite ES Deco": { + "name": "Playwrite ES Deco", + "version": "Version 1.003" + }, + "Playwrite ES Deco Guides": { + "name": "Playwrite ES Deco Guides", + "version": "Version 1.003" + }, + "Playwrite ES Guides": { + "name": "Playwrite ES Guides", + "version": "Version 1.003" + }, + "Playwrite FR Moderne": { + "name": "Playwrite FR Moderne", + "version": "Version 1.003" + }, + "Playwrite FR Moderne Guides": { + "name": "Playwrite FR Moderne Guides", + "version": "Version 1.003" + }, + "Playwrite FR Trad": { + "name": "Playwrite FR Trad", + "version": "Version 1.003" + }, + "Playwrite FR Trad Guides": { + "name": "Playwrite FR Trad Guides", + "version": "Version 1.003" + }, + "Playwrite GB J": { + "name": "Playwrite GB J", + "version": "Version 1.003" + }, + "Playwrite GB J Guides": { + "name": "Playwrite GB J Guides", + "version": "Version 1.003" + }, + "Playwrite GB S": { + "name": "Playwrite GB S", + "version": "Version 1.003" + }, + "Playwrite GB S Guides": { + "name": "Playwrite GB S Guides", + "version": "Version 1.003" + }, + "Playwrite HR": { + "name": "Playwrite HR", + "version": "Version 1.003" + }, + "Playwrite HR Guides": { + "name": "Playwrite HR Guides", + "version": "Version 1.003" + }, + "Playwrite HR Lijeva": { + "name": "Playwrite HR Lijeva", + "version": "Version 1.003" + }, + "Playwrite HR Lijeva Guides": { + "name": "Playwrite HR Lijeva Guides", + "version": "Version 1.003" + }, + "Playwrite HU": { + "name": "Playwrite HU", + "version": "Version 1.003" + }, + "Playwrite HU Guides": { + "name": "Playwrite HU Guides", + "version": "Version 1.003" + }, + "Playwrite ID": { + "name": "Playwrite ID", + "version": "Version 1.003" + }, + "Playwrite ID Guides": { + "name": "Playwrite ID Guides", + "version": "Version 1.003" + }, + "Playwrite IE": { + "name": "Playwrite IE", + "version": "Version 1.003" + }, + "Playwrite IE Guides": { + "name": "Playwrite IE Guides", + "version": "Version 1.003" + }, + "Playwrite IN": { + "name": "Playwrite IN", + "version": "Version 1.003" + }, + "Playwrite IN Guides": { + "name": "Playwrite IN Guides", + "version": "Version 1.003" + }, + "Playwrite IS": { + "name": "Playwrite IS", + "version": "Version 1.003" + }, + "Playwrite IS Guides": { + "name": "Playwrite IS Guides", + "version": "Version 1.003" + }, + "Playwrite IT Moderna": { + "name": "Playwrite IT Moderna", + "version": "Version 1.003" + }, + "Playwrite IT Moderna Guides": { + "name": "Playwrite IT Moderna Guides", + "version": "Version 1.003" + }, + "Playwrite IT Trad": { + "name": "Playwrite IT Trad", + "version": "Version 1.003" + }, + "Playwrite IT Trad Guides": { + "name": "Playwrite IT Trad Guides", + "version": "Version 1.003" + }, + "Playwrite MX": { + "name": "Playwrite MX", + "version": "Version 1.003" + }, + "Playwrite MX Guides": { + "name": "Playwrite MX Guides", + "version": "Version 1.003" + }, + "Playwrite NG Modern": { + "name": "Playwrite NG Modern", + "version": "Version 1.003" + }, + "Playwrite NG Modern Guides": { + "name": "Playwrite NG Modern Guides", + "version": "Version 1.003" + }, + "Playwrite NL": { + "name": "Playwrite NL", + "version": "Version 1.003" + }, + "Playwrite NL Guides": { + "name": "Playwrite NL Guides", + "version": "Version 1.003" + }, + "Playwrite NO": { + "name": "Playwrite NO", + "version": "Version 1.003" + }, + "Playwrite NO Guides": { + "name": "Playwrite NO Guides", + "version": "Version 1.003" + }, + "Playwrite NZ": { + "name": "Playwrite NZ", + "version": "Version 1.003" + }, + "Playwrite NZ Guides": { + "name": "Playwrite NZ Guides", + "version": "Version 1.003" + }, + "Playwrite PE": { + "name": "Playwrite PE", + "version": "Version 1.003" + }, + "Playwrite PE Guides": { + "name": "Playwrite PE Guides", + "version": "Version 1.003" + }, + "Playwrite PL": { + "name": "Playwrite PL", + "version": "Version 1.003" + }, + "Playwrite PL Guides": { + "name": "Playwrite PL Guides", + "version": "Version 1.003" + }, + "Playwrite PT": { + "name": "Playwrite PT", + "version": "Version 1.003" + }, + "Playwrite PT Guides": { + "name": "Playwrite PT Guides", + "version": "Version 1.003" + }, + "Playwrite RO": { + "name": "Playwrite RO", + "version": "Version 1.003" + }, + "Playwrite RO Guides": { + "name": "Playwrite RO Guides", + "version": "Version 1.003" + }, + "Playwrite SK": { + "name": "Playwrite SK", + "version": "Version 1.003" + }, + "Playwrite SK Guides": { + "name": "Playwrite SK Guides", + "version": "Version 1.003" + }, + "Playwrite TZ": { + "name": "Playwrite TZ", + "version": "Version 1.003" + }, + "Playwrite TZ Guides": { + "name": "Playwrite TZ Guides", + "version": "Version 1.003" + }, + "Playwrite US Modern": { + "name": "Playwrite US Modern", + "version": "Version 1.003" + }, + "Playwrite US Modern Guides": { + "name": "Playwrite US Modern Guides", + "version": "Version 1.003" + }, + "Playwrite US Trad": { + "name": "Playwrite US Trad", + "version": "Version 1.003" + }, + "Playwrite US Trad Guides": { + "name": "Playwrite US Trad Guides", + "version": "Version 1.003" + }, + "Playwrite VN": { + "name": "Playwrite VN", + "version": "Version 1.003" + }, + "Playwrite VN Guides": { + "name": "Playwrite VN Guides", + "version": "Version 1.003" + }, + "Playwrite ZA": { + "name": "Playwrite ZA", + "version": "Version 1.003" + }, + "Playwrite ZA Guides": { + "name": "Playwrite ZA Guides", + "version": "Version 1.003" + }, + "Plus Jakarta Sans": { + "name": "Plus Jakarta Sans", + "version": "Version 2.071;gftools[0.9.30]" + }, + "Pochaevsk": { + "name": "Pochaevsk", + "version": "Version 1.210; ttfautohint (v1.8.4.7-5d5b)" + }, + "Podkova": { + "name": "Podkova", + "version": "Version 2.103" + }, + "Poetsen One": { + "name": "PoetsenOne", + "version": "Version 1.000; ttfautohint (v0.8) -G 200 -r 50" + }, + "Poiret One": { + "name": "Poiret One", + "version": "Version 1.101" + }, + "Poller One": { + "name": "Poller One", + "version": "Version 1.002" + }, + "Poltawski Nowy": { + "name": "Poltawski Nowy", + "version": "Version 1.001;gftools[0.9.25]" + }, + "Poly": { + "name": "Poly", + "version": "Version 1.001" + }, + "Pompiere": { + "name": "Pompiere", + "version": "Version 1.002" + }, + "Ponnala": { + "name": "Ponnala", + "version": "Version 1.0.3" + }, + "Ponomar": { + "name": "Ponomar", + "version": "Version 1.302; ttfautohint (v1.8.4.7-5d5b)" + }, + "Pontano Sans": { + "name": "Pontano Sans", + "version": "Version 2.001" + }, + "Poor Story": { + "name": "Poor Story", + "version": "Version 3.00" + }, + "Poppins": { + "name": "Poppins", + "version": "4.004" + }, + "Port Lligat Sans": { + "name": "Port Lligat Sans", + "version": "Version 1.002" + }, + "Port Lligat Slab": { + "name": "Port Lligat Slab", + "version": "Version 1.002" + }, + "Porter Sans Block": { + "name": "Porter Sans Block", + "version": "Version 1.000" + }, + "Post No Bills Colombo": { + "name": "Post No Bills Colombo Light", + "version": "Version 1.220 ; ttfautohint (v1.6)" + }, + "Post No Bills Jaffna": { + "name": "Post No Bills Jaffna Light", + "version": "Version 1.220 ; ttfautohint (v1.6)" + }, + "Potta One": { + "name": "Potta One", + "version": "Version 1.000" + }, + "Pragati Narrow": { + "name": "Pragati Narrow", + "version": "Version 1.010; ttfautohint (v1.3)" + }, + "Praise": { + "name": "Praise", + "version": "Version 1.100; ttfautohint (v1.8.3)" + }, + "Prata": { + "name": "Prata", + "version": "Version 2.000" + }, + "Preahvihear": { + "name": "Preahvihear", + "version": "Version 8.002; ttfautohint (v1.8.3)" + }, + "Press Start 2P": { + "name": "Press Start 2P", + "version": "Version 3.000" + }, + "Pridi": { + "name": "Pridi", + "version": "Version 1.001" + }, + "Princess Sofia": { + "name": "Princess Sofia", + "version": "Version 1.000" + }, + "Prociono": { + "name": "Prociono", + "version": "Version 2.301 " + }, + "Prompt": { + "name": "Prompt", + "version": "Version 1.001" + }, + "Prosto One": { + "name": "Prosto One", + "version": "Version 1.001" + }, + "Protest Guerrilla": { + "name": "Protest Guerrilla", + "version": "Version 2.005; ttfautohint (v1.8.4.7-5d5b)" + }, + "Protest Revolution": { + "name": "Protest Revolution", + "version": "Version 2.005; ttfautohint (v1.8.4.7-5d5b)" + }, + "Protest Riot": { + "name": "Protest Riot", + "version": "Version 2.005; ttfautohint (v1.8.4.7-5d5b)" + }, + "Protest Strike": { + "name": "Protest Strike", + "version": "Version 2.005; ttfautohint (v1.8.4.7-5d5b)" + }, + "Proza Libre": { + "name": "Proza Libre", + "version": "Version 1.001; ttfautohint (v1.4.1.8-43bc)" + }, + "Public Sans": { + "name": "Public Sans", + "version": "Version 2.001" + }, + "Puppies Play": { + "name": "Puppies Play", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Puritan": { + "name": "Puritan", + "version": "2.0a" + }, + "Purple Purse": { + "name": "Purple Purse", + "version": "Version 1.000" + }, + "Pushster": { + "name": "Pushster", + "version": "Version 2.100" + }, + "Qahiri": { + "name": "Qahiri", + "version": "Version 3.00" + }, + "Quando": { + "name": "Quando", + "version": "Version 1.002" + }, + "Quantico": { + "name": "Quantico", + "version": "Version 2.002" + }, + "Quattrocento": { + "name": "Quattrocento", + "version": "Version 2.000" + }, + "Quattrocento Sans": { + "name": "Quattrocento Sans", + "version": "Version 2.000" + }, + "Questrial": { + "name": "Questrial", + "version": "Version 2.000; ttfautohint (v1.8.3)" + }, + "Quicksand": { + "name": "Quicksand", + "version": "Version 3.006" + }, + "Quintessential": { + "name": "Quintessential", + "version": "Version 1.000" + }, + "Qwigley": { + "name": "Qwigley", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Qwitcher Grypen": { + "name": "Qwitcher Grypen", + "version": "Version 1.100; ttfautohint (v1.8.3)" + }, + "REM": { + "name": "REM", + "version": "Version 1.005;gftools[0.9.28]" + }, + "RU Serius": { + "name": "RU Serius", + "version": "Version 1.011; ttfautohint (v1.8.3)" + }, + "Racing Sans One": { + "name": "Racing Sans One", + "version": "Version 1.001; ttfautohint (v0.8) -G 200 -r 50" + }, + "Radio Canada": { + "name": "Radio Canada", + "version": "Version 2.104;gftools[0.9.28.dev5+ged2979d]" + }, + "Radio Canada Big": { + "name": "Radio Canada Big", + "version": "Version 1.001" + }, + "Radley": { + "name": "Radley", + "version": "Version 1.003; ttfautohint (v1.6)" + }, + "Rajdhani": { + "name": "Rajdhani", + "version": "Version 1.201;PS 1.0;hotconv 1.0.78;makeotf.lib2.5.61930; ttfautohint (v1.1) -l 7 -r 28 -G 50 -x 13 -D latn -f deva -w G" + }, + "Rakkas": { + "name": "Rakkas", + "version": "Version 2.000" + }, + "Raleway": { + "name": "Raleway", + "version": "Version 4.026" + }, + "Raleway Dots": { + "name": "Raleway Dots", + "version": "Version 1.000" + }, + "Ramabhadra": { + "name": "Ramabhadra", + "version": "Version 1.0.5; ttfautohint (vUNKNOWN) -l 7 -r 28 -G 50 -x 13 -D telu -f telu -w G -X \"\"" + }, + "Ramaraja": { + "name": "Ramaraja", + "version": "Version 1.0.4; ttfautohint (v1.2.25-373a) -l 7 -r 28 -G 50 -x 13 -D telu -f latn -w G -X \"\"" + }, + "Rambla": { + "name": "Rambla", + "version": "Version 1.001" + }, + "Rammetto One": { + "name": "Rammetto One", + "version": "Version 1.100; ttfautohint (v1.8.4.7-5d5b)" + }, + "Rampart One": { + "name": "Rampart One", + "version": "Version 1.100" + }, + "Ranchers": { + "name": "Ranchers", + "version": "Version 1.000; ttfautohint (v0.8) -G 200 -r 50" + }, + "Rancho": { + "name": "Rancho", + "version": "Version 1.001" + }, + "Ranga": { + "name": "Ranga", + "version": "Version 1.0.2" + }, + "Rasa": { + "name": "Rasa", + "version": "Version 2.004" + }, + "Rationale": { + "name": "Rationale", + "version": "Version 1.011" + }, + "Ravi Prakash": { + "name": "Ravi Prakash", + "version": "Version 1.0.4; ttfautohint (v1.2.42-39fb)" + }, + "Readex Pro": { + "name": "Readex Pro", + "version": "Version 1.205" + }, + "Recursive": { + "name": "Recursive", + "version": "Version 1.085" + }, + "Red Hat Display": { + "name": "Red Hat Display", + "version": "Version 1.030" + }, + "Red Hat Mono": { + "name": "Red Hat Mono", + "version": "Version 1.030" + }, + "Red Hat Text": { + "name": "Red Hat Text", + "version": "Version 1.030" + }, + "Red Rose": { + "name": "Red Rose", + "version": "Version 2.000" + }, + "Redacted": { + "name": "Redacted", + "version": "Version 1.002; ttfautohint (v1.8.3)" + }, + "Redacted Script": { + "name": "Redacted Script", + "version": "Version 1.001; ttfautohint (v1.8.3)" + }, + "Reddit Mono": { + "name": "Reddit Mono", + "version": "Version 1.014" + }, + "Reddit Sans": { + "name": "Reddit Sans", + "version": "Version 1.014" + }, + "Reddit Sans Condensed": { + "name": "Reddit Sans Condensed", + "version": "Version 1.014" + }, + "Redressed": { + "name": "Redressed", + "version": "Version 1.001" + }, + "Reem Kufi": { + "name": "Reem Kufi", + "version": "Version 1.6" + }, + "Reem Kufi Fun": { + "name": "Reem Kufi Fun", + "version": "Version 1.899" + }, + "Reem Kufi Ink": { + "name": "Reem Kufi Ink", + "version": "Version 1.899" + }, + "Reenie Beanie": { + "name": "Reenie Beanie", + "version": "Version 1.000" + }, + "Reggae One": { + "name": "Reggae One", + "version": "Version 1.100" + }, + "Rethink Sans": { + "name": "Rethink Sans", + "version": "Version 1.001" + }, + "Revalia": { + "name": "Revalia", + "version": "Version 1.001" + }, + "Rhodium Libre": { + "name": "Rhodium Libre", + "version": "Version 1.001; ttfautohint (v1.3)" + }, + "Ribeye": { + "name": "Ribeye", + "version": "Version 1.000" + }, + "Ribeye Marrow": { + "name": "Ribeye Marrow", + "version": "Version 1.000" + }, + "Righteous": { + "name": "Righteous", + "version": "Version 1.000" + }, + "Risque": { + "name": "Risque", + "version": "Version 1.000" + }, + "Road Rage": { + "name": "Road Rage", + "version": "Version 1.010" + }, + "Roboto": { + "name": "Roboto", + "version": "Version 3.011; 2025" + }, + "Roboto Condensed": { + "name": "Roboto Condensed", + "version": "Version 3.008; 2023" + }, + "Roboto Flex": { + "name": "Roboto Flex", + "version": "Version 3.002" + }, + "Roboto Mono": { + "name": "Roboto Mono", + "version": "Version 3.001" + }, + "Roboto Serif": { + "name": "Roboto Serif", + "version": "Version 1.008" + }, + "Roboto Slab": { + "name": "Roboto Slab", + "version": "Version 2.002" + }, + "Rochester": { + "name": "Rochester", + "version": "Version 1.006" + }, + "Rock 3D": { + "name": "Rock 3D", + "version": "Version 1.000" + }, + "Rock Salt": { + "name": "Rock Salt", + "version": "Version 1.001" + }, + "RocknRoll One": { + "name": "RocknRoll One", + "version": "Version 1.100" + }, + "Rokkitt": { + "name": "Rokkitt", + "version": "Version 3.103" + }, + "Romanesco": { + "name": "Romanesco", + "version": "Version 1.000" + }, + "Ropa Sans": { + "name": "Ropa Sans", + "version": "Version 1.100" + }, + "Rosario": { + "name": "Rosario", + "version": "Version 1.201" + }, + "Rosarivo": { + "name": "Rosarivo", + "version": "Version 1.003" + }, + "Rouge Script": { + "name": "Rouge Script", + "version": "Version 1.003" + }, + "Rowdies": { + "name": "Rowdies", + "version": "Version 1.000; ttfautohint (v1.8.3)" + }, + "Rozha One": { + "name": "Rozha One", + "version": "Version 1.301;PS 1.0;hotconv 1.0.78;makeotf.lib2.5.61930; ttfautohint (v1.1) -l 7 -r 28 -G 50 -x 13 -D latn -f deva -w G" + }, + "Rubik": { + "name": "Rubik", + "version": "Version 2.300;gftools[0.9.30]" + }, + "Rubik 80s Fade": { + "name": "Rubik 80s Fade", + "version": "Version 2.201" + }, + "Rubik Beastly": { + "name": "Rubik Beastly", + "version": "Version 2.200" + }, + "Rubik Broken Fax": { + "name": "Rubik Broken Fax", + "version": "Version 2.201" + }, + "Rubik Bubbles": { + "name": "Rubik Bubbles", + "version": "Version 2.200" + }, + "Rubik Burned": { + "name": "Rubik Burned", + "version": "Version 2.200" + }, + "Rubik Dirt": { + "name": "Rubik Dirt", + "version": "Version 2.200" + }, + "Rubik Distressed": { + "name": "Rubik Distressed", + "version": "Version 2.200" + }, + "Rubik Doodle Shadow": { + "name": "Rubik Doodle Shadow", + "version": "Version 2.201" + }, + "Rubik Doodle Triangles": { + "name": "Rubik Doodle Triangles", + "version": "Version 2.201" + }, + "Rubik Gemstones": { + "name": "Rubik Gemstones", + "version": "Version 2.200" + }, + "Rubik Glitch": { + "name": "Rubik Glitch", + "version": "Version 2.200" + }, + "Rubik Glitch Pop": { + "name": "Rubik Glitch Pop", + "version": "Version 2.201" + }, + "Rubik Iso": { + "name": "Rubik Iso", + "version": "Version 2.200" + }, + "Rubik Lines": { + "name": "Rubik Lines", + "version": "Version 2.201" + }, + "Rubik Maps": { + "name": "Rubik Maps", + "version": "Version 2.201" + }, + "Rubik Marker Hatch": { + "name": "Rubik Marker Hatch", + "version": "Version 2.200" + }, + "Rubik Maze": { + "name": "Rubik Maze", + "version": "Version 2.200" + }, + "Rubik Microbe": { + "name": "Rubik Microbe", + "version": "Version 2.200" + }, + "Rubik Mono One": { + "name": "Rubik Mono One", + "version": "Version 2.000" + }, + "Rubik Moonrocks": { + "name": "Rubik Moonrocks", + "version": "Version 2.200" + }, + "Rubik One": { + "name": "Rubik One", + "version": "Version 1.001" + }, + "Rubik Pixels": { + "name": "Rubik Pixels", + "version": "Version 2.200" + }, + "Rubik Puddles": { + "name": "Rubik Puddles", + "version": "Version 2.200" + }, + "Rubik Scribble": { + "name": "Rubik Scribble", + "version": "Version 2.201" + }, + "Rubik Spray Paint": { + "name": "Rubik Spray Paint", + "version": "Version 2.200" + }, + "Rubik Storm": { + "name": "Rubik Storm", + "version": "Version 2.201" + }, + "Rubik Vinyl": { + "name": "Rubik Vinyl", + "version": "Version 2.200" + }, + "Rubik Wet Paint": { + "name": "Rubik Wet Paint", + "version": "Version 2.200" + }, + "Ruda": { + "name": "Ruda", + "version": "Version 2.001" + }, + "Rufina": { + "name": "Rufina", + "version": "Version 1.001" + }, + "Ruge Boogie": { + "name": "Ruge Boogie", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Ruluko": { + "name": "Ruluko", + "version": "Version 1.001" + }, + "Rum Raisin": { + "name": "Rum Raisin", + "version": "Version 1.000" + }, + "Ruslan Display": { + "name": "Ruslan Display", + "version": "Version 1.001" + }, + "Russo One": { + "name": "Russo One", + "version": "Version 1.001" + }, + "Ruthie": { + "name": "Ruthie", + "version": "Version 1.012" + }, + "Ruwudu": { + "name": "Ruwudu", + "version": "Version 3.000" + }, + "Rye": { + "name": "Rye", + "version": "Version 1.001" + }, + "STIX Two Math": { + "name": "STIX Two Math", + "version": "Version 2.12 b168a" + }, + "STIX Two Text": { + "name": "STIX Two Text", + "version": "Version 2.13 b171" + }, + "SUSE": { + "name": "SUSE", + "version": "Version 1.000" + }, + "Sacramento": { + "name": "Sacramento", + "version": "Version 1.000" + }, + "Sahitya": { + "name": "Sahitya", + "version": "Version 1.001;PS 001.000;hotconv 1.0.70;makeotf.lib2.5.58329 DEVELOPMENT; ttfautohint (v1.2) -l 8 -r 50 -G 200 -x 16 -D latn -f none -w G -W -X \"\"" + }, + "Sail": { + "name": "Sail", + "version": "Version 1.002" + }, + "Saira": { + "name": "Saira", + "version": "Version 1.101" + }, + "Saira Condensed": { + "name": "Saira Condensed", + "version": "Version 0.072" + }, + "Saira Extra Condensed": { + "name": "Saira Extra Condensed", + "version": "Version 0.072" + }, + "Saira Semi Condensed": { + "name": "Saira Semi Condensed", + "version": "Version 0.072" + }, + "Saira Stencil": { + "name": "Saira Stencil", + "version": "Version 1.003" + }, + "Saira Stencil One": { + "name": "Saira Stencil One", + "version": "Version 1.004" + }, + "Salsa": { + "name": "Salsa", + "version": "Version 1.002" + }, + "Sanchez": { + "name": "Sanchez", + "version": "Version 1.001" + }, + "Sancreek": { + "name": "Sancreek", + "version": "Version 1.100; ttfautohint (v1.8.4.7-5d5b)" + }, + "Sankofa Display": { + "name": "Sankofa Display", + "version": "Version 1.000; ttfautohint (v1.8.4.7-5d5b)" + }, + "Sansation": { + "name": "Sansation", + "version": "Version 1.301" + }, + "Sansita": { + "name": "Sansita", + "version": "Version 1.006; ttfautohint (v1.5)" + }, + "Sansita One": { + "name": "Sansita One", + "version": "Version 1.002" + }, + "Sansita Swashed": { + "name": "Sansita Swashed", + "version": "Version 1.003" + }, + "Sarabun": { + "name": "Sarabun", + "version": "Version 1.000; ttfautohint (v1.6)" + }, + "Sarala": { + "name": "Sarala", + "version": "Version 1.004;PS 001.003;hotconv 1.0.70;makeotf.lib2.5.58329 DEVELOPMENT; ttfautohint (v1.00) -l 8 -r 50 -G 200 -x 14 -D latn -f none -w G" + }, + "Sarina": { + "name": "Sarina", + "version": "Version 1.001" + }, + "Sarpanch": { + "name": "Sarpanch", + "version": "Version 2.004;PS 1.0;hotconv 1.0.78;makeotf.lib2.5.61930; ttfautohint (v1.1) -l 8 -r 50 -G 200 -x 14 -D latn -f deva -w gGD -W -c" + }, + "Sassy Frass": { + "name": "Sassy Frass", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Satisfy": { + "name": "Satisfy", + "version": "Version 1.001" + }, + "Savate": { + "name": "Savate", + "version": "Version 2.000" + }, + "Sawarabi Gothic": { + "name": "Sawarabi Gothic", + "version": "Version 20141215 " + }, + "Sawarabi Mincho": { + "name": "Sawarabi Mincho", + "version": "Version 1.082; ttfautohint (v1.8.4.7-5d5b)" + }, + "Scada": { + "name": "Scada", + "version": "Version 4.000" + }, + "Scheherazade": { + "name": "Scheherazade", + "version": "Version 2.100 (build 932/914)" + }, + "Scheherazade New": { + "name": "Scheherazade New", + "version": "Version 4.300" + }, + "Schibsted Grotesk": { + "name": "Schibsted Grotesk", + "version": "Version 1.100;gftools[0.9.25]" + }, + "Schoolbell": { + "name": "Schoolbell", + "version": "Version 1.001" + }, + "Scope One": { + "name": "Scope One", + "version": "Version 1.002; ttfautohint (v1.4.1) -l 11 -r 50 -G 50 -x 14 -D latn -f latn -m \"ttfautohint.ctrl\" -w G -X \"\"" + }, + "Seaweed Script": { + "name": "Seaweed Script", + "version": "Version 1.000" + }, + "Secular One": { + "name": "Secular One", + "version": "Version 1.002; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.29]" + }, + "Sedan": { + "name": "Sedan", + "version": "Version 1.100; ttfautohint (v1.8.4.7-5d5b)" + }, + "Sedan SC": { + "name": "Sedan SC", + "version": "Version 1.100; ttfautohint (v1.8.4.7-5d5b)" + }, + "Sedgwick Ave": { + "name": "Sedgwick Ave", + "version": "Version 1.000" + }, + "Sedgwick Ave Display": { + "name": "Sedgwick Ave Display", + "version": "Version 1.000" + }, + "Sen": { + "name": "Sen", + "version": "Version 2.000;gftools[0.9.31]" + }, + "Send Flowers": { + "name": "Send Flowers", + "version": "Version 1.010; ttfautohint (v1.8.4.7-5d5b)" + }, + "Sevillana": { + "name": "Sevillana", + "version": "Version 1.001" + }, + "Seymour One": { + "name": "Seymour One", + "version": "Version 1.100; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.33]" + }, + "Shadows Into Light": { + "name": "Shadows Into Light", + "version": "Version 001.000" + }, + "Shadows Into Light Two": { + "name": "Shadows Into Light Two", + "version": "Version 1.003 2012" + }, + "Shafarik": { + "name": "Shafarik", + "version": "Version 1.002; ttfautohint (v1.8.4.7-5d5b)" + }, + "Shalimar": { + "name": "Shalimar", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Shantell Sans": { + "name": "Shantell Sans", + "version": "Version 1.011;[c5ecc13dd]" + }, + "Shanti": { + "name": "Shanti", + "version": "Version 1.100; ttfautohint (v1.8.4)" + }, + "Share": { + "name": "Share", + "version": "Version 1.002" + }, + "Share Tech": { + "name": "Share Tech", + "version": "Version 1.100" + }, + "Share Tech Mono": { + "name": "Share Tech Mono", + "version": "Version 1.003" + }, + "Shippori Antique": { + "name": "Shippori Antique", + "version": "Version 2.001" + }, + "Shippori Antique B1": { + "name": "Shippori Antique B1", + "version": "Version 2.001" + }, + "Shippori Mincho": { + "name": "Shippori Mincho", + "version": "Version 3.110; ttfautohint (v1.8.3)" + }, + "Shippori Mincho B1": { + "name": "Shippori Mincho B1", + "version": "Version 3.110; ttfautohint (v1.8.3)" + }, + "Shizuru": { + "name": "Shizuru", + "version": "Version 1.000" + }, + "Shojumaru": { + "name": "Shojumaru", + "version": "Version 1.001" + }, + "Short Stack": { + "name": "Short Stack", + "version": "Version 1.002" + }, + "Shrikhand": { + "name": "Shrikhand", + "version": "Version 1.001;PS 1.001;hotconv 1.0.88;makeotf.lib2.5.647800" + }, + "Siemreap": { + "name": "Siemreap", + "version": "Version 6.00 December 28, 2010" + }, + "Sigmar": { + "name": "Sigmar", + "version": "Version 1.000; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.24]" + }, + "Sigmar One": { + "name": "Sigmar One", + "version": "Version 2.000" + }, + "Signika": { + "name": "Signika", + "version": "Version 2.003;gftools[0.9.32]" + }, + "Signika Negative": { + "name": "Signika Negative", + "version": "Version 2.001" + }, + "Signika Negative SC": { + "name": "Signika Negative SC", + "version": "Version 2.000; ttfautohint (v1.8.3) -l 8 -r 50 -G 200 -x 9 -D latn -f none -a nnn -X \"\"" + }, + "Signika SC": { + "name": "Signika SC", + "version": "Version 2.000" + }, + "Silkscreen": { + "name": "Silkscreen", + "version": "Version 1.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Simonetta": { + "name": "Simonetta", + "version": "Version 1.004" + }, + "Single Day": { + "name": "Single Day", + "version": "Version 1.00" + }, + "Sintony": { + "name": "Sintony", + "version": "Version 001.001" + }, + "Sirin Stencil": { + "name": "Sirin Stencil", + "version": "Version 1.002" + }, + "Sitara": { + "name": "Sitara", + "version": "Version 1.000;PS Version 1.000;PS 1.0;hotconv 1.;hotconv 1.0.78;makeotf.lib2.5.61930" + }, + "Six Caps": { + "name": "Six Caps", + "version": "Version 001.000" + }, + "Sixtyfour": { + "name": "Sixtyfour", + "version": "Version 2.001" + }, + "Sixtyfour Convergence": { + "name": "Sixtyfour Convergence", + "version": "Version 2.001" + }, + "Skranji": { + "name": "Skranji", + "version": "Version 1.001" + }, + "Slabo 13px": { + "name": "Slabo 13px", + "version": "Version 1.02 Build 005a" + }, + "Slabo 27px": { + "name": "Slabo 27px", + "version": "Version 1.02 Build 003a" + }, + "Slackey": { + "name": "Slackey", + "version": "Version 1.001" + }, + "Slackside One": { + "name": "Slackside One", + "version": "Version 1.000" + }, + "Smokum": { + "name": "Smokum", + "version": "Version 1.001" + }, + "Smooch": { + "name": "Smooch", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Smooch Sans": { + "name": "Smooch Sans", + "version": "Version 1.010" + }, + "Smythe": { + "name": "Smythe", + "version": "Version 1.000" + }, + "Sniglet": { + "name": "Sniglet", + "version": "Version 2.000; ttfautohint (v0.95) -l 8 -r 50 -G 200 -x 14 -w \"G\"" + }, + "Snippet": { + "name": "Snippet", + "version": "Version 1.000" + }, + "Snowburst One": { + "name": "Snowburst One", + "version": "Version 1.001" + }, + "Sofadi One": { + "name": "Sofadi One", + "version": "Version 1.002" + }, + "Sofia": { + "name": "Sofia", + "version": "Version 1.001" + }, + "Sofia Sans": { + "name": "Sofia Sans", + "version": "Version 4.101" + }, + "Sofia Sans Condensed": { + "name": "Sofia Sans Condensed", + "version": "Version 4.101" + }, + "Sofia Sans Extra Condensed": { + "name": "Sofia Sans Extra Condensed", + "version": "Version 4.101" + }, + "Sofia Sans Semi Condensed": { + "name": "Sofia Sans Semi Condensed", + "version": "Version 4.101" + }, + "Solitreo": { + "name": "Solitreo", + "version": "Version 1.100; ttfautohint (v1.8.4.7-5d5b)" + }, + "Solway": { + "name": "Solway", + "version": "Version 1.000" + }, + "Sometype Mono": { + "name": "Sometype Mono", + "version": "Version 1.001" + }, + "Song Myung": { + "name": "Song Myung", + "version": "Version 1.00" + }, + "Sono": { + "name": "Sono", + "version": "Version 2.112" + }, + "Sonsie One": { + "name": "Sonsie One", + "version": "Version 1.003" + }, + "Sora": { + "name": "Sora", + "version": "Version 2.000" + }, + "Sorts Mill Goudy": { + "name": "Sorts Mill Goudy", + "version": "Version 003.101 " + }, + "Sour Gummy": { + "name": "Sour Gummy", + "version": "Version 1.000" + }, + "Source Code Pro": { + "name": "Source Code Pro", + "version": "Version 1.026;hotconv 1.1.0;makeotfexe 2.6.0" + }, + "Source Sans 3": { + "name": "Source Sans 3", + "version": "Version 3.052;hotconv 1.1.0;makeotfexe 2.6.0" + }, + "Source Sans Pro": { + "name": "Source Sans Pro", + "version": "Version 2.045;hotconv 1.0.109;makeotfexe 2.5.65596" + }, + "Source Serif 4": { + "name": "Source Serif 4", + "version": "Version 4.004;hotconv 1.0.116;makeotfexe 2.5.65601" + }, + "Source Serif Pro": { + "name": "Source Serif Pro", + "version": "Version 3.001;hotconv 1.0.111;makeotfexe 2.5.65597" + }, + "Space Grotesk": { + "name": "Space Grotesk", + "version": "Version 2.000" + }, + "Space Mono": { + "name": "Space Mono", + "version": "Version 1.003; ttfautohint (v1.8.4.7-5d5b)" + }, + "Special Elite": { + "name": "Special Elite", + "version": "Version 1.001" + }, + "Special Gothic": { + "name": "Special Gothic", + "version": "Version 1.011" + }, + "Special Gothic Condensed One": { + "name": "Special Gothic Condensed One", + "version": "Version 1.010; ttfautohint (v1.8.4.7-5d5b)" + }, + "Special Gothic Expanded One": { + "name": "Special Gothic Expanded One", + "version": "Version 1.010; ttfautohint (v1.8.4.7-5d5b)" + }, + "Spectral": { + "name": "Spectral", + "version": "Version 2.005; ttfautohint (v1.8.4.7-5d5b)" + }, + "Spectral SC": { + "name": "Spectral SC", + "version": "Version 2.005; ttfautohint (v1.8.4.7-5d5b)" + }, + "Spicy Rice": { + "name": "Spicy Rice", + "version": "Version 1.000" + }, + "Spinnaker": { + "name": "Spinnaker", + "version": "Version 1.001" + }, + "Spirax": { + "name": "Spirax", + "version": "Version 1.002" + }, + "Splash": { + "name": "Splash", + "version": "Version 1.010; ttfautohint (v1.8.4.7-5d5b)" + }, + "Spline Sans": { + "name": "Spline Sans", + "version": "Version 1.001" + }, + "Spline Sans Mono": { + "name": "Spline Sans Mono", + "version": "Version 1.004" + }, + "Squada One": { + "name": "Squada One", + "version": "Version 1.001" + }, + "Square Peg": { + "name": "Square Peg", + "version": "Version 1.010; ttfautohint (v1.8.4.7-5d5b)" + }, + "Sree Krushnadevaraya": { + "name": "Sree Krushnadevaraya", + "version": "Version 1.0.5; ttfautohint (v1.2.42-39fb)" + }, + "Sriracha": { + "name": "Sriracha", + "version": "Version 1.002g" + }, + "Srisakdi": { + "name": "Srisakdi", + "version": "Version 1.000; ttfautohint (v1.6)" + }, + "Staatliches": { + "name": "Staatliches", + "version": "Version 1.000; ttfautohint (v1.8.2) -l 8 -r 50 -G 200 -x 14 -D l" + }, + "Stalemate": { + "name": "Stalemate", + "version": "Version 001.000" + }, + "Stalinist One": { + "name": "Stalinist One", + "version": "Version 3.004" + }, + "Stardos Stencil": { + "name": "Stardos Stencil", + "version": "Version 1.001; ttfautohint (v1.8.2)" + }, + "Stick": { + "name": "Stick", + "version": "Version 1.100" + }, + "Stick No Bills": { + "name": "Stick No Bills", + "version": "Version 2.000" + }, + "Stint Ultra Condensed": { + "name": "Stint Ultra Condensed", + "version": "Version 1.000" + }, + "Stint Ultra Expanded": { + "name": "Stint Ultra Expanded", + "version": "Version 1.000" + }, + "Stoke": { + "name": "Stoke", + "version": "Version 1.001" + }, + "Strait": { + "name": "Strait", + "version": "Version 1.002; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.23]" + }, + "Strong": { + "name": "Strong", + "version": "Version 1.001" + }, + "Style Script": { + "name": "Style Script", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Stylish": { + "name": "Stylish", + "version": "Version 1.64" + }, + "Sue Ellen Francisco": { + "name": "Sue Ellen Francisco", + "version": "Version 1.002 2007" + }, + "Suez One": { + "name": "Suez One", + "version": "Version 1.001" + }, + "Sulphur Point": { + "name": "Sulphur Point", + "version": "Version 1.000; ttfautohint (v1.8)" + }, + "Sumana": { + "name": "Sumana", + "version": "Version 1.015;PS 001.015;hotconv 1.0.70;makeotf.lib2.5.58329 DEVELOPMENT; ttfautohint (v0.94) -l 8 -r 50 -G 200 -x 14 -w \"G\"" + }, + "Sunflower": { + "name": "Sunflower", + "version": "Version 1.00" + }, + "Sunshiney": { + "name": "Sunshiney", + "version": "Version 1.001" + }, + "Supermercado One": { + "name": "Supermercado One", + "version": "Version 1.002" + }, + "Sura": { + "name": "Sura", + "version": "Version 1.003;PS 001.002;hotconv 1.0.70;makeotf.lib2.5.58329 DEVELOPMENT; ttfautohint (v1.00) -l 8 -r 50 -G 200 -x 14 -D latn -f none -w G" + }, + "Suranna": { + "name": "Suranna", + "version": "Version 1.0.5; ttfautohint (v1.2.42-39fb)" + }, + "Suravaram": { + "name": "Suravaram", + "version": "Version 1.0.4; ttfautohint (v1.2.42-39fb)" + }, + "Suwannaphum": { + "name": "Suwannaphum", + "version": "Version 8.002; ttfautohint (v1.8.3)" + }, + "Swanky and Moo Moo": { + "name": "Swanky and Moo Moo", + "version": "Version 1.002 2001" + }, + "Syncopate": { + "name": "Syncopate", + "version": "Version 001.001" + }, + "Syne": { + "name": "Syne", + "version": "Version 2.200" + }, + "Syne Mono": { + "name": "Syne Mono", + "version": "Version 2.000; ttfautohint (v1.8.3)" + }, + "Syne Tactile": { + "name": "Syne Tactile", + "version": "Version 2.100; ttfautohint (v1.8.3)" + }, + "Tac One": { + "name": "Tac One", + "version": "Version 1.003; ttfautohint (v1.8.4.7-5d5b)" + }, + "Tagesschrift": { + "name": "Tagesschrift", + "version": "Version 2.000; ttfautohint (v1.8.4.7-5d5b)" + }, + "Tai Heritage Pro": { + "name": "Tai Heritage Pro", + "version": "Version 2.600" + }, + "Tajawal": { + "name": "Tajawal", + "version": "Version 1.700" + }, + "Tangerine": { + "name": "Tangerine", + "version": "Version 1.3" + }, + "Tapestry": { + "name": "Tapestry", + "version": "Version 1.010; ttfautohint (v1.8.4.7-5d5b)" + }, + "Taprom": { + "name": "Taprom", + "version": "Version 8.002; ttfautohint (v1.8.3)" + }, + "Tauri": { + "name": "Tauri", + "version": "Version 1.003; ttfautohint (v0.93.8-669f) -l 13 -r 13 -G 200 -x " + }, + "Taviraj": { + "name": "Taviraj", + "version": "Version 1.001" + }, + "Teachers": { + "name": "Teachers", + "version": "Version 1.001" + }, + "Teko": { + "name": "Teko", + "version": "Version 2.000;gftools[0.9.28.dev9+g7d2139d.d20230707]" + }, + "Tektur": { + "name": "Tektur", + "version": "Version 1.005;gftools[0.9.30]" + }, + "Telex": { + "name": "Telex", + "version": "Version 1.100" + }, + "Tenali Ramakrishna": { + "name": "Tenali Ramakrishna", + "version": "Version 1.0.5; ttfautohint (v1.2.25-373a) -l 7 -r 28 -G 50 -x 13 -D telu -f latn -w G -X \"\"" + }, + "Tenor Sans": { + "name": "Tenor Sans", + "version": "Version 1.1" + }, + "Text Me One": { + "name": "Text Me One", + "version": "Version 1.003" + }, + "Texturina": { + "name": "Texturina", + "version": "Version 1.002" + }, + "Thabit": { + "name": "Thabit", + "version": "0.01" + }, + "Thasadith": { + "name": "Thasadith", + "version": "Version 1.000; ttfautohint (v1.6)" + }, + "The Girl Next Door": { + "name": "The Girl Next Door", + "version": "Version 1.002 2010" + }, + "The Nautigal": { + "name": "The Nautigal", + "version": "Version 1.100; ttfautohint (v1.8.3)" + }, + "Tienne": { + "name": "Tienne", + "version": "Version 1.001" + }, + "Tillana": { + "name": "Tillana", + "version": "Version 2.003;PS 1.0;hotconv 1.0.79;makeotf.lib2.5.61930; ttfautohint (v1.2.42-39fb)" + }, + "Tilt Neon": { + "name": "Tilt Neon", + "version": "Version 1.000" + }, + "Tilt Prism": { + "name": "Tilt Prism", + "version": "Version 1.000" + }, + "Tilt Warp": { + "name": "Tilt Warp", + "version": "Version 1.000" + }, + "Timmana": { + "name": "Timmana", + "version": "Version 1.0.4; ttfautohint (v1.2.42-39fb)" + }, + "Tinos": { + "name": "Tinos", + "version": "Version 1.23" + }, + "Tiny5": { + "name": "Tiny5", + "version": "Version 1.002; ttfautohint (v1.8.4.7-5d5b)" + }, + "Tiro Bangla": { + "name": "Tiro Bangla", + "version": "Version 1.52" + }, + "Tiro Devanagari Hindi": { + "name": "Tiro Devanagari Hindi", + "version": "Version 1.52" + }, + "Tiro Devanagari Marathi": { + "name": "Tiro Devanagari Marathi", + "version": "Version 1.52" + }, + "Tiro Devanagari Sanskrit": { + "name": "Tiro Devanagari Sanskrit", + "version": "Version 1.52" + }, + "Tiro Gurmukhi": { + "name": "Tiro Gurmukhi", + "version": "Version 1.52" + }, + "Tiro Kannada": { + "name": "Tiro Kannada", + "version": "Version 1.52" + }, + "Tiro Tamil": { + "name": "Tiro Tamil", + "version": "Version 1.52" + }, + "Tiro Telugu": { + "name": "Tiro Telugu", + "version": "Version 1.53" + }, + "Titan One": { + "name": "Titan One", + "version": "Version 1.001" + }, + "Titillium Web": { + "name": "Titillium Web", + "version": "Version 1.002;PS 57.000;hotconv 1.0.70;makeotf.lib2.5.55311" + }, + "Tomorrow": { + "name": "Tomorrow", + "version": "Version 2.002" + }, + "Tourney": { + "name": "Tourney", + "version": "Version 1.015" + }, + "Trade Winds": { + "name": "Trade Winds", + "version": "Version 1.001" + }, + "Train One": { + "name": "Train One", + "version": "Version 1.100" + }, + "Triodion": { + "name": "Triodion", + "version": "Version 1.202; ttfautohint (v1.8.4.7-5d5b)" + }, + "Trirong": { + "name": "Trirong", + "version": "Version 1.001" + }, + "Trispace": { + "name": "Trispace", + "version": "Version 1.210" + }, + "Trocchi": { + "name": "Trocchi", + "version": "Version 1.101; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.27]" + }, + "Trochut": { + "name": "Trochut", + "version": "Version 1.001" + }, + "Truculenta": { + "name": "Truculenta", + "version": "Version 1.002" + }, + "Trykker": { + "name": "Trykker", + "version": "Version 1.001" + }, + "Tsukimi Rounded": { + "name": "Tsukimi Rounded", + "version": "Version 1.032; ttfautohint (v1.8.3)" + }, + "Tuffy": { + "name": "Tuffy", + "version": "Version 1.272; ttfautohint (v1.6)" + }, + "Tulpen One": { + "name": "Tulpen One", + "version": "Version 1.002" + }, + "Turret Road": { + "name": "Turret Road", + "version": "Version 1.001; ttfautohint (v1.8)" + }, + "Twinkle Star": { + "name": "Twinkle Star", + "version": "Version 2.010; ttfautohint (v1.8.3)" + }, + "Ubuntu": { + "name": "Ubuntu", + "version": "0.83" + }, + "Ubuntu Condensed": { + "name": "Ubuntu Condensed", + "version": "0.83" + }, + "Ubuntu Mono": { + "name": "Ubuntu Mono", + "version": "Version 0.80" + }, + "Ubuntu Sans": { + "name": "Ubuntu Sans", + "version": "Version 1.006" + }, + "Ubuntu Sans Mono": { + "name": "Ubuntu Sans Mono", + "version": "Version 1.006" + }, + "Uchen": { + "name": "Uchen", + "version": "Version 1.000 preliminary" + }, + "Ultra": { + "name": "Ultra", + "version": "Version 1.001" + }, + "Unbounded": { + "name": "Unbounded", + "version": "Version 1.701;gftools[0.9.28.dev5+ged2979d]" + }, + "Uncial Antiqua": { + "name": "Uncial Antiqua", + "version": "Version 1.000" + }, + "Underdog": { + "name": "Underdog", + "version": "Version 1.001; ttfautohint (v0.9)" + }, + "Unica One": { + "name": "Unica One", + "version": "Version 2.000; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.23]" + }, + "UnifrakturCook": { + "name": "UnifrakturCook", + "version": "Version 2011-09-01 " + }, + "UnifrakturMaguntia": { + "name": "UnifrakturMaguntia", + "version": "Version 2010-11-24 " + }, + "Unkempt": { + "name": "Unkempt", + "version": "Version 1.001" + }, + "Unlock": { + "name": "Unlock", + "version": "Version 1.003; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.23]" + }, + "Unna": { + "name": "Unna", + "version": "Version 2.007; ttfautohint (v1.5)" + }, + "Uoq Mun Then Khung": { + "name": "Uoq Mun Then Khung", + "version": "Version 1.197" + }, + "UoqMunThenKhung": { + "name": "UoqMunThenKhung", + "version": "Version 1.197" + }, + "Updock": { + "name": "Updock", + "version": "Version 1.010; ttfautohint (v1.8.4.7-5d5b)" + }, + "Urbanist": { + "name": "Urbanist", + "version": "Version 1.303" + }, + "VT323": { + "name": "VT323", + "version": "Version 2.000" + }, + "Vampiro One": { + "name": "Vampiro One", + "version": "Version 1.002" + }, + "Varela": { + "name": "Varela", + "version": "Version 1.000" + }, + "Varela Round": { + "name": "Varela Round", + "version": "Version 3.010; ttfautohint (v1.8.4.7-5d5b)" + }, + "Varta": { + "name": "Varta", + "version": "Version 1.004" + }, + "Vast Shadow": { + "name": "Vast Shadow", + "version": "Version 1.002" + }, + "Vazirmatn": { + "name": "Vazirmatn", + "version": "Version 33.003" + }, + "Vesper Libre": { + "name": "Vesper Libre", + "version": "Version 1.058" + }, + "Viaoda Libre": { + "name": "Viaoda Libre", + "version": "Version 2.000" + }, + "Vibes": { + "name": "Vibes", + "version": "Version 1.100" + }, + "Vibur": { + "name": "Vibur", + "version": "Version 1.004 " + }, + "Victor Mono": { + "name": "Victor Mono", + "version": "Version 1.561;gftools[0.9.30]" + }, + "Vidaloka": { + "name": "Vidaloka", + "version": "Version 1.011" + }, + "Viga": { + "name": "Viga", + "version": "Version 1.001" + }, + "Vina Sans": { + "name": "Vina Sans", + "version": "Version 1.002; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.28]" + }, + "Voces": { + "name": "Voces", + "version": "Version 1.100" + }, + "Volkhov": { + "name": "Volkhov", + "version": "Version 1.010" + }, + "Vollkorn": { + "name": "Vollkorn", + "version": "Version 5.001" + }, + "Vollkorn SC": { + "name": "Vollkorn SC", + "version": "Version 4.015" + }, + "Voltaire": { + "name": "Voltaire", + "version": "Version 1.010; ttfautohint (v1.8.4.7-5d5b)" + }, + "Vujahday Script": { + "name": "Vujahday Script", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "WDXL Lubrifont JP N": { + "name": "WDXL Lubrifont JP N", + "version": "Version 2.001;hotconv 1.1.1;makeotfexe 2.6.0" + }, + "WDXL Lubrifont SC": { + "name": "WDXL Lubrifont SC", + "version": "Version 2.001;hotconv 1.1.1;makeotfexe 2.6.0" + }, + "WDXL Lubrifont TC": { + "name": "WDXL Lubrifont TC", + "version": "Version 2.001;hotconv 1.1.1;makeotfexe 2.6.0" + }, + "Waiting for the Sunrise": { + "name": "Waiting for the Sunrise", + "version": "Version 1.001 2001" + }, + "Wallpoet": { + "name": "Wallpoet", + "version": "Version 1.000" + }, + "Walter Turncoat": { + "name": "Walter Turncoat", + "version": "Version 1.001" + }, + "Warnes": { + "name": "Warnes", + "version": "Version 1.002; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.23]" + }, + "Water Brush": { + "name": "Water Brush", + "version": "Version 1.010; ttfautohint (v1.8.4.7-5d5b)" + }, + "Waterfall": { + "name": "Waterfall", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Wavefont": { + "name": "Wavefont", + "version": "Version 3.005;gftools[0.9.33]" + }, + "Wellfleet": { + "name": "Wellfleet", + "version": "Version 1.002" + }, + "Wendy One": { + "name": "Wendy One", + "version": "1.001" + }, + "Whisper": { + "name": "Whisper", + "version": "Version 1.010; ttfautohint (v1.8.4.7-5d5b)" + }, + "WindSong": { + "name": "WindSong", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Winky Rough": { + "name": "Winky Rough", + "version": "Version 1.206" + }, + "Winky Sans": { + "name": "Winky Sans", + "version": "Version 1.205" + }, + "Wire One": { + "name": "Wire One", + "version": "Version 1.102; ttfautohint (v1.8.3)" + }, + "Wittgenstein": { + "name": "Wittgenstein", + "version": "Version 1.500" + }, + "Wix Madefor Display": { + "name": "Wix Madefor Display", + "version": "Version 3.100" + }, + "Wix Madefor Text": { + "name": "Wix Madefor Text", + "version": "Version 3.100" + }, + "Work Sans": { + "name": "Work Sans", + "version": "Version 2.012" + }, + "Workbench": { + "name": "Workbench", + "version": "Version 2.001" + }, + "Xanh Mono": { + "name": "Xanh Mono", + "version": "Version 3.101; ttfautohint (v1.8.3)" + }, + "Yaldevi": { + "name": "Yaldevi", + "version": "Version 1.100" + }, + "Yaldevi Colombo": { + "name": "Yaldevi Colombo", + "version": "Version 1.020 ; ttfautohint (v1.6)" + }, + "Yanone Kaffeesatz": { + "name": "Yanone Kaffeesatz", + "version": "Version 2.003" + }, + "Yantramanav": { + "name": "Yantramanav", + "version": "Version 1.001;PS 1.0;hotconv 1.0.72;makeotf.lib2.5.5900; ttfautohint (v1.3)" + }, + "Yarndings 12": { + "name": "Yarndings 12", + "version": "Version 1.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Yarndings 12 Charted": { + "name": "Yarndings 12 Charted", + "version": "Version 1.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Yarndings 20": { + "name": "Yarndings 20", + "version": "Version 1.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Yarndings 20 Charted": { + "name": "Yarndings 20 Charted", + "version": "Version 1.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Yatra One": { + "name": "Yatra One", + "version": "Version 1.002g;PS 1.0;hotconv 1.0.86;makeotf.lib2.5.63406; ttfautohint (v1.4.1)" + }, + "Yellowtail": { + "name": "Yellowtail", + "version": "Version 001.002 " + }, + "Yeon Sung": { + "name": "Yeon Sung", + "version": "Version 1.001" + }, + "Yeseva One": { + "name": "Yeseva One", + "version": "Version 2.000" + }, + "Yesteryear": { + "name": "Yesteryear", + "version": "Version 1.000" + }, + "Yinmar": { + "name": "Yinmar", + "version": "Version 1.11" + }, + "Yomogi": { + "name": "Yomogi", + "version": "Version 3.100" + }, + "Young Serif": { + "name": "Young Serif", + "version": "Version 3.003; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.33]" + }, + "Yrsa": { + "name": "Yrsa", + "version": "Version 2.004" + }, + "Ysabeau": { + "name": "Ysabeau", + "version": "Version 2.002" + }, + "Ysabeau Infant": { + "name": "Ysabeau Infant", + "version": "Version 2.002; featfreeze: ss01,ss02,lnum" + }, + "Ysabeau Office": { + "name": "Ysabeau Office", + "version": "Version 2.002; featfreeze: tnum,lnum,ss02" + }, + "Ysabeau SC": { + "name": "Ysabeau SC", + "version": "Version 2.002; featfreeze: smcp" + }, + "Yuji Boku": { + "name": "Yuji Boku", + "version": "Version 3.002" + }, + "Yuji Hentaigana Akari": { + "name": "Yuji Hentaigana Akari", + "version": "Version 3.002" + }, + "Yuji Hentaigana Akebono": { + "name": "Yuji Hentaigana Akebono", + "version": "Version 3.002" + }, + "Yuji Mai": { + "name": "Yuji Mai", + "version": "Version 3.002" + }, + "Yuji Syuku": { + "name": "Yuji Syuku", + "version": "Version 3.002" + }, + "Yusei Magic": { + "name": "Yusei Magic", + "version": "Version 1.200" + }, + "ZCOOL KuaiLe": { + "name": "ZCOOL KuaiLe", + "version": "Version 2.000" + }, + "ZCOOL QingKe HuangYou": { + "name": "ZCOOL QingKe HuangYou", + "version": "Version 1.000" + }, + "ZCOOL XiaoWei": { + "name": "ZCOOL XiaoWei", + "version": "Version 1.000" + }, + "Zain": { + "name": "Zain", + "version": "Version 1.51; ttfautohint (v1.8.4)" + }, + "Zen Antique": { + "name": "Zen Antique", + "version": "Version 1.001" + }, + "Zen Antique Soft": { + "name": "Zen Antique Soft", + "version": "Version 1.001" + }, + "Zen Dots": { + "name": "Zen Dots", + "version": "Version 1.000; ttfautohint (v1.8.3)" + }, + "Zen Kaku Gothic Antique": { + "name": "Zen Kaku Gothic Antique", + "version": "Version 1.002" + }, + "Zen Kaku Gothic New": { + "name": "Zen Kaku Gothic New", + "version": "Version 1.002" + }, + "Zen Kurenaido": { + "name": "Zen Kurenaido", + "version": "Version 1.001" + }, + "Zen Loop": { + "name": "Zen Loop", + "version": "Version 1.000; ttfautohint (v1.8.3)" + }, + "Zen Maru Gothic": { + "name": "Zen Maru Gothic", + "version": "Version 1.001" + }, + "Zen Old Mincho": { + "name": "Zen Old Mincho", + "version": "Version 1.500" + }, + "Zen Tokyo Zoo": { + "name": "Zen Tokyo Zoo", + "version": "Version 1.002; ttfautohint (v1.8.3)" + }, + "Zeyada": { + "name": "Zeyada", + "version": "Version 1.002 2010" + }, + "Zhi Mang Xing": { + "name": "Zhi Mang Xing", + "version": "Version 2.001" + }, + "Zilla Slab": { + "name": "Zilla Slab", + "version": "Version 1.1; 2017; ttfautohint (v1.6)" + }, + "Zilla Slab Highlight": { + "name": "Zilla Slab Highlight", + "version": "Version 1.1; 2017; ttfautohint (v1.6)" + }, + "jsMath cmbx10": { + "name": "jsMath-cmbx10", + "version": "Version 001.001 " + }, + "jsMath cmex10": { + "name": "jsMath-cmex10", + "version": "Version 001.001 " + }, + "jsMath cmmi10": { + "name": "jsMath-cmmi10", + "version": "Version 001.001 " + }, + "jsMath cmr10": { + "name": "jsMath-cmr10", + "version": "Version 001.001 " + }, + "jsMath cmsy10": { + "name": "jsMath-cmsy10", + "version": "Version 001.001 " + }, + "jsMath cmti10": { + "name": "jsMath-cmti10", + "version": "Version 001.001 " + } + }, + "designers": { + "42dot": { + "name": "42dot", + "bio": "We Are A Mobility AI Company We envision a world where everything is connected and moves autonomously through a self-managing urban transportation operating system. To make this vision a reality, we develop software and AI technologies to reimagine the future of mobility. Website | LinkedIn" + }, + "Anja Meiners": { + "name": "Anja Meiners", + "bio": null + }, + "Mark Jamra": { + "name": "Mark Jamra", + "bio": null + }, + "Neil Patel": { + "name": "Neil Patel", + "bio": null + }, + "Andrew Footit": { + "name": "Andrew Footit", + "bio": null + }, + "Niteesh Yadav": { + "name": "Niteesh Yadav", + "bio": "Niteesh Yadav, is a multi-disciplinary designer and independent researcher from India currently based in London (UK). He initiated the AR One research project in 2017 during his Master's in Typeface Design at the University of Reading, with a focus on exploring the evolution of typography into spatial interfaces. Since then he has been actively sharing insights from his ongoing research with the community. niteeshyadav.com/ | Instagram" + }, + "MADType": { + "name": "MADType", + "bio": null + }, + "Mooniak": { + "name": "Mooniak", + "bio": "Mooniak is the global leader in Sinhala type and typography. Based in Sri Lanka, it is a small studio working on Sinhala, Tamil and Thanna script type design, typography and research related. Mooniak believes in free culture and releases almost all of their work under FLOSS licenses. mooniak.com/" + }, + "Dominik J\u00e1ger": { + "name": "Dominik J\u00e1ger", + "bio": "Dominik J\u00e1ger is a graphic and type designer based in Brno, Czech Republic. He is mainly interested in a transformation of overlooked and unnoticed inscription pieces into a working font file that satisfies contemporary needs." + }, + "TypeTogether": { + "name": "TypeTogether", + "bio": "TypeTogether is an independent type foundry committed to excellence in type design with a focus on editorial use. Known for the popular typefaces Adelle and Bree, TypeTogether also creates custom type designs for corporate use, including their work for Google Play Books, Clar\u00edn, and Apple. Twitter" + }, + "SIL International": { + "name": "SIL International", + "bio": "SIL International works with local communities to develop language solutions that expand possibilities for a better life. A small team specializes in developing fonts for world scripts including Arabic, Burmese, Cyrillic, Devanagari, Ethiopic, Greek, Gunjala Gondi, Hebrew, Latin, Lepcha, Miao, New Tai Lue, Tai Viet, Tifinagh, and Yi. Webpage" + }, + "Astigmatic": { + "name": "Astigmatic", + "bio": null + }, + "Juan Pablo del Peral": { + "name": "Juan Pablo del Peral", + "bio": null + }, + "Huerta Tipogr\u00e1fica": { + "name": "Huerta Tipogr\u00e1fica", + "bio": "Argentina Huerta Tipogr\u00e1fica is a collaborative Argentinian type foundry with a deep respect for design and typography. Founded in 2009, the company began as a place to meet, cooperate, and share experiences while collaborating on academic and commercial projects. Huerta Tipogr\u00e1fica develops custom and retail fonts with libre, proprietary, or exclusive licenses, and is strongly committed to creating innovative and functional type. Their award-winning work has been recognized by Letter.2, Tipos Latinos, and the Bienal Iberoamericana de Dise\u00f1o. GitHub | Twitter" + }, + "Thomas Junold": { + "name": "Thomas Junold", + "bio": null + }, + "Cyreal": { + "name": "Cyreal", + "bio": null + }, + "Dr. Ken Lunde": { + "name": "Dr. Ken Lunde", + "bio": null + }, + "VivaRado": { + "name": "VivaRado", + "bio": null + }, + "Kristian M\u00f6ller": { + "name": "Kristian M\u00f6ller", + "bio": "Kristian M\u00f6ller, the Stockholm-based type designer, specializes in crafting custom typefaces for a diverse portfolio of clients, including Northvolt, SEB, Public Transport in Stockholm County (SL), Pensionsmyndigheten, JM Bygg, Zo\u00e9gas, Elkj\u00f8p, and many others. Kristian\u2019s type design for Vasakronan earned him the prestigious \u201cWinners of the 24th TDC Typeface Design Competition\u201d in 2021. In addition to his exceptional type design work, Kristian also undertakes traditional design projects, conducts engaging workshops, and delivers insightful lectures, showcasing a multifaceted approach to typography. LinkedIn | Github" + }, + "Dicotype": { + "name": "Dicotype", + "bio": "Dicotype is an independent type foundry in Stockholm. dicotype.com | Github" + }, + "Raphael Al\u1eb9\u0301gb\u1eb9\u0301l\u1eb9\u0301y\u1eb9\u0300": { + "name": "Raphael Al\u1eb9\u0301gb\u1eb9\u0301l\u1eb9\u0301y\u1eb9\u0300", + "bio": "Raphael Al\u1eb9\u0301gb\u1eb9\u0301l\u1eb9\u0301y\u1eb9\u0300 loves making typefaces. He is the founder of ColumnType where he creates beautiful functional typefaces with African language support. Instagram" + }, + "Sorkin Type": { + "name": "Sorkin Type", + "bio": "Sorkin Type makes typefaces that balance a concern for aesthetics, expression, and utility. It was founded in 2011. sorkintype.com | Twitter" + }, + "Eben Sorkin": { + "name": "Eben Sorkin", + "bio": "Eben Sorkin enjoys making type with definite personalities optimized for specific typographic purposes. He has been designing type since 2009. Twitter" + }, + "The DocRepair Project": { + "name": "The DocRepair Project", + "bio": null + }, + "Patric King": { + "name": "Patric King", + "bio": "Patric King is half of House of Pretty, Ltd. and XO Type Co. from Chicago, alongside his husband Su. Patric holds a BA from the design program at the University of Tennessee at Knoxville. He began designing professionally in 1994 as an assistant to Rick Valicenti at Thirst in 1994, then served as design director of Gawker Media until 2011. He has owned and operated House of Pretty, Ltd. since 2007. xotype.co | Twitter | Instagram" + }, + "Seun Badejo": { + "name": "Seun Badejo", + "bio": "Based in Lagos and Malta, Seun Badejo is an experienced Graphic and Type Designer with a professional career spanning over 7 years, driving impact> seun.design" + }, + "Sudtipos": { + "name": "Sudtipos", + "bio": null + }, + "Vaishnavi Murthy": { + "name": "Vaishnavi Murthy", + "bio": "Vaishnavi is a typeface designer specializing in Indic scripts. She works on the conservation and restoration of books, manuscripts, documents, and ephemera\u2014in order to study them. By combining these two practices, Vaishnavi is able to deconstruct and experiment with the structure of Indic letter shapes from an informed perspective." + }, + "Juan Luis Blanco": { + "name": "Juan Luis Blanco", + "bio": null + }, + "Grzegorz Klimczewski": { + "name": "Grzegorz Klimczewski", + "bio": null + }, + "Tall Chai": { + "name": "Tall Chai", + "bio": "Tall Chai is an indie type foundry dedicated to Indic and Latin font development. Fonts are made with heart, soul and spice. tallchai.com | Instagram" + }, + "Spyros Zevelakis": { + "name": "Spyros Zevelakis", + "bio": null + }, + "Andreas Rasmussen": { + "name": "Andreas Rasmussen", + "bio": "Andreas is a graphic and type designer based in Copenhagen, Denmark. a-foundry.com" + }, + "Hagilda": { + "name": "Hagilda", + "bio": null + }, + "Mushon Zer-Aviv": { + "name": "Mushon Zer-Aviv", + "bio": null + }, + "Alessio Laiso": { + "name": "Alessio Laiso", + "bio": null + }, + "Robert Leuschke": { + "name": "Robert Leuschke", + "bio": "Founder and CEO of TypeSETit, Rob Leuschke is a graphic designer, lettering artist and type designer based just outside of St. Louis, MO, USA. Spanning nearly four decades, Rob\u2019s work has consisted mostly of producing lettering and graphics for packaging, logos, and social expression products. typesetit.com" + }, + "Mohamed Gaber": { + "name": "Mohamed Gaber", + "bio": "Mohamed Gaber (Cairo, 1986) is a type designer and artist based in Amsterdam. His primary interest lies in the haptic nature of type production and its technological, philosophical, and historical aspects. He holds a Master in design from Sandberg Instituut (Amsterdam). He has founded Kief Type Foundry (a type foundry specialising in open-source Arabic fonts), TypePlatform (a research space for under-represented writing systems focusing on Arabic script), and co-founded TypeLab at Sandberg Instituut (an open platform to experiment with typography). He taught as a guest tutor at AUC (Egypt), VCU (Qatar), and Linnaeus University (Sweden). In addition, he often gives workshops and talks around the world. His type design work is featured on Google fonts, and his artworks were exhibited in DDW (UAE), CTM 2020 (Germany), Venice Biennale 2020 (Italy), MK&G-Hamburg (Germany), Mediamatic (Netherlands), and VCU (Qatar). His work was nominated for the Jameel Art Prize in 2013 and awarded Best Arabic Display font from Granshan in 2016. gaber.design | Instagram" + }, + "Julieta Ulanovsky": { + "name": "Julieta Ulanovsky", + "bio": "Julieta Ulanovsky lives and works in Buenos Aires. She is a graphic designer and typographer (UBA). In 1989 she founded the ZkySky design studio with Valeria Dulitzky. They specialize in identity design, editorial design, and consulting. She is the co-author of three design books and other typeface design projects linked to urban themes. Behance" + }, + "JM Sol\u00e9": { + "name": "JM Sol\u00e9", + "bio": null + }, + "Ksenya Erulevich": { + "name": "Ksenya Erulevich", + "bio": null + }, + "Sveta Sebyakina": { + "name": "Sveta Sebyakina", + "bio": null + }, + "Suman Bhandary": { + "name": "Suman Bhandary", + "bio": "Suman Bhandary is an independent type designer with keen interest on research based on typography and type design, primarily on Indian scripts. He is currently associated with the Indian Institute of Art and Design, New Delhi, as an assistant Professor." + }, + "Anton Koovit": { + "name": "Anton Koovit", + "bio": null + }, + "Matt McInerney": { + "name": "Matt McInerney", + "bio": null + }, + "Boutros Fonts": { + "name": "Boutros Fonts", + "bio": "The Boutros Group and its team of experts headed by Mourad and Arlette Boutros has led the field of Arabic creativity, typography, calligraphy and design for more than 40 years. Twitter | Homepage" + }, + "Mourad Boutros": { + "name": "Mourad Boutros", + "bio": null + }, + "Ana Sanfelippo": { + "name": "Ana Sanfelippo", + "bio": null + }, + "Karolina Lach": { + "name": "Karolina Lach", + "bio": null + }, + "Gesine Todt": { + "name": "Gesine Todt", + "bio": null + }, + "Vernon Adams": { + "name": "Vernon Adams", + "bio": "Vernon practiced typeface design professionally from 2007 to 2014. A lifelong artist, during this period he eagerly explored designing type for the mobile/cloud era of computing. His work spans all genres, from lively script faces to workhorse text families and operating system UI. Vernon graduated with an MA in Typeface Design from the University of Reading (UK) in 2006, and passed away in California in 2014. Almost all his typefaces live on as open source Google Fonts, and his favorite projects were Oxygen Mono, Monda, and Bowlby One. Follow his story at sansoxygen.com" + }, + "Ben Nathan": { + "name": "Ben Nathan", + "bio": null + }, + "Thomas Jockin": { + "name": "Thomas Jockin", + "bio": "Thomas Jockin is a typeface designer and founder of TypeThursday. Homepage | Type Thursday" + }, + "Impallari Type": { + "name": "Impallari Type", + "bio": "Pablo Impallari is Argentinian type designer based in Rosario. Twitter" + }, + "Khaled Hosny": { + "name": "Khaled Hosny", + "bio": "Khaled Hosny is an Egyptian type designer who specializes in Arabic type design, and a software developer whose areas of expertise include font engineering, text layout, localization, and internationalization. Khaled is also an amateur artist. aliftype.com | Github" + }, + "Sebastian Kosch": { + "name": "Sebastian Kosch", + "bio": null + }, + "Eduardo Tunni": { + "name": "Eduardo Tunni", + "bio": "Eduardo Tunni was born in Buenos Aires, Argentina, in 1963. He studied graphic design at the University of Buenos Aires (UBA) and later specialized in typographic design. He co-founded the type foundry \"Tipo\" and some of his published there fonts were exhibited, selected and awarded around the world. For 10 years he was a teacher of the Master Career of Type Design at the UBA where he continues as external consultant. He made multilingual custom fonts for magazines, newspapers, universities, companies and countries with the collaboration of other colleagues. He has developed design methods that have been incorporated into the main typography design software that collaborates with typographic production. Instagram" + }, + "Brian Bonislawsky": { + "name": "Brian Bonislawsky", + "bio": null + }, + "Universidad Nacional de Colombia (UNAL)": { + "name": "Universidad Nacional de Colombia (UNAL)", + "bio": "Universidad Nacional de Colombia (UNAL) is a national public research university with the following campuses: Amazonia, Bogot\u00e1, Caribe, De La Paz, Manizales, Medell\u00edn, Palmira, Orinoquia and Tumaco. It was established in 1867 by an act of the Congress of Colombia and is one of the largest universities in the country. Key institutional dependencies, such as UNIMEDIOS (the university\u2019s Communications & Media Unity), OMD (its Digital Media Office), LAB101 (its innovation laboratory), and the Faculty of Arts in Bogot\u00e1, have worked in close collaboration in order to make possible the UNAL Anc\u00edzar project." + }, + "C\u00e9sar Puertas": { + "name": "C\u00e9sar Puertas", + "bio": "C\u00e9sar Puertas is a graphic designer from the National University of Colombia and holds a Master\u2019s degree in Type and Media from the Royal Academy of Arts in The Hague (KABK), Netherlands. He is an associate professor at Universidad Nacional de Colombia and cofounder of Typograma, his own design studio, where he specializes in branding, type and editorial design for various clients." + }, + "Viviana Monsalve": { + "name": "Viviana Monsalve", + "bio": "Viviana Monsalve is a graphic designer specializing in typography. She holds degrees from the National University of Colombia and the University of Buenos Aires. Her interest in typography lies in its role as a technology in itself, that can make written culture more accessible and functional for a broader audience. She currently works independently, producing and engineering fonts for clients worldwide." + }, + "Juli\u00e1n Moncada": { + "name": "Juli\u00e1n Moncada", + "bio": "Juli\u00e1n Moncada is a Colombian type designer based in Bogot\u00e1. He earned his Master\u2019s degree in Typeface Design from the University of Reading and later studied at ANRT in Nancy, France. In collaboration with Jonathan Barnbrook and Ryuhei Nakadai, he designed Resolution and Resolution Blackletter, a family of display typefaces developed as a creative response to the political situation in Northern Ireland." + }, + "Carolina Giovagnoli": { + "name": "Carolina Giovagnoli", + "bio": "Carolina Giovagnoli is an Argentinian type designer based in Berlin. She combines her passion for both editorial design and letters in the type design. She is also co-founder and partner at Huerta Tipogr\u00e1fica. Her work and research approaches typography and linguistic diversity. www.huertatipografica.com | Instagram" + }, + "Ek Type": { + "name": "Ek Type", + "bio": "Ek Type is a collaborative type design studio based in Mumbai that specialises in developing multi-script typefaces across all Indian languages. The studio is long known for its meticulous design process which gives adequate importance to script grammar and script traditions, thereby producing high-quality fonts in multiple weights, supporting multiple software platforms for a wide range of applications. It consists of experienced type designers, researchers, and academicians spanning a wide age group whose varied skill sets complement each other. Apart from developing fonts, Ek Type also documents typographic artefacts, and creates awareness about Indian typography through workshops. In addition to this, the studio also mentors and collaborates with upcoming type designers by engaging them in the process of font development. Website | Github | Instagram | LetterBox | Twitter" + }, + "Danh Hong": { + "name": "Danh Hong", + "bio": "Danh Hong has many years of experience creating fonts for Khmer and other Southeast Asian languages, and is actively involved in the KhmerOS project, dedicated to a vision where Cambodians can learn and use computers in their own language. Khmer Type" + }, + "Kimberly Geswein": { + "name": "Kimberly Geswein", + "bio": null + }, + "Mark Simonson": { + "name": "Mark Simonson", + "bio": null + }, + "Sergej Lebedev": { + "name": "Sergej Lebedev", + "bio": "Sergej Lebedev is a German type designer. He studied at the Trier University of Applied Sciences, where he successfully graduated in communication design. The main focus of his creative work is corporate design and type design. His goal is to create high-quality fonts which will serve as an excellent base for any design projects whether it be advertising, corporate design, graphic design and web design. typedesigner.de" + }, + "Santiago Orozco": { + "name": "Santiago Orozco", + "bio": "Santiago Orozco is a type designer and engineer, based in Monterrey, Nuevo Le\u00f3n, M\u00e9xico. With a background in computer science at the University of Monterrey (UDEM), he found himself at the intersection between design and technology. In 2009, he Founded Typemade Foundry, and now specializes in type design, font production, and type technology. typemade.com" + }, + "Cadson Demak": { + "name": "Cadson Demak", + "bio": "Cadson Demak is the first Thai communication design firm to develop type design solutions. Founded in 2002, the studio came together through a shared love of typography and design, a wish to expand and modernize the font industry as a whole, and the desire to make everyday use of type more accessible. They expanded from a modest design firm with dozens of their own typefaces into a boutique type foundry under the name Cadson Demak in 2008. Github | Twitter" + }, + "Tyler Finck": { + "name": "Tyler Finck", + "bio": "Tyler Finck is a prolific and polyvalent designer/artist/musician based in Ithaca, New-York. Homepage" + }, + "Natsumi Matsuba": { + "name": "Natsumi Matsuba", + "bio": "Natsumi Matsuba was born in 1991 and is based in Chiba, Japan. Graduated from the Tokyo Zokei University, Natsumi Matsuba likes display fonts and mainly works on editorial designs. Twitter" + }, + "Omnibus-Type": { + "name": "Omnibus-Type", + "bio": "Omnibus-Type is a collective typefoundry based in Buenos Aires, Argentina. Homepage" + }, + "Abdullah Aref": { + "name": "Abdullah Aref", + "bio": "Abdullah Aref is an Egyptian art teacher, calligrapher, and Arabic type designer. Behance | Facebook" + }, + "Hermann Zapf": { + "name": "Hermann Zapf", + "bio": null + }, + "Natanael Gama": { + "name": "Natanael Gama", + "bio": "Inspired by his early typography classes, Natanael decided to start experimenting with fonts and hasn\u2019t stopped since. He is the designer of Exo and Cinzel, two very popular web font families. In 2011 he founded NDISCOVER, a Portuguese Digital Type Foundry. Even though play has become work for Natanael, he still enjoys designing fonts. ndiscover.com." + }, + "Joana Correia": { + "name": "Joana Correia", + "bio": "Joana is a type designer based in Porto, Portugal. She has degrees in architecture and graphic design, and an MA in Typeface Design from the University of Reading. With her strong interest in global linguistic culture, Joana designs typefaces for Indic writing systems, and has developed multilingual work for the Indian Type Foundry and Google Fonts. She teaches type design at ESAD College of Art and Design where she shares her love of letters with students. www.joanacorreiatype.com | Twitter" + }, + "Rosalie Wagner": { + "name": "Rosalie Wagner", + "bio": "Rosalie Wagner is a french type designer/font engineer based in Berlin, Germany. rosaliewagner.com | Instagram" + }, + "Steve Matteson": { + "name": "Steve Matteson", + "bio": "Steve Matteson is a typeface designer based in Louisville, CO. Owner of Matteson Typographics and formerly Type Director for Monotype and Ascender Corp. Steve is an avid cyclist, musician and letterpress printer. Homepage" + }, + "Viktoriya Grabowska": { + "name": "Viktoriya Grabowska", + "bio": null + }, + "Andrij Shevchenko": { + "name": "Andrij Shevchenko", + "bio": null + }, + "Riccardo De Franceschi": { + "name": "Riccardo De Franceschi", + "bio": null + }, + "Adobe Systems Inc.": { + "name": "Adobe Systems Inc.", + "bio": null + }, + "Dan Rhatigan": { + "name": "Dan Rhatigan", + "bio": null + }, + "Mariela Monsalve": { + "name": "Mariela Monsalve", + "bio": null + }, + "Braille Institute": { + "name": "Braille Institute", + "bio": "Braille Institute is a nonprofit organization that has been positively transforming the lives of those with sight loss for more than 100 years. All programs and services are free of charge, and available through seven Southern California centers, as well as remotely by phone or computer. www.brailleinstitute.org" + }, + "Applied Design Works": { + "name": "Applied Design Works", + "bio": "Creating work that has an impact\u2014this is the singular mission of Applied Design Works. Founded in 2015, Applied Design Works is based in New York and specializes in all aspects of design, planning, strategy, and implementation. Applied&s clients include a broad range of mission-driven organizations. helloapplied.com" + }, + "Elliott Scott": { + "name": "Elliott Scott", + "bio": "Elliott Scott is a Creative Director at Applied Design Works and lives in Queens, New York." + }, + "Megan Eiswerth": { + "name": "Megan Eiswerth", + "bio": "Megan Eiswerth is a Designer at Applied Design Works, and lives in Brooklyn, New York. Instagram" + }, + "Linus Boman": { + "name": "Linus Boman", + "bio": "Linus Boman is a designer, lettering artist, and communicator based in Malm\u00f6, Sweden. timesnewboman.com/" + }, + "Theodore Petrosky": { + "name": "Theodore Petrosky", + "bio": "Theodore Petrosky studied computers while performing in Santiago, Chile. Today, he is a typographer and musician living in Bridgewater, New Jersey." + }, + "Letters From Sweden": { + "name": "Letters From Sweden", + "bio": "Letters from Sweden, founded in 2011, designs retail and custom typefaces for local and international clients. Our mission isn\u2019t just to churn out fonts, our purpose is higher. Printed or pixelated, what drives us is clear communication in the right voice. Our fonts are recognized worldwide by companies and organizations. Our letters come from Sweden, but they are for everyone. lettersfromsweden.se" + }, + "Black Foundry": { + "name": "Black Foundry", + "bio": null + }, + "James Grieshaber": { + "name": "James Grieshaber", + "bio": null + }, + "Dan Sayers": { + "name": "Dan Sayers", + "bio": null + }, + "Displaay": { + "name": "Displaay", + "bio": "Displaay is an independent type foundry established by Martin V\u00e1cha in 2016 and based in Prague, Czech Republic. The team has numerous collaborators around the world. The foundry focuses on retail and custom typefaces. The aim is to develop distinctive typefaces that are missing on the market. displaay.net" + }, + "Martin V\u00e1cha": { + "name": "Martin V\u00e1cha", + "bio": "Martin V\u00e1cha has focused on type design continually since 2008. His experience began during his time at the Academy of Arts, Architecture and Design in Prague where he studied at both the Graphic Design and Type Design studios. He established an independent type foundry Displaay in 2016 which is based in Prague, Czech Republic. Instagram" + }, + "Nicolas Chauveau": { + "name": "Nicolas Chauveau", + "bio": null + }, + "Thomas Paillot": { + "name": "Thomas Paillot", + "bio": null + }, + "Jonathan Favre-Lamarine": { + "name": "Jonathan Favre-Lamarine", + "bio": null + }, + "Jean-Luc Vinot": { + "name": "Jean-Luc Vinot", + "bio": null + }, + "Type Bank Co.": { + "name": "Type Bank Co.", + "bio": null + }, + "Morisawa Inc.": { + "name": "Morisawa Inc.", + "bio": "Morisawa Inc. is Japan's leading font foundry that has never wavered from its commitment to undertaking research and development in typography since its invention of the first Japanese phototypesetting machine in 1924. The company provides font licenses for over 1,500 typefaces of Japanese and multi-script, web font services, embedded fonts, and multilingual e-magazine/book solution services. morisawa.co.jp" + }, + "Claus Eggers S\u00f8rensen": { + "name": "Claus Eggers S\u00f8rensen", + "bio": "Claus Eggers S\u00f8rensen received his BDes from The Gerrit Rietveld Academie in Amsterdam, The Netherlands, and a Master of Arts in Typeface Design at The Department of Typography & Graphic Communication, The University of Reading. He has a background in graphic design and commercial art direction. Though of Danish nationality, he is currently living and working in Amsterdam. forthehearts.net" + }, + "Gaslight": { + "name": "Gaslight", + "bio": null + }, + "Hani Alasadi": { + "name": "Hani Alasadi", + "bio": "Hani AbdulAmir, based in Dubai, UAE, is a creative director and multidisciplinary graphic designer with a profound focus on typography and type design. With a Master\u2019s degree in Computer Science from the University of Jordan, Hani blends technical rigor with a passion for expressive letterforms. He has developed award-winning brand identities, with each project showcasing his meticulous approach to type and its power to shape compelling brand narratives. Known for his strategic and detail-oriented creativity, Hani pushes the boundaries of typography to bring depth and clarity to every visual story he tells. haniadnan.com | Instagram" + }, + "Kyungwon Kim": { + "name": "Kyungwon Kim", + "bio": null + }, + "JAMO": { + "name": "JAMO", + "bio": "JAMO is a type design collective group based in Seoul, Korea. They provide professional education, information, and discussion to designers who are wishing to develop their own typefaces through their workshop. JAMO encourages more experimental and unconventional typeface design by getting inspirations from old types, finding an alternative usage from existing ones, and suggesting new letterforms for the future. They aim to escape from the passive practice and create more self-initiating active typefaces. JAMO offers high-quality typeface design based on the deep levels of research, planning, and study. By broadening the potential of Hangul, they propose a new type design methodology to co-live with other worldwide letters including the Latin Alphabet." + }, + "Saumya Kishore": { + "name": "Saumya Kishore", + "bio": null + }, + "Sanchit Sawaria": { + "name": "Sanchit Sawaria", + "bio": null + }, + "Maximiliano Sproviero": { + "name": "Maximiliano Sproviero", + "bio": null + }, + "Michael Angeles": { + "name": "Michael Angeles", + "bio": null + }, + "Dario Manuel Muhafara": { + "name": "Dario Manuel Muhafara", + "bio": null + }, + "Jeremy Tribby": { + "name": "Jeremy Tribby", + "bio": null + }, + "Magnus Gaarde": { + "name": "Magnus Gaarde", + "bio": null + }, + "ANRT": { + "name": "ANRT", + "bio": "The ANRT (Atelier national de recherche typographique) is a postgraduate research course in type design and typography based in Nancy, France anrt-nancy.fr | Instagram" + }, + "HanYang I&C Co.": { + "name": "HanYang I&C Co.", + "bio": null + }, + "Gabriel Lam": { + "name": "Gabriel Lam", + "bio": null + }, + "Tony Le": { + "name": "Tony Le", + "bio": null + }, + "Vietanh Nguyen": { + "name": "Vietanh Nguyen", + "bio": null + }, + "beGroup Vietnam": { + "name": "beGroup Vietnam", + "bio": null + }, + "L\u00e2m B\u1ea3o": { + "name": "L\u00e2m B\u1ea3o", + "bio": "L\u00e2m B\u1ea3o co-founded Yellow Type Foundry with Duy \u0110\u00e0o in Vietnam in 2018, alongside being an independent designer focusing on product & visual design. During the years, they have worked with a couple of renown Vietnamese brands, including OPPO Vietnam, beGroup, mCredit by MBBank, and a few more to be named or in progress. The duo focus on delivering the best of their craftmanship in modern typefaces, especially made for Vietnamese and continue contributing to the next generation of type designers in Vietnam. Instagram" + }, + "Vi\u1ec7tAnh Nguy\u1ec5n": { + "name": "Vi\u1ec7tAnh Nguy\u1ec5n", + "bio": "Vi\u1ec7tAnh Nguy\u1ec5n is a vietnamese type lover, design engineer and boardgame designer at naboardgames.com bettergui.com" + }, + "Ryoichi Tsunekawa": { + "name": "Ryoichi Tsunekawa", + "bio": null + }, + "Arlette Boutros": { + "name": "Arlette Boutros", + "bio": null + }, + "Volker Schnebel": { + "name": "Volker Schnebel", + "bio": null + }, + "LatinoType": { + "name": "LatinoType", + "bio": null + }, + "Nick Shinn": { + "name": "Nick Shinn", + "bio": null + }, + "Liron Lavi Turkenic": { + "name": "Liron Lavi Turkenic", + "bio": null + }, + "Kemie Guaida": { + "name": "Kemie Guaida", + "bio": null + }, + "John Harrington": { + "name": "John Harrington", + "bio": null + }, + "Ben Weiner": { + "name": "Ben Weiner", + "bio": null + }, + "Owen Earl": { + "name": "Owen Earl", + "bio": "Owen Earl is a type designer who thrives on high quality, versatile, modern typography that is accessible to everybody. He is running indestructible type*, a foundry focusing on recreating historical bestseller fonts, distributing them for free with a full range of widths and styles. Homepage" + }, + "Rob Jelinski": { + "name": "Rob Jelinski", + "bio": null + }, + "Alyson Fraser Diaz": { + "name": "Alyson Fraser Diaz", + "bio": null + }, + "Multiple Designers": { + "name": "Multiple Designers", + "bio": null + }, + "Erin McLaughlin": { + "name": "Erin McLaughlin", + "bio": "Erin McLaughlin is a US-based multi-script font designer who has worked with independent foundries Frere-Jones Type, Universal Thirst, TypeTogether, as well as Adobe, IBM, Microsoft, and Google. Erinmclaughlin.com" + }, + "TypeSETit": { + "name": "TypeSETit", + "bio": null + }, + "Aoife Mooney": { + "name": "Aoife Mooney", + "bio": "Aoife is a typeface designer and teacher. She has a degree in Visual Communications from Dublin Institute of Technology and an MA in Typeface Design from the University of Reading. Alongside her freelance practice, Aoife is an Assistant Professor at Kent State University, where she teaches typography and typeface design. Before moving to Ohio, Aoife worked as part of Hoefler & Co.\u2019s design team in New York, developing Idlewild, Surveyor, and many other typefaces. Most recently she worked with Frere-Jones Type on Mallory. BioRhyme is her first original, published typeface design. www.aoifemooney.org | GitHub | Twitter" + }, + "Dan Reynolds": { + "name": "Dan Reynolds", + "bio": "Dan is an independent designer with a focus on letters: he draws typefaces, builds fonts, writes about typography, and teaches design and design history. He\u2019s working on a doctoral dissertation on German type from the Wilhelmine period. Originally from the United States, Dan has lived in England and now resides in Germany. He created the typeface Dasa, and together with Mathieu R\u00e9guer developed Biryani and Martel Sans. www.typeoff.de | GitHub | Twitter" + }, + "Mathieu R\u00e9guer": { + "name": "Mathieu R\u00e9guer", + "bio": null + }, + "Petr van Blokland": { + "name": "Petr van Blokland", + "bio": null + }, + "Sol Matas": { + "name": "Sol Matas", + "bio": "Sol lives and breathes type design in her beloved adopted city of Berlin. From her sunny studio, she collaborates with an international type and design community. Type design found and claimed her during her formative years at Universidad de Buenos Aires. She mingled and shared classes with architects, and those technical ideas infused her design methodology with the functional precision of an engineer. After spending time at Saatchi & Saatchi, she set out on her own, and formed a new studio. Client projects have led her to research glyphs for Cyrillic, Greek, Oriya, and Devanagari, uncovering the history and meaning of the strokes. solmatas.com" + }, + "AsiaSoft Inc.": { + "name": "AsiaSoft Inc.", + "bio": null + }, + "Zess Type": { + "name": "Zess Type", + "bio": null + }, + "Juergen Huber": { + "name": "Juergen Huber", + "bio": null + }, + "Universitype": { + "name": "Universitype", + "bio": "Universitype is a font foundry based in Makassar, Indonesia. It was established in 2024. The team consists of four passionate experienced type designers, they are Muh. Aswar, Ahmad Muzayyin Syarkawi, Andi Syahdang and Novan Arisandi, who specialize in crafting unique typography. They draw inspiration from Indonesia's rich cultural heritage and diverse landscapes to create distinctive and expressive fonts. Website | Instagram" + }, + "Capitalics": { + "name": "Capitalics", + "bio": "Capitalics Warsaw Type Foundry is one of the first digital type foundries in Poland. It was started as a group collective of typeface designers, out of passion for good typography. Their designs are aimed for conscious customers who look for unique and high quality typefaces. The initiating founder was Micha\u0142 Jaroci\u0144ski. Homepage" + }, + "Mateusz Machalski": { + "name": "Mateusz Machalski", + "bio": "Mateusz Machalski, PhD, studied at the Academy of Fine Arts in Warsaw (PhD in Typeface Design 2020, MA in Graphic Design 2014). He works at the Faculty of Graphics in the Studio of Multimedia Artistic Creation at his alma mater. He is a member of the board of the Association of Applied Graphic Designers in Poland. Homepage" + }, + "Andrzej Heidrich": { + "name": "Andrzej Heidrich", + "bio": null + }, + "John Vargas Beltr\u00e1n": { + "name": "John Vargas Beltr\u00e1n", + "bio": null + }, + "Ashish Kumar": { + "name": "Ashish Kumar", + "bio": "Ashish Kumar is a multidisciplinary designer from India. He is a passionate font designer with a vision to create harmonious multi-script fonts for all Indian languages. He designed his first Devanagari typeface as a graduation project in 2017 for bilingual communication at IDC School of Design, IIT Bombay. Behance | LinkedIn" + }, + "Mathieu Triay": { + "name": "Mathieu Triay", + "bio": "Mathieu Triay is a French designer and software engineer based in London. He runs Atelier Triay, a small creative practice producing websites and fonts amongst other physical and digital artefacts. In 2017 he released Marvin Visions, a variable font specially created for Visions, a magazine he edited and designed. mathieutriay.com | readvisions.com" + }, + "Gunnlaugur SE Briem": { + "name": "Gunnlaugur SE Briem", + "bio": "Gunnlaugur SE Briem is a designer and lives in California. His postgraduate studies in Copenhagen and London culminated in a PhD from the Royal College of Art. He also passed, for good measure, an apprenticeship exam at a typography college in Reykjavik in 1989. He took part in the introduction of cursive handwriting in his native Iceland, where his method and manuals have been used in classrooms for over twenty years. Some are available on his website: briem.net. He is also a member of the advisory board of Visible Language, a research magazine. Additionally, he publishes free e-books on fonts and related subjects at: www.operina.com. He has designed several fonts for The Economist, The Times, and for general licensing. He has also lectured widely in Europe and America, and was Designer-in-Residence at the Rhode Island School of Design in 1990. He organized traveling exhibitions of lettering and calligraphy and, for a time, ran a calligraphy gallery. He has had several one-man shows of his own work, most recently at the Victoria and Albert Museum in London, and has won a few awards. briem.net" + }, + "Borys Kosmynka": { + "name": "Borys Kosmynka", + "bio": "Borys Kosmynka, PhD, is a Polish typeface designer and typographer based in London. He helps the coordination of the Association of Applied Graphic Designers in Poland. His work often combines design and typographic historical research." + }, + "Ania Wielu\u0144ska": { + "name": "Ania Wielu\u0144ska", + "bio": "Ania Wielu\u0144ska is a graphic and type designer. She is a PhD student and head of the typedesign studio at the Academy of Fine Arts in Warsaw. She is a laureate of the TDC Beatrice Warde scholarship, funded by Monotype (NYC). She is the author of \"Lazarus\" and co-author of \"Bona Nova\" and \"P\u00f3\u0142tawski Nowy\" typefaces. Homepage" + }, + "Przemys\u0142aw Hoffer": { + "name": "Przemys\u0142aw Hoffer", + "bio": "Przemys\u0142aw Hoffer graduated the Academy of Fine Arts in Katowice. He is a designer and initiator of graphic design and arts exhibitions and events. He co-founded the Distort Visual Collective, which focuses on the use of classical typography based on metal typesetting and printing art. He collaborates with the Book Arts Museum in Lodz since 2011. Homepage" + }, + "Brenda Gallo": { + "name": "Brenda Gallo", + "bio": null + }, + "Ad\u00e8le Antignac": { + "name": "Ad\u00e8le Antignac", + "bio": null + }, + "Gustavo Ibarra": { + "name": "Gustavo Ibarra", + "bio": "Book designer based in Buenos Aires. Professor of Design and Typography in the Diploma in Book Arts (UNA-Argentina). Designer at Ediciones Urania. He gives talks and courses on books, design and typesetting. Instagram" + }, + "David Jonathan Ross": { + "name": "David Jonathan Ross", + "bio": "David draws letters of all shapes and sizes for custom and retail typeface designs. He joined The Font Bureau in 2007, and his typeface designs include Manicotti, a Wild West slab; Turnip, a rugged book face; and Input, an extensive family designed for computer programming. David shares his love of letters through lectures and workshops, and co-curates a collection of cursive signage in Los Angeles. www.djr.com | GitHub | Twitter" + }, + "Typomondo": { + "name": "Typomondo", + "bio": null + }, + "Tart Workshop": { + "name": "Tart Workshop", + "bio": null + }, + "Baltdev": { + "name": "Baltdev", + "bio": null + }, + "Rodrigo Fuenzalida": { + "name": "Rodrigo Fuenzalida", + "bio": "Rodrigo Fuenzalida is a Venezuelan Type Designer based in Santiago de Chile. He likes to draw fonts that could be used in video games. He also likes to do revivals of old designs. His work has been featured in various publications. He currently runs his independent type foundry fragTYPE. Behance" + }, + "Henry Chan": { + "name": "Henry Chan", + "bio": null + }, + "Tian Haidong": { + "name": "Tian Haidong", + "bio": null + }, + "Moonlit Owen": { + "name": "Moonlit Owen", + "bio": null + }, + "Open Window": { + "name": "Open Window", + "bio": null + }, + "Accademia di Belle Arti di Urbino": { + "name": "Accademia di Belle Arti di Urbino", + "bio": null + }, + "Mark Davis": { + "name": "Mark Davis", + "bio": "Mark Davis is a Brooklyn-based type designer and art director, working with clients from local institutions to national brands. His fascination with typography began in high school after seeing Gary Hustwit\u2019s Helvetica (2007), sparking a lifelong obsession with type\u2019s role in shaping communication. A Taylor University graduate, Mark studied type design at The Cooper Union before interning at the legendary Font Bureau. He\u2019s since shaped brand and campaign identities at BuzzFeed News, NBCUniversal, SME Branding, Tronvig, and independently, contributing to projects for Ticketmaster, Cal.com, WWD, Type Network, The Font Bureau, NMWA, VNS Health, the Kentucky Derby, the Breeders\u2019 Cup, and Nike. designermarkdavis.com | x.com/MarkFonts" + }, + "Cal.com Inc.": { + "name": "Cal.com Inc.", + "bio": "Cal.com is building the best scheduling infrastructure for everyone. Open Source, on-premise and best-in-class. cal.com" + }, + "Andr\u00e9s Torresi": { + "name": "Andr\u00e9s Torresi", + "bio": null + }, + "Yvonne Sch\u00fcttler": { + "name": "Yvonne Sch\u00fcttler", + "bio": null + }, + "Pooja Saxena": { + "name": "Pooja Saxena", + "bio": "Pooja Saxena is a type designer, typographer and researcher based in New Delhi. Her focus is on Indic scripts, notably Devanagari, and on typographic and visual languages emerging in India. She documents local street lettering and collects ephemera. matratype.com/" + }, + "Dave Crossland": { + "name": "Dave Crossland", + "bio": null + }, + "Phaedra Charles": { + "name": "Phaedra Charles", + "bio": "Phaedra Charles (she/they) is a Brooklyn-based typeface designer and lettering artist. Twitter" + }, + "Flavia Zimbardi": { + "name": "Flavia Zimbardi", + "bio": "Flavia Zimbardi is a typeface designer and visual artist from Rio de Janeiro, and currently based in Berlin. Twitter" + }, + "David Perry": { + "name": "David Perry", + "bio": null + }, + "\u0141ukasz Dziedzic": { + "name": "\u0141ukasz Dziedzic", + "bio": "\u0141ukasz is a Warsaw-based designer. During Poland's first free elections in 1989, he joined Gazeta Wyborcza, the first independent daily newspaper, and soon found a home in the design department co-creating page layouts and his first typeface. In 2007, he created a three-style Latin and Cyrillic corporate family for empik, one of Poland\u2019s largest retail networks. In 2010, he started the Lato project, to develop a high-quality open-source font family." + }, + "Rub\u00e9n Prol": { + "name": "Rub\u00e9n Prol", + "bio": null + }, + "Carrois Apostrophe": { + "name": "Carrois Apostrophe", + "bio": "Germany Carrois Apostrophe focuses on language extension and the development of corporate type. The studio was founded in 1975 by Ralph Carrois. The typeface for Suzuki was one of Ralph\u2019s early projects, and he has since designed typefaces for TYPO3, the Neue National Galerie, and the Museo de Art de Ponce, among many others. In cooperation with Erik Spiekermann, Carrois Apostrophe has realized projects for Cisco, the German television broadcaster ZDF, designed Fira for Mozilla, and FF Real which was released by Fontshop. The studio is currently working on new designs and smart plugins for the font editor Glyphs." + }, + "Aaron Bell": { + "name": "Aaron Bell", + "bio": null + }, + "Mohamad Dakak": { + "name": "Mohamad Dakak", + "bio": null + }, + "Liron Lavi Turkenich": { + "name": "Liron Lavi Turkenich", + "bio": null + }, + "Tiro Typeworks": { + "name": "Tiro Typeworks", + "bio": "Tiro Typeworks is a small type foundry specialising in custom fonts for multilingual publishing and computing. Tiro\u2019s clients include Adobe, Apple, Brill, Google, Harvard University Press, Microsoft, the STI Pub consortium, and other specialist publishers and scholarly organisations." + }, + "John Hudson": { + "name": "John Hudson", + "bio": "John Hudson is a Canadian type designer and font maker, and co-founder of Tiro Typeworks (1994)." + }, + "Paul Hanslow": { + "name": "Paul Hanslow", + "bio": "Paul Hanslow is an Australian born typeface designer, currently working for Tiro Typeworks in Vancouver, Canada." + }, + "Kaja S\u0142ojewska": { + "name": "Kaja S\u0142ojewska", + "bio": "Kaja Słojewska is a graphic-turned-typeface designer, currently based in Vancouver, Canada. As Nomad Fonts, Kaja is working with foundries to expand typeface families, produce typefaces, and create custom fonts." + }, + "Pria Ravichandran": { + "name": "Pria Ravichandran", + "bio": null + }, + "Nidud": { + "name": "Nidud", + "bio": null + }, + "Miguel Hernandez": { + "name": "Miguel Hernandez", + "bio": "Miguel is a self-taught typeface designer based in Santiago de Chile. After designing commercial and experimental fonts for many years, he is now at work on the Latin American modernist type foundry Alphabets By Chileans (A.B.C.)." + }, + "Fontstage": { + "name": "Fontstage", + "bio": null + }, + "Appaji Ambarisha Darbha": { + "name": "Appaji Ambarisha Darbha", + "bio": null + }, + "Vicente Lam\u00f3naca": { + "name": "Vicente Lam\u00f3naca", + "bio": null + }, + "Satsuyako": { + "name": "Satsuyako", + "bio": "A freelance designer based in Saitama, Japan. Started designing Japanese fonts in 2012, including Yomogi, Cherry Bomb One, and more. They have also worked on Latin fonts since 2019. website | twitter" + }, + "Font Diner": { + "name": "Font Diner", + "bio": null + }, + "Nataliya Kasatkina": { + "name": "Nataliya Kasatkina", + "bio": null + }, + "Sideshow": { + "name": "Sideshow", + "bio": null + }, + "SMC": { + "name": "SMC", + "bio": "Swathanthra Malayalam Computing (SMC) is a free software collective engaged in development, localization, standardization and popularization of various Free and Open Source Softwares in Malayalam language. smc.org.in/" + }, + "Santhosh Thottingal": { + "name": "Santhosh Thottingal", + "bio": "Santhosh Thottingal is a typeface designer and a software engineer from India. He is an active contributor of Swathanthra Malayalam Computing organization and has designed popular Malayalam typefaces like Manjari and Chilanka. thottingal.in/" + }, + "Tamcy": { + "name": "Tamcy", + "bio": null + }, + "Font Zone 108": { + "name": "Font Zone 108", + "bio": "\"Font Zone 108\" is the pseudonym of a typeface designer who mainly works on Japanese fonts. He think, who knows, Japanese letters might not exist after 100 years. That is why he finds it so meaningful to hold the beauty of them inside fonts, with the sincere wish that Japanese will remain far into the future, without being forgotten. That\u2019s why his fonts are open source. twitter" + }, + "Daniel Coull": { + "name": "Daniel Coull", + "bio": null + }, + "Eino Korkala": { + "name": "Eino Korkala", + "bio": null + }, + "Neapolitan": { + "name": "Neapolitan", + "bio": null + }, + "Marcelo Magalh\u00e3es": { + "name": "Marcelo Magalh\u00e3es", + "bio": null + }, + "Johan Aakerlund": { + "name": "Johan Aakerlund", + "bio": null + }, + "Craig Rozynski": { + "name": "Craig Rozynski", + "bio": null + }, + "Hrant Papazian": { + "name": "Hrant Papazian", + "bio": null + }, + "Jeff Davis": { + "name": "Jeff Davis", + "bio": "Jeff Davis is a full-time audio and electrical engineer, part-time tinkerer and freelancer, hobbyist photographer, and occasional artist and graphic designer based in Seattle, Washington. Website" + }, + "Kostas Bartsokas": { + "name": "Kostas Bartsokas", + "bio": "Kostas Bartsokas is a typeface designer and typographer based in Thessaloniki, Greece. He graduated with distinction in Typeface Design from the University of Reading in 2016. Kostas enjoys innovative explorations in Latin, Greek, Cyrillic, and Arabic type design. His typefaces have received several awards including a TDC Certificate in Typographic Excellence. He is one part Foundry5. Homepage | Twitter" + }, + "Johan Kallas": { + "name": "Johan Kallas", + "bio": null + }, + "Mihkel Virkus": { + "name": "Mihkel Virkus", + "bio": null + }, + "Nicol\u00e1s Silva": { + "name": "Nicol\u00e1s Silva", + "bio": null + }, + "Ania Kruk": { + "name": "Ania Kruk", + "bio": null + }, + "Tanukizamurai": { + "name": "Tanukizamurai", + "bio": "Tanukizamurai is a type designer based in Japan since 2011. Through the creation of playful typography, she aims to provide an enjoyable environment for everyone to create fonts. Website" + }, + "Christian Thalmann": { + "name": "Christian Thalmann", + "bio": "Christian Thalmann is a physicist who designs typefaces on a hobby basis in the infinitesimal gaps of free time between teaching and parenthood. His most popular design, the ultra-display Garamond \u00abCormorant\u00bb, is freely available on Google Fonts, whereas eleven more typefaces can be licensed from MyFonts or FontSpring under the label \u00abCatharsis Fonts\u00bb. Twitter | Fonts" + }, + "Alan Dague-Greene": { + "name": "Alan Dague-Greene", + "bio": null + }, + "Jacques Le Bailly": { + "name": "Jacques Le Bailly", + "bio": "\"Baron von Fonthausen, distinctive type design with a twist.\" Jacques Le Bailly has a broad international experience in the field of type design and a background in graphic design, corporate design, typography and teaching. He specialized in (large) type design projects. Beside developing personal type families, he works for and in cooperation with high profile clients. www.baronvonfonthausen.com | Twitter" + }, + "Jovanny Lemonad": { + "name": "Jovanny Lemonad", + "bio": null + }, + "TypoDesign Lab. Inc": { + "name": "TypoDesign Lab. Inc", + "bio": null + }, + "Colophon Foundry": { + "name": "Colophon Foundry", + "bio": "Colophon Foundry is a London and Los Angeles-based digital type foundry established in 2009. Its members comprise Benjamin Critton (US), Edd Harrington (UK), and Anthony Sheret (UK). The foundry's commissioned work in type design is complemented by independent and interdependent initiatives in editorial design, publishing, curation, and pedagogy. colophon-foundry.org" + }, + "Afrotype": { + "name": "Afrotype", + "bio": "Based in Lagos, Nigeria, Afrotype, founded by Seyi Olusanya, intends to subvert cliches around African graphic design and identity by creating typefaces that are grounded in African history and culture. Twitter | afrotype.com" + }, + "Seyi Olusanya": { + "name": "Seyi Olusanya", + "bio": "Seyi is a freelance art director and type designer from Lagos, Nigeria. He is the founder of Afrotype and is passionate about vernacular design. Seyi loves to explore projects that cut across African culture, history and identity. Twitter | ogbeniseyi.com" + }, + "Eyiyemi Adegbite": { + "name": "Eyiyemi Adegbite", + "bio": "Eyiyemi Adegbite is a multi-disciplinary designer and art director currently working from Lagos, Nigeria. With a diverse skill set and an eye for details, Eyiyemi excels at creating experiences using visual design in a way that leaves a lasting expression. Instagram" + }, + "David Udoh": { + "name": "David Udoh", + "bio": "Based in Lagos, Nigeria, David Udoh is an Art Director & Designer. He has worked across various design disciplines, focusing on branding and advertising. Driven by the admiration for the beauty of everyday letterforms, he now designs fonts. He also leads the creative effort at The Huddle, an event that spotlights creative work from African designers. In his free time, he enjoys sports, travel, music, and curating vernacular designs. Instagram" + }, + "Mirko Velimirovi\u0107": { + "name": "Mirko Velimirovi\u0107", + "bio": "Mirko Velimirovi\u0107 lives in Brooklyn where he designs typefaces, and lettering for book covers under the name Abyss Type Company. He teaches type design at Center for Book Arts occasionally, and wrangles variable fonts constantly. github.com/bghryct" + }, + "Maniackers Design": { + "name": "Maniackers Design", + "bio": "Maniackers Design is a design studio works in various media. Established in 1995, it's based in Takasaki, Gunma in Japan. Representative is Masayuki Sato. Maniackers Design started creating & uploading open source fonts on its website in 1998. mksd.jp" + }, + "Monotype Imaging Inc.": { + "name": "Monotype Imaging Inc.", + "bio": null + }, + "Meir Sadan": { + "name": "Meir Sadan", + "bio": "Meir is a designer specializing in type design, typography, interactive digital design, and web development. He serves as Creative Director at feelternet, and teaches at Bezalel Academy of Arts and Design, and Minshar School for Art. meirsadan.com | GitHub | Twitter" + }, + "artakana": { + "name": "artakana", + "bio": "Artakana has been sharing his graphic and typographical works such as fonts and lettering on social media since 2016. He is now sharing his original fonts under open source license. Twitter" + }, + "Agung Rohmat": { + "name": "Agung Rohmat", + "bio": "Based in Pati, Central Java, alphArtype is a personal typefoundry that Agung Rohmat created when he started making fonts in 2018. He is a freelancer designer and got interested in making fonts with a handwritten style. His most popular fonts are \"Holiday\" and \"Collection\" and their users come from various countries in the world and from several large companies such as Vevo, Boots and Unilever. alphartype.com/ | hello@alphartype.com" + }, + "Natalia Raices": { + "name": "Natalia Raices", + "bio": null + }, + "Nathan Willis": { + "name": "Nathan Willis", + "bio": null + }, + "Purushoth Kumar Guttula": { + "name": "Purushoth Kumar Guttula", + "bio": null + }, + "Daniel Johnson": { + "name": "Daniel Johnson", + "bio": null + }, + "Stephan Ahlf": { + "name": "Stephan Ahlf", + "bio": null + }, + "Minha Hyung": { + "name": "Minha Hyung", + "bio": null + }, + "Woowahan Brothers": { + "name": "Woowahan Brothers", + "bio": null + }, + "FONTRIX": { + "name": "FONTRIX", + "bio": null + }, + "Gary Lonergan": { + "name": "Gary Lonergan", + "bio": null + }, + "Yanghee Ryu": { + "name": "Yanghee Ryu", + "bio": "Yanghee Ryu is an independent type designer specializing in Hangul. She released her first typeface \u2018Gowun Hangul\u2019 in 2010, and has graduated from the MA Typeface Design course at the University of Reading 2017. Her interests include multi-script type design for development of Hangul typefaces harmonized with other scripts. ryufont.com | Twitter" + }, + "Szymon Celej": { + "name": "Szymon Celej", + "bio": null + }, + "Fontworks Inc.": { + "name": "Fontworks Inc.", + "bio": "Fontworks was established in 1993, under a corporate philosophy to create a new culture through letters. They are engaged in planning, developing, and selling digital fonts. They also provide software developments and technical services. website" + }, + "\u00d3liver Lalan": { + "name": "\u00d3liver Lalan", + "bio": "\u00d3liver Lalan is an industrial engineer who, after leaving the corporate world, has embraced a creative journey that merges photography, design, and industrialization. Doto is his first contact with the world of typography. Wandering around the world, follow him @oliverlalan to stay up to date of his latest projects and adventures. oliverlalan.com" + }, + "Onur Yaz\u0131c\u0131gil": { + "name": "Onur Yaz\u0131c\u0131gil", + "bio": null + }, + "Toshi Omagari": { + "name": "Toshi Omagari", + "bio": "Toshi is an independent typeface designer in London. He graduated from the Visual Communication Design course at Musashino Art University in Tokyo in 2008 and the MA Typeface Design program at the University of Reading in 2011. During his time at Monotype from 2012 to 2020, he has released a number of revival typefaces such as Metro Nova, Neue Plak, and Welthold Wolpe Collection, as well as custom typefaces for international brands such as H&M. He now runs his own studio. Writing systems of his interest and specialty are not only limited to Latin but others, including Cyrillic, Greek, Arabic, Tibetan, and Mongolian. Toshi is also an avid gamer, and has written Arcade Game Typography, a specimen book of pixelated typefaces from retro arcade games. His other hobbies include blades and knives, Rubik's cube, and shrimp keeping. tosche.net" + }, + "Jennifer Daniel": { + "name": "Jennifer Daniel", + "bio": null + }, + "Georg Duffner": { + "name": "Georg Duffner", + "bio": null + }, + "Octavio Pardo": { + "name": "Octavio Pardo", + "bio": "Graphic designer specialized in type design. He has collaborated with design studios and foundries like Tobias Frere-Jones, Porchez Typofonderie, Type-Together, Leftloft, and Sharp Type. ashler.design | Twitter" + }, + "YoonDesign Inc": { + "name": "YoonDesign Inc", + "bio": null + }, + "Rosetta": { + "name": "Rosetta", + "bio": "Rosetta addresses the needs of global typography by working with collaborators to create original fonts for a polyphonic world. Their work has won numerous awards, but more importantly it has enabled people to read more easily in their native language. The Rosetta font library currently supports over 200 languages including Latin, Arabic, Armenian, Greek, Cyrillic, Inuktitut, and Indic scripts. Their fonts serve numerous clients including the BBC, RFE/RL, LG, and Harvard University Press. GitHub | Twitter" + }, + "Vaibhav Singh": { + "name": "Vaibhav Singh", + "bio": "Vaibhav Singh is an independent typographer and typeface designer. With an MA and PhD from the University of Reading, he specialises in designing typefaces for Indian scripts in addition to developing Latin typefaces. He is also the editor and publisher of the independent journal Contextual Alternate." + }, + "Tina Anderson": { + "name": "Tina Anderson", + "bio": "Tina Anderson is a software engineer and type designer based in Australia. She has primarily worked as a freelance programmer involved with various business applications and became interested in educational app development for Little Australian Schoolies as her grandchildren came of school age. auschoolhandwritingfonts.com" + }, + "Corey Anderson": { + "name": "Corey Anderson", + "bio": "Corza is a graphic artist and calligrapher based in Australia involved with many 3D projects in the drone industry and the author of a number of Blender addons including Auto Addon Installer, C-Scatter and Geonodes Panel Generator (among others). coreycorza.gumroad.com" + }, + "Alejandro Inler": { + "name": "Alejandro Inler", + "bio": null + }, + "Andres Torresi": { + "name": "Andres Torresi", + "bio": null + }, + "FontFuror": { + "name": "FontFuror", + "bio": null + }, + "ETC": { + "name": "ETC", + "bio": "Etcetera Type Company is a New-York based foundry founded in 2018 by Tyler Finck. It distributes opensource playful variable fonts. Homepage" + }, + "Typofactur": { + "name": "Typofactur", + "bio": "Typofactur is a small type foundry run by German graphic designer Simon Atzbach. Simon has loved designing and working with letters since he could write. Over the last 25 years, he has developed various typefaces alongside his work on web, print and logo projects. typofactur.de" + }, + "Ang\u00e9lica D\u00edaz": { + "name": "Ang\u00e9lica D\u00edaz", + "bio": null + }, + "Sabrina Mariela Lopez": { + "name": "Sabrina Mariela Lopez", + "bio": null + }, + "Bart\u0142omiej R\u00f3zga": { + "name": "Bart\u0142omiej R\u00f3zga", + "bio": null + }, + "Robin Mientjes": { + "name": "Robin Mientjes", + "bio": null + }, + "Designtown": { + "name": "Designtown", + "bio": null + }, + "Koto Studio": { + "name": "Koto Studio", + "bio": "Koto is a brand and digital agency with studios in Berlin, London, Los Angeles, New York, and Sydney. We bring optimism, craft and rigor to every brief; collaborating with today\u2019s most impactful companies and the founders defining a better tomorrow to unlock the true potential of their brands. Founded in 2015 by Caroline Matthews (COO), James Greenfield (CEO), and Jowey Roden (CCO), we have shaped some of the world's leading brands, including Airbnb, Amazon Music, Discord, Fiverr, Glassdoor, Pleo, Qonto, Skyscanner, Sonos, Uber Eats, Venmo, and WhatsApp. koto.studio" + }, + "Familjen STHLM AB": { + "name": "Familjen STHLM AB", + "bio": "Familjen is an advertising and design-bureau located in Stockholm, Sweden. familjen.se" + }, + "Barry Schwartz": { + "name": "Barry Schwartz", + "bio": null + }, + "Grayscale": { + "name": "Grayscale", + "bio": null + }, + "Fernando D\u00edaz": { + "name": "Fernando D\u00edaz", + "bio": null + }, + "Erik Kennedy": { + "name": "Erik Kennedy", + "bio": "Erik D. Kennedy is a UX/UI designer who has worked with clients ranging from Fortune 100 to Y-Combinator startups. He has also taught thousands of students around the world via his online school, Learn UI Design. He lives in Seattle, WA and spends his free time doing Brazilian jiu-jitsu and playing Flamenco guitar. erikdkennedy.com/ | learnui.design" + }, + "Helsinki Type Studio": { + "name": "Helsinki Type Studio", + "bio": "Helsinki Type Studio specialises in finding cultural resonances and designing uniquely recognisable fonts. It was founded in 2010 by Niklas Ekholm, Juho Hiilivirta, Jungmyung Lee and Jaakko Suomalainen. The web shop maintains an eclectic selection of fonts by associated designers. helsinkitypestudio.com" + }, + "Niklas Ekholm": { + "name": "Niklas Ekholm", + "bio": "Niklas Ekholm is a type designer and founding member of Helsinki Type Studio. His work explores the materiality of language by investigating the tension between intentionality and path dependence through scrutinising artefacts of lingual processes and remediation. niklasekholm.com" + }, + "Juho Hiilivirta": { + "name": "Juho Hiilivirta", + "bio": "Juho Hiilivirta is a type designer and founding member of Helsinki Type Studio. Uniting the disciplines of type design and environmental art, he explores typographic practices from a northern perspective. www.juhohiilivirta.com" + }, + "Jaakko Suomalainen": { + "name": "Jaakko Suomalainen", + "bio": "Jaakko Suomalainen is a type designer and founding member of Helsinki Type Studio. A constant search for new takes on still and moving architecture shapes his form and written language." + }, + "The Mozilla Foundation": { + "name": "The Mozilla Foundation", + "bio": null + }, + "Telefonica S.A.": { + "name": "Telefonica S.A.", + "bio": null + }, + "Nikita Prokopov": { + "name": "Nikita Prokopov", + "bio": null + }, + "Irina Smirnova": { + "name": "Irina Smirnova", + "bio": null + }, + "Dan Ross": { + "name": "Dan Ross", + "bio": "Dan Ross is a designer from the Gold Coast, Australia, currently living in Los Angeles, USA. His main focuses are design tooling, design systems, and design operations. danross.co | Twitter" + }, + "Sophia Tai": { + "name": "Sophia Tai", + "bio": "Sophia Tai is a typeface designer based in the UK. She completed a course in MA Typeface Design at University of Reading where she studied and designed a Latin and Tamil multiscript typeface family. In the same year she was listed under Malee's Women of Typographic Excellence. Soon after, she released her first font Streco, a reversed contrast superfat font on Future Fonts and worked on Foldit, a COLRv1 variable-gradient font for Google Fonts. sophiatai.com" + }, + "Denis Masharov": { + "name": "Denis Masharov", + "bio": "Denis Masharov was a designer, teacher, and an active member of the Russian typographic community. He passed away suddenly on September 1st, 2021. Behance | Facebook" + }, + "Wei Huang": { + "name": "Wei Huang", + "bio": "Wei is a Chinese-born Australian designer based in the Schengen Area. He makes and produces fonts including Work Sans, teaches, and exhibits his work. Wei believes drawing fonts is like meditation." + }, + "URW Design Studio": { + "name": "URW Design Studio", + "bio": null + }, + "Yanek Iontef": { + "name": "Yanek Iontef", + "bio": "Yanek is a typeface designer and typographer\u202d. \u202cBorn in the USSR\u202d, \u202che emigrated to Israel at the age of 16\u202d \u202cand studied graphic design at Bezalel Academy of Arts and Design. \u202cHe has worked in London and Tel Aviv\u202d, and taught typography\u202d \u202cand type design at the Bezalel Academy \u202cand at Shenkar College of Engineering and Design. \u202cAn award-winning type designer\u202d, Yanek runs Fontef, his own foundry specializing in Hebrew type design. He designed the FF Cartonnage\u202d, \u202cHadasah Friedlaender,\u202d \u202cand Mandatory type families\u202d. \u202cHis interest in found typography and bicycle culture\u202d is documented online\u202d. GitHub\u202d | Twitter" + }, + "Undercase Type": { + "name": "Undercase Type", + "bio": "Founded in 2020, Undercase Type is a type foundry headed by Phaedra Charles and Flavia Zimbardi with a particular interest in variable fonts. Twitter | Instagram | undercase.xyz" + }, + "Milena Brand\u00e3o": { + "name": "Milena Brand\u00e3o", + "bio": null + }, + "Hafontia": { + "name": "Hafontia", + "bio": null + }, + "Milena Brandao": { + "name": "Milena Brandao", + "bio": null + }, + "NORD ID": { + "name": "NORD ID", + "bio": "Based in Stockholm & Copenhagen, NORD ID is a leading strategy & design agency creating coherent, distinct and differentiating brand identities. Uniquely combining insightful conceptual design with unparalleled craft, more often developing custom type design to be a key brand building component to create instant recognition across any and all touchpoints: From custom typefaces for large companies such as Vattenfall, Klarna and Skanska, down to more experimental type design for campaigns such as Chillboards for Coors. website" + }, + "Laura Garcia Mut": { + "name": "Laura Garcia Mut", + "bio": "Laura Garcia Mut is a Spanish type designer. She got a BA in Graphic Design focusing on digital type design, right after graduating in Biological Sciences. In 2022 she founded Hard Type Foundry, an independent type design studio, and started working on her retail and custom projects while collaborating with other design studios, agencies and foundries. hardtype.xyz | Instagram" + }, + "Greek Font Society": { + "name": "Greek Font Society", + "bio": null + }, + "Afotey Clement Nii Odai": { + "name": "Afotey Clement Nii Odai", + "bio": "Based in Accra, Ghana, Afotey Clement Nii Odai, known as Vikers, is a distinguished creative designer. Vikers excels as a brand, product, iconographer, and type designer, crafting enduring and impactful designs. bento.me/vikersjnr" + }, + "Ama Diaka": { + "name": "Ama Diaka", + "bio": "Ama Asantewa Diaka is a storyteller and a community catalyst. She is the author of two poetry books - \u201cYou too will know me\u201d and \u201cWoman, eat me whole\u201d and a short story collection \u201cSomeone birthed them broken\u201d. She is also the founder of Black Girls Glow, a feminist arts nonprofit that uses art to build thriving ecosystems, & Tampered Press, - Ghana-based independent publisher dedicated to books by and about Africans. Instagram" + }, + "David Abbey-Thompson": { + "name": "David Abbey-Thompson", + "bio": "David Abbey-Thompson is a creative from Accra, Ghana. He loves to explore vernacular design culture. He is a partner at Aayalolo Foundry. David Abbey-Thompson is also the project director for Akutso Design Lab, a not-for-profit creative lab in Accra. Instagram" + }, + "Naipe Foundry": { + "name": "Naipe Foundry", + "bio": "Naipe Foundry is the type design, lettering & font production practice of \u00c1lvaro Franca & Felipe Casaprima. Out of Rio de Janeiro, but based in Barcelona, Perth and everywhere in between, Naipe creates custom and retail typefaces for fun and for profit, ideally both. The company aims to tell latin american stories through letterforms, with a strong focus on Brazilian history and culture. store.naipefoundry.com" + }, + "Leandro Assis": { + "name": "Leandro Assis", + "bio": "Leandro Assis is a brazilian designer and lettering artist based in S\u00e3o Paulo. He's best known for super bold letterings, colorful palettes and playful illustrations, drawing the attention of global brands and agencies to digital projects and marketing campaigns for the most different scenes. Above all, he's interested in opportunities where he can use design as a tool to talk about things he cares about, such as black culture, gender topics and LGBTQ+ rights. lebassis.com" + }, + "\u00c1lvaro Franca": { + "name": "\u00c1lvaro Franca", + "bio": "\u00c1lvaro Franca (Rio de Janeiro, 1991) has designed type since 2013. A graphic design graduate of ESDI (Rio de Janeiro), he worked at Hipertipo and Dalton Maag before completing Typeface Design masters degrees in Barcelona and Antwerp. Currently, he is Type Director at Vasava Studio, founder of Type Thursday Barcelona and the founder and of Naipe Foundry which he runs with Felipe Casaprima since 2018. store.naipefoundry.com" + }, + "Felipe Casaprima": { + "name": "Felipe Casaprima", + "bio": "Felipe Casaprima is a type designer based in Perth, Australia. After a brief internship at Coppers and Brasses and a few years working at Plau Design, he founded Naipe Foundry with \u00c1lvaro Franca in 2018." + }, + "JIKJI SOFT": { + "name": "JIKJI SOFT", + "bio": null + }, + "Lautaro Hourcade": { + "name": "Lautaro Hourcade", + "bio": null + }, + "Saurabh Sharma": { + "name": "Saurabh Sharma", + "bio": "Based in Udaipur, Rajasthan, India, Saurabh Sharma is an independent Developer & Graphic/Web design professional with over 17 years of experience in the Information Technology and Services Industry. Saurabh has worked on HTML/CSS websites, UI Designs, frameworks, WordPress themes, plugins, JavaScript and PHP projects. In recent years, Saurabh has been actively working on font design and development. His first release was the Kumbh Sans project on Google Fonts. GitHub | LinkedIn" + }, + "Lafontype": { + "name": "Lafontype", + "bio": "Lafontype is a type foundry based in Indonesia. Started in 2016 by Anugrah Pasau and has published various typefaces for various needs." + }, + "Jiashuo Zhang": { + "name": "Jiashuo Zhang", + "bio": null + }, + "Binoy Dominic": { + "name": "Binoy Dominic", + "bio": "Binoy Dominic is a graphic designer from India focusing on Malayalam lettering, typesetting and logo designs. He designed Gayathri Malayalam typeface in collaboration with Swathanthra Malayalam Computing organization. binoydominic.com/" + }, + "Andr\u00e9s Briganti": { + "name": "Andr\u00e9s Briganti", + "bio": "Hailing from Buenos Aires, Argentina, Andr\u00e9s Briganti is a graphic designer specializing in visual identity. With a focus on bespoke logotypes, typography, and conceptual frameworks, he creates refined and aesthetically relevant work. As a designer and art director, Andr\u00e9s collaborates with brands, institutions, and individuals worldwide. He is the creator of Basement Grotesque, a striking and unapologetic typeface inspired by the expressiveness of early 19th-century grotesque fonts and the bold visuals of brutalist aesthetics. This marked Basement Studio\u2019s first venture into the exciting world of type design, pushing boundaries in typography and visual communication. briganti.works" + }, + "Mateo Zaragoza": { + "name": "Mateo Zaragoza", + "bio": "Based in Buenos Aires, Argentina, Mateo Zaragoza is a designer and FADU graduate. Since 2021, he has been leading web design at basement.studio, creating immersive websites for high-profile clients such as MrBeast, KidSuper, Harmony Korine, and Vercel. He also designed B\u2013MECHA, a bold display typeface inspired by Japanese Mecha culture, aimed at making a strong visual impact. His work focuses on crafting innovative digital experiences and designs, combining creativity with technical precision to push the limits of modern web design and typography. Instagram | x.com/teo_zaragoza" + }, + "Guillermo Rauch": { + "name": "Guillermo Rauch", + "bio": "Based in San Francisco, Guillermo Rauch is a software engineer and CEO of Vercel. Originally from Lan\u00fas, Buenos Aires, he has shaped the web development landscape through notable projects like Next.js, the most popular React framework, and Socket.IO, a key library for real-time communication. His company, Vercel, powers the digital presence of brands like The Washington Post, Porsche, and Nintendo. Previously, he founded Cloudup, which was acquired by Automattic to enhance WordPress's capabilities. Guillermo\u2019s technical contributions include creating Mongoose for MongoDB and authoring \u201cSmashing Node.js,\u201d showcasing his profound influence on JavaScript and developer experience (DX). vercel.com" + }, + "Evil Rabbit": { + "name": "Evil Rabbit", + "bio": "Based in San Francisco, Evil Rabbit (Nicol\u00e1s Garro) started designing at age 9 and landed his first web design job at 12. After studying Art and Graphic Design at UBA, he led digital design at VIACOM for Latin America, managing brands like MTV, VH1, and Paramount Pictures. In 2014, he shifted to product design, working at Aerolab and Auth0, before joining Guillermo Rauch in 2016 as the Founding Designer at Vercel. Known for his minimalistic black-and-white aesthetic, Nicol\u00e1s shapes Vercel\u2019s brand identity and has crafted digital experiences for major events like Vercel Conf and Ship. evilrabb.it" + }, + "Jos\u00e9 Rago": { + "name": "Jos\u00e9 Rago", + "bio": "Originally from Mar del Plata, Argentina, Jos\u00e9 Rago brings his visionary approach to design as the co-founder and creative lead at basement.studio. His passion for innovation and solving complex challenges drives him to elevate ideas for top-tier clients and internal teams. With a focus on staying ahead of the curve in emerging technologies, he creates cutting-edge products that make a lasting impact. Continuously exploring the evolving landscape of design and technology, he thrives on pushing the boundaries of creativity, always aiming to take each project to new heights of possibility. x.com/ragojose" + }, + "Facundo Santana": { + "name": "Facundo Santana", + "bio": "Facundo Santana, from Mar del Plata, Argentina, is the Co-founder & Managing Partner of basement.studio, where he leads growth, operations, and strategy. With a background in design and a sharp business acumen, Facundo bridges creativity and strategy to drive the company\u2019s vision forward. In addition, he is a member of SoDA, an exclusive network of digital agency leaders, and the Entrepreneurs' Organization (EO), an LP at Newtopia, and actively supports innovative startups as both an investor and advisor through basement ventures. linkedin.com/in/facundo-santana" + }, + "Victor Gaultney": { + "name": "Victor Gaultney", + "bio": null + }, + "Monokrom": { + "name": "Monokrom", + "bio": null + }, + "Sindre Bremnes": { + "name": "Sindre Bremnes", + "bio": null + }, + "Frode Helland": { + "name": "Frode Helland", + "bio": null + }, + "Production Type": { + "name": "Production Type", + "bio": "Based in Paris, Production Type is a digital type design agency. Its activities span from the exclusive online distribution of its retail type for design professionals, to the creation of custom typefaces for the industrial, luxury, and media sectors." + }, + "Joe Prince": { + "name": "Joe Prince", + "bio": null + }, + "Andreas Larsen": { + "name": "Andreas Larsen", + "bio": "Andreas Larsen is a healthcare professional turned developer + designer from Copenhagen, Denmark. He grew up in Gidole, Ethiopia, from where he took inspiration for the Gidole font. Homepage" + }, + "Liam Spradlin": { + "name": "Liam Spradlin", + "bio": null + }, + "Duarte Pinto": { + "name": "Duarte Pinto", + "bio": "Duarte Pinto is a young graphic designer from Portugal who has a great interest in typography. He is currently studying Communication Design in Germany as an exchange student. Instagram" + }, + "Jaikishan Patel": { + "name": "Jaikishan Patel", + "bio": "Jaikishan Patel is a communication designer from India. After completing a master's in visual communication from IDC school of design, IIT-Bombay, he has been practising in the field of branding and visual communication. With a special interest in lettering and typography, he has been working on multiple type design projects inspired by various genres. www.magictype.in | Instagram" + }, + "Alexandra Korolkova": { + "name": "Alexandra Korolkova", + "bio": "Alexandra Korolkova is a type designer, book designer, type researcher and type consultant. She is art director of Paratype and is the 9th recipient of the Prix Charles Peignot (2013). She also won the Granshan, ED Awards and Red Dot. She is the leading designer of PT Sans and PT Serif, Circe, Golos, and the type system of Sber. She wrote a book on typography for beginners Live Typography (in Russian) which was first issued in 2007 and re-issued in 2008, 2010 and 2012, and a series of type-related articles. She spoke at ATypI, TYPO Berlin, TypeCon, TYPO Labs, Serebro Nabora, Typofest, Typetersburg and others and she is a jury member of the Modern Cyrillic type design competition since 2014. nicetype.ru/" + }, + "Vitaly Kuzmin": { + "name": "Vitaly Kuzmin", + "bio": "Type designer and design auditor at Paratype. Based in Moscow. At Paratype he develops new fonts, conducts design audits, and helps with the systematization and standardization of character sets. Author of PT Root, PT Root UI, Sober Sans, and several custom fonts. Specializing in user interface fonts, he has developed UI font styles for Sberbank\u2019s type system, which got awards from GRANSHAN, Red Dot, and ED Awards. vitalykuzmin.com" + }, + "Gustavo Dipre": { + "name": "Gustavo Dipre", + "bio": null + }, + "HanYang I&C Co": { + "name": "HanYang I&C Co", + "bio": null + }, + "Haesung Cho": { + "name": "Haesung Cho", + "bio": null + }, + "Agustina Mingote": { + "name": "Agustina Mingote", + "bio": "Agustina Mingote is a visual communication designer, specialized in typography, who currently lives in City Bell, Argentina. She currently works giving workshops and designing editorial pieces with knowledge of typeface families, producing typefaces and creating custom fonts. Instagram" + }, + "TAE System & Typefaces Co.": { + "name": "TAE System & Typefaces Co.", + "bio": null + }, + "Borna Izadpanah": { + "name": "Borna Izadpanah", + "bio": "Borna Izadpanah is a Lecturer in Typography at the University of Reading, UK, from where he was also awarded a PhD, and an MA in Typeface Design. His doctoral research explored the history of the early typographic representation of the Persian language. Borna has received numerous prestigious awards for his research and typeface design, including the Grand Prize and the First Prize for Arabic Text Typeface in the Granshan Type Design Competition, a TDC Certificate of Typographic Excellence, and the Symposia Iranica Prize for the best paper in Art History. GitHub | Twitter" + }, + "Fiona Ross": { + "name": "Fiona Ross", + "bio": "Fiona Ross specializes in type design primarily for Arabic, South Asian, and Thai scripts. She works as a consultant, type designer, author, and Professor in Type Design (part-time) at the University of Reading (UK). Fiona has received the SoTA Typography Award (2014) and the Type Director\u2019s Club Medal (2018). Academic Profile" + }, + "Alice Savoie": { + "name": "Alice Savoie", + "bio": "Alice Savoie is a graduate from \u00c9cole Duperr\u00e9 and \u00c9cole Estienne in Paris, and holds an MA in Typeface Design and a PhD in type history from the University of Reading (UK). Between 2008 and 2010 she joined Monotype as an in-house type designer, working on custom projects for international clients. She is currently based in Lyon, France, and teaches type design at \u00c9cal Lausanne (CH) as well as supervising research projects at Atelier National de Recherche Typographique in Nancy (FR). From 2018\u20142021 she was the principal researcher on the Leverhulme-funded \u2018Women in Type\u2019 project at the University of Reading with Prof. Fiona Ross. frenchtype.com | Twitter" + }, + "Simon Cozens": { + "name": "Simon Cozens", + "bio": "Simon Cozens is a font engineer based in Gloucester, UK. He specializes in OpenType layout of complex scripts, and operates Corvel Software, which enables type designers to support the world\u2019s languages. corvelsoftware.co.uk | Twitter" + }, + "Nonty": { + "name": "Nonty", + "bio": "A freelance typeface designer, based in Japan. They started designing type in 2017, with a focus on creating original, cute and fun fonts. website" + }, + "Hypertype": { + "name": "Hypertype", + "bio": "The multi-script-focused Typeface Design Studio Hypertype founded by Minjoo Ham and Mark Fr\u00f6mberg is specialized in Hangeul and Latin scripts, devoted to making a difference through sophisticated typeface design with deep research and has collaborated with various global companies to create multi-script design projects. futurefonts.xyz/hypertype | Twitter" + }, + "Indian Type Foundry": { + "name": "Indian Type Foundry", + "bio": "Indian Type Foundry (ITF) creates retail and custom multilingual fonts for print and digital media. Started in 2009 by Satya Rajpurohit and Peter Bil\u2019ak, ITF works with designers from across the world. ITF fonts are used by clients ranging from tech giants like Apple, Google, and Sony, to various international brands. Github | Twitter" + }, + "Nicole Fally": { + "name": "Nicole Fally", + "bio": null + }, + "David B\u0159ezina": { + "name": "David B\u0159ezina", + "bio": "Dr David B\u0159ezina is a typeface designer, writer, lecturer, and chief type officer at Rosetta type foundry. He designed typefaces for a diverse palette of the world\u2019s scripts, but focuses mostly on Gujarati and Latin. mrbrezina.com | Twitter" + }, + "Alfredo Marco Pradil": { + "name": "Alfredo Marco Pradil", + "bio": "Alfredo Marco Pradil is a type designer and founder of Hanken Design Co.\u00ae foundry. He graduated with a Fine Arts degree at Batangas State University and has been designing typefaces since 2012. His custom typeface work includes the Alienware\u00ae typeface for Dell\u00ae, Extremis Compakt for furniture design company Extremis\u00ae, and Ampersans for Ace & Tate. Behance | hanken.co" + }, + "Hanken Design Co.": { + "name": "Hanken Design Co.", + "bio": "Hanken Design Co.\u00ae was founded in 2013 and has its roots in Batangas, Philippines. Their versatile collection includes both retail and custom fonts. HDC has managed to produce typefaces that possess uniqueness and humanistic qualities. Some of the foundry\u2019s notable and widely used fonts include HK Grotesk, Glacial Indifference, Now, and Cerebri Sans. hanken.co | Instagram" + }, + "Kanon Foundry": { + "name": "Kanon Foundry", + "bio": "Kanon Foundry is a digital type foundry established in 2019 by Alexander \u00d6rn and Tor Weibull in Malm\u00f6, Sweden. They offer retail and custom typefaces with an approach based on research and conceptual thinking. Apart from design work Kanon also offers consultancy, lectures and workshops. kanonfoundry.com | Instagram" + }, + "Alexander \u00d6rn": { + "name": "Alexander \u00d6rn", + "bio": "Alexander \u00d6rn is a type designer based in Malm\u00f6, Sweden and co-founder of Kanon Foundry." + }, + "Tor Weibull": { + "name": "Tor Weibull", + "bio": "Tor Weibull is a Swedish type and graphic designer based in Stockholm, focusing on research and conceptual thinking. Along with his master's studies in type design and working with studios such as Lundgren+Lindqvist, Studio Claus Due, and Bedow, Tor has gained excellent skills and knowledge in the field. Today, he works as a type designer at Kanon Foundry, which he co-founded with Alexander \u00d6rn in 2019." + }, + "Hedvig": { + "name": "Hedvig", + "bio": "Hedvig is a digital insurance company that was founded in 2017 to make it predictably effortless to bounce back from loss. The in-house design department, led by Design Director Ermir Peci, was both client and contributor in the development of Hedvig Letters. hedvig.com" + }, + "Oded Ezer": { + "name": "Oded Ezer", + "bio": "Ezer Type House is an independent type foundry based in Tel-Aviv. Established in 2001 by Oded Ezer, one of today's prominent Hebrew type designers, the foundry specializes in the creation of Hebrew and Latin typefaces for global clients such as Google, Samsung, Waze, and more. Ezer's typefaces have garnered national and international recognition, receiving Certificates of Excellence at the TDC52 competition hosted by the New York Type Directors Club and at the 'Bukva raz' type design competition in Moscow, Russia. Additionally, Ezer has been honored with the Israeli Education Ministry Prize for Design, among other accolades. ezertypehouse.com" + }, + "Brownfox": { + "name": "Brownfox", + "bio": null + }, + "Mike LaGattuta": { + "name": "Mike LaGattuta", + "bio": null + }, + "Constanza Artigas Preller": { + "name": "Constanza Artigas Preller", + "bio": null + }, + "Element Type": { + "name": "Element Type", + "bio": "Element Type, founded by Do\u011fukan Karap\u0131nar and \u0130brahim Ka\u00e7t\u0131o\u011flu in \u0130stanbul, is a digital type foundry driven by continuous evolution. Element Type specializes in typeface design, font creation, and various typographic services. elementtype.co" + }, + "Do\u011fukan Karap\u0131nar": { + "name": "Do\u011fukan Karap\u0131nar", + "bio": "Do\u011fukan Karap\u0131nar is an award winning designer based in \u0130stanbul, working at the intersections of creative disciplines. With a background in graphic and type design, he blends design fundamentals into the digital medium and emerging technologies. He is the co-founder of Element Type and design studio S\u00f6mestr. doughkan.com | Instagram" + }, + "\u0130brahim Ka\u00e7t\u0131o\u011flu": { + "name": "\u0130brahim Ka\u00e7t\u0131o\u011flu", + "bio": "\u0130brahim Ka\u00e7t\u0131o\u011flu is from \u0130stanbul, drawing letters and, most of the time, exporting them as font files. He studied at EsadType to learn the formal way of crafting weird letterforms. ibrahimkactioglu.com" + }, + "Tobias Bjerrome Ahlin": { + "name": "Tobias Bjerrome Ahlin", + "bio": "Tobias is a product designer and engineer from Stockholm, Sweden, whose love for typography comes from his love for books. He initiated the Mona Sans and Hubot Sans projects together with Sam Oshin at GitHub. tobiasahlin.com" + }, + "GitHub": { + "name": "GitHub", + "bio": null + }, + "Degarism Studio": { + "name": "Degarism Studio", + "bio": "Degarism Studio, established by Deni Anggara in 2015, is an independent design studio focused on typography and editorial design. It is known for fonts such as Alliance and Biotif. degarism.com/" + }, + "Sebastian Carewe": { + "name": "Sebastian Carewe", + "bio": "Sebastian is an independent font engineer and type designer with a passion for music and linguistics, based in Europe. sebastiancarewe.com" + }, + "Justfont": { + "name": "Justfont", + "bio": null + }, + "Mike Abbink": { + "name": "Mike Abbink", + "bio": "Mike is the Executive Creative Director at IBM Brand Experience & Design\u2014a team overseeing the expression and strategic evolution of every IBM brand and sub-brand worldwide. The group\u2019s work crosses research and strategy, communications and content development, identity systems, digital and physical experiences, and tools and training. Mike has an extensive career as a type designer, creating successful typeface families, such as FF Kievit, FF Milo and Brando. Homepage | Twitter" + }, + "Bold Monday": { + "name": "Bold Monday", + "bio": "Bold Monday is an independent Dutch type foundry established in 2008 by Paul van der Laan and Pieter van Rosmalen. The Bold Monday library encompasses custom typeface design for high-profile, international clients, as well as state-of-the-art retail fonts for discerning designers. Homepage | Twitter" + }, + "Igino Marini": { + "name": "Igino Marini", + "bio": null + }, + "But Ko": { + "name": "But Ko", + "bio": null + }, + "Jos\u00e9 Mar\u00eda Ribagorda": { + "name": "Jos\u00e9 Mar\u00eda Ribagorda", + "bio": "Coordinator of the Graphic Design Degree at the Escuela Superior de Dise\u00f1o de Madrid. PhD in Image, Technology and Design from the Complutense University of Madrid. Twitter" + }, + "Olivia King": { + "name": "Olivia King", + "bio": "Olivia King is an Australian multidisciplinary designer specialising in branding, digital products and typography. Over the last decade she has art directed custom typefaces for global tech companies, arts organisations and not-for-profits. Recently she\u2019s been creating her own fonts with Inclusive Sans being her first major release. She has a passion for purposeful, accessible design and helping enrich the lives of others. oliviaking.com" + }, + "Raph Levien": { + "name": "Raph Levien", + "bio": null + }, + "Constanza Artigas": { + "name": "Constanza Artigas", + "bio": null + }, + "Gr\u00e9gori Vincens": { + "name": "Gr\u00e9gori Vincens", + "bio": null + }, + "J\u00e9r\u00e9mie Hornus": { + "name": "J\u00e9r\u00e9mie Hornus", + "bio": null + }, + "Jordan Egstad": { + "name": "Jordan Egstad", + "bio": "Jordan Egstad is a graphic designer and web developer creating expressive and enduring brand identities, websites, apps, typefaces, imagery, and more. egstad.com" + }, + "Intel Corporation": { + "name": "Intel Corporation", + "bio": null + }, + "Frere-Jones Type": { + "name": "Frere-Jones Type", + "bio": null + }, + "Rasmus Andersson": { + "name": "Rasmus Andersson", + "bio": null + }, + "Andrey V. Panov": { + "name": "Andrey V. Panov", + "bio": null + }, + "Sarah Cadigan-Fried": { + "name": "Sarah Cadigan-Fried", + "bio": "Sarah Cadigan-Fried (b. 1990) hails from Roanoke, Virginia. She obtained her MFA in Graphic Design from Boston University in 2019, and received a certificate in Type Design from Type@Cooper in 2022. She is currently living and working in Boston, Massachusetts where she is an Assistant Professor in Northeastern University's department of Art + Design. With a passion for fiber arts, Sarah is always looking for new and better ways to integrate typography into her knitting. Instagram" + }, + "Agyei Archer": { + "name": "Agyei Archer", + "bio": "Agyei Archer is a designer based in Trinidad and Tobago, working on interesting fonts with interesting people. LinkedIn" + }, + "C\u00e9line Hurka": { + "name": "C\u00e9line Hurka", + "bio": "C\u00e9line Hurka is an independent type designer based in The Hague, NL. In her practice, she aims to play with, question, and break the conventions that have prevailed for the past hundreds of years. She is fascinated by how meaning is attached to form and transforms over years of usage in different contexts. Letters are cultural signifiers that add meaning to a text far beyond the words they form. C\u00e9line's typefaces are deeply personal projects and are inspired by her long-term interest in type history, technological innovation, personal stories, pop culture, nature and universal emotions. celine-hurka.com/ | Instagram" + }, + "JetBrains": { + "name": "JetBrains", + "bio": "JetBrains creates tools for developers. The company thrives to make professional software development a more productive and enjoyable experience. Homepage" + }, + "Philipp Nurullin": { + "name": "Philipp Nurullin", + "bio": "Philipp Nurullin is a typeface designer with a digital design background. He is making typefaces since 2013 and likes to explore the type in the context of usage and trust his eyes and the heart." + }, + "Konstantin Bulenkov": { + "name": "Konstantin Bulenkov", + "bio": "Konstantin Bulenkov is a project manager at JetBrains. He is responsible for UI/UX of IntelliJ-based products. Pew Pew!" + }, + "Paolo Biagini": { + "name": "Paolo Biagini", + "bio": "Based in Italy, book and type lover, Paolo Biagini currently works as ui/ux designer. Fond of coding, he has also published several plugins for Adobe XD. paolobiagini.altervista.org | Plugins for Adobe XD" + }, + "KB Studio": { + "name": "KB Studio", + "bio": null + }, + "Christopher J. Fynn": { + "name": "Christopher J. Fynn", + "bio": null + }, + "Juli\u00e1n Tunni": { + "name": "Juli\u00e1n Tunni", + "bio": "Based in Buenos Aires, art director and designer Juli\u00e1n Tunni is the owner and creative force behind ArtPotions, an art and graphic design studio providing services to clients worldwide. He also owns Super Noob Games, a small publishing company dedicated to releasing exciting board games in Argentina. artpotions.com | supernoob.games" + }, + "Luciano Vergara": { + "name": "Luciano Vergara", + "bio": null + }, + "Vectro Type Foundry": { + "name": "Vectro Type Foundry", + "bio": "Vectro is a type foundry based in Portland, Oregon, founded by Travis Kochel and Lizy Gershenzon, who have been design partners for over 15 years. The studio offers a range of services, including retail fonts, bespoke typeface design, font production and tools. Vectro\u2019s work is known for exploring the intersections of technology, utility, and playfulness, resulting in innovative and inventive typefaces. Vectro is known for its distinct and creative approach to typeface design, which has helped establish the studio as a respected and influential presence in the industry. vectrotype.com" + }, + "Travis Kochel": { + "name": "Travis Kochel", + "bio": "Travis Kochel is a co-founder and owner of Future Fonts, where he plays a key role in the development of the influential platform. He is also the lead type designer and director for Vectro, overseeing the design and development of typefaces. As a partner at Scribble Tone for the past decade, he has focused on type design and development, and is best known for his award-winning typeface, Chartwell. In addition to his design work, Travis is an Adjunct Professor at Portland State University, where he teaches Type Design. vectrotype.com" + }, + "Lizy Gershenzon": { + "name": "Lizy Gershenzon", + "bio": "Lizy Gershenzon is an accomplished product designer with nearly 20 years of experience designing online platforms, directing marketing campaigns, and building businesses. As a co-founder and owner of Future Fonts and Vectro Type, she has been instrumental in the development of these innovative type companies. In addition to her work with these companies, Lizy has also been a partner at Scribble Tone for the past 15 years, and consults with leading product design teams. vectrotype.com" + }, + "Daria Cohen": { + "name": "Daria Cohen", + "bio": "Daria Cohen is a Berlin-based independent type designer. After working for several years at LucasFonts and Swiss Typefaces, she is now spliting her time between personal projects (which can be found on Future Fonts) and collaborations with various foundries. Instagram" + }, + "Ethan Cohen": { + "name": "Ethan Cohen", + "bio": "Ethan Cohen is a type designer and business manager from New York City currently living in Berlin and working at Dinamo. He has a masters degree in TypeMedia from the Royal Academy of Art in The Hague and attended the Type@Cooper Extended Program. Before joining Dinamo he worked at The Type Founders, LucasFonts, and Mucca Design, and released some of his own typefaces through Future Fonts. Before moving to Europe he spent many years handling contracts and IP at a record label during the day and playing guitar and banjo in bands at night. ethancohenstudio.com" + }, + "Font-Kai": { + "name": "Font-Kai", + "bio": "Font Kai began his career in graphic design, and soon worked on lettering and logo designs. He decided to start a career dedicated to type design in 1984, after winning an award in the Morisawa Type Competition. font-kai.jp/" + }, + "Frida Medrano": { + "name": "Frida Medrano", + "bio": "Frida Medrano is a Mexican type and interaction designer currently based in San Fransisco, California. She is interested in design automation and exploration projects where code and design converge. She won the SOTA Catalyst Award in 2018 and has presented her work in forums like ATypI, TypeLab, TypeCon, IxDA, Letr\u00e1stica, and TMX. fridamedrano.com | Instagram" + }, + "Becca Hirsbrunner Spalinger": { + "name": "Becca Hirsbrunner Spalinger", + "bio": null + }, + "Tep Sovichet": { + "name": "Tep Sovichet", + "bio": "Sovichet is a Cambodian self-taught typeface designer based in Phnom Penh, Cambodia. He runs his studio Anagata offering brand identity and custom font design services. He also talks and teaches Khmer typeface design inside and outside Cambodia. He is interested in Old Khmer and other Southeast Asian scripts." + }, + "Kousuke Nagai": { + "name": "Kousuke Nagai", + "bio": "Kousuke Nagai is a \"weekend typeface designer\". He likes to explore the potential of handwritten fonts. Twitter" + }, + "Rony Koch": { + "name": "Rony Koch", + "bio": "Rony Koch is a graphic designer based in Tel-Aviv. Her main work includes branding, logo design, print design, UX and UI. Her biggest passion is typography - investigating letters\u2019 formality, experimenting with their boundaries, and designing fonts. Portfolio | Instagram" + }, + "Jonny Pinhorn": { + "name": "Jonny Pinhorn", + "bio": "After completing an MA in Type Design at the University of Reading, Jonny went on to design Karla for Google Fonts. Karla is a popular and quirky sans-serif typeface that supports both Latin and Tamil scripts. His continued fascination with India and Indian languages led him to ITF, where he worked for three years. Jonny continues to work exclusively on Indic scripts\u2014including Shrikhand and Atithi most recently. Jonnypinhorn.co.uk | GitHub | Twitter" + }, + "Jonathan Pinhorn": { + "name": "Jonathan Pinhorn", + "bio": null + }, + "Tharique Azeez": { + "name": "Tharique Azeez", + "bio": "Tharique Azeez is a typeface designer, font engineer & lettering artist based in Sri Lanka. His work encompasses experimentation with multiple digital and analogue media to create letterforms. He is making fonts since 2013. He seeks to explore new visuals and shapes with a specific focus on the Tamil letterforms. Twitter thariqueazeez.com" + }, + "Hak Longdey": { + "name": "Hak Longdey", + "bio": null + }, + "Julia Petretta": { + "name": "Julia Petretta", + "bio": null + }, + "Hiroki-Chan": { + "name": "Hiroki-Chan", + "bio": "Hiroki-Chan expresses himself through typeface design because he feels it is the best way to share his perspective and creativity. Currently his goal is to confront his narcissism, and create typefaces that better suit himself. website" + }, + "Isa Ozler": { + "name": "Isa Ozler", + "bio": "Isa Ozler is a brand and software developer based in Amsterdam, the Netherlands. He is the founder of Fioritmo and is currently contracted as Product Design Director at Kadena LLC. Isa is devoted to solving complex challenges with innovative solutions. isaozler.com" + }, + "Suon May Sophanith": { + "name": "Suon May Sophanith", + "bio": "Sophanith is a Cambodian typeface designer based in Phnom Penh. He works as graphic designer and provides custom font design tasks. He began his journey in type design in 2015 and has made a significant contribution by widely sharing his Khmer fonts freely within the community. suonmaysophanith.com | Facebook" + }, + "MOTOYA": { + "name": "MOTOYA", + "bio": null + }, + "Birgit Pulk": { + "name": "Birgit Pulk", + "bio": null + }, + "Original Type": { + "name": "Original Type", + "bio": "Founded in 2018, Original Type sets out to produce and publish original, contemporary typefaces, both retail and custom, that enable creatives and brands express themselves in an authentic way. originaltype.com | Instagram" + }, + "Wael Morcos": { + "name": "Wael Morcos", + "bio": "Wael Morcos is a graphic designer and type designer from Beirut, Lebanon and a partner at the Brooklyn based design studio Morcos Key. morcoskey.com | Twitter" + }, + "Artur Schmal": { + "name": "Artur Schmal", + "bio": "Artur Schmal is a type designer from The Netherlands where he runs the Amsterdam based type foundry Original Type. Original Type publishes retail typefaces, designs custom fonts for clients and offers type services to type foundries. originaltype.com | Twitter" + }, + "Dale Sattler": { + "name": "Dale Sattler", + "bio": null + }, + "LXGW": { + "name": "LXGW", + "bio": null + }, + "Mercedes J\u00e1uregui": { + "name": "Mercedes J\u00e1uregui", + "bio": "Mercedes J\u00e1uregui is a graphic designer based in Buenos Aires, Argentina. She completed her training as a typography designer with a Master's Degree in Typography Design at the University of Buenos Aires. She has also been teaching Typography at the same university since 2003. As a graphic designer, she works mainly on digital projects for various NGOs. Labrada, her first published typeface, is the result of the final project carried out as part of her typography design master's degree and addresses the challenge of transcribing the Qom (a native South American people) language. Instagram" + }, + "Niki Polyocan": { + "name": "Niki Polyocan", + "bio": "Niki Polyocan is an award-winning freelance producer and photographer; some of her clients include Google, Nike, Converse, and Under Armour. She was fortunate enough to study photography under the mentorship of Mary Ellen Mark. Niki lives in Brooklyn with her two cats, Pablo and Celine. nikipolyocan.com | Instagram" + }, + "Eli Block": { + "name": "Eli Block", + "bio": "Eli Block is a graphic, product, and industrial designer. He loves bright color, strange texture, and inventive form (and also Hana, Noemie, and Niki). Eli has worked at Google Brand Studio, Google Creative Lab, and as a Kleiner Perkins Caufield & Byers Design Fellow. Homepage | Instagram" + }, + "Marion Kadi": { + "name": "Marion Kadi", + "bio": null + }, + "Typeland": { + "name": "Typeland", + "bio": "Typeland is an independent type design studio based in London. We offer retail fonts exclusively through our own website. We also develop custom fonts, and specialize in multi-script design and production. type.land" + }, + "Alessia Mazzarella": { + "name": "Alessia Mazzarella", + "bio": "Alessia Mazzarella is an independent typeface designer with several years of experience in font engineering, font mastering, and quality assurance. She holds degrees in Typeface Design from the University of Reading, Graphic Design from Central Saint Martins, and Graphic & Media Design from Sapienza University of Rome. type.land" + }, + "Caroline Hadilaksono": { + "name": "Caroline Hadilaksono", + "bio": null + }, + "Micah Rich": { + "name": "Micah Rich", + "bio": null + }, + "Haley Fiege": { + "name": "Haley Fiege", + "bio": null + }, + "Matt Bailey": { + "name": "Matt Bailey", + "bio": null + }, + "ISIA Urbino": { + "name": "ISIA Urbino", + "bio": null + }, + "Bonnie Shaver-Troup": { + "name": "Bonnie Shaver-Troup", + "bio": "Bonnie Shaver-Troup, EdD, the creator of the Lexend project, is focused on making reading easier for everyone. As an educational therapist, Bonnie created the first Lexend typeface in early 2001 aiming to reduce visual stress and to improve reading performance for those with dyslexia and other struggling readers. Today, Bonnie's goal is to make the Lexend fonts accessible to a larger spectrum of users thanks to the support of many talented collaborators." + }, + "H\u00e9ctor G\u00f3mez": { + "name": "H\u00e9ctor G\u00f3mez", + "bio": null + }, + "Superunion": { + "name": "Superunion", + "bio": "Superunion is a revolutionary creative company, with expertise in strategy, design, communications, and brand management. Superunion works with clients that include some of the world\u2019s most iconic brands, alongside technology unicorns, ambitious start-ups and inspiring not-for-profits. Superunion believes in the power of ideas to create positive, meaningful change. superunion.com" + }, + "Philipp H. Poll": { + "name": "Philipp H. Poll", + "bio": null + }, + "Lasse Fister": { + "name": "Lasse Fister", + "bio": null + }, + "Pablo Impallari": { + "name": "Pablo Impallari", + "bio": null + }, + "Juan Montoreano": { + "name": "Juan Montoreano", + "bio": null + }, + "Dmitry Ivanov": { + "name": "Dmitry Ivanov", + "bio": "Based in Montreal, Dmitry Ivanov is open source and audio software enthusiast, author of open-source organizations audiojs, colorjs and projects such as subscript, lino and others. He developed special purpose audio-vis fonts such as Wavefont, Linefont and others. Github | Twitter" + }, + "Anton Skugarov": { + "name": "Anton Skugarov", + "bio": "A multidisciplinary designer based in Krasnodar, Russia, with twelve years of experience in designing for the digital space. He specializes in creating brands, graphic systems, user experiences and various digital products that people use. skugarov.com | x.com/skugiz" + }, + "Alexandr Ivanin": { + "name": "Alexandr Ivanin", + "bio": "iOS engineer based in Saint Petersburg, Russia, passionate about creating fonts and exploring their functionality from a programming perspective. Github" + }, + "Liu Zhengjiang": { + "name": "Liu Zhengjiang", + "bio": null + }, + "ZhongQi": { + "name": "ZhongQi", + "bio": null + }, + "LV=": { + "name": "LV=", + "bio": null + }, + "Chen Xiaomin": { + "name": "Chen Xiaomin", + "bio": null + }, + "Google": { + "name": "Google", + "bio": null + }, + "Ana Paula Megda": { + "name": "Ana Paula Megda", + "bio": null + }, + "Coji Morishita": { + "name": "Coji Morishita", + "bio": null + }, + "M+ Fonts Project": { + "name": "M+ Fonts Project", + "bio": null + }, + "Ma ShanZheng": { + "name": "Ma ShanZheng", + "bio": null + }, + "Paul D. Hunt": { + "name": "Paul D. Hunt", + "bio": null + }, + "Taurai Valerie Mtake": { + "name": "Taurai Valerie Mtake", + "bio": "Taurai Valerie Mtake aka TaVaTake, is an award-winning Graphic Designer and Type Designer from Harare, Zimbabwe, dedicated to blending African visual culture with its authentic heritage. Committed to Africa, she creates edutainment content that fosters cultural connections and preserves authenticity. With extensive experience in brand identity and advertising, she has collaborated with renowned brands like IKEA, Gucci, Northvolt, ABSA, FNB Bank, and Google, demonstrating versatility across diverse media platforms. Notably, she received the prestigious Ung Svensk Form 2023 award for her exceptional work, among other accolades. tavatake.africa/ | Instagram" + }, + "Emre Parlak": { + "name": "Emre Parlak", + "bio": null + }, + "Pathum Egodawatta": { + "name": "Pathum Egodawatta", + "bio": null + }, + "Mikhail Sharanda": { + "name": "Mikhail Sharanda", + "bio": null + }, + "Carolina Short": { + "name": "Carolina Short", + "bio": "Carolina is a designer from Buenos Aires. After 30 years of working in the industry, and part-time teaching experience in Argentina, Germany and New Zealand, took a full-time academic position at the University of Waikato. Her education was in traditional graphic design, with a strong emphasis on typography, which became her deep interest. In 1994 she created the experimental typeface Miyuscules, one of the first Argentine digital fonts. In 1996 became a digital nomad, founded Bigital with Tom\u00e1s Garc\u00eda Ferrari, and started developing projects for clients in different countries, mainly in interactive and digital media. In 2019 she designed Mansalva, and keeps thinking about new typography projects, currently with other fonts under development. bigital.com | Instagram" + }, + "Fredrick Brennan": { + "name": "Fredrick Brennan", + "bio": null + }, + "Nur Syamsi": { + "name": "Nur Syamsi", + "bio": "Nur Syamsi is a graphic designer and founder of NamelaType based in Indonesia. He has been drawing letters and Arabic calligraphy since he was a child, he studied the basic rules of Arabic calligraphy at the Islamic Boarding School and graduated from the Indonesian Institute of the Arts (ISI) Yogyakarta. He started designing his own typefaces in 2019, and has been enthusiastic about harmonizing Latin and Arabic fonts ever since. Instagram" + }, + "Bustanul Arifin": { + "name": "Bustanul Arifin", + "bio": "Bustanul Arifin is a graphic and type designer at NamelaType based in Indonesia, currently working to produce typefaces. He has been interested in lettering and handwriting scripts since high school, especially classic scripts. Instagram" + }, + "Florian Runge": { + "name": "Florian Runge", + "bio": null + }, + "Manvel Shmavonyan": { + "name": "Manvel Shmavonyan", + "bio": null + }, + "Roman Shamin": { + "name": "Roman Shamin", + "bio": "Roman Shamin is the head of design at Evil Martians and a multidisciplinary designer dividing his time between Lisbon and Istanbul. He has developed all kind of tools: web and mobile apps, about a dozen plugins for Figma, Sketch, and Adobe apps. Including pretty raucous Size Marks for Adobe Photoshop (1.5K stars on GitHub) and Color Name for Figma (4.5K installs). Also, OKLCH Color Picker, Evil Icons (2nd Product of the Day on ProductHunt), and Recipe Scaler. In recent years he is running Martian Fonts, a type foundry within Evil Martians. Twitter" + }, + "Evil Martians": { + "name": "Evil Martians", + "bio": "Evil Martians is a distributed product development consultancy that works with startups and established businesses, and creates open source-based products and services. Offices in New York, Porto, and Osaka. evilmartians.com" + }, + "Carolina Trebol": { + "name": "Carolina Trebol", + "bio": null + }, + "The Graphic Ant": { + "name": "The Graphic Ant", + "bio": "The Graphic Ant is an independent type foundry and design studio based in Kathmandu, Nepal, founded by Prashant Pant. Specializing in type design, identity, and motion, the studio collaborates with clients and agencies around the world to craft custom typefaces and build cohesive, expressive visual identities. Website | Instagram" + }, + "Adam Yeo": { + "name": "Adam Yeo", + "bio": "Adam Yeo is a graphic and type designer from C\u00f4te d'Ivoire. He holds a Doctorate in Art and Design from Nanjing University of the Arts, China. From 2022 to 2024, Adam was part of the ANRT, where he worked on developing a typeface for the B\u00e9t\u00e9 script. Upon returning to his home country, he was appointed as an Assistant Professor of Graphic Design at the University of Bondoukou, C\u00f4te d'Ivoire. Adam has published several articles on African scripts, symbols, and languages. Matemasie is his first Latin typeface. This | one: | x.com/YeoADAM | linkedin.com/in/adam-yeo/" + }, + "Wojciech Kalinowski": { + "name": "Wojciech Kalinowski", + "bio": null + }, + "Aleme Tadesse": { + "name": "Aleme Tadesse", + "bio": "Aleme has designed \"Menbere,\" a versatile five-weight typeface, and \"Nigus,\" which artfully mimics traditional church manuscript writing. In addition to designing typefaces he is a full-time graphic designer, printer, painter, and painting instructor. He runs his own printing and graphic design company. He also has an MA in Architecture taken in Russia. His current focus is on watercolor creations, capturing the essence of Washington, DC, through his keen eye and delicate brushwork. These watercolors have become iconic, celebrated on postcards and cherished by locals and tourists alike. dcwatercolor.com | beteseb.org" + }, + "Kosal Sen": { + "name": "Kosal Sen", + "bio": null + }, + "Linus Romer": { + "name": "Linus Romer", + "bio": null + }, + "Michal Sahar": { + "name": "Michal Sahar", + "bio": null + }, + "FONTDASU": { + "name": "FONTDASU", + "bio": "Fontdasu mainly works for graphic and web design. He liked drawing letters from when he was little, and when he met GlyphsApp in 2016, he started designing his own typefaces. He seeks to design fonts that are beautiful and attractive to use. website" + }, + "Tural Alisoy": { + "name": "Tural Alisoy", + "bio": "TAFT (Tural Alisoy Fonts) is a type foundry founded by Tural Alisoy in Baku, Azerbaijan. Formerly a graphic designer and art director, he became a self-taught type designer in 2016. Before starting his studio, he worked with various national and international clients. His fonts are frequently featured on Myfonts and include Cyrillic, Greek, Hebrew, Georgian, and Armenian characters. TAFT focuses on creating well-designed, thoroughly tested, and optimized fonts. With over ten years of experience in graphic design and six years in type design, Tural usually works alone but collaborates with a design team when needed. taft.work | Behance" + }, + "Lipi Raval": { + "name": "Lipi Raval", + "bio": null + }, + "Gumpita Rahayu": { + "name": "Gumpita Rahayu", + "bio": null + }, + "Jiyeon Park": { + "name": "Jiyeon Park", + "bio": null + }, + "Denis Jacquerye": { + "name": "Denis Jacquerye", + "bio": null + }, + "Elena Albertoni": { + "name": "Elena Albertoni", + "bio": null + }, + "Aleksandr Andreev": { + "name": "Aleksandr Andreev", + "bio": "Leads the Slavonic Computing Initiative, a volunteer group of developers seeking to expand computer support for Old Church Slavonic and modern Church Slavonic. Typefaces include Triodion, Pochaevsk, and Ponomar for modern CS; Shafarik and Monomakh for OCS and academic work; as well as Mezenets and other fonts for Znamenny Notation. sci.ponomar.net | academia.edu" + }, + "Nikita Simmons": { + "name": "Nikita Simmons", + "bio": null + }, + "Alejandra Rodriguez": { + "name": "Alejandra Rodriguez", + "bio": null + }, + "Florian Karsten": { + "name": "Florian Karsten", + "bio": "Florian Karsten Studio (Brno, Czech Republic) focuses on graphic design, type design and programming. They create websites, books, programmes, typefaces and above all, functional systems. They are excited about open-source and peer2peer networks. Typefaces | Instagram" + }, + "Neil Summerour": { + "name": "Neil Summerour", + "bio": null + }, + "Arthur Reinders Folmer": { + "name": "Arthur Reinders Folmer", + "bio": "Arthur Reinders Folmer attended the Royal Academy of Art, the Hague, and afterwards started his own design studio in Haarlem, the Netherlands, where he specialises on combining typography and illustration. Next to his design studio, Arthur also runs his type foundry, Typearture. Through Typearture he creates typefaces that merge concepts, culture, experiment and most importantly: a bit of humor. His designs play with concepts, conventions of written language, and embed cultural references. The Typearture fonts are a type of adventure, and they explores all the possibilities that can be contained in a font-file. typearture.com | Twitter" + }, + "Just van Rossum": { + "name": "Just van Rossum", + "bio": null + }, + "Sandoll Communication": { + "name": "Sandoll Communication", + "bio": null + }, + "Andrea Herstowski": { + "name": "Andrea Herstowski", + "bio": "Andrea Herstowski teaches typography, design, and professional practice at the University of Kansas, Lawrence KS. Her Typographic Universe course introduces design students to the vast world of type design. Before joining KU she worked as a graphic designer in San Francisco, Basel, and Frankfurt. andreaherstowski.xyz" + }, + "Ben Hoepner": { + "name": "Ben Hoepner", + "bio": "Ben Hoepner is a designer drawn to type design, publication, and arts and cultural heritage work. As a Visual Communication Design undergraduate student at the University of Kansas, he was instrumental in developing National Park for the Google Library. benhoepner.work" + }, + "Jeremy Shellhorn": { + "name": "Jeremy Shellhorn", + "bio": "Jeremy Shellhorn is a designer, illustrator, and educator. He runs the Design Outside Studio and teaches Visual Communication Design at the University of Kansas. As a designer, he specializes in the outdoor industry, works as \u201cdesigner-in-residence\u201d at Tenkara USA, and has been collaborating with Rocky Mountain National Park since 2012. jeremyshellhorn.com" + }, + "Nermin Kahrimanovic": { + "name": "Nermin Kahrimanovic", + "bio": "Nermin Kahrimanovic is a London based digital designer. His skills range from brand & website design to font development, HTML/CSS, 3D rendering, illustrations and video editing. Always looking to expand his skills further with a keen eye on current and upcoming design trends. Website | Behance" + }, + "Brian Zick": { + "name": "Brian Zick", + "bio": null + }, + "Vladimir Nikolic": { + "name": "Vladimir Nikolic", + "bio": "Vladimir Nikolic is based in Belgrade. As a passionate designer he worked in the product design industry and started type business in 2017. coroflot.com/vladimirnikolic" + }, + "Hana Tanimura": { + "name": "Hana Tanimura", + "bio": "Hana is an award-winning designer and art director at Google Creative Lab in New York (previously in London). She likes making good things with good people, for good causes. And sometimes just for fun. Homepage | Instagram" + }, + "Noemie Le Coz": { + "name": "Noemie Le Coz", + "bio": "Noemie Le Coz is a New York-based independent Art Director, Designer and Illustrator. While very diverse, her aesthetic approach often merges minimalism with a distinct sense of play. She is a winner of Young Guns 15. Homepage | Instagram" + }, + "Alexei Vanyashin": { + "name": "Alexei Vanyashin", + "bio": null + }, + "James Barnard": { + "name": "James Barnard", + "bio": null + }, + "\u1ee4d\u1ecb Foundry": { + "name": "\u1ee4d\u1ecb Foundry", + "bio": "Based in Lagos, Nigeria, \u1ee4d\u1ecb Foundry is an independent type foundry founded by Chisaokwu Joboson with a mission to craft contemporary typefaces inspired by African culture and accommodate various African language scripts. Its most recent typeface project is Ojuju. Twitter | udifoundry.com" + }, + "Chisaokwu Joboson": { + "name": "Chisaokwu Joboson", + "bio": "Chisaokwu Joboson is a Nigerian-based brand and type designer. He creates contemporary typefaces under his independent type foundry called \u1ee4d\u1ecb, meticulously crafted to accommodate various African language scripts. Twitter | jobosonchisa.com" + }, + "Alexey Kryukov": { + "name": "Alexey Kryukov", + "bio": null + }, + "soytutype fonts": { + "name": "soytutype fonts", + "bio": null + }, + "Dmitri Voloshin": { + "name": "Dmitri Voloshin", + "bio": "Dmitri Voloshin is the founder of Simpals, Moldova's largest Internet company. Font designer, product designer, cartoon director, he has received numerous awards for his work worldwide. voloshin.md" + }, + "Andrey Kudryavtsev": { + "name": "Andrey Kudryavtsev", + "bio": "Andrey Kudryavtsev was born in Irkutsk near the Lake Baikal in 1980. He started typedesign in 2008. He participated in the Rodrigo Araya's RodrigoTypo project in Chile as a consultant and designer of the cyrillic parts of several font families and was shortlisted twice for the Tipos Latinos Biennial. He participated as a co-author of the Qwincey FY typefamily in the French project Fontyou. His header type Czarevitch was awarded the Glyphs prize at the Modern Cyrillic 2019 international competition. He participated as co-author designer in the project of universal typefamily Onest for Moldova. Facebook | Behance" + }, + "Oleg Pospelov": { + "name": "Oleg Pospelov", + "bio": null + }, + "Sooun Cho": { + "name": "Sooun Cho", + "bio": null + }, + "Haruki Wakamatsu": { + "name": "Haruki Wakamatsu", + "bio": "Haruki Wakamatsu, who chooses to go by Haley, is a longtime hobbyist graphic designer from Sapporo, Japan. With a penchant for pixel typefaces and experience dating back to 2014, she has released a library of free and commercial fonts as the foundry UkiyoMoji Fonts. Homepage | Twitter" + }, + "Kalapi Gajjar": { + "name": "Kalapi Gajjar", + "bio": null + }, + "Gutenberg Labo": { + "name": "Gutenberg Labo", + "bio": "Gutenberg Labo is a Japanese typefoundry that distributes open source fonts. They offer original designs as well as digital revivals inspired by printed matters from the public domain. gutenberg.osdn.jp/ | Twitter" + }, + "Smartsheet Inc": { + "name": "Smartsheet Inc", + "bio": "Smartsheet is a SaaS, enterprise cloud app for work management and collaboration. In September 2022, Smartsheet acquired Outfit.io co-creators of the Outfit typeface. smartsheet.com" + }, + "Delve Withrington": { + "name": "Delve Withrington", + "bio": null + }, + "Dave Bailey": { + "name": "Dave Bailey", + "bio": null + }, + "Severin Meyer": { + "name": "Severin Meyer", + "bio": null + }, + "ParaType": { + "name": "ParaType", + "bio": "ParaType was established in 1998 as a successor to the ParaGraph International type department. The company develops and distributes multilingual typefaces that support the Latin, Cyrillic, Greek, Arabic, Hebrew, Armenian, and Georgian scripts. A specialist in manual TrueType hinting, ParaType offers high-quality hinting services to other type designers. The most popular ParaType projects include Pragmatica, PT Serif, and Circe. Twitter" + }, + "Botjo Nikoltchev": { + "name": "Botjo Nikoltchev", + "bio": null + }, + "Ani Petrova": { + "name": "Ani Petrova", + "bio": null + }, + "James Puckett": { + "name": "James Puckett", + "bio": "James studied graphic design at the Corcoran College of Art where he graduated with honors. He designed the Armitage, Ironstrike, and Lorimer type families, and has worked on custom type designs for clients including Mucca, Mutt Industries, and Google. In 2009, he started Dunwich Type Founders. GitHub | Twitter" + }, + "Shibuya Font": { + "name": "Shibuya Font", + "bio": null + }, + "Kevin Burke": { + "name": "Kevin Burke", + "bio": "Kevin Burke is an animator, designer, and prototyper based in London, UK. Kevin currently works on the Google Doodle team. Outside of work, Kevin is a musician composing under the name Nomadic Sun. homepage | vimeo | twitter | soundcloud" + }, + "Saber Rastikerdar": { + "name": "Saber Rastikerdar", + "bio": "Saber Rastikerdar (1986\u20132023) was a dedicated programmer and type designer who significantly contributed to Persian digital typography. He was known for creating several open-source fonts, including Vazir/Vazirmatn, Sahel, Samim, Tanha, Shabnam, Gandom, and Parastoo. His work aimed to improve the readability and aesthetic appeal of Persian script in digital media. Github" + }, + "Red Stone": { + "name": "Red Stone", + "bio": "Red Stone is an optimistic, award-winning team of creative thinkers, makers and planners based in London. They have delivered award winning brand identities, communications and content for leading organisations and charities. Red Stone partners with clients who are looking to make a positive difference to individuals, communities and the planet. ww.red-stone.com | Instagram" + }, + "Patrick Wagesreiter": { + "name": "Patrick Wagesreiter", + "bio": null + }, + "Ringo R. Seeber": { + "name": "Ringo R. Seeber", + "bio": "Ringo R. Seeber is a designer and typographer based in NYC and DC, with broad interests in symbolic systems, publications, and identity. He is the founder of the design agency Glyph Co, aka Glyph NYC, and is driving the project Human Type. Twitter | glyph.co" + }, + "D\u01b0\u01a1ng Tr\u1ea7n": { + "name": "D\u01b0\u01a1ng Tr\u1ea7n", + "bio": "D\u01b0\u01a1ng Tr\u1ea7n is a Vietnamese graphic designer and type practitioner, who shares passions in creating visual identities, layout designs and typography. From 2020, he has been crafting letters with emotional expressions and focuses on how to scale up the market of Vietnamese supported typefaces, starting with Phudu and Loes. Website | Instagram" + }, + "Nicolas Massi": { + "name": "Nicolas Massi", + "bio": null + }, + "Stefie Justprince": { + "name": "Stefie Justprince", + "bio": "Stefie Justprince is a dedicated creative professional specializing in type design. With a strong commitment to excellence, he has been a proud member of Typecalism Foundryline since 2020, contributing as a solo artist. Throughout his career since 2017, he has honed his skills in curating and creating distinctive typefaces that capture attention and convey meaningful messages. By blending aesthetics with functionality, he strives to breathe life into letters and help brands communicate their unique identities effectively. Instagram" + }, + "David Sargent": { + "name": "David Sargent", + "bio": "David Sargent is an Australian designer and educator living and working on Jagera and Turrbal land. He is the Creative Director of Liveworm, an incubator within the Queensland College of Art & Design, Griffith University, where students work on diverse external projects in a mentored environment. davidsargent.com.au" + }, + "Jonas Hecksher": { + "name": "Jonas Hecksher", + "bio": null + }, + "Laura Meseguer": { + "name": "Laura Meseguer", + "bio": "Laura is a freelance graphic and type designer based in Barcelona. She is specialised in all sorts of projects involving custom lettering and type design for branding and publishing design." + }, + "Veronika Burian": { + "name": "Veronika Burian", + "bio": "Veronika is a co-founder of the international indie foundry TypeTogether. She is one of the organisers of the alphabettes.org mentorship program, chairwoman of the GRANSHAN project, and organiser of TypeTech MeetUp." + }, + "Jos\u00e9 Scaglione": { + "name": "Jos\u00e9 Scaglione", + "bio": "Jos\u00e9 is a typeface designer, lecturer, and author specialising in typography. He co-founded the TypeTogether font foundry with Veronika Burian, where they have published numerous award-winning type families." + }, + "Vera Evstafieva": { + "name": "Vera Evstafieva", + "bio": "Based in Cambridge, UK, Vera Evstafieva is an independent type designer, calligrapher, and consultant who specializes in Latin and Cyrillic type design and lettering. Among Vera\u2019s type designs are: Amalta, winner of the 2011 TDC competition; ALS Direct typeface for interior and exterior wayfinding; Literata Cyrillic for TypeTogether, awarded by Modern Cyrillic 2021; Birra Lambic typeface for Darden Studio\u2019s Birra Flight project, awarded by 2022 Communication Arts magazine competition; Moscow University typeface; Rossica, Apriori, and other typefaces. Vera is a full member of Letter Exchange and has served as a jury member for international type design competitions, including Granshan. Instagram | letterexchange.org/members/portfolios/vera-evstafieva" + }, + "Tom Grace": { + "name": "Tom Grace", + "bio": "Tom Grace is a leading independent typeface and lettering designer based in Lausanne, Switzerland. He holds a Master of Arts in Typeface Design from the University of Reading (UK) and has been creating and optimizing letterforms professionally for over 20 years. Tom has designed and developed hundreds of custom font styles, many for Cyrillic and other non-Latin writing systems, and has published retail typefaces with Monotype and TypeTogether. He also teaches, lectures, and consults on typeface design and development. Tom\u2019s work has earned awards and distinctions for excellence, reinforcing his reputation as a go-to specialist for designers, design agencies, and type foundries in Switzerland and worldwide. tomgrace.ch" + }, + "Yorlmar Campos": { + "name": "Yorlmar Campos", + "bio": "Yorlmar Campos is an architect from the Universidad Central de Venezuela and taught typographic design in the Type Design MA at the Universidad de Buenos Aires where he had previously studied. He has worked on various technical development typographic projects for Google Fonts and his typefaces have been featured in the Tipos Latinos biennial. His font \"Atlante,\" published with TypeTogether, has received five awards, iClap Platinum, Tipos Latinos Certificate of Excellence, D&AD, Gold at the ED-Awards, and the TDC Certificate of Excellence. rnsfonts.com/ | Instagram" + }, + "Azza Alameddine": { + "name": "Azza Alameddine", + "bio": "Azza has been working as a graphic designer for 17 years in Lebanon and the UK; and as a type designer for 10 years. She holds a BA in visual communication from Cr\u00e9apole, Paris, and a Masters in Typeface Design from the University of Reading. She is interested in typefaces from a cultural point of view and the feelings they convey to people who can read them and to those who can't. Her goal is to bring more awareness to graphic and type designers in the Middle East about the added value of good typography in visual communication. azalam.com" + }, + "Gunjan Panchal": { + "name": "Gunjan Panchal", + "bio": "Gunjan Panchal is a type designer based in Mumbai. Having worked in advertising for five years in Mumbai and Bengaluru, Gunjan pursued an interest in type design, joining Indian Type Foundry in 2016 to work on Gujarati and Devanagari projects, and then Ektype in 2020, where he worked on a Nandinagari typeface. He\u2019s been collaborating with Universal Thirst since December 2021. gunjanpanchal.work/" + }, + "Sirin Gunkloy": { + "name": "Sirin Gunkloy", + "bio": "Sirin is an independent graphic and typeface designer based in Bangkok. She specializes in Thai and Latin typography, with an emphasis on linguistics and paleography. sirin-kwan.co/" + }, + "Tokotype": { + "name": "Tokotype", + "bio": "Tokotype is a type foundry based in Indonesia, initiated and operated by Gumpita Rahayu since in 2015. Tokotype is dedicated to providing experienced various commercial & custom fonts projects development by collaborating with leading design agencies, companies, and organizations. Homepage | Instagram | Twitter" + }, + "Adam P\u00f3\u0142tawski": { + "name": "Adam P\u00f3\u0142tawski", + "bio": null + }, + "Yoon Design": { + "name": "Yoon Design", + "bio": null + }, + "Ninad Kale": { + "name": "Ninad Kale", + "bio": null + }, + "Tipo": { + "name": "Tipo", + "bio": null + }, + "CodeMan38": { + "name": "CodeMan38", + "bio": null + }, + "Pavel Emelyanov": { + "name": "Pavel Emelyanov", + "bio": null + }, + "Jasper de Waard": { + "name": "Jasper de Waard", + "bio": null + }, + "USWDS": { + "name": "USWDS", + "bio": null + }, + "Dan Williams": { + "name": "Dan Williams", + "bio": null + }, + "Sir Andyj": { + "name": "Sir Andyj", + "bio": null + }, + "Andrew Paglinawan": { + "name": "Andrew Paglinawan", + "bio": null + }, + "Charles Daoud": { + "name": "Charles Daoud", + "bio": "Charles Daoud is a multidisciplinary graphic designer and typographer that works with a wide variety of SMEs, large corporations, firms and advertising agencies across the province of Quebec and abroad. He is internationally recognized for his work with major clients, such as Netflix and Brocade, as well as his innovative typefaces, including the ever-popular Dense, which have been downloaded by millions of users. In 2017, he led the development of the Radio-Canada typeface, in collaboration with the public broadcaster - a project that earned him a Grafika Grand Prix as well as not only being published in the Communication Arts Typography Annual, but also making its cover. He was also featured as one of the \"15 Canadian Graphic Designers to Follow\" by MIJLO, an industry-leading design blog. charlesdaoud.com" + }, + "Coppers and Brasses": { + "name": "Coppers and Brasses", + "bio": "Coppers and Brasses is a digital type foundry developing retail and custom typefaces for local and international clients. Based in Montreal, the award-winning foundry was founded in 2011 by \u00c9tienne Aubert Bonn and Alexandre Saumier Demers. Their debut retail typeface, Martha, was released in 2012. \u00c9tienne now runs the foundry and collaborates regularly with designers and consultants from all around the globe. Their typefaces are meticulously created for print as well as screen use. Coppers and Brasses takes their pride in bringing the the smoothest bezier curves, the most regular rhythm and the nicest text color. They also design bespoke typographic solutions for a variety of clients, either through advertising agencies, creative studios, or directly. Whether it is for a complete typeface family or a lettering piece, they take interest in every project that involves the drawing of letterforms. coppersandbrasses.com" + }, + "Alexandre Saumier Demers": { + "name": "Alexandre Saumier Demers", + "bio": "Alexandre Saumier Demers is a type designer and sign painter based in Montreal, Canada. He sometimes develops fonts for Coppers and Brasses-foundry he initially co-founded in 2011. asaumierdemers.com" + }, + "\u00c9tienne Aubert Bonn": { + "name": "\u00c9tienne Aubert Bonn", + "bio": "Since 2012, \u00c9tienne Aubert Bonn has been working as a type designer at Coppers and Brasses, the type foundry he cofounded with Alexandre Saumier Demers. Together, he and Alexandre offer a variety of type-related services including retail typefaces, custom fonts, lettering work, and typographic consultancy. Additionally, he is involved in teaching type design at UQAM as part of the graphic design BA course. Prior to his current endeavors, he completed a graphic design BA at UQAM, followed by a type design certificate at Type@Cooper and the Type and Media MA at KABK. coppersandbrasses.com" + }, + "Zeynep Akay": { + "name": "Zeynep Akay", + "bio": null + }, + "Martin Sommaruga": { + "name": "Martin Sommaruga", + "bio": null + }, + "TipTopTyp": { + "name": "TipTopTyp", + "bio": null + }, + "Anna Giedry\u015b": { + "name": "Anna Giedry\u015b", + "bio": "Anna is a designer with many interests\u2014she favors fonts and graphics when working, and illustration as a welcomed distraction. She holds an MA in Visual Communication from the University of Fine Arts in Pozna\u0144, and discovered her interest in pattern and calligraphy while studying in Vilnius, Lithuania. She designed Signika, a type family for wayfinding, and collaborated on the open-source type families Yrsa and Rasa, which support the Latin and Gujarati scripts. After freelancing for several studios, Anna now works with Rosetta. Twitter | ancymonic.com" + }, + "Nadine Chahine": { + "name": "Nadine Chahine", + "bio": null + }, + "Arrow Type": { + "name": "Arrow Type", + "bio": "Arrow Type is a type foundry and studio practice based in Brooklyn, NY which specializes in custom type, type design, and font development, run by Stephen Nixon. Previously, Stephen worked in digital product design and brand experience design at IBM. In 2018, Stephen graduated with a Master\u2019s degree in Type and Media from The Royal Academy of Art (KABK) in The Hague, Netherlands. In 2019, Google Fonts commissioned and published Arrow Type\u2019s first release, Recursive. Today, Arrow Type has a focus on creating fonts that are beautiful, uniquely useful, and tell a story. arrowtype.com | GitHub | YouTube | Instagram" + }, + "Stephen Nixon": { + "name": "Stephen Nixon", + "bio": "Stephen Nixon designs & develops fonts, tools, and websites as Arrow Type. Previously, he was in the KABK TypeMedia class of 2018. Before that, he designed and built websites and brand tools at IBM. stephennixon.com | GitHub | Twitter | Instagram" + }, + "MCKL": { + "name": "MCKL", + "bio": "MCKL is a Los Angeles-based type foundry and design studio, publishing original fonts and creating custom designs for clients. Founded in 2012, MCKL is run by Jeremy Mickel, its primary designer and operating officer. MCKL has collaborated with leading design firms, companies, and organizations around the world to produce custom typeface and logo design services. Twitter | Instagram" + }, + "Christian Naths": { + "name": "Christian Naths", + "bio": "Christian Naths is a Canadian born software developer who specializes in planning, designing, and building digital products for early stage startups. christiannaths.com" + }, + "Stephen Hutchings": { + "name": "Stephen Hutchings", + "bio": "Stephen Hutchings is a specialist digital designer with deep expertise and broad interests, spanning custom fonts and type design, data visualisation and front\u2011end development. Based in Sydney, Australia, Stephen has developed a number of retail fonts, including Isomer and Maestro. He also produces bespoke typefaces for commercial clients. s-ings.com" + }, + "OrangeRed": { + "name": "OrangeRed", + "bio": "OrangeRed is Reddit's in-house brand creative team. Their role is to define the Reddit brand and maintain its standards through branding, messaging, design, art, and creative direction. redditinc.com/brand" + }, + "Hans Thiessen": { + "name": "Hans Thiessen", + "bio": "Hans Thiessen is currently serving as a Partner & ECD of Design at Rethink \u2014 AdAge\u2019s Creative Agency of the Year, one of Fast Company\u2019s Top 10 Most Innovative Creative Agencies, and all-around fun place to work. He also likes fonts. hansthiessen.com" + }, + "Christian Robertson": { + "name": "Christian Robertson", + "bio": null + }, + "Font Bureau": { + "name": "Font Bureau", + "bio": "Formed in 1989, Font Bureau has been active in the design of typefaces, the development of tools for both type design and typography, and as a consultant in the development of font technology for both operating systems and applications. Font Bureau\u2019s custom fonts are seen in hundreds of publications world-wide. It\u2019s retail font library is popular among designers of a wide range of projects, and its pioneering work in variable font technology has set examples for both the finessing of typography for better composition, and new levels of expression that type can bring to reinforce user interest in any design. fontbureau.typenetwork.com" + }, + "David Berlow": { + "name": "David Berlow", + "bio": "David Berlow, the president of Font Bureau, is a 44-year veteran of the type industry. Beginning his career in 1978 at Mergenthaler-Linotype, Stempel, and Haas, he moved on to one of the first digital type foundries, Bitstream, in 1982. Berlow began consulting and sub-contracting to Apple Computer in 1989, leading development of the era-defining fonts for macOS 7 that introduced the TrueType format, and later the first variable font, Skia. His fonts are distributed by Google, Apple, Microsoft, Adobe, Monotype, Morisawa and Type Network. He has been the recipient of lifetime achievement awards from both the Type Directors Club and the Society of Type Aficionados. fontbureau.typenetwork.com" + }, + "Commercial Type": { + "name": "Commercial Type", + "bio": null + }, + "Greg Gazdowicz": { + "name": "Greg Gazdowicz", + "bio": null + }, + "Pablo Ugerman": { + "name": "Pablo Ugerman", + "bio": null + }, + "Hubert and Fischer": { + "name": "Hubert and Fischer", + "bio": null + }, + "Daniel Grumer": { + "name": "Daniel Grumer", + "bio": "Daniel Grumer is a multilingual type designer. He graduated from Bezalel Academy of Arts and Design in Jerusalem and received his Master of Design at TypeMedia at the Royal Academy of Art in The Hague (KABK). In 2017, Daniel joined Fontef Type Foundry, and he is also teaching typography and Lettering at Bezalel Academy of Arts and Design, Jerusalem. fontef.com" + }, + "Omaima Dajani": { + "name": "Omaima Dajani", + "bio": "Omaima Dajani, based in the Netherlands, holds a Bachelor's degree in Visual Communication and a Masters degree in Type Design from KABK. Besides being a freelance type and graphic designer, Omaima is an archivist and educator. She has collaborated with prominent type foundries such as ArabicType Foundry and Fontef Type Foundry and won a TDC award for her typeface Lifta. Omaima's keen interest lies in bridging the gap between traditional Arabic calligraphy and contemporary type design, displaying a unique blend of timeless artistry and modern innovation. Instagram" + }, + "NaN": { + "name": "NaN", + "bio": "NaN is an exploratory and service-driven type design practice, creating for and collaborating with the weird, the wise and the wonderful. nan.xyz | Twitter | Instagram" + }, + "Luke Prowse": { + "name": "Luke Prowse", + "bio": "Luke Prowse is a founder and designer working at the Berlin-based type studio NaN. nan.xyz" + }, + "Angelina Sanchez": { + "name": "Angelina Sanchez", + "bio": null + }, + "Meme Hern\u00e1ndez": { + "name": "Meme Hern\u00e1ndez", + "bio": null + }, + "Oleg Snarsky": { + "name": "Oleg Snarsky", + "bio": null + }, + "Vladimir Rabdu": { + "name": "Vladimir Rabdu", + "bio": null + }, + "Ross Mills": { + "name": "Ross Mills", + "bio": "Ross Mills is a Canadian type designer and font maker, and co-founder of Tiro Typeworks (1994)." + }, + "Ren\u00e9 Bieder": { + "name": "Ren\u00e9 Bieder", + "bio": "Ren\u00e9 Bieder is a trained Graphic designer, Art Director, and self-taught type designer. Before setting up his own studio as a type designer in 2012, he was employed in various small and large advertising agencies. Today, you can find his retail typefaces all around the world. From the Nemo Science Museum in Amsterdam to the University of Florida. Next to his retail releases, Bieder has worked with various national and international clients, such as industry giants such as Volkswagen, to create impactful custom brand fonts. renebieder.com/ | Instagram" + }, + "Hector Gatti": { + "name": "Hector Gatti", + "bio": null + }, + "Daniel Hernandez": { + "name": "Daniel Hernandez", + "bio": null + }, + "Batsirai Madzonga": { + "name": "Batsirai Madzonga", + "bio": "After earning his BSc in Computer Science from the University of Cape Town, Batsi channeled his passion for digital platforms and entrepreneurship into founding his own design agency. His success propelled him across Africa and the Middle East, where he held various roles in the design industry. Batsi has authored several books, including the notable career mentorship guide Devign Intervention and The Ubuntu Design Framework, in which he introduces a new product design framework. He is a design leader, international speaker, author, and content creator currently based in the Middle East. madzonga.com" + }, + "Bernd Montag": { + "name": "Bernd Montag", + "bio": null + }, + "Suppakit Chalermlarp": { + "name": "Suppakit Chalermlarp", + "bio": null + }, + "Plomb Type": { + "name": "Plomb Type", + "bio": "Plomb Type is an independent type foundry created by Max Esn\u00e9e and Emma Marichal, based in Lyon, France. The foundry creates a variety of typefaces with distinct voices, and also enjoys working closely with clients on custom designs. Alongside its font catalogue, Plomb Type offers typographic advice and support for brands of all kinds. plombtype.com | Instagram" + }, + "Max Esn\u00e9e": { + "name": "Max Esn\u00e9e", + "bio": "Max Esn\u00e9e is a typeface designer, graphic designer, and web developer. Graduating from EPSAA in 2014, he works independently, crafting visual identities and websites for a diverse range of clients. In 2019, he joined the EsadType program at ESAD Amiens to further his skills in typeface design. In 2021, he released the Gamuth typeface family at Production Type. Concurrently with his professional practice, he pursues various personal projects, ranging from designing new typefaces to creating web tools, such as the Stack & Justify application, launched in early 2024. max-esnee.com | Instagram" + }, + "mshio": { + "name": "mshio", + "bio": null + }, + "Bakken & B\u00e6ck": { + "name": "Bakken & B\u00e6ck", + "bio": "Bakken & B\u00e6ck is a technology-driven design studio founded in 2011. With offices in Oslo, Amsterdam, London, Bonn, and Barcelona, its team of 60+ people meets at the intersection of engineering, design, creative communication, and business development. Projects include defining future homes with IKEA to building decentralised platforms with Coinbase, serving as an end-to-end innovation partner for multiple ventures, and deploying a wide range of emerging technologies, like augmented reality, machine learning, and spatial computing. bakkenbaeck.com" + }, + "Henrik Kongsvoll": { + "name": "Henrik Kongsvoll", + "bio": "Henke is an Oslo-based type and graphic designer working with digital identities. He makes and produces fonts, typographic systems and type-driven brand narratives. henkehenke.no" + }, + "Dalton Maag": { + "name": "Dalton Maag", + "bio": "Dalton Maag is an international font foundry specializing in type design and digital font production. The company was founded by Swiss typographer Bruno Maag in 1991 and has grown over the past two decades to become one of the world\u2019s most respected type foundries. With a multinational and multicultural team drawn from 18 nations, Dalton Maag\u2019s clients span all industry sectors and include many of the world\u2019s most-recognized brands." + }, + "Sebasti\u00e1n Salazar": { + "name": "Sebasti\u00e1n Salazar", + "bio": null + }, + "Pedro Vergani": { + "name": "Pedro Vergani", + "bio": null + }, + "Shantell Martin": { + "name": "Shantell Martin", + "bio": "Shantell Martin is a public speaker, curator, philosopher, cultural facilitator, teacher, choreographer, performer, and more. From fashion and celebrity collaborations to positions at MIT Media Lab, NYU Tisch ITP, Columbia University\u2019s Brown Institute, and choreographing a ballet at the Boston Ballet, Shantell\u2019s drawn LINE constantly evolves. Creating new connections between fine art, education, design, philosophy, and technology, Shantell explores themes such as intersectionality, identity, and play. shantellmartin.art | YouTube | Instagram | Twitter" + }, + "Anya Danilova": { + "name": "Anya Danilova", + "bio": "Anya Danilova is a type designer based in The Hague, Netherlands. She studied at the Moscow State University of Printing Arts, attending Alexander Tarbeev\u2019s type design workshop. In 2019, she obtained her Master\u2019s degree in Type and Media at The Royal Academy of Art in The Hague. In 2020, she won a Gerard Unger scholarship with her MA graduation typeface Rezak. Apart from working with typefaces, she loves writing and talking about them. She has written articles about various sides of typography and type design. anyadanilova.com | Instagram" + }, + "Jason Kottke": { + "name": "Jason Kottke", + "bio": "Based on the east coast of the US, Jason Kottke is an American writer and curator who fell in love with the web in the mid-90s and is now responsible for keeping long-time tech/culture blog kottke.org running smoothly. Silkscreen is the only typeface he\u2019s ever created. Kottke.org" + }, + "DXKorea Inc": { + "name": "DXKorea Inc", + "bio": null + }, + "Eduardo Rodriguez Tunni": { + "name": "Eduardo Rodriguez Tunni", + "bio": null + }, + "Neelakash Kshetrimayum": { + "name": "Neelakash Kshetrimayum", + "bio": "Typeface and graphic designer from Manipur (India), Neelakash is the co-founder of Brand New Type, India. He has developed typefaces for Adobe, Google, Microsoft and Monotype, frequently collaborating with Fiona Ross and John Hudson. His work centers around identity, culture, and multi-script typeface design. He studied graphic design at the National Institute of Design, India and has a Master\u2019s degree in Typeface Design from the University of Reading, United Kingdom. neelakash.com" + }, + "Jens Kut\u00edlek": { + "name": "Jens Kut\u00edlek", + "bio": "Jens Kut\u00edlek is a type designer and font engineer based in Berlin. After receiving a degree in Graphic Design, he worked at the FontFont Type Department, and also published two commercial type families through the FontFont label, FF Hertz and FF Uberhand. Jens gave presentations about font technology at typography events across Germany and taught a type design course at the Braunschweig University of Arts. He also released a number of open source fonts, like his coding font Sudo. Since 2016, Jens has been working at the LucasFonts studio with a focus on variable font production and font tool development. kutilek.de" + }, + "Annet Stirling": { + "name": "Annet Stirling", + "bio": null + }, + "Lettersoup": { + "name": "Lettersoup", + "bio": "Lettersoup is an independent type foundry based in Berlin, Germany. The foundry was founded by Botio Nikoltchev in 2014. The main focus of lettersoup is cooking fonts with Latin, Cyrillic, Greek and Arabic taste. www.lettersoup.de | Behance | Instagram" + }, + "Botio Nikoltchev": { + "name": "Botio Nikoltchev", + "bio": null + }, + "Nathan Gross": { + "name": "Nathan Gross", + "bio": null + }, + "Bryan Kirschen": { + "name": "Bryan Kirschen", + "bio": null + }, + "Mariya Lish": { + "name": "Mariya Lish", + "bio": "Mariya is a designer specialising in lettering, typography, type and bespoke logo design. With over a decade of experience, Mariya has a large catalogue of work. Her practice is focused on Latin and Cyrillic type design and development. Born in Minsk, Belarus, Mariya has lived in the UK for the last 16 years, raising a family in Northumberland. She has an extensive background in retail typeface development and custom font solutions. mariyalish.com" + }, + "The Northern Block": { + "name": "The Northern Block", + "bio": "Founded in 2006 by Jonathan Hill, The Northern Block is a collaborative type foundry internationally recognised for producing modernist fonts for brands, creatives and makers. The Northern Block's highly skilled and enthusiastic global team, designs and develops award-winning retail and custom typefaces, and is pushing forward the design of non-latin scripts, including Arabic, Cyrillic, Greek and Hebrew. Thenorthernblock.co.uk | Instagram | Twitter" + }, + "JIKJI": { + "name": "JIKJI", + "bio": null + }, + "Jonathan Barnbrook": { + "name": "Jonathan Barnbrook", + "bio": null + }, + "Frank Grie\u00dfhammer": { + "name": "Frank Grie\u00dfhammer", + "bio": null + }, + "Alistair McCready": { + "name": "Alistair McCready", + "bio": "Monolith is an award-winning design and typographic practice based in Auckland, New Zealand. The studio is founded on the belief that the best ideas are measured by an ability to execute them with care and precision. For over a decade, Monolith has tasked itself with producing work composed out of aesthetic and technological detail, prompting a reputable portfolio that couples typographic acumen with contemporary storytelling for clients worldwide including FIFA, Lloyds Bank, Liverpool Football Club, Toblerone; and Auckland International Airport. monolith.nz" + }, + "Brian LaRossa": { + "name": "Brian LaRossa", + "bio": null + }, + "Erica Carras": { + "name": "Erica Carras", + "bio": null + }, + "Alexey Maslov": { + "name": "Alexey Maslov", + "bio": null + }, + "AsiaSoft Inc": { + "name": "AsiaSoft Inc", + "bio": null + }, + "JIKJISOFT": { + "name": "JIKJISOFT", + "bio": null + }, + "Bonjour Monde": { + "name": "Bonjour Monde", + "bio": "Bonjour Monde is a working group looking into alternative processes in the field of visual creation. Functioning mostly through workshops and self-initiated experiments, they question tools, open and understand them in order to divert them from their initial function, in an infinite search for noise, error and happy accidents. Homepage | Gitlab" + }, + "Lucas Descroix": { + "name": "Lucas Descroix", + "bio": "Lucas Descroix is a type and graphic designer who likes to draw shapes and build systems. After researching at the National Institute for Typographic Research in Nancy (Fr), he is now designing typefaces, books, posters and visual identities. You can also find him experimenting alternative tools and organizing workshops with Bonjour Monde. Homepage" + }, + "George Triantafyllakos": { + "name": "George Triantafyllakos", + "bio": "George Triantafyllakos holds a PhD in Participatory Design of Educational Software from the Computer Science Department, Aristotle University of Thessaloniki, Greece. On September 2015 he started the Atypical type foundry. He has designed typefaces for the Greek Font Society. In 2017 he participated in the team of designers that won the competition for the design of the new visual identity of the National Library of Greece (George D. Matthiopoulos, Dimitris Papazoglou, George Triantafyllakos and Axel Peem\u00f6ller). The same year he was a member of the jury committee of the Greek Graphic Design and Illustration Awards (\u0395\u0392\u0393\u0395 2017). On October 2019 he was awarded at the 11th GRANSHAN Type Design Competition for the design of the Dolce Noir type family. atypical.gr" + }, + "Yanone": { + "name": "Yanone", + "bio": null + }, + "Soulaf Khalifeh": { + "name": "Soulaf Khalifeh", + "bio": null + }, + "Chank Diesel": { + "name": "Chank Diesel", + "bio": "Chank Diesel is a font designer and artist based in Minneapolis, MN, USA. Chank makes typefaces known for their fun and creative personalities and releases new fonts through his small business, The Chank Company, which he founded in 1996. Chank Fonts are available through Adobe, MyFonts, Monotype, Fontspring and Font Bros. Chank also creates custom fonts for great clients who need a unique font to convey their message, including Prince, Scholastic, Target, PBS Kids, Ben & Jerry, Pusheen the cat and Doctor Who. Chank.com | Portfolio" + }, + "Adam Jagosz": { + "name": "Adam Jagosz", + "bio": "Adam Jagosz is a Polish type designer and frontend developer based in Bielsko-Bia\u0142a. adamjagosz.com/" + }, + "Guillermo Torres": { + "name": "Guillermo Torres", + "bio": null + }, + "Andy Clymer": { + "name": "Andy Clymer", + "bio": null + }, + "Stefan Schmidt": { + "name": "Stefan Schmidt", + "bio": "Stefan Schmidt is an electrical engineer with graduate studies in signal processing, combined artistic languages and sociology. Fascinated by the interplay between the virtual and the real, his work probes the boundaries between perception and technology. stefanschmidtart.com/" + }, + "Fernando Mello": { + "name": "Fernando Mello", + "bio": "Fernando Mello has diplomas from \u2018MATD\u2019/University of Reading, \u2018Expert class Type design\u2019/Plantin Institute of Typography, and \u2018Condensed Program\u2019/Type@Cooper, He has worked for 13 years as a type designer for Fontsmith and Monotype, and created several retail plus custom fonts for global clients. He also worked for Tiro, Adobe and Microsoft with Tamil fonts. LinkedIn" + }, + "Tony de Marco": { + "name": "Tony de Marco", + "bio": null + }, + "Monica Rizzolli": { + "name": "Monica Rizzolli", + "bio": null + }, + "Andreu Balius": { + "name": "Andreu Balius", + "bio": null + }, + "Takashi Funayama": { + "name": "Takashi Funayama", + "bio": "Takashi Funayama is a graphic designer based in Tokyo. He has a core focus on book design, typeface and exhibition design. mt-funa.com/" + }, + "Thatcher Ulrich": { + "name": "Thatcher Ulrich", + "bio": null + }, + "Naima Ben Ayed": { + "name": "Naima Ben Ayed", + "bio": null + }, + "Dual Type": { + "name": "Dual Type", + "bio": null + }, + "Sergey Steblina": { + "name": "Sergey Steblina", + "bio": null + }, + "j. 'mach' wust": { + "name": "j. 'mach' wust", + "bio": null + }, + "Corey Hu": { + "name": "Corey Hu", + "bio": null + }, + "Peter Hull": { + "name": "Peter Hull", + "bio": null + }, + "Mota Italic": { + "name": "Mota Italic", + "bio": null + }, + "Gydient": { + "name": "Gydient", + "bio": null + }, + "AbdElmomen Kadhim (blueMix)": { + "name": "AbdElmomen Kadhim (blueMix)", + "bio": null + }, + "Rune Bj\u00f8rner\u00e5s": { + "name": "Rune Bj\u00f8rner\u00e5s", + "bio": "Rune Bj\u00f8rner\u00e5s is a Norwegian front-end developer and multidisciplinary creative. In his spare time, he likes to work on one of his numerous projects within design, art, singing, music production, writing fiction or game/front-end programming. github.com/rubjo" + }, + "Nguyen Type": { + "name": "Nguyen Type", + "bio": "Nguyen Type is a Vietnam-based independent type foundry. Founded in 2020 by Andree Nguyen, the foundry aspires to enrich Vietnam\u2019s treasure trove of fonts. Nguyen Type focuses on exploiting new elements in type design, while also providing fonts that can be used in common contexts. nguyentype.com/ | Instagram" + }, + "Friedrich Althausen": { + "name": "Friedrich Althausen", + "bio": null + }, + "NightFurySL2001": { + "name": "NightFurySL2001", + "bio": null + }, + "Lars Berggren": { + "name": "Lars Berggren", + "bio": null + }, + "J\u00f6rg Drees": { + "name": "J\u00f6rg Drees", + "bio": "J\u00f6rg Drees: A Journey from Letterpress to AI Growing up in northern Germany, J\u00f6rg was surrounded by the art of letterpress typesetting, thanks to his parents' printing shop. He picked up the craft early on, and after training as a typographer, he honed his skills under Hans Rudolf Bosshard in Zurich, where he also designed his first typefaces. Nowadays, he works with news publishers and explores the cutting edge of AI in layout design. Next to his professional endeavors, font design has always been a personal passion. It\u2019s his go-to for inspiration and relaxation, and J\u00f6rg continues to create beautiful typefaces in his own time. linkedin.com/in/j\u00f6rg-drees-6680a513a" + }, + "Yellow Type": { + "name": "Yellow Type", + "bio": "Yellow Type is a digital type foundry based in Vietnam. Homepage" + }, + "Duy Dao": { + "name": "Duy Dao", + "bio": null + }, + "Catherine Leigh Schmidt": { + "name": "Catherine Leigh Schmidt", + "bio": null + }, + "Woowahan brothers": { + "name": "Woowahan brothers", + "bio": null + }, + "Bastien Sozeau": { + "name": "Bastien Sozeau", + "bio": "Bastien Sozeau is the founder of NoirBlancRouge, an independent type foundry based in Paris since 2019. Specializing in retail and custom typefaces, Bastien has crafted unique fonts for renowned brands like Kipling, Christian Louboutin and The Olympic Museum. Beyond their commercial work, Bastien has also been actively involved in designing free and open-source typefaces since 2013. noirblancrouge.com | Instagram" + }, + "Kinuta Font Factory": { + "name": "Kinuta Font Factory", + "bio": "Established in 1995, Kinuta Font Factory thinks that fonts are clothes made for words, and pursues this idea with new technology and trends. moji-sekkei.jp | kinutashotai.com" + }, + "Liu Bingke": { + "name": "Liu Bingke", + "bio": null + }, + "Yang Kang": { + "name": "Yang Kang", + "bio": null + }, + "Wu Shaojie": { + "name": "Wu Shaojie", + "bio": null + }, + "Zheng Qingke": { + "name": "Zheng Qingke", + "bio": null + }, + "Li Dawei": { + "name": "Li Dawei", + "bio": null + }, + "Yoshimichi Ohira": { + "name": "Yoshimichi Ohira", + "bio": "Yoshimichi Ohira started working on type design after several years of typesetting. He has created 23 Japanese fonts plus 3 Latin fonts. Popular works include \"Zen Old Mincho N Family,\" in which he pursued traditional beauty of Japanese characters. Aside from type designing, Ohira also works on metal stamps with letters of his original design. zenfont.jp" + }, + "Wei Zhimang": { + "name": "Wei Zhimang", + "bio": null + }, + "Typotheque": { + "name": "Typotheque", + "bio": null + }, + "Donald Knuth": { + "name": "Donald Knuth", + "bio": null + } + }, + "metadata": { + "42dot Sans": { + "name": "42dot Sans", + "designer": [ + "42dot" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "korean", + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Kore", + "article": "42dot Sans is the corporate typeface for 42dot, designed to encapsulate the brand\u2019s core identity and philosophy. With its harmonious balance of straight lines that represent cutting-edge technology and gentle curves that exude user-friendliness, 42dot Sans reflects the perfect synergy between precision and approachability. The meticulously refined details of 42dot Sans convey 42dot\u2019s commitment to delivering stable and precise technology. The square-like interior shapes bring a sense of structure and organization, aligning seamlessly with the brand\u2019s emphasis on clarity and functionality. This typeface is engineered for exceptional legibility across various contexts, whether in lengthy passages or concise text. The smooth flow of its lines ensures readability in diverse environments, making it an ideal choice for digital interfaces, print media, and beyond. Learn more about the 42dot Sans project: github.com/42dot/42dot-Sans", + "minisite_url": null + }, + "ABeeZee": { + "name": "ABeeZee", + "designer": [ + "Anja Meiners" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "ABeeZee is a children's learning font. Open, friendly and simple, the definite shapes support the process of learning to read and write. The italic carefully reminds young readers of fluent writing movements and inspires them to create their own unique handwriting. Learn more at carrois.com. To contribute, see github.com/googlefonts/abeezee.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "ADLaM Display": { + "name": "ADLaM Display", + "designer": [ + "Mark Jamra", + "Neil Patel", + "Andrew Footit" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "adlam", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "To help address the lack of display typefaces for the ADLaM script, invented by Ibrahima and Abdoulaye Barry, Microsoft commissioned three renowned type designers Neil Patel, Mark Jamra, and Andrew Footit to create ADLaM Display. The team created the font by taking inspiration from the spots, triangles, lozenges and chevrons patterns found in traditional khasas (blankets), Wodaabe (hats), and textiles of the Fulani culture. To contribute, please visit https://github.com/microsoft/ADLaM-Display.", + "primary_script": "Adlm", + "article": null, + "minisite_url": null + }, + "AR One Sans": { + "name": "AR One Sans", + "designer": [ + "Niteesh Yadav" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "AR One Sans is a type family for use in augmented reality environments and user interfaces. The family's low contrast, generous spacing and robust shapes make it work well in busy backgrounds with high readability. The design of letterforms is based on research and thorough testing on various devices ranging from high-end headsets to low-resolution smartphone-based devices. It has optical weights for high and low-resolution duplexed to avoid text reflow, making it easy to deliver a seamless user experience across platforms/devices. The functionality of the text has been tested thoroughly to make the reading experience better even in longer texts. AR One Sans language support includes full coverage of Vietnamese, additional to all Western, Central, and South-Eastern European languages. To contribute see github.com/niteeshy/ar-one-sans.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Abel": { + "name": "Abel", + "designer": [ + "MADType" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Abel is a modern interpretation of the condensed flat-sided sans serif. Originally used for newspaper headlines and posters, this style can also be used for text on the web. Its angled terminals and spiked stems give it enough style to be unique at display sizes, while its mono-weight still works well at smaller text sizes. Documentation can be found at www.madtype.com and to contribute to the project contact Matthew Desmond at mattdesmond@gmail.com", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Abhaya Libre": { + "name": "Abhaya Libre", + "designer": [ + "Mooniak" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "sinhala" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Abhaya Libre is the unicode compliant, complete libre version of the most widely used Sinhala typeface \u2018FM Abhaya\u2019 and includes Sinhala and Latin support. Designed in 1996, \u2018FM Abhaya\u2019 is an interpretation of the Sinhala letterpress typefaces from 1960s. The name \u2018Abhaya\u2019 is derived from the King Abhaya (474 BCE to 454 BCE) who reigned Sri Lanka from the ancient kingdom of Upatissa Nuwara. \u2018Abhaya Libre\u2019 was completely redrawn from scratch based on FM Abhaya to comply with modern day usages in terms of web, tab and smaller sizes for smartphones. Available in 5 weights, Abhaya Libre enables designers to build sophisticated typographic layouts by using lighter weights for body text and heavier weights for headlines and subheadings. Each of these weights contains 925 glyphs that enables clean and precise rendering for Sinhala, Pali and Sanskrit texts. Compact \u2018Da\u2019 forms can be enabled by using stylistic sets. The Latin characters, that match the aesthetics of \u2018Abhaya Libre Sinhala\u2019, which was inspired by the style of the original Sinhala with an eminent contrast between distinctive strokes that go from thick to thin and was further modified to co-exist with the visual logics of Latin typefaces. The ductus references according to the lines of a Didone typeface add a touch of Sinhala form to certain terminations. Large counters have been added along with small ascenders and descenders for optimized screen viewing. The project is led by Mooniak, a small type foundry based in Colombo, Sri Lanka, in collaboration with Pushpananda Ekanayake. The Latin part is designed by Sol Matas. Initial development and release was funded by Google Fonts in 2015. For more information and updates, or to report any bugs or suggestions, see github.com/mooniak/abhaya-libre-font", + "primary_script": "Sinh", + "article": null, + "minisite_url": null + }, + "Aboreto": { + "name": "Aboreto", + "designer": [ + "Dominik J\u00e1ger" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Aboreto is a display typeface based on early renaissance majuscule alphabet done by Luca della Robbia, a 15th century Florentine sculptor. The typeface is not a straightforward digitalization (it even couldn\u2019t be as the early Latin alphabet didn\u2019t include all the letters we use today) but more of a revival which keeps current needs and technologies in mind. Aboreto has vertical stress, a feature more typical of later-century typefaces. Another uniqueness lies in the construction, because it is essentially a sans-serif typeface that has only occasional indication of serifs \u2013 either via the \u201chidden\u201d serifs caused by stroke tapering or by slightly thickening the stroke endings. Aboreto comes in one weight - a high contrast regular that is on the thinner side. To contribute, see github.com/domija/Aboreto.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Abril Fatface": { + "name": "Abril Fatface", + "designer": [ + "TypeTogether" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Abril Fatface is part of a bigger type family system, Abril, which includes 18 styles for all Display and Text uses. The titling weights are a contemporary revamp of classic Didone styles, display both neutrality and strong presence on the page to attract reader attention with measured tension by its curves, good color and high contrast. Abril Fatface in particular is inspired by the heavy titling fonts used in advertising posters in 19th century Britain and France. The thin serifs and clean curves lend the typeface a refined touch that give any headline an elegant appearance. The Extended Latin character set supports over 50 languages, including those from Central and Northern Europe. Abril is designed by TypeTogether - Veronika Burian & Jos\u00e9 Scaglione. The additional weights of Abril can be seen at www.type-together.com/Abril", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Abyssinica SIL": { + "name": "Abyssinica SIL", + "designer": [ + "SIL International" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "ethiopic", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Abyssinica SIL is a Unicode font that supports Ethiopic and Latin languages. For more information please visit the Abyssinica SIL page on SIL International's Computers and Writing systems website, scripts.sil.org/AbyssinicaSIL To contribute, see github.com/silnrsi/font-abyssinica", + "primary_script": "Ethi", + "article": null, + "minisite_url": null + }, + "Aclonica": { + "name": "Aclonica", + "designer": [ + "Astigmatic" + ], + "license": "apache2", + "category": "SANS_SERIF", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Aclonica is a strong and modern sans serif typeface with a slight deco/techno essence to it. Clean letterforms, a generous x-height for a friendlier feel and easily legible typestyle. Perfect for both display titling as well as body copy.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Acme": { + "name": "Acme", + "designer": [ + "Juan Pablo del Peral", + "Huerta Tipogr\u00e1fica" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Acme is a condensed display typeface inspired by the visual language of classic cartoons and comics. It is designed to be used in headlines, and has a particular and groovy rhythm. The resulting texts are vivid but consistent, and its expressive characteristics work as well on screen as in print. The glyphs were each carefully designed, with top curve quality. It is well balanced, and carefully spaced by eye. Designed by Juan Pablo del Peral for Huerta Tipogr\u00e1fica.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Actor": { + "name": "Actor", + "designer": [ + "Thomas Junold" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "A diploma thesis project from the Aachen University of Applied Sciences at Karl-Friedrich (Kai) Oetzbach. The font originated in a course in type design. The idea was to learn through the creation of a typeface about writing as an information carrier. It was created entirely digitally, so the path to the current version is very rocky and winding. Actor has a strong x-height, which is why it always requires a fairly high line spacing. The digits of Actor are created as old style figures. The forms of 6 and 9 are more dynamic and more tense than usual. The 8 has significantly shifted interiors and the 7 is slightly curved to the left.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Adamina": { + "name": "Adamina", + "designer": [ + "Cyreal" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Adamina is a typeface designed for text setting in small sizes. For this purpose the x-height is increased and contrast lowered. Proportions are transitional and compact. Refined design features like one-sided flaring and asymmetrical serifs are there to provide a pleasant reading experience. Designed by Alexei Vanyashin for Cyreal. To contribute to the project, visit github.com/cyrealtype/Adamina Updated: January 2016 to Version 1.012, to correct GPOS table (enabling kerning.)", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Adobe Blank": { + "name": "Adobe Blank", + "designer": [ + "Dr. Ken Lunde" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [], + "stroke": null, + "classifications": [ + "monospace" + ], + "description": "Adobe Blank is a special-purpose OpenType font that is based on the Adobe-Identity-0 ROS. (ROS stands for /Registry, /Ordering, and /Supplement, and refers to the /CIDSystemInfo dictionary entries that define the glyph set name for CID-based character collections.) The Adobe-Identity-0 ROS is a special-purpose character collection whose use is not tied to a specific language, and Adobe Blank 2 is a special-purpose OpenType font that is intended to render all Unicode code points using non-spacing and non-marking glyphs, thus the reason why the Adobe-Identity-0 ROS was chosen as the basis for this OpenType font. Adobe Blank maps 1,111,998 Unicode code points to 2,048 non-spacing and non-marking glyphs (CIDs 1 through 2048). The 2,048 High and Low Surrogates (U+D800 through U+DFFF), the two noncharacters in the BMP and in each of the 16 Supplementary Planes (FFFE and FFFF), and the 32 noncharacters in the range U+FDD0 through U+FDEF are explicitly and intentionally excluded. As a fully-functional OpenType font, the following 10 'sfnt' tables are included in an OTF format version of the font: CFF, DSIG, OS/2, cmap, head, hhea, hmtx, maxp, name, and post. In addition to a functional OpenType/CFF font, Adobe provides a TrueType (TTF) version that is available here (with a slight modification to the PostScript Name in the 'name' table from 'AdobeBlank' to 'AdobeBlank-Regular'.) The Adobe Blank project is led by Dr. Ken Lunde, a font engineer in the Adobe Type team based in San Jose, California. To contribute, see github.com/adobe-fonts/adobe-blank", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Advent Pro": { + "name": "Advent Pro", + "designer": [ + "VivaRado" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Advent Pro is a modern font designed for web and print. Advent Pro utilizes some of the universal characteristics of the sans-serif genre with modern characteristics to give an edge to your typography. The family was upgraded to a variable font with additional Italic styles in December 2022. The spacing and kerning was improved, which could lead to a slightly different text line length than the previous version. To contribute, see github.com/googlefonts/Advent.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Afacad": { + "name": "Afacad", + "designer": [ + "Kristian M\u00f6ller", + "Dicotype" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic-ext", + "latin", + "latin-ext", + "math", + "symbols", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "The \u2019Afacad typeface project\u2019 commenced in 2017 as a personalised lettering endeavour for Slagskeppet, a Swedish housing tenant, who sought fresh house address numbering for their entrances. The letters and numerals were meticulously crafted to harmonise with the architectural proportions and materials employed by Architect Sture Elm\u00e9n during the 1940s. Furthermore, the inclusion of supplementary weights and expanded language support contributes to a versatile typeface collection that is well-suited for both industrial and commercial applications. The alphabet, numerals and symbols were designed by Kristian M\u00f6ller and are part of the Dicotype Library. To contribute, please see github.com/Dicotype/Afacad.", + "minisite_url": null + }, + "Afacad Flux": { + "name": "Afacad Flux", + "designer": [ + "Kristian M\u00f6ller", + "Dicotype" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "The \u2019Afacad typeface project\u2019 commenced in 2017 as a personalised lettering endeavour for Slagskeppet, a Swedish housing tenant, who sought fresh house address numbering for their entrances. The letters and numerals were meticulously crafted to harmonise with the architectural proportions and materials employed by Architect Sture Elm\u00e9n during the 1940s. \u2018Afacad Flux\u2019 adds an extra dimension with a back-slanted version, commemorating, among other things, the typesetting of river names in historical cartography. Furthermore, the inclusion of supplementary weights and expanded language support contributes to a versatile typeface collection, well-suited for industrial and commercial applications. To contribute, please see github.com/Dicotype/Afacad.", + "minisite_url": null + }, + "Agbalumo": { + "name": "Agbalumo", + "designer": [ + "Raphael Al\u1eb9\u0301gb\u1eb9\u0301l\u1eb9\u0301y\u1eb9\u0300", + "Sorkin Type", + "Eben Sorkin" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic-ext", + "ethiopic", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Curvy, chunky, and compact. The Agbalumo display typeface has been designed to represent and capture the beauty of African languages. Primarily taking shape from the use of a brush pen, its charming, playful, and cute look lends itself to a variety of commercial and cultural use cases. Agbalumo is a single weight multilingual font. The glyph set includes standard opentype features and an assortment of stylistic alternates. Agbalumo can be used for African languages that make use of the Latin script, the Ge'ez script, European languages, and Vietnamese. To contribute to the project, visit github.com/SorkinType/Agbalumo", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Agdasima": { + "name": "Agdasima", + "designer": [ + "The DocRepair Project", + "Patric King" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Agdasima is a DocRepair font, intended to improve compliance with the ISO/IEC 29500 standard by providing fallback for Agency FB that minimizes text reflow in Office Open XML documents. Agdasima is based on Big Shoulders, a condensed American Gothic sans-serif font family. To contribute, please visit github.com/docrepair-fonts/agdasima-fonts.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Agu Display": { + "name": "Agu Display", + "designer": [ + "Seun Badejo" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "Agu Display is a distinctive typeface inspired by Nsibidi, an ancient graphic communication system from Nigeria and Cameroon's Cross River region. Used by the Ejagham, Ibibio, Efik, and Igbo peoples, Nsibidi's pictograms are deeply rooted in cultural storytelling and expression. Today, Nsibidi's symbols have found widespread use in modern design, from digital platforms like Marvel's \"Black Panther\" to print media, including fabric patterns and tattoos. Its pictographic nature allows for diverse creative applications, merging ancient art with contemporary design. Agu Display serves as a bridge between historical symbolism and modern typography. It's not just a font but a tool for cultural preservation, enabling designers to infuse their work with African heritage's depth and richness. This typeface celebrates tradition while fostering innovative expression, linking ancient communication with today's design needs. To contribute, see github.com/theseunbadejo/nsibidi-libre.", + "minisite_url": "https://www.agudisplay.com" + }, + "Aguafina Script": { + "name": "Aguafina Script", + "designer": [ + "Sudtipos" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Semi-formal and eye-catching elegance is the name of the game, says Aguafina Script. Graceful, but not too casual. Knowledgeable and artistic, but not too imposing. The characters flow into each other, making a very saucy script with appetizing color. The narrow lowercase allows for efficient use of space, while the long ascenders and descenders help maintain the legibility. A unique find among scripts, Aguafina is useful for product packaging, glossy magazine work, and book covers.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Akatab": { + "name": "Akatab", + "designer": [ + "SIL International" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "tifinagh" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Akatab is a Unicode font for rendering Tifinagh characters in the Tamahaq, Tamashek and Tawallamat languages. This font uses state-of-the-art OpenType font technology to provide accurate typography including the formation of bi-consonant ligatures. Variations of characters are included in the font to meet personal and regional preferences. For more information about supported Unicode ranges and languages, smart font features and how to use them, please see the documentation in the documentation folder. To contribute, see github.com/silnrsi/font-akatab.", + "primary_script": "Tfng", + "article": null, + "minisite_url": null + }, + "Akaya Kanadaka": { + "name": "Akaya Kanadaka", + "designer": [ + "Vaishnavi Murthy", + "Juan Luis Blanco" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "kannada", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Akaya is a single weight experimental display typeface in Kannada, Telugu and Latin scripts. Akaya Kanadaka and Akaya Telivigala are made as two separate font files which share a common Latin. To contribute, please see github.com/vaishnavimurthy/Akaya-Kanadaka.", + "primary_script": "Knda", + "article": null, + "minisite_url": null + }, + "Akaya Telivigala": { + "name": "Akaya Telivigala", + "designer": [ + "Vaishnavi Murthy", + "Juan Luis Blanco" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "telugu" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Akaya is a single weight experimental display typeface in Kannada, Telugu and Latin scripts. Akaya Telivigala and Akaya Kanadaka are made as two separate font files which share a common Latin. To contribute, please see github.com/vaishnavimurthy/Akaya-Telivigala.", + "primary_script": "Telu", + "article": null, + "minisite_url": null + }, + "Akronim": { + "name": "Akronim", + "designer": [ + "Grzegorz Klimczewski" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Akronim is a brand-new, original, brush like, stylish font with a Western and Central European (e.g. Polish, Croatian, Czech, Magyar etc.) Latin character set. Handmade in Poland, Europe, by Grzegorz Klimczewski. An acronym (in Polish, \"akronim\") is an abbreviation that forms a word. So this story is cut short. To understand it, imagine a nice girl with beautifully plaited slavic hair, strolling among the fields of wheat. If you imagine this, you will find a good use for this tasteful, brand-new typeface.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Akshar": { + "name": "Akshar", + "designer": [ + "Tall Chai" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Akshar is a variable display sans-serif font family that supports Latin and Devanagari. It is designed for titles, statements, headlines, annoucements, intros, outros, and other display texts. Akshar (Hindi: \u0905\u0915\u094d\u0937\u0930) literally means an alphabet or a letter in Hindi, Marathi, Gujarati and other Indic languages. Akshar is an OpenType Variable Font. It offers 2 axes: Weight (wght) and Contrast (CNTR). The Weight axis ranges from 300 to 700. The Contrast axis ranges from 0 to 100. Note: The Contrast axis is currently not supported by Google Fonts API. The fonts will be updated once it is supported. To contribute, visit github.com/tallchai/akshar-type.", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Aladin": { + "name": "Aladin", + "designer": [ + "Sudtipos" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Aladin is a calligraphic vintage face with a middle eastern touch, designed by Angel Koziupa and produced by Alejandro Paul. Casual, airy counters and friendly terminals give it an advantage as a packaging font for exotic coffees and teas. It also serves quite well on posters and book jackets where relaying the famous sense of Eastern hospitality and playfulness is a must.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Alata": { + "name": "Alata", + "designer": [ + "Spyros Zevelakis", + "Eben Sorkin" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Alata is a geometric low contrast sans design. It can feel monumental, serious and archaic and occasionally eccentric. It draws inspiration from both Early 20th C poster lettering and epigraphic Greek mono line letters. Curiously the capitals letters draw influence from UK Lettering while in contrast the lower case is more 'continental' or European in character. Alata offers a wide range of figures including oldstyle figures, small numbers including superiors and fractions. Alata also offers case sensitive forms. Alata is an original typeface designed by Spyros Zevelakis. . Eben Sorkin expanded the language support and refined the design in 2018. Alata is published by Sorkin Type . To contribute, see Alata GitHub", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Alatsi": { + "name": "Alatsi", + "designer": [ + "Spyros Zevelakis", + "Eben Sorkin" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Alatsi is an original typeface designed by Spyros Zevelakis. It is a semicondensed geometric sans design which feels familiar, calm, trustable and contemporary. It is a little lighthearted or casual in feeling as well. The contemporary feeling comes from the treatment of the terminals and the cheekily pointed V A W. The calmness from the modest x height. Alatsi offers a wide range of figures which include oldstyle figures, numerators, denominators and fractions. It also offers case sensitive forms. Latest upgrade from November 2022 includes a Latin Plus language coverage currently supporting most Latin-based languages. To contribute, see github.com/SorkinType/Alatsi . Alatsi is published by Sorkin Type .", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Albert Sans": { + "name": "Albert Sans", + "designer": [ + "Andreas Rasmussen" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Albert Sans is a modern geometric sans serif family, inspired by the type-characteristics of scandinavian architects and designers in the early 20th century. The Albert Sans family includes ten weights from Thin to Black and supports over two hundred languages. Designed by the Danish type designer Andreas Rasmussen from a.Foundry. To contribute, see github.com/usted/Albert-Sans.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Aldrich": { + "name": "Aldrich", + "designer": [ + "MADType" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Aldrich is a rounded yet squarely proportioned font that is reminiscent of early 20th Century gothic styles. With a solid stance and confident mono-weight strokes, Aldrich is a hardworking family with roots in Midwestern ethics. Documentation can be found at www.madtype.com and to contribute to the project contact Matthew Desmond at mattdesmond@gmail.com", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Alef": { + "name": "Alef", + "designer": [ + "Hagilda", + "Mushon Zer-Aviv" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "hebrew", + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Alef was born in the screen and designed to the pixel in an attempt to extend the palette of Hebrew fonts available for web design. It challenges the default, Arial. Alef supports both the Hebrew and Latin writing systems. To contribute, see alef.hagilda.com", + "primary_script": "Hebr", + "article": null, + "minisite_url": null + }, + "Alegreya": { + "name": "Alegreya", + "designer": [ + "Juan Pablo del Peral", + "Huerta Tipogr\u00e1fica" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Alegreya was chosen as one of 53 \"Fonts of the Decade\" at the ATypI Letter2 competition in September 2011, and one of the top 14 text type systems. It was also selected in the 2nd Bienal Iberoamericana de Dise\u00f1o, competition held in Madrid in 2010. Alegreya is a typeface originally intended for literature. Among its crowning characteristics, it conveys a dynamic and varied rhythm which facilitates the reading of long texts. Also, it provides freshness to the page while referring to the calligraphic letter, not as a literal interpretation, but rather in a contemporary typographic language. The italic has just as much care and attention to detail in the design as the roman. The bold weights are strong, and the Black weights are really experimental for the genre. There is also a Small Caps sibling family. Not only does Alegreya provide great performance, but also achieves a strong and harmonious text by means of elements designed in an atmosphere of diversity. The Alegreya type system is a \"super family\", originally intended for literature, and includes serif and sans serif sister families. Designed by Juan Pablo del Peral for Huerta Tipogr\u00e1fica. To contribute, see github.com/huertatipografica/Alegreya.", + "primary_script": null, + "article": null, + "minisite_url": "https://huertatipografica.com/en/fonts/alegreya-ht-pro" + }, + "Alegreya SC": { + "name": "Alegreya SC", + "designer": [ + "Juan Pablo del Peral", + "Huerta Tipogr\u00e1fica" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Alegreya was chosen as one of 53 \"Fonts of the Decade\" at the ATypI Letter2 competition in September 2011, and one of the top 14 text type systems. It was also selected in the 2nd Bienal Iberoamericana de Dise\u00f1o, competition held in Madrid in 2010. Alegreya is a typeface originally intended for literature. Among its crowning characteristics, it conveys a dynamic and varied rhythm which facilitates the reading of long texts. Also, it provides freshness to the page while referring to the calligraphic letter, not as a literal interpretation, but rather in a contemporary typographic language. The italic has just as much care and attention to detail in the design as the roman. The bold weights are strong, and the Black weights are really experimental for the genre. This is the Small Caps sister family that complements Alegreya, the main family. Not only does Alegreya provide great performance, but also achieves a strong and harmonious text by means of elements designed in an atmosphere of diversity. The Alegreya type system is a \"super family\", originally intended for literature, and includes serif and sans serif sister families. Designed by Juan Pablo del Peral for Huerta Tipogr\u00e1fica. To contribute, see github.com/huertatipografica/Alegreya.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Alegreya Sans": { + "name": "Alegreya Sans", + "designer": [ + "Juan Pablo del Peral", + "Huerta Tipogr\u00e1fica" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Alegreya Sans is a humanist sans serif family with a calligraphic feeling that conveys a dynamic and varied rhythm. This gives a pleasant feeling to readers of long texts. There is also a Small Caps companion family. The Alegreya type system is a \"super family\", originally intended for literature, and includes sans and serif sibling families. The family follows humanist proportions and principles, and achieves a ludic and harmonious paragraph through elements carefully designed in an atmosphere of diversity. The italics bring a strong emphasis to the roman styles. Designed by Juan Pablo del Peral for Huerta Tipogr\u00e1fica. To contribute, see github.com/huertatipografica/Alegreya-Sans.", + "primary_script": null, + "article": null, + "minisite_url": "https://huertatipografica.com/en/fonts/alegreya-sans-ht" + }, + "Alegreya Sans SC": { + "name": "Alegreya Sans SC", + "designer": [ + "Juan Pablo del Peral", + "Huerta Tipogr\u00e1fica" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Alegreya Sans SC is a Small Caps companion family to Alegreya Sans, a humanist sans serif family with a calligraphic feeling that conveys a dynamic and varied rhythm. This gives a pleasant feeling to readers of long texts. The Alegreya type system is a \"super family\", originally intended for literature, and includes sans and serif sibling families. The family follows humanist proportions and principles, and achieves a ludic and harmonious paragraph through elements carefully designed in an atmosphere of diversity. The italics bring a strong emphasis to the roman styles. Designed by Juan Pablo del Peral for Huerta Tipogr\u00e1fica. To contribute, see github.com/huertatipografica/Alegreya-Sans.", + "primary_script": null, + "article": null, + "minisite_url": "https://huertatipografica.com/en/fonts/alegreya-sans-ht" + }, + "Aleo": { + "name": "Aleo", + "designer": [ + "Alessio Laiso" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SLAB_SERIF", + "classifications": [], + "description": "Aleo is a contemporary typeface designed by Alessio Laiso as the slab serif companion to the Lato font by \u0141ukasz Dziedzic. Aleo has semi-rounded details and a sleek structure, giving it a strong personality while still keeping readability high. The June 2023 update expanded the family from 6 style to 18 and became variable. It offers also a better language support (Pan African and Vietnamese added), and the design and spacing have been improved. To contribute, see github.com/AlessioLaiso/aleo.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Alex Brush": { + "name": "Alex Brush", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Alex Brush is a beautifully flowing brush script. It has short ascenders and descenders allowing a legibility not seen in other script fonts. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/alex-brush.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Alexandria": { + "name": "Alexandria", + "designer": [ + "Mohamed Gaber", + "Julieta Ulanovsky" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "arabic", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Alexandria is the Arabic companion of Montserrat, a Latin script typeface designed by Julieta Ulanovsky which was inspired by the old posters and signs in the traditional Montserrat neighborhood of Buenos Aires. Alexandria is a variable font ranging from Thin to Black, increasing the ability to use the font in various applications, from long text using the light weights to short headlines using the heavy thick weights. \u062e\u0637 \u0627\u0644\u0625\u0633\u0643\u0646\u062f\u0631\u064a\u0629 \u0627\u0644\u0639\u0631\u0628\u064a \u0647\u0648 \u0639\u0627\u0626\u0644\u0629 \u062e\u0637 \u0645\u0646 \u0669 \u0623\u0648\u0632\u0627\u0646 \u0645\u0635\u0646\u0648\u0639 \u0641\u064a \u0645\u0632\u0627\u0648\u062c\u0629 \u062e\u0637\u064a\u0651\u0629 \u0645\u0639 \u0627\u0644\u062e\u0637 \u0627\u0644\u0644\u0627\u062a\u064a\u0646\u064a \u0645\u0648\u0646\u062a\u0633\u0631\u0627\u062a \u0645\u0646 \u062a\u0635\u0645\u064a\u0645 \u062c\u0648\u0644\u064a\u0627 \u0623\u0644\u0627\u0646\u0648\u0641\u0633\u0643\u064a \u0645\u0633\u062a\u0648\u062d\u064a\u0627\u0647 \u0645\u0646 \u062a\u0635\u0645\u064a\u0645\u0627\u062a \u0644\u0644\u0648\u0627\u0635\u0642 \u0648\u0644\u0648\u062d \u0642\u062f\u064a\u0645\u0629 \u0641\u064a \u0634\u0648\u0627\u0631\u0639 \u062d\u064a \u0645\u0648\u0646\u062a\u0633\u0631\u0627\u062a \u0641\u064a \u0628\u064a\u0646\u0648\u0633 \u0622\u064a\u0631\u064a\u0633. \u0643\u0648\u0646 \u0627\u0644\u0639\u0627\u0626\u0644\u0629 \u0627\u0644\u062e\u0637\u064a\u0629 \u0645\u0643\u0648\u0651\u0646\u0629 \u0645\u0646 \u0669 \u0623\u0648\u0632\u0627\u0646 \u064a\u0632\u064a\u062f \u0630\u0644\u0643 \u0645\u0646 \u0642\u062f\u0631\u0627\u062a \u0627\u0633\u062a\u062e\u062f\u0627\u0645 \u0627\u0644\u062e\u0637 \u0641\u064a \u062a\u0637\u0628\u064a\u0642\u0627\u062a \u0645\u062a\u0646\u0648\u0639\u0629\u060c \u0645\u0646 \u062e\u0637 \u0645\u0646\u0627\u0633\u0628 \u0644\u0644\u0643\u062a\u0644 \u0627\u0644\u0646\u0635\u064a\u0629 \u0627\u0644\u0637\u0648\u064a\u0644\u0629 \u0639\u0646\u062f \u0627\u0633\u062a\u062e\u062f\u0627\u0645 \u0627\u0644\u0648\u0632\u0646 \u0627\u0644\u062e\u0641\u064a\u0641\u060c \u0644\u0645\u0646\u0627\u0633\u0628\u062a\u0647 \u0644\u0644\u0646\u0635\u0648\u0635 \u0627\u0644\u0642\u0635\u064a\u0631\u0629 \u0645\u062b\u0644 \u0627\u0644\u0639\u0646\u0627\u0648\u064a\u0646 \u0648\u0627\u0644\u062a\u064a \u064a\u0646\u0627\u0633\u0628\u0647\u0627 \u0627\u0633\u062a\u062e\u062f\u0627\u0645 \u0627\u0644\u0623\u0648\u0632\u0627\u0646 \u0627\u0644\u0633\u0645\u064a\u0643\u0629 \u0645\u0646 \u0627\u0644\u062e\u0637. To contribute, see github.com/Gue3bara/Alexandria.", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Alfa Slab One": { + "name": "Alfa Slab One", + "designer": [ + "JM Sol\u00e9" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Alfa Slab One is a contemporary take on the Six-lines Pica Egyptian created by Robert Thorne for the Thorowgood Foundry in 1921. Although initially based on that model, Alfa Slab One was designed with an extreme stem weight, big serifs, more stem contrast and gradual terminals with a single serif. All this attributes give Alfa Slab One a contemporary look with extreme black density.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Alice": { + "name": "Alice", + "designer": [ + "Ksenya Erulevich", + "Cyreal" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Ksenia Erulevich, designer of the Alice typeface, was inspired by Lewis Carrol's novel and decided to make a typeface that will be suitable for typesetting that book. It came out eclectic and quaint, old-fashioned, having widened proportions, open aperture, and soft rounded features; perfect for long meditative text-setting and headlines. This is in fact Ksenia's first typeface, as part of her diploma project in a Type and Typography course in Moscow, Russia. Released by Cyreal with help from Gayaneh Bagdasaryan and Alexei Vanyashin. To contribute, see github.com/cyrealtype/Alice.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Alike": { + "name": "Alike", + "designer": [ + "Sveta Sebyakina", + "Cyreal" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Alike is a text typeface with expressive and tense letterforms. Its design features are said to have Czech influence, but are softened for a friendlier feel. The proportions are regular and the contrast is low for a pleasant reading experience. Alike Angular is a complementary titling style. Designed by Sveta Sebyakina in 2009, and in collaboration with Alexei Vanyashin it was first released in 2011 by Cyreal. To contribute to the project, visit github.com/cyrealtype/Alike", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Alike Angular": { + "name": "Alike Angular", + "designer": [ + "Sveta Sebyakina", + "Cyreal" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Alike Angular is a complementary titling style to Alike. It shares the same proportions as its counterpart for compatibility, and is designed for larger display sizes. As opposed to the soft Regular, its letterforms consist of only straight splines. Additional expressive features are introduced in characters like T, Z, M, E. Designed by Sveta Sebyakina in 2009, and in collaboration with Alexei Vanyashin it was first released in 2011 by Cyreal. To contribute to the project, visit github.com/cyrealtype/Alike-Angular", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Alkalami": { + "name": "Alkalami", + "designer": [ + "SIL International" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "arabic", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Alkalami is the local word for the Arabic \"qalam\", a type of sharpened stick used for writing on wooden boards in the Kano region of Nigeria and in Niger, and what gives the style its distinct appearance. The baseline stroke is very thick and solid. The ascenders and other vertical strokes including the teeth are very narrow when compared to the baseline. A generous line height is necessary to allow for deep swashes and descenders, and the overall look of the page is a very black, solid rectangle. Diacritics are much smaller in scale, with very little distance from the main letters. Learn more at github.com/silnrsi/font-alkalami. To contribute, see github.com/silnrsi/font-alkalami.", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Alkatra": { + "name": "Alkatra", + "designer": [ + "Suman Bhandary" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "bengali", + "devanagari", + "latin", + "latin-ext", + "oriya" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "A display typeface family comprising of Bangla, Devanagari, Odia and Latin Each typeface for each script has been designed keeping in mind the inspiration of drawing letters for wall graffitis in Bengal, India, by using a stick and tar. The forms have blobby blackness to it and have been designed for mostly display purposes. The design and idea has been spearheaded by Suman Bhandary. The Latin has been crafted by Lewis McGuffie. Special thanks to Nehal Mathews and Lopamudra Bose for their assistance in Odia and Devanagari. To contribute, please see github.com/suman51284/Alkatra.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Allan": { + "name": "Allan", + "designer": [ + "Anton Koovit" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Once Allan was a sign painter in Berlin. Grey paneling work in the subway, bad materials, a city split in two. Now things have changed. His (character) palette of activities have expanded tremendously: he happily spends time traveling, experimenting in the gastronomic field, all kinds of festivities are no longer foreign to him. He comes with alternate features, and hints. A typeface suited for bigger sizes and display use. Truly a type that you like to see!", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Allerta": { + "name": "Allerta", + "designer": [ + "Matt McInerney" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Allerta is an open source typeface designed for use in signage. Allerta was designed to be easily and quickly read from a distance. Each letter exploits the most unique aspects of that individual letter so that each character can be easily distinguished from any other. Initially published at matt.cc/allerta.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Allerta Stencil": { + "name": "Allerta Stencil", + "designer": [ + "Matt McInerney" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Allerta is an open source typeface designed for use in signage. Allerta was designed to be easily and quickly read from a distance. Each letter exploits the most unique aspects of that individual letter so that each character can be easily distinguished from any other. Initially published at matt.cc/allerta.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Allison": { + "name": "Allison", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Allison is a casual handwriting script. The lowercase forms carry an obvious flat pen calligraphic influence while the uppercase letters are more brushy in style. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/allison.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Allura": { + "name": "Allura", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "The casual characters of Allura are simple, clean and very legible. The script and formal sets offer a softer, more formal look. Allura was designed with advertising, display and package design in mind. This OpenType Pro version of Allura combines all three styles along with extra alternate glyphs and flourished graphics to give designers maximum flexibility. In this family come complete with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/allura.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Almarai": { + "name": "Almarai", + "designer": [ + "Boutros Fonts", + "Mourad Boutros" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "arabic", + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Almarai is a modern Arabic and sans serif Latin typeface family in 4 weights. The font was created by Boutros\u2122 for optimal readability and suitability for both online and offline applications. Almarai\u2019s beauty lies in its clarity and simplicity. Beneath the font\u2019s geometric look lies a strict adherence to calligraphic structure and rules. Each letter has been crafted with careful attention to detail, retaining subtle hints of handwriting. Letters have low contrast and wide aperture in all four weights. These characteristics were designed to enhance the readability of the font in various media, especially on screen. To contribute, see github.com/JuergenWillrodt/Almarai.", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Almendra": { + "name": "Almendra", + "designer": [ + "Ana Sanfelippo" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Almendra is a typeface design based on calligraphy. Its style is related to the chancery and gothic hands. It is intended to be used in long texts, especially young children's literature. Almendra's black and white forms generate a nice texture in small sizes, while its many details appear when given the opportunity in huge sizes. The main challenge was to make compatible dialectic elements, especially balancing legibility and formal identity. Almendra was selected to be exhibited at the Bienal Iberoamericana de Dise\u0096o in 2010 and was part of the German editorial project Typodarium 2012. This is the Regular family, and there are sister Small Cap and Display families.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Almendra Display": { + "name": "Almendra Display", + "designer": [ + "Ana Sanfelippo" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Almendra is a typeface design based on calligraphy. Its style is related to the chancery and gothic hands. It is intended to be used in long texts, especially young children's literature. Almendra's black and white forms generate a nice texture in small sizes, while its many details appear when given the opportunity in huge sizes. The main challenge was to make compatible dialectic elements, especially balancing legibility and formal identity. Almendra was selected to be exhibited at the Bienal Iberoamericana de Diseno in 2010 and was part of the German editorial project Typodarium 2012. This is the Display family, and there are sister Regular and Small Cap families.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Almendra SC": { + "name": "Almendra SC", + "designer": [ + "Ana Sanfelippo" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Almendra is a typeface design based on calligraphy. Its style is related to the chancery and gothic hands. It is intended to be used in long texts, especially young children's literature. Almendra's black and white forms generate a nice texture in small sizes, while its many details appear when given the opportunity in huge sizes. The main challenge was to make compatible dialectic elements, especially balancing legibility and formal identity. Almendra was selected to be exhibited at the Bienal Iberoamericana de Dise\u0096o in 2010 and was part of the German editorial project Typodarium 2012. This is the Small Cap family, and there are sister Regular and Display families.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Alumni Sans": { + "name": "Alumni Sans", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Originally inspired by the black face Impact, it soon evolved to include numerous weights from the Black flavor of its progenitor to a super Thin weight. The extreme weights (Thin and Black) are designed for display situations while the remaining weights may be used for more traditional textual design applications. Alumni is available in roman and italic versions. It comes with Latin character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/alumni.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Alumni Sans Collegiate One": { + "name": "Alumni Sans Collegiate One", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Alumni Sans Collegiate One is stand alone font based on Alumni. While it is a variable font available in Roman and Italic versions of each weight, the Collegiate version offers a display option adding a decorative outline to the ExtraBold style. Use this variation for situations requiring a sporty look. Collegiate One is designed to be used as a display font above 32pt in print (assuming 300 dpi) and above 96px in digital media. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/alumni-sans-collegiate.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Alumni Sans Collegiate One SC": { + "name": "Alumni Sans Collegiate One SC", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Alumni Sans Collegiate One is stand alone font based on Alumni . While it is a variable font available in Roman and Italic versions of each weight, the Collegiate version offers a display option adding a decorative outline to the ExtraBold style. Use this variation for situations requiring a sporty look. Collegiate One is designed to be used as a display font above 32pt in print (assuming 300 dpi) and above 96px in digital media. It comes with Latin Character sets including Western, Central, and Vietnamese language support. Alumni Sans Collegiate One SC is the Small Caps version of Alumni Sans Collegiate One To contribute, see github.com/googlefonts/alumni-sans-collegiate .", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Alumni Sans Inline One": { + "name": "Alumni Sans Inline One", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Alumni Inline One is a stand alone font from its base font, Alumni Sans (a variable font). Inline One is a black weight designed to be used as a display font above 32pt in print (assuming 300 dpi) and above 72px in digital media. In situations that require large text, use it in combination with the Alumni Sans base design. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/alumni-sans-inline.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Alumni Sans Pinstripe": { + "name": "Alumni Sans Pinstripe", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Alumni Pinstripe is a stand alone font from its base font, Alumni Sans (a variable font). Pinstripe is a super-thin weight and designed to be used as a display font above 32pt in print (assuming 300 dpi) and above 72px in digital media. In situations that require large text, use this Pinstripe variation in combination with the Alumni Sans base design. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/alumni-sans-pinstripe.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Alumni Sans SC": { + "name": "Alumni Sans SC", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Originally inspired by the blackface Impact, it soon evolved to include numerous weights, from the Black flavor of its progenitor to a super Thin weight. The extreme weights (Thin and Black) are designed for display situations, while the remaining weights may be used for more traditional textual design applications. Alumni Sans is available in roman and italic versions. It has Latin character sets, including Western, Central, and Vietnamese language support. Alumni Sans SC is the Small Caps version of Alumni Sans. To contribute, see github.com/googlefonts/alumni.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Amarante": { + "name": "Amarante", + "designer": [ + "Karolina Lach" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Foundry: Sorkin Type Co Amarante is a medium contrast condensed type. It uses unconventional Art Nouveau inspired shapes. Amarante is a display face but works surprisingly well in text and headlines too. Amarante supports a very broad range of languages. Source files are available from Google Code. To contribute to the project contact Eben Sorkin.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Amaranth": { + "name": "Amaranth", + "designer": [ + "Gesine Todt" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "The Amaranth family is a friendly upright italic design with a slight contrast and distinctive curves. With its three new styles Amaranth is healthy for all your texts too!", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Amatic SC": { + "name": "Amatic SC", + "designer": [ + "Vernon Adams", + "Ben Nathan", + "Thomas Jockin" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "cyrillic", + "hebrew", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Amatic SC (Small Caps) is a simple but effective hand drawn webfont. It can be used for titling and small runs of text. It was initially designed by Vernon Adams, and concieved of to be used freely across the internet by web browsers on desktop computers, laptops and mobile devices. It features both Latin and Hebrew alphabets. The Latin was initially designed by Vernon Adams. The Hebrew was designed by Ben Nathan, who also revised the Latin design. Thomas Jockin respaced and kerned the whole font.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Amethysta": { + "name": "Amethysta", + "designer": [ + "Cyreal" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Amethysta was designed by Konstantin Vinogradov with the purpose of printing on low quality paper in mind. This is why it has such minimalistic wedge serifs and terminals. It builds the impression of a simple and strong text typeface. In terms of proportions it is closely related to the transitional serif group. Amethysta is suitable for small to medium sizes, while some details will be noticeable at larger sizes. It also will work well in print.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Amiko": { + "name": "Amiko", + "designer": [ + "Impallari Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Amiko is a clean and utilitarian Devanagari and Latin typeface family, specifically designed for maximum legibility at the smallest possible text sizes. It is intended for body text on the web and low resolution screens. It was designed in a studio collaboration by Pablo Impallari, Rodrigo Fuenzalida and Andres Torresi. Thank you to Pria Ravichandran, Erin McLaughlin, Girish Dalvi, Dan Reynolds and all those who have shared their knowledge and helped with reviews to improve Amiko. The Amiko project is led by Impallari Type, a type design foundry based in Rosario, Argentina. To contribute, see github.com/impallari/Amiko-Devanagari", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Amiri": { + "name": "Amiri", + "designer": [ + "Khaled Hosny", + "Sebastian Kosch" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "arabic", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Amiri is a classical Arabic typeface in Naskh style for typesetting books and other running text. Its design is a revival of the beautiful typeface pioneered in early 20th century by Bulaq Press in Cairo, also known as Amiria Press, after which the font is named. Read more about the project at www.amirifont.org To contribute, see github.com/aliftype/amiri. Updated in December 2022 to v1.000", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Amiri Quran": { + "name": "Amiri Quran", + "designer": [ + "Khaled Hosny", + "Sebastian Kosch" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "arabic", + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Amiri (\u0623\u0645\u064a\u0631\u064a) is a classical Arabic typeface in Naskh style for typesetting books and other running text. Amiri is a revival of the beautiful typeface pioneered in early 20th century by Bulaq Press in Cairo, also known as Amiria Press, after which the font is named. The uniqueness of this typeface comes from its superb balance between the beauty of Naskh calligraphy on one hand, the constraints and requirements of elegant typography on the other. Also, it is one of the few metal typefaces that were used in typesetting the Koran, making it a good source for a digital typeface to be used in typesetting Koranic verses. Amiri project aims at the revival of the aesthetics and traditions of Arabic typesetting, and adapting it to the era of digital typesetting, in a publicly available form. See the amirifont.org website for further information and to contribute, see github.com/alif-type/amiri This font uses the COLRv0, CPAL and SVG tables. Please visit the gf-guide color page to learn more about Color Fonts technology. \u0627\u0644\u062e\u0637 \u0627\u0644\u0623\u0645\u064a\u0631\u064a \u062e\u0637 \u0646\u0633\u062e\u064a \u0645\u0648\u062c\u0647 \u0644\u0637\u0628\u0627\u0639\u0629 \u0627\u0644\u0643\u062a\u0628 \u0648 \u0627\u0644\u0646\u0635\u0648\u0635 \u0627\u0644\u0637\u0648\u064a\u0644\u0629. \u0627\u0644\u062e\u0637 \u0627\u0644\u0623\u0645\u064a\u0631\u064a \u0647\u0648 \u0625\u062d\u064a\u0627\u0621 \u0648 \u0645\u062d\u0627\u0643\u0627\u0629 \u0644\u0644\u062e\u0637 \u0627\u0644\u0637\u0628\u0627\u0639\u064a \u0627\u0644\u062c\u0645\u064a\u0644 \u0627\u0644\u0630\u064a \u062a\u0645\u064a\u0632\u062a \u0628\u0647 \u0645\u0637\u0628\u0639\u0629 \u0628\u0648\u0644\u0627\u0642 \u0645\u0646\u0630 \u0623\u0648\u0627\u0626\u0644 \u0627\u0644\u0642\u0631\u0646 \u0627\u0644\u0639\u0634\u0631\u064a\u0646\u060c \u0648 \u0627\u0644\u062a\u064a \u0639\u0631\u0641\u062a \u0623\u064a\u0636\u0627 \u0628\u0627\u0644\u0645\u0637\u0628\u0639\u0629 \u0627\u0644\u0623\u0645\u064a\u0631\u064a\u0629\u060c \u0648 \u0645\u0646 \u0647\u0646\u0627 \u0623\u062e\u0630 \u0627\u0644\u062e\u0637 \u0627\u0633\u0645\u0647. \u064a\u062a\u0645\u064a\u0632 \u062e\u0637 \u0627\u0644\u0645\u0637\u0627\u0628\u0639 \u0627\u0644\u0623\u0645\u064a\u0631\u064a\u0629 \u0628\u062c\u0645\u0627\u0644\u064a\u062a\u0647 \u0648 \u0645\u0631\u0627\u0639\u0627\u062a\u0647 \u0644\u0641\u0646 \u0627\u0644\u062e\u0637 \u0627\u0644\u0639\u0631\u0628\u064a\u060c \u0628\u0623\u0633\u0644\u0648\u0628 \u0646\u0633\u062e\u064a \u062c\u0645\u064a\u0644\u060c \u0648 \u0641\u064a \u0630\u0627\u062a \u0627\u0644\u0648\u0642\u062a \u064a\u0631\u0627\u0639\u0649 \u0645\u062a\u0637\u0644\u0628\u0627\u062a \u0627\u0644\u0637\u0628\u0627\u0639\u0629 \u0648 \u0627\u0644\u0642\u064a\u0648\u062f \u0627\u0644\u062a\u064a \u062a\u0641\u0631\u0636\u0647\u0627\u060c \u0645\u0646 \u063a\u064a\u0631 \u0625\u0641\u0631\u0627\u0637 \u0641\u064a \u062c\u0627\u0646\u0628 \u0639\u0644\u0649 \u062d\u0633\u0627\u0628 \u0627\u0644\u0622\u062e\u0631. \u0648 \u0644\u0647\u0630\u0627 \u064a\u062a\u0645\u064a\u0632 \u0628\u0645\u0646\u0627\u0633\u0628\u062a\u0647 \u0644\u0644\u0635\u0641 \u0627\u0644\u0637\u0628\u0627\u0639\u064a \u0639\u0645\u0648\u0645\u0627\u060c \u0648 \u0644\u0635\u0641 \u0627\u0644\u0643\u062a\u0628 \u062e\u0635\u0648\u0635\u0627. \u0648 \u0642\u062f \u0627\u0644\u0646\u0635\u0648\u0635 \u0627\u0644\u0642\u0631\u0622\u0646\u064a\u0629. \u064a\u0647\u062f\u0641 \u0645\u0634\u0631\u0648\u0639 \u0627\u0644\u062e\u0637 \u0627\u0644\u0623\u0645\u064a\u0631\u064a \u0625\u0644\u0649 \u0625\u062d\u064a\u0627\u0621 \u062a\u0642\u0627\u0644\u064a\u062f \u0648 \u062c\u0645\u0627\u0644\u064a\u0627\u062a \u0627\u0644\u0637\u0628\u0627\u0639\u0629 \u0627\u0644\u0639\u0631\u0628\u064a\u0629 \u0648 \u0645\u0648\u0627\u0626\u0645\u062a\u0647\u0627 \u0644\u062a\u0642\u0646\u064a\u0627\u062a \u0639\u0635\u0631 \u0627\u0644\u062d\u0648\u0627\u0633\u064a\u0628\u060c \u0645\u0639 \u0625\u062a\u0627\u062d\u062a\u0647\u0627 \u0644\u0644\u0639\u0645\u0648\u0645. \u064a\u0645\u0643\u0646 \u0627\u0644\u062d\u0635\u0648\u0644 \u0639\u0644\u0649 \u0622\u062e\u0631 \u0625\u0635\u062f\u0627\u0631\u0627\u062a \u0627\u0644\u062e\u0637 \u0627\u0644\u0623\u0645\u064a\u0631\u064a \u0645\u0646 \u0645\u0648\u0642\u0639\u0647: amirifont.org", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Amiri Quran Colored": { + "name": "Amiri Quran Colored", + "designer": [ + "Khaled Hosny", + "Sebastian Kosch" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "arabic" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Amiri is a classical Arabic typeface in Naskh style for typesetting books and other running text. Its design is a revival of the beautiful typeface pioneered in early 20th century by Bulaq Press in Cairo, also known as Amiria Press, after which the font is named. To contribute, see github.com/alif-type/amiri", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Amita": { + "name": "Amita", + "designer": [ + "Eduardo Tunni", + "Brian Bonislawsky" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Amita is the Indian Feminine form of Amit. Amita is a Latin and Devanagari typeface derived from Redressed and Modular Infotech Devanagari 2310 and 1228. The Latin is a script type designed by Brian Bonislawsky which blends script and italic letterforms together in an upright non-connecting style. Open spacing and stylish letterforms lend themselves to titling, but also to clean legibility at smaller sizes as body copy. The Devanagari is a traditionally calligraphic style. The combination was designed by Eduardo Tunni. This project is led by Eduardo Tunni, a type designer based in Buenos Aires. To contribute, see github.com/etunni/Amita", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Anaheim": { + "name": "Anaheim", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "The Anaheim font family is a free font family. The Anaheim Fonts are designed to be used freely across the internet by web browsers on desktop computers, laptops and mobile devices. To contribute, see github.com/googlefonts/anaheimFont.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ancizar Sans": { + "name": "Ancizar Sans", + "designer": [ + "Universidad Nacional de Colombia (UNAL)", + "C\u00e9sar Puertas", + "Viviana Monsalve", + "Juli\u00e1n Moncada" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "greek", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "UNAL Anc\u00edzar is a highly versatile and legible typeface family, initially designed in 2014 to strengthen the institutional image of Universidad Nacional de Colombia, the country's largest public university. This typeface was initially designed by Professor C\u00e9sar Puertas (Faculty of Arts, Bogot\u00e1 Campus), Viviana Monsalve, and Juli\u00e1n Moncada, within the framework of a project led by Professor Jaime Franky Rodr\u00edguez (Director of the Communications & Media Unity - UNIMEDIOS), Martha Luc\u00eda Chaves Mu\u00f1oz (Head of the Digital Media Office), and Mar\u00eda Teresa Naranjo Castillo (Institutional Image Coordinator). In 2024, the University released the typeface family under the leadership of Professor Jaime Rodolfo Ram\u00edrez Rodr\u00edguez (director of UNIMEDIOS), to transcend the institution and constitute a contribution from UNAL to humanity. Naturally diverse, the UNAL Anc\u00edzar type family is designed for daily use in almost any condition. All fonts share a common structure that enhances both readability and identity, while a broad range of weights ensures adaptability for various needs. UNAL Anc\u00edzar is not only optimized for challenging print environments\u2014its streamlined curves also perform exceptionally well on digital screens, giving text a unique personality that helps distinguish the university from others. The UNAL Anc\u00edzar type family is divided into two groups: Serif and Sans Serif, enhancing its versatility and adaptability to various applications. The Serif fonts are designed for long texts, such as essays and articles, while the Sans Serif variants excel in signage and headlines, ensuring optimal performance in shorter texts. Its robust typographic repertoire\u2014including diacritics, small caps, and uppercase and lowercase numerals\u2014ensures broad functionality. With nine weights, Anc\u00edzar offers a diverse range of styles, making it easier to select the right variant for each context. Its extensive character set (1,043 per font) supports Western Latin, monotonic Greek, and the International Phonetic Alphabet (IPA). Beyond meeting institutional requirements, this typographic richness allows the university community to explore and express its creativity with greater freedom. Since 2014, several individuals have played a key role in the development and refinement of this type family. We extend our gratitude to Juli\u00e1n Prieto Velandia, Jos\u00e9 Castro Garnica, Mariel Hern\u00e1ndez Camino, Felipe Arag\u00f3n Rubio, Sara Alarc\u00f3n Quinche, Ra\u00fal Aponte, Jhon Garc\u00eda and to the Digital Media Office (Martha Luc\u00eda Chaves Mu\u00f1oz, Mar\u00eda Teresa Naranjo Castillo, Giovanni Romero P\u00e9rez, Alejandro D\u00edaz Vecchio and Aldemar Hern\u00e1ndez Torres) for their valuable contributions. To contribute, please see github.com/UNAL-OMD/UNAL-Ancizar.", + "minisite_url": null + }, + "Ancizar Serif": { + "name": "Ancizar Serif", + "designer": [ + "Universidad Nacional de Colombia (UNAL)", + "C\u00e9sar Puertas", + "Viviana Monsalve", + "Juli\u00e1n Moncada" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "greek", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "UNAL Anc\u00edzar is a highly versatile and legible typeface family, initially designed in 2014 to strengthen the institutional image of Universidad Nacional de Colombia, the country's largest public university. This typeface was initially designed by Professor C\u00e9sar Puertas (Faculty of Arts, Bogot\u00e1 Campus), Viviana Monsalve, and Juli\u00e1n Moncada, within the framework of a project led by Professor Jaime Franky Rodr\u00edguez (Director of the Communications & Media Unity - UNIMEDIOS), Martha Luc\u00eda Chaves Mu\u00f1oz (Head of the Digital Media Office), and Mar\u00eda Teresa Naranjo Castillo (Institutional Image Coordinator). In 2024, the University released the typeface family under the leadership of Professor Jaime Rodolfo Ram\u00edrez Rodr\u00edguez (director of UNIMEDIOS), to transcend the institution and constitute a contribution from UNAL to humanity. Naturally diverse, the UNAL Anc\u00edzar type family is designed for daily use in almost any condition. All fonts share a common structure that enhances both readability and identity, while a broad range of weights ensures adaptability for various needs. UNAL Anc\u00edzar is not only optimized for challenging print environments\u2014its streamlined curves also perform exceptionally well on digital screens, giving text a unique personality that helps distinguish the university from others. The UNAL Anc\u00edzar type family is divided into two groups: Serif and Sans Serif, enhancing its versatility and adaptability to various applications. The Serif fonts are designed for long texts, such as essays and articles, while the Sans Serif variants excel in signage and headlines, ensuring optimal performance in shorter texts. Its robust typographic repertoire\u2014including diacritics, small caps, and uppercase and lowercase numerals\u2014ensures broad functionality. With nine weights, Anc\u00edzar offers a diverse range of styles, making it easier to select the right variant for each context. Its extensive character set (1,043 per font) supports Western Latin, monotonic Greek, and the International Phonetic Alphabet (IPA). Beyond meeting institutional requirements, this typographic richness allows the university community to explore and express its creativity with greater freedom. Since 2014, several individuals have played a key role in the development and refinement of this type family. We extend our gratitude to Juli\u00e1n Prieto Velandia, Jos\u00e9 Castro Garnica, Mariel Hern\u00e1ndez Camino, Felipe Arag\u00f3n Rubio, Sara Alarc\u00f3n Quinche, Ra\u00fal Aponte, Jhon Garc\u00eda and to the Digital Media Office (Martha Luc\u00eda Chaves Mu\u00f1oz, Mar\u00eda Teresa Naranjo Castillo, Giovanni Romero P\u00e9rez, Alejandro D\u00edaz Vecchio and Aldemar Hern\u00e1ndez Torres) for their valuable contributions. To contribute, please see github.com/UNAL-OMD/UNAL-Ancizar.", + "minisite_url": null + }, + "Andada Pro": { + "name": "Andada Pro", + "designer": [ + "Huerta Tipogr\u00e1fica", + "Carolina Giovagnoli" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Andada Pro is an organic-slab serif, hybrid style and medium contrast type for text, initially designed to be used in a specific bilingual context, Spanish and Guaran\u00ed (pre-hispanic) languages. This font has received an award at the Ibero-America Design Biennial. The Biennial has been shown in Spain, Argentina, Chile, El Salvador, Uruguay, Bolivia, Colombia and Venezuela. Designed by Carolina Giovagnoli for Huerta Tipogr\u00e1fica. To contribute see github.com/huertatipografica/Andada-Pro.", + "primary_script": null, + "article": null, + "minisite_url": "https://huertatipografica.com/en/fonts/andada-ht-pro" + }, + "Andika": { + "name": "Andika", + "designer": [ + "SIL International" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Andika is a sans serif, Unicode-compliant font designed especially for literacy use, taking into account the needs of beginning readers. The focus is on clear, easy-to-perceive letterforms that will not be readily confused with one another. Starting with an initial draft of a basic lowercase Latin alphabet by Victor Gaultney, Annie Olsen refined the design and added over 4,700 glyphs, including a complete extended Cyrillic set. A sans serif font is preferred by some literacy personnel for teaching people to read. Its forms are simpler and less cluttered than those of most serif fonts. For years, literacy workers have had to make do with fonts that were not really suitable for beginning readers and writers. In some cases, literacy specialists have had to tediously assemble letters from a variety of fonts in order to get all of the characters they need for their particular language project, resulting in confusing and unattractive publications. Andika addresses those issues. The font has been upgraded in May 2022. This upgrade gives additional weight styles and expands the glyphset to support full Latin and Cyrillic characters sets. Rendering is also much improved. Read more at software.sil.org/andika To contribute, see github.com/silnrsi/font-andika. SIL International recently released three typefaces for lesser-served writing systems (Tai Viet, Yi, Lepcha) used in Asia. SIL has also created Andika, which is specially designed to maximize legibility for new readers. SIL and lesser-served languages SIL International has a team of type designers who specialize in creating typefaces for lesser-served or non-dominant language communities. These are communities that exist alongside larger, more prominent language communities such as Chinese, English, or Arabic. These relatively smaller communities may have their own script, or they may have sounds in their language that are not represented in the script used by the majority language. Some non-dominant languages are endangered. According to UNESCO, about 40% of the estimated 7,000 languages are at risk of extinction. Without typefaces, these language communities can't survive online. To learn more, read New SIL Typefaces: Expanding type for legibility and lesser-served languages", + "minisite_url": null + }, + "Andika New Basic": { + "name": "Andika New Basic", + "designer": [ + "SIL International" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Andika New Basic is a limited-character-set (no extended IPA or Cyrillic) version of Andika that includes Regular, Bold, Italic and Bold-Italic faces. Andika New Basic supports Latin and Latin-1 Supplement Unicode ranges, plus a selection of the more commonly used extended Latin characters, with miscellaneous diacritical marks, symbols and punctuation. Read more at software.sil.org/andika", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Anek Bangla": { + "name": "Anek Bangla", + "designer": [ + "Ek Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "bengali", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Beng", + "article": "Anek, as the meaning of the word suggests, is an exercise in multiplicity \u2014 multiple scripts designed in multiple weights and widths by multiple designers. A well-informed, conscientious and refreshing interpretation of India\u2019s letter traditions, this family offers a versatile system that can meet the demands of a wide range of applications. Its expansive design space allows Anek to don multiple personalities. At its most condensed, capsular forms keep structures compact for that graphic texture. On the wide end of the spectrum, the extra legroom lets each letter yawn and stretch into their message. But it is in the boldest weights that Anek comes alive. Sharp terminals and tapered joineries sparkle amidst regimented forms, making this ideal for setting titillating headlines or that magnetic word-mark. Anek comes in ten scripts: Bangla, Devanagari, Kannada, Latin, Gujarati, Gurmukhi, Malayalam, Odia, Tamil and Telugu. The shared aesthetics of this type-family are drawn from a collaboratively decided pool of visual features. At the same time, each script amalgamates influences from its own typographic culture as well as the perspectives of individual designers. This project is designed, engineered and maintained by Ek Type; a collective of type designers based in Mumbai focused on designing contemporary Indian typefaces. Contributors of this project are: Maithili Shingre (Anek Malayalam, Anek Kannada), Yesha Goshar (Anek Latin, Anek Odia), Kailash Malviya (Anek Devanagari), Aadarsh Rajan (Anek Tamil), Sulekha Rajkumar (Anek Bangla), Vaishnavi Murthy (Anek Kannada), Omkar Bhoir (Anek Telugu), Mrunmayee Ghaisas (Anek Gujarati), Mahesh Sahu (Anek Odia), and Sarang Kulkarni (Anek Gurmukhi). Project management and design assistance by Noopur Datye, and Font engineering and design assistance by Girish Dalvi. To contribute, see github.com/EkType/Anek Multiple scripts for multilingual India The award-winning Anek variable font The nine scripts have base characters in the center, with vowel signs and conjuncts that come above, below or next to them. The Anek multi-script typeface for 9 Indian languages and Latin was made through a collaboration of 12 type designers working across 8 cities in India. How did Ek Type win two type design awards (the TDC Certificate of Typographic Excellence and the D&AD Graphite Pencil) for their Anek multi-script typeface? There were two key factors to their success: Teamwork: The team of 12 collaborated democratically. Equality: Giving equal value to each of the nine Indian writing systems (scripts) and Latin, while maintaining both common visual features and script-specific characteristics. Teamwork during lockdown Getting 12 people to collaborate while speaking in three languages (English, Hindi, and Marathi) and spread out in eight different Indian cities (Mumbai, Pune, Kalyan, Hinganghat, Baroda, Bengaluru, Bharampur, and Pali) is not an easy task. Ek Type established a collaboration structure that fostered teamwork, while also giving designers the liberty to be creative. The team consisted of Maithili Shingre, Yesha Goshar, Kailash Malviya, Aadarsh Rajan, Sulekha Rajkumar, Vaishnavi Murthy, Omkar Bhoir, Mrunmayee Ghaisas, Mahesh Sahu, Sarang Kulkarni, Noopur Datye, and Girish Dalvi. Ten people focused on one script each, while the other two members worked on font engineering and project management. The designers focused on the script that was most familiar to them. Via three- to four-hour weekly video calls, team members annotated drawings with emojis, arrows, text, and other marks in their video conference platform. In between calls, the team collaborated online. The team made design decisions based on majority or unanimous votes. Before the pandemic, most of the team had worked together at the Ek Type studio in Mumbai. Remote work created some unforeseen benefits. \u201cEveryone had the time to venture in different directions, not getting colored by what the others were doing,\u201d said Noopur Datye, co-founder and type designer at Ek Type. To learn more, read Multilingual scripts for multilingual India.", + "minisite_url": null + }, + "Anek Devanagari": { + "name": "Anek Devanagari", + "designer": [ + "Ek Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Deva", + "article": "Anek, as the meaning of the word suggests, is an exercise in multiplicity \u2014 multiple scripts designed in multiple weights and widths by multiple designers. A well-informed, conscientious and refreshing interpretation of India\u2019s letter traditions, this family offers a versatile system that can meet the demands of a wide range of applications. Its expansive design space allows Anek to don multiple personalities. At its most condensed, capsular forms keep structures compact for that graphic texture. On the wide end of the spectrum, the extra legroom lets each letter yawn and stretch into their message. But it is in the boldest weights that Anek comes alive. Sharp terminals and tapered joineries sparkle amidst regimented forms, making this ideal for setting titillating headlines or that magnetic word-mark. Anek comes in ten scripts: Bangla, Devanagari, Kannada, Latin, Gujarati, Gurmukhi, Malayalam, Odia, Tamil and Telugu. The shared aesthetics of this type-family are drawn from a collaboratively decided pool of visual features. At the same time, each script amalgamates influences from its own typographic culture as well as the perspectives of individual designers. This project is designed, engineered and maintained by Ek Type; a collective of type designers based in Mumbai focused on designing contemporary Indian typefaces. Contributors of this project are: Maithili Shingre (Anek Malayalam, Anek Kannada), Yesha Goshar (Anek Latin, Anek Odia), Kailash Malviya (Anek Devanagari), Aadarsh Rajan (Anek Tamil), Sulekha Rajkumar (Anek Bangla), Vaishnavi Murthy (Anek Kannada), Omkar Bhoir (Anek Telugu), Mrunmayee Ghaisas (Anek Gujarati), Mahesh Sahu (Anek Odia), and Sarang Kulkarni (Anek Gurmukhi). Project management and design assistance by Noopur Datye, and Font engineering and design assistance by Girish Dalvi. To contribute, see github.com/EkType/Anek Multiple scripts for multilingual India The award-winning Anek variable font The nine scripts have base characters in the center, with vowel signs and conjuncts that come above, below or next to them. The Anek multi-script typeface for 9 Indian languages and Latin was made through a collaboration of 12 type designers working across 8 cities in India. How did Ek Type win two type design awards (the TDC Certificate of Typographic Excellence and the D&AD Graphite Pencil) for their Anek multi-script typeface? There were two key factors to their success: Teamwork: The team of 12 collaborated democratically. Equality: Giving equal value to each of the nine Indian writing systems (scripts) and Latin, while maintaining both common visual features and script-specific characteristics. Teamwork during lockdown Getting 12 people to collaborate while speaking in three languages (English, Hindi, and Marathi) and spread out in eight different Indian cities (Mumbai, Pune, Kalyan, Hinganghat, Baroda, Bengaluru, Bharampur, and Pali) is not an easy task. Ek Type established a collaboration structure that fostered teamwork, while also giving designers the liberty to be creative. The team consisted of Maithili Shingre, Yesha Goshar, Kailash Malviya, Aadarsh Rajan, Sulekha Rajkumar, Vaishnavi Murthy, Omkar Bhoir, Mrunmayee Ghaisas, Mahesh Sahu, Sarang Kulkarni, Noopur Datye, and Girish Dalvi. Ten people focused on one script each, while the other two members worked on font engineering and project management. The designers focused on the script that was most familiar to them. Via three- to four-hour weekly video calls, team members annotated drawings with emojis, arrows, text, and other marks in their video conference platform. In between calls, the team collaborated online. The team made design decisions based on majority or unanimous votes. Before the pandemic, most of the team had worked together at the Ek Type studio in Mumbai. Remote work created some unforeseen benefits. \u201cEveryone had the time to venture in different directions, not getting colored by what the others were doing,\u201d said Noopur Datye, co-founder and type designer at Ek Type. To learn more, read Multilingual scripts for multilingual India.", + "minisite_url": null + }, + "Anek Gujarati": { + "name": "Anek Gujarati", + "designer": [ + "Ek Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "gujarati", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Gujr", + "article": "Anek, as the meaning of the word suggests, is an exercise in multiplicity \u2014 multiple scripts designed in multiple weights and widths by multiple designers. A well-informed, conscientious and refreshing interpretation of India\u2019s letter traditions, this family offers a versatile system that can meet the demands of a wide range of applications. Its expansive design space allows Anek to don multiple personalities. At its most condensed, capsular forms keep structures compact for that graphic texture. On the wide end of the spectrum, the extra legroom lets each letter yawn and stretch into their message. But it is in the boldest weights that Anek comes alive. Sharp terminals and tapered joineries sparkle amidst regimented forms, making this ideal for setting titillating headlines or that magnetic word-mark. Anek comes in ten scripts: Bangla, Devanagari, Kannada, Latin, Gujarati, Gurmukhi, Malayalam, Odia, Tamil and Telugu. The shared aesthetics of this type-family are drawn from a collaboratively decided pool of visual features. At the same time, each script amalgamates influences from its own typographic culture as well as the perspectives of individual designers. This project is designed, engineered and maintained by Ek Type; a collective of type designers based in Mumbai focused on designing contemporary Indian typefaces. Contributors of this project are: Maithili Shingre (Anek Malayalam, Anek Kannada), Yesha Goshar (Anek Latin, Anek Odia), Kailash Malviya (Anek Devanagari), Aadarsh Rajan (Anek Tamil), Sulekha Rajkumar (Anek Bangla), Vaishnavi Murthy (Anek Kannada), Omkar Bhoir (Anek Telugu), Mrunmayee Ghaisas (Anek Gujarati), Mahesh Sahu (Anek Odia), and Sarang Kulkarni (Anek Gurmukhi). Project management and design assistance by Noopur Datye, and Font engineering and design assistance by Girish Dalvi. To contribute, see github.com/EkType/Anek Multiple scripts for multilingual India The award-winning Anek variable font The nine scripts have base characters in the center, with vowel signs and conjuncts that come above, below or next to them. The Anek multi-script typeface for 9 Indian languages and Latin was made through a collaboration of 12 type designers working across 8 cities in India. How did Ek Type win two type design awards (the TDC Certificate of Typographic Excellence and the D&AD Graphite Pencil) for their Anek multi-script typeface? There were two key factors to their success: Teamwork: The team of 12 collaborated democratically. Equality: Giving equal value to each of the nine Indian writing systems (scripts) and Latin, while maintaining both common visual features and script-specific characteristics. Teamwork during lockdown Getting 12 people to collaborate while speaking in three languages (English, Hindi, and Marathi) and spread out in eight different Indian cities (Mumbai, Pune, Kalyan, Hinganghat, Baroda, Bengaluru, Bharampur, and Pali) is not an easy task. Ek Type established a collaboration structure that fostered teamwork, while also giving designers the liberty to be creative. The team consisted of Maithili Shingre, Yesha Goshar, Kailash Malviya, Aadarsh Rajan, Sulekha Rajkumar, Vaishnavi Murthy, Omkar Bhoir, Mrunmayee Ghaisas, Mahesh Sahu, Sarang Kulkarni, Noopur Datye, and Girish Dalvi. Ten people focused on one script each, while the other two members worked on font engineering and project management. The designers focused on the script that was most familiar to them. Via three- to four-hour weekly video calls, team members annotated drawings with emojis, arrows, text, and other marks in their video conference platform. In between calls, the team collaborated online. The team made design decisions based on majority or unanimous votes. Before the pandemic, most of the team had worked together at the Ek Type studio in Mumbai. Remote work created some unforeseen benefits. \u201cEveryone had the time to venture in different directions, not getting colored by what the others were doing,\u201d said Noopur Datye, co-founder and type designer at Ek Type. To learn more, read Multilingual scripts for multilingual India.", + "minisite_url": null + }, + "Anek Gurmukhi": { + "name": "Anek Gurmukhi", + "designer": [ + "Ek Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "gurmukhi", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Guru", + "article": "Anek, as the meaning of the word suggests, is an exercise in multiplicity \u2014 multiple scripts designed in multiple weights and widths by multiple designers. A well-informed, conscientious and refreshing interpretation of India\u2019s letter traditions, this family offers a versatile system that can meet the demands of a wide range of applications. Its expansive design space allows Anek to don multiple personalities. At its most condensed, capsular forms keep structures compact for that graphic texture. On the wide end of the spectrum, the extra legroom lets each letter yawn and stretch into their message. But it is in the boldest weights that Anek comes alive. Sharp terminals and tapered joineries sparkle amidst regimented forms, making this ideal for setting titillating headlines or that magnetic word-mark. Anek comes in ten scripts: Bangla, Devanagari, Kannada, Latin, Gujarati, Gurmukhi, Malayalam, Odia, Tamil and Telugu. The shared aesthetics of this type-family are drawn from a collaboratively decided pool of visual features. At the same time, each script amalgamates influences from its own typographic culture as well as the perspectives of individual designers. This project is designed, engineered and maintained by Ek Type; a collective of type designers based in Mumbai focused on designing contemporary Indian typefaces. Contributors of this project are: Maithili Shingre (Anek Malayalam, Anek Kannada), Yesha Goshar (Anek Latin, Anek Odia), Kailash Malviya (Anek Devanagari), Aadarsh Rajan (Anek Tamil), Sulekha Rajkumar (Anek Bangla), Vaishnavi Murthy (Anek Kannada), Omkar Bhoir (Anek Telugu), Mrunmayee Ghaisas (Anek Gujarati), Mahesh Sahu (Anek Odia), and Sarang Kulkarni (Anek Gurmukhi). Project management and design assistance by Noopur Datye, and Font engineering and design assistance by Girish Dalvi. To contribute, see github.com/EkType/Anek Multiple scripts for multilingual India The award-winning Anek variable font The nine scripts have base characters in the center, with vowel signs and conjuncts that come above, below or next to them. The Anek multi-script typeface for 9 Indian languages and Latin was made through a collaboration of 12 type designers working across 8 cities in India. How did Ek Type win two type design awards (the TDC Certificate of Typographic Excellence and the D&AD Graphite Pencil) for their Anek multi-script typeface? There were two key factors to their success: Teamwork: The team of 12 collaborated democratically. Equality: Giving equal value to each of the nine Indian writing systems (scripts) and Latin, while maintaining both common visual features and script-specific characteristics. Teamwork during lockdown Getting 12 people to collaborate while speaking in three languages (English, Hindi, and Marathi) and spread out in eight different Indian cities (Mumbai, Pune, Kalyan, Hinganghat, Baroda, Bengaluru, Bharampur, and Pali) is not an easy task. Ek Type established a collaboration structure that fostered teamwork, while also giving designers the liberty to be creative. The team consisted of Maithili Shingre, Yesha Goshar, Kailash Malviya, Aadarsh Rajan, Sulekha Rajkumar, Vaishnavi Murthy, Omkar Bhoir, Mrunmayee Ghaisas, Mahesh Sahu, Sarang Kulkarni, Noopur Datye, and Girish Dalvi. Ten people focused on one script each, while the other two members worked on font engineering and project management. The designers focused on the script that was most familiar to them. Via three- to four-hour weekly video calls, team members annotated drawings with emojis, arrows, text, and other marks in their video conference platform. In between calls, the team collaborated online. The team made design decisions based on majority or unanimous votes. Before the pandemic, most of the team had worked together at the Ek Type studio in Mumbai. Remote work created some unforeseen benefits. \u201cEveryone had the time to venture in different directions, not getting colored by what the others were doing,\u201d said Noopur Datye, co-founder and type designer at Ek Type. To learn more, read Multilingual scripts for multilingual India.", + "minisite_url": null + }, + "Anek Kannada": { + "name": "Anek Kannada", + "designer": [ + "Ek Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "kannada", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Knda", + "article": "Anek, as the meaning of the word suggests, is an exercise in multiplicity \u2014 multiple scripts designed in multiple weights and widths by multiple designers. A well-informed, conscientious and refreshing interpretation of India\u2019s letter traditions, this family offers a versatile system that can meet the demands of a wide range of applications. Its expansive design space allows Anek to don multiple personalities. At its most condensed, capsular forms keep structures compact for that graphic texture. On the wide end of the spectrum, the extra legroom lets each letter yawn and stretch into their message. But it is in the boldest weights that Anek comes alive. Sharp terminals and tapered joineries sparkle amidst regimented forms, making this ideal for setting titillating headlines or that magnetic word-mark. Anek comes in ten scripts: Bangla, Devanagari, Kannada, Latin, Gujarati, Gurmukhi, Malayalam, Odia, Tamil and Telugu. The shared aesthetics of this type-family are drawn from a collaboratively decided pool of visual features. At the same time, each script amalgamates influences from its own typographic culture as well as the perspectives of individual designers. This project is designed, engineered and maintained by Ek Type; a collective of type designers based in Mumbai focused on designing contemporary Indian typefaces. Contributors of this project are: Maithili Shingre (Anek Malayalam, Anek Kannada), Yesha Goshar (Anek Latin, Anek Odia), Kailash Malviya (Anek Devanagari), Aadarsh Rajan (Anek Tamil), Sulekha Rajkumar (Anek Bangla), Vaishnavi Murthy (Anek Kannada), Omkar Bhoir (Anek Telugu), Mrunmayee Ghaisas (Anek Gujarati), Mahesh Sahu (Anek Odia), and Sarang Kulkarni (Anek Gurmukhi). Project management and design assistance by Noopur Datye, and Font engineering and design assistance by Girish Dalvi. To contribute, see github.com/EkType/Anek Multiple scripts for multilingual India The award-winning Anek variable font The nine scripts have base characters in the center, with vowel signs and conjuncts that come above, below or next to them. The Anek multi-script typeface for 9 Indian languages and Latin was made through a collaboration of 12 type designers working across 8 cities in India. How did Ek Type win two type design awards (the TDC Certificate of Typographic Excellence and the D&AD Graphite Pencil) for their Anek multi-script typeface? There were two key factors to their success: Teamwork: The team of 12 collaborated democratically. Equality: Giving equal value to each of the nine Indian writing systems (scripts) and Latin, while maintaining both common visual features and script-specific characteristics. Teamwork during lockdown Getting 12 people to collaborate while speaking in three languages (English, Hindi, and Marathi) and spread out in eight different Indian cities (Mumbai, Pune, Kalyan, Hinganghat, Baroda, Bengaluru, Bharampur, and Pali) is not an easy task. Ek Type established a collaboration structure that fostered teamwork, while also giving designers the liberty to be creative. The team consisted of Maithili Shingre, Yesha Goshar, Kailash Malviya, Aadarsh Rajan, Sulekha Rajkumar, Vaishnavi Murthy, Omkar Bhoir, Mrunmayee Ghaisas, Mahesh Sahu, Sarang Kulkarni, Noopur Datye, and Girish Dalvi. Ten people focused on one script each, while the other two members worked on font engineering and project management. The designers focused on the script that was most familiar to them. Via three- to four-hour weekly video calls, team members annotated drawings with emojis, arrows, text, and other marks in their video conference platform. In between calls, the team collaborated online. The team made design decisions based on majority or unanimous votes. Before the pandemic, most of the team had worked together at the Ek Type studio in Mumbai. Remote work created some unforeseen benefits. \u201cEveryone had the time to venture in different directions, not getting colored by what the others were doing,\u201d said Noopur Datye, co-founder and type designer at Ek Type. To learn more, read Multilingual scripts for multilingual India.", + "minisite_url": null + }, + "Anek Latin": { + "name": "Anek Latin", + "designer": [ + "Ek Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Anek, as the meaning of the word suggests, is an exercise in multiplicity \u2014 multiple scripts designed in multiple weights and widths by multiple designers. A well-informed, conscientious and refreshing interpretation of India\u2019s letter traditions, this family offers a versatile system that can meet the demands of a wide range of applications. Its expansive design space allows Anek to don multiple personalities. At its most condensed, capsular forms keep structures compact for that graphic texture. On the wide end of the spectrum, the extra legroom lets each letter yawn and stretch into their message. But it is in the boldest weights that Anek comes alive. Sharp terminals and tapered joineries sparkle amidst regimented forms, making this ideal for setting titillating headlines or that magnetic word-mark. Anek comes in ten scripts: Bangla, Devanagari, Kannada, Latin, Gujarati, Gurmukhi, Malayalam, Odia, Tamil and Telugu. The shared aesthetics of this type-family are drawn from a collaboratively decided pool of visual features. At the same time, each script amalgamates influences from its own typographic culture as well as the perspectives of individual designers. This project is designed, engineered and maintained by Ek Type; a collective of type designers based in Mumbai focused on designing contemporary Indian typefaces. Contributors of this project are: Maithili Shingre (Anek Malayalam, Anek Kannada), Yesha Goshar (Anek Latin, Anek Odia), Kailash Malviya (Anek Devanagari), Aadarsh Rajan (Anek Tamil), Sulekha Rajkumar (Anek Bangla), Vaishnavi Murthy (Anek Kannada), Omkar Bhoir (Anek Telugu), Mrunmayee Ghaisas (Anek Gujarati), Mahesh Sahu (Anek Odia), and Sarang Kulkarni (Anek Gurmukhi). Project management and design assistance by Noopur Datye, and Font engineering and design assistance by Girish Dalvi. To contribute, see github.com/EkType/Anek Multiple scripts for multilingual India The award-winning Anek variable font The nine scripts have base characters in the center, with vowel signs and conjuncts that come above, below or next to them. The Anek multi-script typeface for 9 Indian languages and Latin was made through a collaboration of 12 type designers working across 8 cities in India. How did Ek Type win two type design awards (the TDC Certificate of Typographic Excellence and the D&AD Graphite Pencil) for their Anek multi-script typeface? There were two key factors to their success: Teamwork: The team of 12 collaborated democratically. Equality: Giving equal value to each of the nine Indian writing systems (scripts) and Latin, while maintaining both common visual features and script-specific characteristics. Teamwork during lockdown Getting 12 people to collaborate while speaking in three languages (English, Hindi, and Marathi) and spread out in eight different Indian cities (Mumbai, Pune, Kalyan, Hinganghat, Baroda, Bengaluru, Bharampur, and Pali) is not an easy task. Ek Type established a collaboration structure that fostered teamwork, while also giving designers the liberty to be creative. The team consisted of Maithili Shingre, Yesha Goshar, Kailash Malviya, Aadarsh Rajan, Sulekha Rajkumar, Vaishnavi Murthy, Omkar Bhoir, Mrunmayee Ghaisas, Mahesh Sahu, Sarang Kulkarni, Noopur Datye, and Girish Dalvi. Ten people focused on one script each, while the other two members worked on font engineering and project management. The designers focused on the script that was most familiar to them. Via three- to four-hour weekly video calls, team members annotated drawings with emojis, arrows, text, and other marks in their video conference platform. In between calls, the team collaborated online. The team made design decisions based on majority or unanimous votes. Before the pandemic, most of the team had worked together at the Ek Type studio in Mumbai. Remote work created some unforeseen benefits. \u201cEveryone had the time to venture in different directions, not getting colored by what the others were doing,\u201d said Noopur Datye, co-founder and type designer at Ek Type. To learn more, read Multilingual scripts for multilingual India.", + "minisite_url": null + }, + "Anek Malayalam": { + "name": "Anek Malayalam", + "designer": [ + "Ek Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "malayalam" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Mlym", + "article": "Anek, as the meaning of the word suggests, is an exercise in multiplicity \u2014 multiple scripts designed in multiple weights and widths by multiple designers. A well-informed, conscientious and refreshing interpretation of India\u2019s letter traditions, this family offers a versatile system that can meet the demands of a wide range of applications. Its expansive design space allows Anek to don multiple personalities. At its most condensed, capsular forms keep structures compact for that graphic texture. On the wide end of the spectrum, the extra legroom lets each letter yawn and stretch into their message. But it is in the boldest weights that Anek comes alive. Sharp terminals and tapered joineries sparkle amidst regimented forms, making this ideal for setting titillating headlines or that magnetic word-mark. Anek comes in ten scripts: Bangla, Devanagari, Kannada, Latin, Gujarati, Gurmukhi, Malayalam, Odia, Tamil and Telugu. The shared aesthetics of this type-family are drawn from a collaboratively decided pool of visual features. At the same time, each script amalgamates influences from its own typographic culture as well as the perspectives of individual designers. This project is designed, engineered and maintained by Ek Type; a collective of type designers based in Mumbai focused on designing contemporary Indian typefaces. Contributors of this project are: Maithili Shingre (Anek Malayalam, Anek Kannada), Yesha Goshar (Anek Latin, Anek Odia), Kailash Malviya (Anek Devanagari), Aadarsh Rajan (Anek Tamil), Sulekha Rajkumar (Anek Bangla), Vaishnavi Murthy (Anek Kannada), Omkar Bhoir (Anek Telugu), Mrunmayee Ghaisas (Anek Gujarati), Mahesh Sahu (Anek Odia), and Sarang Kulkarni (Anek Gurmukhi). Project management and design assistance by Noopur Datye, and Font engineering and design assistance by Girish Dalvi. To contribute, see github.com/EkType/Anek Multiple scripts for multilingual India The award-winning Anek variable font The nine scripts have base characters in the center, with vowel signs and conjuncts that come above, below or next to them. The Anek multi-script typeface for 9 Indian languages and Latin was made through a collaboration of 12 type designers working across 8 cities in India. How did Ek Type win two type design awards (the TDC Certificate of Typographic Excellence and the D&AD Graphite Pencil) for their Anek multi-script typeface? There were two key factors to their success: Teamwork: The team of 12 collaborated democratically. Equality: Giving equal value to each of the nine Indian writing systems (scripts) and Latin, while maintaining both common visual features and script-specific characteristics. Teamwork during lockdown Getting 12 people to collaborate while speaking in three languages (English, Hindi, and Marathi) and spread out in eight different Indian cities (Mumbai, Pune, Kalyan, Hinganghat, Baroda, Bengaluru, Bharampur, and Pali) is not an easy task. Ek Type established a collaboration structure that fostered teamwork, while also giving designers the liberty to be creative. The team consisted of Maithili Shingre, Yesha Goshar, Kailash Malviya, Aadarsh Rajan, Sulekha Rajkumar, Vaishnavi Murthy, Omkar Bhoir, Mrunmayee Ghaisas, Mahesh Sahu, Sarang Kulkarni, Noopur Datye, and Girish Dalvi. Ten people focused on one script each, while the other two members worked on font engineering and project management. The designers focused on the script that was most familiar to them. Via three- to four-hour weekly video calls, team members annotated drawings with emojis, arrows, text, and other marks in their video conference platform. In between calls, the team collaborated online. The team made design decisions based on majority or unanimous votes. Before the pandemic, most of the team had worked together at the Ek Type studio in Mumbai. Remote work created some unforeseen benefits. \u201cEveryone had the time to venture in different directions, not getting colored by what the others were doing,\u201d said Noopur Datye, co-founder and type designer at Ek Type. To learn more, read Multilingual scripts for multilingual India.", + "minisite_url": null + }, + "Anek Odia": { + "name": "Anek Odia", + "designer": [ + "Ek Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "oriya" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Orya", + "article": "Anek, as the meaning of the word suggests, is an exercise in multiplicity \u2014 multiple scripts designed in multiple weights and widths by multiple designers. A well-informed, conscientious and refreshing interpretation of India\u2019s letter traditions, this family offers a versatile system that can meet the demands of a wide range of applications. Its expansive design space allows Anek to don multiple personalities. At its most condensed, capsular forms keep structures compact for that graphic texture. On the wide end of the spectrum, the extra legroom lets each letter yawn and stretch into their message. But it is in the boldest weights that Anek comes alive. Sharp terminals and tapered joineries sparkle amidst regimented forms, making this ideal for setting titillating headlines or that magnetic word-mark. Anek comes in ten scripts: Bangla, Devanagari, Kannada, Latin, Gujarati, Gurmukhi, Malayalam, Odia, Tamil and Telugu. The shared aesthetics of this type-family are drawn from a collaboratively decided pool of visual features. At the same time, each script amalgamates influences from its own typographic culture as well as the perspectives of individual designers. This project is designed, engineered and maintained by Ek Type; a collective of type designers based in Mumbai focused on designing contemporary Indian typefaces. Contributors of this project are: Maithili Shingre (Anek Malayalam, Anek Kannada), Yesha Goshar (Anek Latin, Anek Odia), Kailash Malviya (Anek Devanagari), Aadarsh Rajan (Anek Tamil), Sulekha Rajkumar (Anek Bangla), Vaishnavi Murthy (Anek Kannada), Omkar Bhoir (Anek Telugu), Mrunmayee Ghaisas (Anek Gujarati), Mahesh Sahu (Anek Odia), and Sarang Kulkarni (Anek Gurmukhi). Project management and design assistance by Noopur Datye, and Font engineering and design assistance by Girish Dalvi. To contribute, see github.com/EkType/Anek Multiple scripts for multilingual India The award-winning Anek variable font The nine scripts have base characters in the center, with vowel signs and conjuncts that come above, below or next to them. The Anek multi-script typeface for 9 Indian languages and Latin was made through a collaboration of 12 type designers working across 8 cities in India. How did Ek Type win two type design awards (the TDC Certificate of Typographic Excellence and the D&AD Graphite Pencil) for their Anek multi-script typeface? There were two key factors to their success: Teamwork: The team of 12 collaborated democratically. Equality: Giving equal value to each of the nine Indian writing systems (scripts) and Latin, while maintaining both common visual features and script-specific characteristics. Teamwork during lockdown Getting 12 people to collaborate while speaking in three languages (English, Hindi, and Marathi) and spread out in eight different Indian cities (Mumbai, Pune, Kalyan, Hinganghat, Baroda, Bengaluru, Bharampur, and Pali) is not an easy task. Ek Type established a collaboration structure that fostered teamwork, while also giving designers the liberty to be creative. The team consisted of Maithili Shingre, Yesha Goshar, Kailash Malviya, Aadarsh Rajan, Sulekha Rajkumar, Vaishnavi Murthy, Omkar Bhoir, Mrunmayee Ghaisas, Mahesh Sahu, Sarang Kulkarni, Noopur Datye, and Girish Dalvi. Ten people focused on one script each, while the other two members worked on font engineering and project management. The designers focused on the script that was most familiar to them. Via three- to four-hour weekly video calls, team members annotated drawings with emojis, arrows, text, and other marks in their video conference platform. In between calls, the team collaborated online. The team made design decisions based on majority or unanimous votes. Before the pandemic, most of the team had worked together at the Ek Type studio in Mumbai. Remote work created some unforeseen benefits. \u201cEveryone had the time to venture in different directions, not getting colored by what the others were doing,\u201d said Noopur Datye, co-founder and type designer at Ek Type. To learn more, read Multilingual scripts for multilingual India.", + "minisite_url": null + }, + "Anek Tamil": { + "name": "Anek Tamil", + "designer": [ + "Ek Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "tamil" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Taml", + "article": "Anek, as the meaning of the word suggests, is an exercise in multiplicity \u2014 multiple scripts designed in multiple weights and widths by multiple designers. A well-informed, conscientious and refreshing interpretation of India\u2019s letter traditions, this family offers a versatile system that can meet the demands of a wide range of applications. Its expansive design space allows Anek to don multiple personalities. At its most condensed, capsular forms keep structures compact for that graphic texture. On the wide end of the spectrum, the extra legroom lets each letter yawn and stretch into their message. But it is in the boldest weights that Anek comes alive. Sharp terminals and tapered joineries sparkle amidst regimented forms, making this ideal for setting titillating headlines or that magnetic word-mark. Anek comes in ten scripts: Bangla, Devanagari, Kannada, Latin, Gujarati, Gurmukhi, Malayalam, Odia, Tamil and Telugu. The shared aesthetics of this type-family are drawn from a collaboratively decided pool of visual features. At the same time, each script amalgamates influences from its own typographic culture as well as the perspectives of individual designers. This project is designed, engineered and maintained by Ek Type; a collective of type designers based in Mumbai focused on designing contemporary Indian typefaces. Contributors of this project are: Maithili Shingre (Anek Malayalam, Anek Kannada), Yesha Goshar (Anek Latin, Anek Odia), Kailash Malviya (Anek Devanagari), Aadarsh Rajan (Anek Tamil), Sulekha Rajkumar (Anek Bangla), Vaishnavi Murthy (Anek Kannada), Omkar Bhoir (Anek Telugu), Mrunmayee Ghaisas (Anek Gujarati), Mahesh Sahu (Anek Odia), and Sarang Kulkarni (Anek Gurmukhi). Project management and design assistance by Noopur Datye, and Font engineering and design assistance by Girish Dalvi. To contribute, see github.com/EkType/Anek Multiple scripts for multilingual India The award-winning Anek variable font The nine scripts have base characters in the center, with vowel signs and conjuncts that come above, below or next to them. The Anek multi-script typeface for 9 Indian languages and Latin was made through a collaboration of 12 type designers working across 8 cities in India. How did Ek Type win two type design awards (the TDC Certificate of Typographic Excellence and the D&AD Graphite Pencil) for their Anek multi-script typeface? There were two key factors to their success: Teamwork: The team of 12 collaborated democratically. Equality: Giving equal value to each of the nine Indian writing systems (scripts) and Latin, while maintaining both common visual features and script-specific characteristics. Teamwork during lockdown Getting 12 people to collaborate while speaking in three languages (English, Hindi, and Marathi) and spread out in eight different Indian cities (Mumbai, Pune, Kalyan, Hinganghat, Baroda, Bengaluru, Bharampur, and Pali) is not an easy task. Ek Type established a collaboration structure that fostered teamwork, while also giving designers the liberty to be creative. The team consisted of Maithili Shingre, Yesha Goshar, Kailash Malviya, Aadarsh Rajan, Sulekha Rajkumar, Vaishnavi Murthy, Omkar Bhoir, Mrunmayee Ghaisas, Mahesh Sahu, Sarang Kulkarni, Noopur Datye, and Girish Dalvi. Ten people focused on one script each, while the other two members worked on font engineering and project management. The designers focused on the script that was most familiar to them. Via three- to four-hour weekly video calls, team members annotated drawings with emojis, arrows, text, and other marks in their video conference platform. In between calls, the team collaborated online. The team made design decisions based on majority or unanimous votes. Before the pandemic, most of the team had worked together at the Ek Type studio in Mumbai. Remote work created some unforeseen benefits. \u201cEveryone had the time to venture in different directions, not getting colored by what the others were doing,\u201d said Noopur Datye, co-founder and type designer at Ek Type. To learn more, read Multilingual scripts for multilingual India.", + "minisite_url": null + }, + "Anek Telugu": { + "name": "Anek Telugu", + "designer": [ + "Ek Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "telugu" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Telu", + "article": "Anek, as the meaning of the word suggests, is an exercise in multiplicity \u2014 multiple scripts designed in multiple weights and widths by multiple designers. A well-informed, conscientious and refreshing interpretation of India\u2019s letter traditions, this family offers a versatile system that can meet the demands of a wide range of applications. Its expansive design space allows Anek to don multiple personalities. At its most condensed, capsular forms keep structures compact for that graphic texture. On the wide end of the spectrum, the extra legroom lets each letter yawn and stretch into their message. But it is in the boldest weights that Anek comes alive. Sharp terminals and tapered joineries sparkle amidst regimented forms, making this ideal for setting titillating headlines or that magnetic word-mark. Anek comes in ten scripts: Bangla, Devanagari, Kannada, Latin, Gujarati, Gurmukhi, Malayalam, Odia, Tamil and Telugu. The shared aesthetics of this type-family are drawn from a collaboratively decided pool of visual features. At the same time, each script amalgamates influences from its own typographic culture as well as the perspectives of individual designers. This project is designed, engineered and maintained by Ek Type; a collective of type designers based in Mumbai focused on designing contemporary Indian typefaces. Contributors of this project are: Maithili Shingre (Anek Malayalam, Anek Kannada), Yesha Goshar (Anek Latin, Anek Odia), Kailash Malviya (Anek Devanagari), Aadarsh Rajan (Anek Tamil), Sulekha Rajkumar (Anek Bangla), Vaishnavi Murthy (Anek Kannada), Omkar Bhoir (Anek Telugu), Mrunmayee Ghaisas (Anek Gujarati), Mahesh Sahu (Anek Odia), and Sarang Kulkarni (Anek Gurmukhi). Project management and design assistance by Noopur Datye, and Font engineering and design assistance by Girish Dalvi. To contribute, see github.com/EkType/Anek Multiple scripts for multilingual India The award-winning Anek variable font The nine scripts have base characters in the center, with vowel signs and conjuncts that come above, below or next to them. The Anek multi-script typeface for 9 Indian languages and Latin was made through a collaboration of 12 type designers working across 8 cities in India. How did Ek Type win two type design awards (the TDC Certificate of Typographic Excellence and the D&AD Graphite Pencil) for their Anek multi-script typeface? There were two key factors to their success: Teamwork: The team of 12 collaborated democratically. Equality: Giving equal value to each of the nine Indian writing systems (scripts) and Latin, while maintaining both common visual features and script-specific characteristics. Teamwork during lockdown Getting 12 people to collaborate while speaking in three languages (English, Hindi, and Marathi) and spread out in eight different Indian cities (Mumbai, Pune, Kalyan, Hinganghat, Baroda, Bengaluru, Bharampur, and Pali) is not an easy task. Ek Type established a collaboration structure that fostered teamwork, while also giving designers the liberty to be creative. The team consisted of Maithili Shingre, Yesha Goshar, Kailash Malviya, Aadarsh Rajan, Sulekha Rajkumar, Vaishnavi Murthy, Omkar Bhoir, Mrunmayee Ghaisas, Mahesh Sahu, Sarang Kulkarni, Noopur Datye, and Girish Dalvi. Ten people focused on one script each, while the other two members worked on font engineering and project management. The designers focused on the script that was most familiar to them. Via three- to four-hour weekly video calls, team members annotated drawings with emojis, arrows, text, and other marks in their video conference platform. In between calls, the team collaborated online. The team made design decisions based on majority or unanimous votes. Before the pandemic, most of the team had worked together at the Ek Type studio in Mumbai. Remote work created some unforeseen benefits. \u201cEveryone had the time to venture in different directions, not getting colored by what the others were doing,\u201d said Noopur Datye, co-founder and type designer at Ek Type. To learn more, read Multilingual scripts for multilingual India.", + "minisite_url": null + }, + "Angkor": { + "name": "Angkor", + "designer": [ + "Danh Hong" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "khmer", + "latin" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Angkor is a Khmer font for headlines and even banner designs. To contribute, see github.com/danhhong/Angkor.", + "primary_script": "Khmr", + "article": null, + "minisite_url": null + }, + "Annapurna SIL": { + "name": "Annapurna SIL", + "designer": [ + "SIL International" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Annapurna SIL is a Unicode-based font family with broad support for writing systems that use the Devanagari script. To contribute, please see github.com/silnrsi/font-annapurna.", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Annie Use Your Telescope": { + "name": "Annie Use Your Telescope", + "designer": [ + "Kimberly Geswein" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "This is a favorite of mine. A talented photography student I know was writing something down and I squealed and ran over to beg her for a sample of her writing. It was worth the effort, as I adore her style and feel it translated perfectly into a cute font. She named the font as a nod to one of her favorite bands, Jack\u2019s Mannequin.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Anonymous Pro": { + "name": "Anonymous Pro", + "designer": [ + "Mark Simonson" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "cyrillic", + "greek", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "monospace" + ], + "description": "Anonymous Pro is a family of four fixed-width fonts designed especially with coding in mind. It is inspired by Anonymous 9, a freeware Macintosh bitmap font developed in the mid-'90s by Susan Lesch and David Lamkins, that was intended as a more legible alternative to Monaco, the fixed-width Macintosh system font. Characters that could be mistaken for one another (O, 0, I, l, 1, etc.) have distinct shapes to make them easier to tell apart in the context of source code. The regular and bold styles have embedded bitmaps for the smallest sizes (10-13 ppem.)", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Anta": { + "name": "Anta", + "designer": [ + "Sergej Lebedev" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Anta, a modern font family, is intelligently designed for screen publications. Anta Typeface has several interesting, constructed glyph shapes that give the typeface a modern look. The typeface is particularly suitable for graphic design, but also for branding projects. To contribute, see github.com/Typedesigners/Anta-Regular.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Antic": { + "name": "Antic", + "designer": [ + "Santiago Orozco" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Antic is the result of studying calligraphic forms, and is designed to be used for running text. This started two big text type family projects and this is the first one. Antic explores the use of sans-serif letterforms for text usage, keeping a calligraphic touch found in the serif counterpart, Clark. The letterforms have an eight degree stress, which is almost the same degree of my own hand writing.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Antic Didone": { + "name": "Antic Didone", + "designer": [ + "Santiago Orozco" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Antic Didone was designed for use in the headlines of newspapers and magazines. The Antic Type System is a super family that is still evolving, and this first release of the Didone family. It complements the Sans and Didone versions, giving the designer freedom to create rhythmic and dynamic typography using all three families in the type system. Each family in the type system has a large x-height that makes it very readable, especially on the web. Each also has slight stress derived from handwriting. Antic Didone's minuscule ornate serifs create a unique texture. With modern proportions and condensed letterforms, it is great for economical typesetting, on paper and on screen. The Antic Type System is in progress and is being regularly improved. If you have a request, wish to contribute improvements or even fund specific features, simply contact Santiago Orozco. You can follow Santiago on Twitter, @Typemade.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Antic Slab": { + "name": "Antic Slab", + "designer": [ + "Santiago Orozco" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Antic Slab was designed for use in the headlines of newspapers and magazines. The Antic Type System is a super family that is still evolving, and this first release of the Slab family. It complements the Sans and Didone versions, giving the designer freedom to create rhythmic and dynamic typography using all three families in the type system. Each family in the type system has a large x-height that makes it very readable, especially on the web. Each also has slight stress derived from handwriting. Antic Slab's discreet slab serifs give it a strong presence in layouts. With modern proportions and condensed letterforms, it is great for economical typesetting, on paper and on screen. The Antic Type System is in progress and is being regularly improved. If you have a request, wish to contribute improvements or even fund specific features, simply contact Santiago Orozco. You can follow Santiago on Twitter, @Typemade.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Anton": { + "name": "Anton", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Anton is a reworking of a traditional advertising sans serif typeface. The letter forms have been digitised and then reshaped for use as a webfont, the counters have been opened up a little and the stems optimised for use as bold display font in modern web browsers. Anton language support includes now African Latin and full coverage of Vietnamese, additional to all Western, Central, and South-Eastern European languages. To contribute see github.com/googlefonts/AntonFont.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Anton SC": { + "name": "Anton SC", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Anton is a reworking of a traditional advertising sans serif typeface. The letter forms have been digitised and then reshaped for use as a webfont, the counters have been opened up a little and the stems optimised for use as bold display font in modern web browsers. Anton language support includes now African Latin and full coverage of Vietnamese, additional to all Western, Central, and South-Eastern European languages. Anton SC is the Small Caps version of Anton. To contribute see github.com/googlefonts/AntonFont .", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Antonio": { + "name": "Antonio", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Antonio is a 'refined' version of the Anton Font. Anton is a single weight web font, designed specifically for larger display, headline and 'banner' use (see Google's PR for the Chromebook notebooks that used Anton, big and bright). Antonio extends the Anton design to include more weights and introduces refinements to the design that makes it also suitable for use in smaller headings, menus and 'buttons' etc. To contribute, see github.com/googlefonts/antonioFont", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Anuphan": { + "name": "Anuphan", + "designer": [ + "Cadson Demak" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "thai", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Anuphan is a loopless version of IBM Plex Thai developed by Mint Tantisuwanna, a type designer at Cadson Demak. This project is intended for self-improvement/educational purpose. Note: This is not a modification of IBM Plex Sans Thai. All drawings and outlines of Thai characters in this project are based solely on the Latin version of IBM Plex Sans. Read more about Mint Tantisuwanna's process on cadsondemak.com/medias/read/design-like-a-bilingual-ibm-plex-thai. To contribute, please visit github.com/cadsondemak/Anuphan.", + "primary_script": "Thai", + "article": null, + "minisite_url": null + }, + "Anybody": { + "name": "Anybody", + "designer": [ + "Tyler Finck" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Anybody is a big family that combines an affinity for Eurostile plus a heavy dose of 90s inspiration. It's flexible enough to adapt to a variety of situations. From UltraCondensed to ExtraExpanded, type set in Anybody can take up a tiny amount of horizontal space or so much space that you'll need several lines. Its high x-height and low cap height help exaggerate extreme widths and weights. The italic angle is 10 degrees, noticable but subtle. The inclusion of some popular OpenType features make it practical and customizable. Learn more at www.etceteratype.co/anybody. To contribute, see github.com/Etcetera-Type-Co/Anybody.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Aoboshi One": { + "name": "Aoboshi One", + "designer": [ + "Natsumi Matsuba" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "\"Aoboshi\" is a single-weight serif-style Japanese font inspired by Copperplate Gothic. To contribute to the project, visit github.com/matsuba723/Aoboshi", + "primary_script": "Hira", + "article": null, + "minisite_url": null + }, + "Arapey": { + "name": "Arapey", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Arapey (Ah-ra-pay) is a contemporary modern typeface. The first sketches of this typography were made during a vacation in Arapey, a small town the north of Uruguay, hence its name. While this font style has reminiscences of a Bodoni, the structures, soft lines and finishes give the words that use it a calm and distinguished feeling. The italics are gentle, rhythmic, and bring a special glamour to both text use and titles.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Arbutus": { + "name": "Arbutus", + "designer": [ + "Karolina Lach" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SLAB_SERIF", + "classifications": [ + "display" + ], + "description": "Arbutus is a sturdy, medium contrast, slab serif typeface with a faceted/spiked treatment inspired by American wood type. The generous spacing found in this design means that it can be used at fairly small sizes which makes it surprisingly versatile.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Arbutus Slab": { + "name": "Arbutus Slab", + "designer": [ + "Karolina Lach" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Arbutus Slab is a sturdy, medium contrast, slab serif typeface inspired by 18th and 19th American jobbing type. The generous spacing found in this design means that it can be used at fairly small sizes which makes it surprisingly versatile.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Architects Daughter": { + "name": "Architects Daughter", + "designer": [ + "Kimberly Geswein" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Inspired by the writing of the daughter of an architect (surprise, surprise!), this font incorporates the graphic, squared look of architectural writing, combined with the natural feel of daily handwriting.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Archivo": { + "name": "Archivo", + "designer": [ + "Omnibus-Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Archivo is a grotesque sans serif typeface family originally designed for highlights and headlines. This family is reminiscent of late nineteenth century American typefaces. The technical and aesthetic characteristics of the font are both crafted for high performance typography. It was designed to be used simultaneously in print and online platforms and supports over 200 world languages. Archivo has been upgraded to a variable font in 2021. The weight and width axes allow a wide variety of styles, from Thin to Black and from ExtraCondensed to Expanded. Archivo is designed by H\u00e9ctor Gatti and Omnibus-Type Team. To contribute to the project visit github.com/Omnibus-Type.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Archivo Black": { + "name": "Archivo Black", + "designer": [ + "Omnibus-Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Archivo Black was designed to be used simultaneously in print and digital platforms. The technical and aesthetic characteristics of the font are both crafted for high performance typography. It was designed to be used simultaneously in print and online platforms and supports over 200 world languages. Archivo is a grotesque sans serif typeface family from Omnibus-Type. It was originally designed for highlights and headlines. This family is reminiscent of late nineteenth century American typefaces. It includes normal, Black and Narrow styles, and was derived from Chivo To contribute to the project visit github.com/Omnibus-Type", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Archivo Narrow": { + "name": "Archivo Narrow", + "designer": [ + "Omnibus-Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Archivo Narrow was designed to be used simultaneously in print and digital platforms. The technical and aesthetic characteristics of the font are both crafted for high performance typography. It was designed to be used simultaneously in print and online platforms and supports over 200 world languages. Archivo is a grotesque sans serif typeface family from Omnibus-Type. It was originally designed for highlights and headlines. This family is reminiscent of late nineteenth century American typefaces. It includes normal, Narrow and Black styles, and was derived from Chivo In April 2020, the family was converted to a variable font family. To contribute to the project visit github.com/Omnibus-Type", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Are You Serious": { + "name": "Are You Serious", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Are You Serious doesn't take itself seriously at all. This is a fun playful font with a very joyful spirit. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/are-you-serious.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Aref Ruqaa": { + "name": "Aref Ruqaa", + "designer": [ + "Abdullah Aref", + "Khaled Hosny", + "Hermann Zapf" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "arabic", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Aref Ruqaa is an Arabic typeface that aspires to capture the essence of the classical Ruqaa calligraphic style. The Latin part is based on AMS Euler, but spaced for regular text rather than mathematics. The Aref Ruqaa project is led by Khaled Hosny, a type designer based in Cairo, Egypt. To contribute, see github.com/alif-type/aref-ruqaa", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Aref Ruqaa Ink": { + "name": "Aref Ruqaa Ink", + "designer": [ + "Abdullah Aref", + "Khaled Hosny", + "Hermann Zapf" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "arabic", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Aref Ruqaa Ink is an Arabic typeface that aspires to capture the essence of the classical Ruqaa calligraphic style. This font uses the COLRv1, CPAL and SVG tables. Please visit the gf-guide color page to learn more about Color Fonts technology. The Aref Ruqaa project is led by Khaled Hosny, a type designer based in Cairo, Egypt. To contribute, see github.com/alif-type/aref-ruqaa", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Arima": { + "name": "Arima", + "designer": [ + "Natanael Gama", + "Joana Correia", + "Rosalie Wagner" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "greek", + "greek-ext", + "latin", + "latin-ext", + "malayalam", + "tamil", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "A display font with soft edges and calligraphic feel is the main inspiration for Arima project. It has a low contrast to allow good rendering on screen. Legibility is always a central concern, but the design has a lot of personality to be recognizable as a display font to be used in headlines, brand names, and similar uses on the web. The primary goal was to create a design that will prove popular because it resonates with both casual and professional designers, and without ever lowering the quality of the design. Each font in the family was extensively tested on low resolution phones and refined to work well as a web font in the mobile era. From the very first round of design testing, each font was hinted with ttfautohint and refined for Windows users. Arima Madurai has an extended language support for the Tamil and Latin scripts, as well as Malayalam and Greek. Greek developed during Google Summer of Code 2017 by Rosalie Wagner, under the mentorship of Emilios Theofanous and Irene Vlachou.\" The Arima project is led by NDISCOVER, a type design foundry based in Portugal. To contribute, see github.com/NDISCOVER/Arima-Font", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Arima Madurai": { + "name": "Arima Madurai", + "designer": [ + "Natanael Gama", + "Joana Correia" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "tamil", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "A display font with soft edges and calligraphic feel is the main inspiration for Arima project. It has a low contrast to allow good rendering on screen. Legibility is always a central concern, but the design has a lot of personality to be recognizable as a display font to be used in headlines, brand names, and similar uses on the web. The primary goal was to create a design that will prove popular because it resonates with both casual and professional designers, and without ever lowering the quality of the design. Each font in the family was extensively tested on low resolution phones and refined to work well as a web font in the mobile era. From the very first round of design testing, each font was hinted with ttfautohint and refined for Windows users. Arima Madurai has an extended language support for the Tamil and Latin scripts. The Arima project is led by NDISCOVER, a type design foundry based in Portugal. To contribute, see github.com/NDISCOVER/Arima-Font", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Arimo": { + "name": "Arimo", + "designer": [ + "Steve Matteson" + ], + "license": "apache2", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "hebrew", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Arimo was designed by Steve Matteson as an innovative, refreshing sans serif design that is metrically compatible with Arial\u2122. Arimo offers improved on-screen readability characteristics and the pan-European WGL character set and solves the needs of developers looking for width-compatible fonts to address document portability across platforms. Updated in May 2013 with improved hinting and released under the Apache 2.0 license.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Arizonia": { + "name": "Arizonia", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Arizonia was inspired by the lettering found on a construction truck. It has a sign-painterly appearance which features thick and contrasting stokes that have been painted by a pointed brush. It can be used for situations that require a hand lettered, contemporary and sporty feel. As with any script, Arizonia should not be used in ALL Caps. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/arizonia.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Armata": { + "name": "Armata", + "designer": [ + "Viktoriya Grabowska" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Armata is a low contrast sans serif text face, with a mixture of familiar and unfamiliar shapes. The steadiness and strength is juxtaposed with some innovative and delicate gestures. Armata can be used in a wide range of sizes.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Arsenal": { + "name": "Arsenal", + "designer": [ + "Andrij Shevchenko" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "In 2011 Andrij's typeface became a winner of Ukrainian Type Design Competition 'Mystetsky Arsenal' in which three main criteria were sought for: being zeitgeist, practical, and Ukrainian. Andrij's winning entry was crowned Arsenal and made publicly available. Arsenal is a semi-grotesque with traditional forms. It is primarily designed for body text and intended for various professional communication. Its special qualities of letter shapes and subtle contrast modulation articulate grace and expressivity. Arsenal's somewhat lyrical sentiment abides to the Ukrainian nature of the font. Main design features: narrow proportions that allow for economical type-setting, moderate aperture and observable contrast. Notable traits: neutrality, clarity, swiftness.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Arsenal SC": { + "name": "Arsenal SC", + "designer": [ + "Andrij Shevchenko" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "In 2011 Andrij 's typeface became a winner of Ukrainian Type Design Competition ' Mystetsky Arsenal ' in which three main criteria were sought for: being zeitgeist, practical, and Ukrainian. Andrij's winning entry was crowned Arsenal and made publicly available. Arsenal is a semi-grotesque with traditional forms. It is primarily designed for body text and intended for various professional communication. Its special qualities of letter shapes and subtle contrast modulation articulate grace and expressivity. Arsenal's somewhat lyrical sentiment abides to the Ukrainian nature of the font. Main design features: narrow proportions that allow for economical type-setting, moderate aperture and observable contrast. Notable traits: neutrality, clarity, swiftness. This is the Small Cap sibling family to the main Arsenal family.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Artifika": { + "name": "Artifika", + "designer": [ + "Cyreal" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Artifika is an amiable upright italic for fashionable display titling. Overall features are tender and crisp, descenders short. Settled curves are sculpted with calligraphic elegance, instrokes have a widening as a tribute to it's broad-nib origin. Nearly horizontal flat serifs support left-to-right direction, making the typeface pleasant for reading on screen. Designed by Yulya Zhdanova, Ivan Petrov in 2010-2011. To contribute, see github.com/cyrealtype/Artifika.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Arvo": { + "name": "Arvo", + "designer": [ + "Anton Koovit" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SLAB_SERIF", + "classifications": [], + "description": "Arvo is a geometric slab-serif typeface family suited for screen and print. The family includes 4 cuts: Roman, Italic, Roman Bold, Bold Italic. It is a libre font, first published in Google Fonts. The flavour of the font is rather mixed. It's monolinear-ish, but has a tiny bit of contrast (which increases the legibility a little in Mac OS X.) The name Arvo is a typical Estonian man's name, but is not widely used today. In the Finnish language, Arvo means \"number, value, worth.\" Considering how much programming is involved in hinting, all these meanings are true. In December 2013 Arvo 2.0.1 was released, with support for languages that use the Cyrillic script, the latin script is expanded to Adobe's Glyph List 3, and many truetype hints are improved especially for in smaller sizes (regular cuts start now from 9ppem). Also added PANOSE classification numbers, cleaned up character palette order, and many more smaller bug fixes were made. Updated August 2015: Bold and Bold Italic styles were updated to allow document embedding. Arvo \u2013 \u044d\u0442\u043e \u0431\u0440\u0443\u0441\u043a\u043e\u0432\u044b\u0439 \u0448\u0440\u0438\u0444\u0442 \u0438\u0437 \u0441\u0435\u043c\u0435\u0439\u0441\u0442\u0432\u0430 \u0433\u0435\u043e\u043c\u0435\u0442\u0440\u0438\u0447\u0435\u0441\u043a\u0438\u0445 \u0448\u0440\u0438\u0444\u0442\u043e\u0432 \u0441 \u043f\u0440\u044f\u043c\u043e\u0443\u0433\u043e\u043b\u044c\u043d\u044b\u043c\u0438 \u0437\u0430\u0441\u0435\u0447\u043a\u0430\u043c\u0438. \u0414\u0430\u043d\u043d\u044b\u0439 \u0448\u0440\u0438\u0444\u0442 \u0441\u043e\u0437\u0434\u0430\u043d \u0434\u043b\u044f \u0438\u0441\u043f\u043e\u043b\u044c\u0437\u043e\u0432\u0430\u043d\u0438\u044f \u043d\u0430 \u044d\u043a\u0440\u0430\u043d\u0430\u0445, \u0430 \u0442\u0430\u043a\u0436\u0435 \u0432 \u043f\u0435\u0447\u0430\u0442\u043d\u043e\u043c \u0432\u0438\u0434\u0435 (\u043e\u0444\u0441\u0435\u0442\u043d\u0430\u044f \u043f\u0435\u0447\u0430\u0442\u044c \u0438 \u0442.\u0434). \u0428\u0440\u0438\u0444\u0442 \u0441\u043e\u0441\u0442\u043e\u0438\u0442 \u0438\u0437 \u0447\u0435\u0442\u044b\u0440\u0451\u0445 \u043d\u0430\u0447\u0435\u0440\u0442\u0430\u043d\u0438\u0438: \u043e\u0431\u044b\u0447\u043d\u044b\u0439, \u043a\u0443\u0440\u0441\u0438\u0432, \u0436\u0438\u0440\u043d\u044b\u0439 \u0438 \u0436\u0438\u0440\u043d\u044b\u0439 \u043a\u0443\u0440\u0441\u0438\u0432.Arvo \u0440\u0430\u0441\u043f\u0440\u043e\u0441\u0442\u0440\u0430\u043d\u044f\u0435\u0442\u0441\u044f \u043d\u0430 \u043e\u0441\u043d\u043e\u0432\u0430\u043d\u0438\u0438 \u043b\u0438\u0446\u0435\u043d\u0437\u0438\u0438 OFL. \u0411\u043b\u0430\u0433\u043e\u0434\u0430\u0440\u044f \u043a\u043e\u0442\u043e\u0440\u043e\u0439 \u043b\u044e\u0431\u043e\u0439 \u043f\u043e\u043b\u044c\u0437\u043e\u0432\u0430\u0442\u0435\u043b\u044c \u043c\u043e\u0436\u0435\u0442 \u0441\u043a\u0430\u0447\u0430\u0442\u044c/\u0437\u0430\u0433\u0440\u0443\u0437\u0438\u0442\u044c \u0434\u0430\u043d\u043d\u043e\u0435 \u0441\u0435\u043c\u0435\u0439\u0441\u0442\u0432\u043e \u0448\u0440\u0438\u0444\u0442\u043e\u0432 \u0438 \u043f\u043e\u043b\u044c\u0437\u043e\u0432\u0430\u0442\u044c\u0441\u044f \u0438\u043c\u0438 \u043f\u043e \u0441\u0432\u043e\u0435\u043c\u0443 \u0443\u0441\u043c\u043e\u0442\u0440\u0435\u043d\u0438\u044e (\u0441\u043c\u043e\u0442\u0440\u0438 \u043f\u043e\u0434\u0440\u043e\u0431\u043d\u0435\u0435 scripts.sil.org/OFL). \u0414\u043b\u044f \u0443\u043b\u0443\u0447\u0435\u043d\u0438\u044f \u0447\u0438\u0442\u0430\u0435\u043c\u043e\u0441\u0442\u0438 \u043d\u0430 \u044d\u043a\u0440\u0430\u043d\u0430\u0445, \u0448\u0440\u0438\u0444\u0442 \u0438\u043c\u0435\u0435\u0442 \u0434\u0435\u0442\u0430\u043b\u044c\u043d\u043e\u0435 \u043e\u043f\u0442\u0438\u043c\u0438\u0440\u043e\u0432\u0430\u043d\u0438\u0435 Truetype (\u0445\u0438\u043d\u0442\u0438\u043d\u0433), \u0447\u0442\u043e \u0432 \u0441\u0438\u0441\u0442\u0435\u043c\u0430\u0445 Windows \u0438 Linux \u043f\u0440\u0435\u0434\u043e\u0441\u0442\u0430\u0432\u043b\u044f\u0435\u0442 \u0432\u043e\u0437\u043c\u043e\u0436\u043d\u043e\u0441\u0442\u044c \u043d\u0430\u0431\u043e\u0440\u0430 \u043c\u0435\u043b\u043a\u043e\u0433\u043e \u0448\u0440\u0438\u0444\u0442\u0430, \u043d\u0435 \u0442\u0435\u0440\u044f\u044f \u043f\u0440\u0438 \u044d\u0442\u043e\u043c \u043a\u0430\u0447\u0435\u0441\u0442\u0432\u0430 \u0447\u0438\u0442\u0430\u0435\u043c\u043e\u0441\u0442\u0438. \u041a\u0440\u0430\u0442\u043a\u0430\u044f \u0431\u0438\u043e\u0433\u0440\u0430\u0444\u0438\u044f \u0410\u043d\u0442\u043e\u043d \u041a\u043e\u043e\u0432\u0438\u0442 \u0440\u043e\u0434\u0438\u043b\u0441\u044f \u0432 1981 \u0433\u043e\u0434\u0443, \u0432 \u0433\u043e\u0440\u043e\u0434\u0435 \u0422\u0430\u043b\u043b\u0438\u043d\u043d\u0435. \u0418\u0437\u0443\u0447\u0430\u043b \u0433\u0440\u0430\u0444\u0438\u0447\u0435\u0441\u043a\u0438\u0439 \u0434\u0438\u0437\u0430\u0439\u043d \u0432 \u0410\u043a\u0430\u0434\u0435\u043c\u0438\u0438 \u0425\u0443\u0434\u043e\u0436\u0435\u0441\u0442\u0432 \u042d\u0441\u0442\u043e\u043d\u0438\u0438, \u0430 \u0442\u0430\u043a\u0436\u0435 \u0432 ESAG \u0433\u043e\u0440\u043e\u0434\u0435 \u041f\u0430\u0440\u0438\u0436\u0435 \u0438 \u0432 \u0410\u043c\u0441\u0442\u0435\u0440\u0434\u0430\u043c\u0435 \u0410\u043a\u0430\u0434\u0435\u043c\u0438\u0438 \u0413\u0435\u0440\u0440\u0438\u0442 \u0420\u0435\u0439\u0442\u0432\u0435\u043b\u044c\u0434\u0430, \u0413\u043e\u043b\u043b\u0430\u043d\u0434\u0438\u044f. \u041f\u043e\u0441\u043b\u0435 \u043e\u043a\u043e\u043d\u0447\u0430\u043d\u0438\u044f \u0438\u0437\u0443\u0447\u0435\u043d\u0438\u044f \u0433\u0440\u0430\u0444\u0438\u0447\u0435\u0441\u043a\u043e\u0433\u043e \u0434\u0438\u0437\u0430\u0439\u043d\u0430 \u0410\u043d\u0442\u043e\u043d \u041a\u043e\u043e\u0432\u0438\u0442 \u043d\u0430\u043f\u0440\u0430\u0432\u0438\u043b\u0441\u044f \u043d\u0430 \u0443\u0447\u0451\u0431\u0443 \u0432 \u041a\u043e\u0440\u043e\u043b\u0435\u0432\u0441\u043a\u0443\u044e \u0410\u043a\u0430\u0434\u0435\u043c\u0438\u044e \u0425\u0443\u0434\u043e\u0436\u0435\u0441\u0442\u0432 \u0413\u0430\u0430\u0433\u0438 (\u041a\u0410\u0412\u041a den Haag) \u0434\u043b\u044f \u043f\u0440\u0438\u043e\u0431\u0435\u0442\u0435\u043d\u0438\u044f \u0433\u0440\u0430\u0434\u0443\u0441\u0430 \u043c\u0430\u0433\u0438\u0441\u0442\u0440\u0430 \u043f\u043e \u0448\u0440\u0438\u0444\u0442\u043e\u0432\u043e\u043c\u0443 \u0434\u0438\u0437\u0430\u0439\u043d\u0443. \u041f\u043e\u0441\u043b\u0435 \u043e\u043a\u043e\u043d\u0447\u0430\u043d\u0438\u044f \u043c\u0430\u0433\u0438\u0441\u0442\u0440\u043e\u0442\u0443\u0440\u043d\u043e\u0433\u043e \u043e\u0431\u0443\u0447\u0435\u043d\u0438\u044f \u0410\u043d\u0442\u043e\u043d \u041a\u043e\u043e\u0432\u0438\u0442 \u043e\u0441\u043d\u043e\u0432\u0430\u043b \u0444\u0438\u0440\u043c\u0443 \u041a\u0445\u043e\u0440\u043a \u041e\u041e, \u043a\u043e\u0442\u043e\u0440\u0430\u044f \u0434\u0435\u0439\u0441\u0442\u0432\u0443\u0435\u0442 \u043f\u043e \u0448\u0438\u0440\u043e\u043a\u043e\u043c\u0443 \u043f\u0440\u043e\u0444\u0438\u043b\u044e: \u043e\u0444\u043e\u0440\u043c\u043b\u0435\u043d\u0438\u0435 \u0432\u044b\u0441\u0442\u043e\u0432\u043e\u043a, \u043b\u043e\u0433\u043e\u0442\u0438\u043f\u044b, \u043f\u043b\u0430\u043a\u0430\u0442\u044b \u0438 \u0448\u0440\u0438\u0444\u0442\u044b. \u0421 2007 \u0433\u043e\u0434\u0430 \u043e\u043d \u043f\u0440\u043e\u0436\u0438\u0432\u0430\u0435\u0442 \u0432 \u0411\u0435\u0440\u043b\u0438\u043d\u0435. \u041a\u0440\u043e\u043c\u0435 \u0441\u043e\u0437\u0434\u0430\u043d\u0438\u044f \u043f\u0440\u043e\u0435\u043a\u0442\u043e\u0432 \u0432 \u043e\u0431\u043b\u0430\u0441\u0442\u0438 \u0442\u0438\u043f\u043e\u0433\u0440\u0430\u0444\u0438\u0438 \u043e\u043d \u043f\u0440\u0435\u043f\u043e\u0434\u0430\u0451\u0442 \u0442\u0438\u043f\u043e\u0433\u0440\u0430\u0444\u0438\u044e, \u0430 \u0442\u0430\u043a\u0436\u0435 \u043f\u0440\u043e\u0432\u043e\u0434\u0438\u0434 \u043a\u043e\u043d\u0441\u0443\u043b\u044c\u0442\u0430\u0442\u0438\u0432\u043d\u043e\u0435 \u043e\u0431\u0443\u0447\u0435\u043d\u0438\u0435 \u0448\u0440\u0438\u0444\u0442\u043e\u0432\u043e\u043c\u0443 \u0434\u0438\u0437\u0430\u0439\u043d\u0443. \u0418\u0437\u0432\u0435\u0441\u0442\u043d\u044b\u0435 \u0448\u0440\u0438\u0444\u0442\u044b \u0410\u043d\u0442\u043e\u043d\u0430 \u041a\u043e\u043e\u0432\u0438\u0442\u0430: Adam, Aleksei, GQ Slab, U8, Arvo.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Arya": { + "name": "Arya", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Arya is a Devanagari and Latin type family. It originated with Modular InfoTech's 1201, and was made more smooth. The new and original Latin design is intended to match the Devanagari in weight and and size with an unusual high-contrast sans serif design. This project is led by Eduardo Tunni, a type designed based in Buenos Aires, Argentina. To contribute, visit github.com/etunni/Arya", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Asap": { + "name": "Asap", + "designer": [ + "Omnibus-Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Asap (\"as soon as possible\") is a contemporary sans-serif family with subtle rounded corners. This family, specially developed for screen and desktop use, offers a standarised character width on all styles, which means lines of text remain the same length. This useful feature allows users to change type styles on-the-go without reflowing a text body. Asap has been upgraded to a variable font in 2021, and in October 2022, this variable is completed by a width axis and a larger scope of weight. Axes weight now go from Thin to Black and width from Condensed to Expanded. Asap is based on Ancha (Pablo Cosgaya, Hector Gatti). It is designed by Pablo Cosgaya and Omnibus-Type Team, with the collaboration of Andr\u00e9s Torresi. To contribute, see github.com/Omnibus-Type/Asap.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Asap Condensed": { + "name": "Asap Condensed", + "designer": [ + "Omnibus-Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Asap Condensed is the condensed version of the Asap family. Its a contemporary sans-serif family with subtle rounded corners. Designed by Pablo Cosgaya and Nicol\u00e1s Silva, Asap (\"as soon as possible\") has 8 styles: Regular, Medium, Semibold, Bold and its italics. This family, specially developed for screen and desktop use, offers a standarised character width on all styles, which means lines of text remain the same length. This useful feature allows users to change type styles on-the-go without reflowing a text body. Asap is based on Ancha (designed by Pablo Cosgaya and Hector Gatti), and has been developed with the collaboration of Andr\u00e9s Torresi. To contribute, see github.com/Omnibus-Type/AsapCondensed.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Asar": { + "name": "Asar", + "designer": [ + "Sorkin Type" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Asar is an original Devanagari and Latin typeface that is based on an expanding brush stroke following a heart line. The design is meant to work well with long texts while maintaining a certain charm at large sizes. Asar is partially derived from Pria Ravichadran's Palanquin, starting by interpreting that design's overall proportions and heart lines and glyph set and OpenType features. The design arrives at its own identity by adjusting for the density of certain brush strokes, that dictate wider spacing and new forms. The brush used is the Expand Path feature of Fontlab Studio 5, using a width of 93, an angle of -55, and a roundness of 35. In general the letters are designed so as to not require further adjustment, but where this is not satisfying then manual adjustments are made. This project is led by Sorkin Type, an international type foundry based in Boston. To contribute, see github.com/EbenSorkin/Asar", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Asset": { + "name": "Asset", + "designer": [ + "Riccardo De Franceschi", + "Eben Sorkin" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic-ext", + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Asset was inspired by the engraved letters found on United States dollar bills. Asset belongs to the \"fat face\" category because it is so bold or heavy. It is also a high contrast design and very extended or wide. Although it is legible at medium sizes it will shine most when used large where both its restraint and passion can be seen. This font was made specifically to be used on the web, but will work well in print. To contribute, see github.com/SorkinType/Asset.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Assistant": { + "name": "Assistant", + "designer": [ + "Adobe Systems Inc.", + "Ben Nathan" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "hebrew", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Assistant is a Hebrew and Latin type family, with a contemporary sans serif Hebrew design. The family contains 6 upright styles, from ExtraLight to Black. Hebrew type family was designed by Ben Nathan, to complement the Latin Source Sans Pro that was designed by Paul Hunt at Adobe Type. The Assistant project is led by Ben Nathan, a type designer based in Tel Aviv, Israel. To contribute, see github.com/hafontia/Assistant", + "primary_script": "Hebr", + "article": null, + "minisite_url": null + }, + "Asta Sans": { + "name": "Asta Sans", + "designer": [ + "42dot" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "korean", + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Kore", + "article": "Asta Sans is a modern, highly adaptable typeface designed for seamless use across a wide spectrum of applications. Taking inspiration from the asterisk (ASCII code 42, *), a symbol of universality and openness, Asta Sans embodies clarity, neutrality, and inclusiveness. With its harmonious balance of straight lines that represent cutting-edge technology and gentle curves that exude user-friendliness, Asta Sans reflects the perfect synergy between precision and approachability. The square-like interior shapes bring a sense of structure and organization, aligning seamlessly with the brand\u2019s emphasis on clarity and functionality. This typeface is engineered for exceptional legibility across various contexts, whether in lengthy passages or concise text. The smooth flow of its lines ensures readability in diverse environments, making it an ideal choice for digital interfaces, print media, and beyond. Learn more about the Asta Sans project: github.com/42dot/Asta-Sans", + "minisite_url": null + }, + "Astloch": { + "name": "Astloch", + "designer": [ + "Dan Rhatigan" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Astloch is a set of monolinear display faces \u2014 one delicate, one sturdy \u2014 based on the mix of sharp angles and florid curves found in fraktur lettering.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Asul": { + "name": "Asul", + "designer": [ + "Mariela Monsalve" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Asul can be described as a baroque humanist typface; it has semi-serifs and it is a type revival project developed for editorial use. It is based on a typeface found in some Argentinian books and magazines from the early 20th century.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Athiti": { + "name": "Athiti", + "designer": [ + "Cadson Demak" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "thai", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Athiti is a Thai word for the Sun, and it is an informal sans Latin and loopless Thai typeface. The friendly personality is based on humanist calligraphy, and has an organic look and feel while preserving the traditional construction of Roman type. It all started with a desire to learn more about the origin of strokes in human handwriting. It is designed to reflect a trace of writing tools and convey its inspiration. The family consists of 6 weights that can be used in headlines or body text. The outer curves contrast with the angled inner counter shapes, which distributes feelings of strength and softness at the same time. Athiti can be used with a mixture of formal and informal content, for example in educational work. A similarity between some glyphs such as \u0e01 \u0e16 \u0e20 \u0e24 \u0e26, \u0e0e \u0e0f, \u0e1a \u0e1b, or \u0e02 \u0e0a is something to take into consideration because it might lead to confusion when typesetting very short texts. A specific approach has been taken for dealing with thick and thin strokes in the Thai design. Other type designers may consider this font as an example when developing new fonts. Informal loopless Thai typefaces have slightly simplified details, as compared to the formal looped style, and this allows type designers to extend loopless families to very black weights. Sizes and positions of vowels and tone marks need to be managed carefully because they are all relevant to readability, legibility, and overall texture. Also, in this case, ink trapping is required when connecting two specific strokes of each glyph, and it has to be done carefully, as it has been in Athiti. The Athiti project is led by Cadson Demak, a type foundry in Thailand. To contribute, see github.com/cadsondemak/athiti", + "primary_script": "Thai", + "article": null, + "minisite_url": null + }, + "Atkinson Hyperlegible": { + "name": "Atkinson Hyperlegible", + "designer": [ + "Braille Institute", + "Applied Design Works", + "Elliott Scott", + "Megan Eiswerth", + "Linus Boman", + "Theodore Petrosky" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Atkinson Hyperlegible, named after the founder of the Braille Institute, has been developed specifically to increase legibility for readers with low vision, and to improve comprehension. Having a traditional grotesque sans-serif at its core, it departs from tradition to incorporate unambiguous, distinctive elements\u2014and at times, unexpected forms\u2014always with the goal of increasing character recognition and ultimately improve reading. To contribute, see github.com/googlefonts/atkinson-hyperlegible. From Rebranding to Readability with Atkinson Hyperlegible Distinct and modern, the Atkinson Hyperlegible typeface aims to deliver both legibility and readability According to the World Health Organization (WHO), at least 2.2 billion people have a vision impairment. Major financial burdens can occur when people can\u2019t read fluently or work to their full potential. For example, the WHO estimates that \u201closses associated with vision impairment from uncorrected myopia and presbyopia alone were estimated to be US$ 244 billion and US$ 25.4 billion, respectively.\u201d Typeface design can help. When Braille Institute hired Applied Design Works to create a new brand identity and branding strategy to coincide with their 2019 centennial anniversary, the firm looked for a beautiful and functional font specifically designed for improved legibility and readability. Brad Scott and Elliott Scott of Applied Design Works were concerned about typefaces that look a little like old ransom notes, where each letter and number were dramatically different from each other. They wondered if, despite designers\u2019 intentions, these typefaces could actually be more difficult to read for some people. They decided that no existing typeface met their legibility, readability, and branding goals. So they endeavored to create a new typeface called Atkinson Hyperlegible, named after the organization\u2019s founder J. Robert Atkinson. The work would go on to be recognized with a 2019 Fast Company \u2018Innovation by Design\u2019 Award. Atkinson Hyperlegible uses circular shapes to reference Braille dots. To learn more, visit From Rebranding to Readability with Atkinson Hyperlegible.", + "minisite_url": null + }, + "Atkinson Hyperlegible Mono": { + "name": "Atkinson Hyperlegible Mono", + "designer": [ + "Braille Institute", + "Applied Design Works", + "Elliott Scott", + "Megan Eiswerth", + "Letters From Sweden" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Atkinson Hyperlegible Mono, a monospace version of Atkinson Hyperlegible, offers new opportunities for developers with low vision. Atkinson Hyperlegible Mono includes new weights, refined curves, added symbols, and additional language support. Named after the founder of the Braille Institute, Atkinson Hyperlegible Mono has been developed specifically to increase legibility for readers with low vision, and to improve reading comprehension. Having a traditional grotesque sans-serif at its core, it departs from tradition to incorporate unambiguous, distinctive elements\u2014and at times, unexpected forms\u2014always with the goal of increasing character recognition and ultimately improving reading. To contribute, see github.com/googlefonts/atkinson-hyperlegible-next-mono. From Rebranding to Readability with Atkinson Hyperlegible Distinct and modern, the Atkinson Hyperlegible typeface aims to deliver both legibility and readability According to the World Health Organization (WHO), at least 2.2 billion people have a vision impairment. Major financial burdens can occur when people can\u2019t read fluently or work to their full potential. For example, the WHO estimates that \u201closses associated with vision impairment from uncorrected myopia and presbyopia alone were estimated to be US$ 244 billion and US$ 25.4 billion, respectively.\u201d Typeface design can help. When Braille Institute hired Applied Design Works to create a new brand identity and branding strategy to coincide with their 2019 centennial anniversary, the firm looked for a beautiful and functional font specifically designed for improved legibility and readability. Brad Scott and Elliott Scott of Applied Design Works were concerned about typefaces that look a little like old ransom notes, where each letter and number were dramatically different from each other. They wondered if, despite designers\u2019 intentions, these typefaces could actually be more difficult to read for some people. They decided that no existing typeface met their legibility, readability, and branding goals. So they endeavored to create a new typeface called Atkinson Hyperlegible, named after the organization\u2019s founder J. Robert Atkinson. The work would go on to be recognized with a 2019 Fast Company \u2018Innovation by Design\u2019 Award.", + "minisite_url": null + }, + "Atkinson Hyperlegible Next": { + "name": "Atkinson Hyperlegible Next", + "designer": [ + "Braille Institute", + "Applied Design Works", + "Elliott Scott", + "Megan Eiswerth", + "Letters From Sweden" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Atkinson Hyperlegible Next, a refined version of Atkinson Hyperlegible, improves on the original in every way. It features new weights, improved kerning, refined curves, added symbols, and additional language support. Named after the founder of the Braille Institute, Atkinson Hyperlegible Next has been developed specifically to increase legibility for readers with low vision, and to improve reading comprehension. Having a traditional grotesque sans-serif at its core, it departs from tradition to incorporate unambiguous, distinctive elements\u2014and at times, unexpected forms\u2014always with the goal of increasing character recognition and ultimately improving reading. To contribute, see github.com/googlefonts/atkinson-hyperlegible-next. From Rebranding to Readability with Atkinson Hyperlegible Distinct and modern, the Atkinson Hyperlegible typeface aims to deliver both legibility and readability According to the World Health Organization (WHO), at least 2.2 billion people have a vision impairment. Major financial burdens can occur when people can\u2019t read fluently or work to their full potential. For example, the WHO estimates that \u201closses associated with vision impairment from uncorrected myopia and presbyopia alone were estimated to be US$ 244 billion and US$ 25.4 billion, respectively.\u201d Typeface design can help. When Braille Institute hired Applied Design Works to create a new brand identity and branding strategy to coincide with their 2019 centennial anniversary, the firm looked for a beautiful and functional font specifically designed for improved legibility and readability. Brad Scott and Elliott Scott of Applied Design Works were concerned about typefaces that look a little like old ransom notes, where each letter and number were dramatically different from each other. They wondered if, despite designers\u2019 intentions, these typefaces could actually be more difficult to read for some people. They decided that no existing typeface met their legibility, readability, and branding goals. So they endeavored to create a new typeface called Atkinson Hyperlegible, named after the organization\u2019s founder J. Robert Atkinson. The work would go on to be recognized with a 2019 Fast Company \u2018Innovation by Design\u2019 Award.", + "minisite_url": null + }, + "Atma": { + "name": "Atma", + "designer": [ + "Black Foundry" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "bengali", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Atma is an original Bengali and Latin typeface family with a fun and informal feeling. The Bengali and Latin were developed in parallel as a studio collaboration by Jeremie Hornus, Gregori Vincens, Yoann Minet, and Roxane Gataud. The Atma project is led by Black Foundry, a type design foundry based in Paris, France. To contribute, see github.com/TypefactoryNet/Atma", + "primary_script": "Beng", + "article": null, + "minisite_url": null + }, + "Atomic Age": { + "name": "Atomic Age", + "designer": [ + "James Grieshaber" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Foundry: Sorkin Type Co Atomic Age was inspired by 1950s era connected scripts seen on nameplates of American cars. Atomic Age looses the connection but keeps the spirit of these letters to make a highly legible somewhat mechanical looking font. Atomic Age is usable from very small sizes all the way up to large display sizes. To contribute to the project, visit github.com/EbenSorkin/Atomic-Age Updated: January 2016 to Version 1.007, to correct encoding, improve hinting, and tightened inter-letter spacing (so the vertical and horizontal metrics have changed, causing some reflow.)", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Aubrey": { + "name": "Aubrey", + "designer": [ + "Cyreal" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Aubrey is a playful condensed decorative font with an art nouveau essence. Horizontal elements are unexpectedly cut and swapped with sloped curves creating off-beats in the overall rhythm. Spurs are added to twist and stress the movement. Aubrey can be a good choice for designing holiday decorations and greetings. Works best in medium and large sizes. Designed by Gayaneh Bagdasaryan. To contribute, see github.com/cyrealtype/Aubrey.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Audiowide": { + "name": "Audiowide", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Audiowide is a sans serif, technology styled, typeface composed of soft corner tubular forms. With vague nods to letter styles like that of Handel Gothic and the Converse logo, Audiowide veers off in a direction of its own for a slightly more techno-futuristic and yet cleanly readable typestyle. Designed by Brian J. Bonislawsky for Astigmatic (AOETI). Audiowide is a Unicode typeface family that supports languages that use the Latin script and its variants, and could be expanded to support other scripts. To contribute to the project contact Brian J. Bonislawsky.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Autour One": { + "name": "Autour One", + "designer": [ + "Sorkin Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Autour One is inspired by handwritten letters on Ludwig Hohlwein posters. It has been changed and adapted from the originals in a variety of ways so that it will work in paragraphs of text and on the web. Autour One can be used a in a wide range of sizes. Autour means 'round' in French.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Average": { + "name": "Average", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Average is a typeface that emerged from a long process of research into text typeface families from various different historical periods, both classical and contemporary. The idea was to design an average font for use in text, through a lengthy process of shape measurement and data gathering in spreadsheets. This resulted in a series of parameters which could be used by a designer to determine the proportions, color, spacing and other attributes of a typeface. Once the parameters were defined and best values were selected, the forms for the Average Regular typeface were drawn. In september 2022, Average has been updated to provide a larger glyphset and therefore greater language support. A sans sister family, Average Sans, is also available. To contribute to the project contact To contribute, see github.com/etunni/average.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Average Sans": { + "name": "Average Sans", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Average Sans has the color, structure and proportions of its serif sister family, Average, which it complements harmoniously. The neutrality of the forms create a nice texture, both for texts and short headlines. Use it for online magazines, academic texts and blogs. To contribute to the project contact Eduardo Tunni.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Averia Gruesa Libre": { + "name": "Averia Gruesa Libre", + "designer": [ + "Dan Sayers" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Aver\u00eda means \"breakdown\" or \"mechanical damage\" in Spanish - and is related to the root of the English word \"average.\" Averia Libre is based on the average of 725 fonts in the Google Fonts collection, and both glyph outlines and metrics are the result of the averaging process described at iotic.com/averia Averia Gruesa Libre exists in a Regular style, and there are also the Averia Libre, Averia Sans Libre and Averia Serif Libre families with 6 styles.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Averia Libre": { + "name": "Averia Libre", + "designer": [ + "Dan Sayers" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Aver\u00eda means \"breakdown\" or \"mechanical damage\" in Spanish - and is related to the root of the English word \"average.\" Averia Libre is based on the average of 725 fonts in the Google Fonts collection, and both glyph outlines and metrics are the result of the averaging process described at iotic.com/averia Averia Libre exists in 6 styles, and there are also the Averia Serif Libre, Averia Sans Libre and Averia Gruesa Libre families.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Averia Sans Libre": { + "name": "Averia Sans Libre", + "designer": [ + "Dan Sayers" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Aver\u00eda (\"breakdown\" or \"mechanical damage\" in Spanish - related to the root of the English word \"average\") is a Unicode typeface superfamily created from the average of all fonts on the computer of the creator, Dan Sayers. The process is described at iotic.com/averia. All metrics are the result of an averaging process. The included glyphs are those that existed in a majority of the source fonts. The Averia Libre families of fonts are based on the average of all 725 fonts in the Google Web Fonts project, released under the SIL Open Font License, as of 9 Nov 2011. Averia Sans Libre exists in 6 styles, and there are also the Averia Libre, Averia Serif Libre and Averia Gruesa Libre families. For more information please visit the Aver\u00eda page on the iotic website or send an email to Dan Sayers.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Averia Serif Libre": { + "name": "Averia Serif Libre", + "designer": [ + "Dan Sayers" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Aver\u00eda (\"breakdown\" or \"mechanical damage\" in Spanish - related to the root of the English word \"average\") is a Unicode typeface superfamily created from the average of all fonts on the computer of the creator, Dan Sayers. The process is described at iotic.com/averia. All metrics are the result of an averaging process. The included glyphs are those that existed in a majority of the source fonts. The Averia Libre families of fonts are based on the average of all 725 fonts in the Google Web Fonts project, released under the SIL Open Font License, as of 9 Nov 2011. Averia Serif Libre exists in 6 styles, and there are also the Averia Libre, Averia Sans Libre and Averia Gruesa Libre families. For more information please visit the Aver\u00eda page on the iotic website or send an email to Dan Sayers.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Azeret Mono": { + "name": "Azeret Mono", + "designer": [ + "Displaay", + "Martin V\u00e1cha" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "monospace" + ], + "description": "Azeret Mono is a monospaced typeface with a mono-linear character. The story of the typeface began with a draft that was driven by an exploration of OCR fonts, past and futuristic operating systems, various interfaces and the nineties. The final result is more based on a desire to achieve an appearance of the typeface that could serve in operating systems. Thus the overall character is a conjunction of everything described with details that evoke a specific personality. Azeret is designed by Martin V\u00e1cha and Daniel Quisek. To contribute, see github.com/displaay/Azeret.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "B612": { + "name": "B612", + "designer": [ + "Nicolas Chauveau", + "Thomas Paillot", + "Jonathan Favre-Lamarine", + "Jean-Luc Vinot" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "B612 is an highly legible open source font family, designed and tested to be used on aircraft cockpit screens. Its design makes it particularly suitable for degraded contexts (ensuring legibility and readability of data), with a positive effect on reducing visual fatigue and cognitive load. Particular attention was given to the uniformity of the typeface, whether being used for isolated terms, reading information on a map, mixing capital letters and numbers, waypoint lists, long or abbreviated texts, specific terms and data in the aeronautical field. In 2010, Airbus initiated a research collaboration with ENAC and Universit\u00e9 de Toulouse III on a prospective study to define and validate an \u201cAeronautical Font\u201d: the challenge was to improve the display of textual data information on all cockpit screens, concerning more specifically legibility, readability and reading comfort, and to enhance the overall cockpit consistency. The typographical research was conducted through iterations from experimentation to design. Two years later, Airbus came to Intactile DESIGN in order to design and develop the eight variants of the font. Baptized B612 in reference to the imaginary asteroid of the aviator Antoine de Saint\u2011Exup\u00e9ry, the font has been optimised following a calligraphic approach, in order to preserve the readable qualities of humanist typefaces like r\u00e9ales and incises, but also the technical and functional image of sans serif or bitmap. B612 is a two-weight font family including roman and italic styles but also a monospaced variation, B612 Mono. It was designed in 2012 by Nicolas Chauveau, Thomas Paillot and Jonathan Favre-Lamarine from the design agency Intactile DESIGN, and Jean-Luc Vinot from ENAC (French National University of Civil Aviation) Interactive Informatics Team for Laurent Spaggiari from the Airbus Human Factors department \u2014 prior research by Jean\u2011Luc Vinot (DGAC/DSNA) and Sylvie Ath\u00e8nes (Universit\u00e9 de Toulouse III). In 2017, Airbus agreed to publish the font with an open source license (Eclipse Public License) within the Polarsys project, an industry-oriented project hosted by the Eclipse foundation. B612 project was awarded the Observeur du Design: Industry Star in 2018. Updated 2019-03: Updated to latest upstream release. The B612 project is led by Polarsys, an Eclipse Working Group created by large industry players and by tools providers to collaborate on the creation and support of Open Source tools for the development of embedded systems. To contribute, see github.com/polarsys/b612", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "B612 Mono": { + "name": "B612 Mono", + "designer": [ + "Nicolas Chauveau", + "Thomas Paillot", + "Jonathan Favre-Lamarine", + "Jean-Luc Vinot" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "monospace" + ], + "description": "B612 is an highly legible open source font family, designed and tested to be used on aircraft cockpit screens. Its design makes it particularly suitable for degraded contexts (ensuring legibility and readability of data), with a positive effect on reducing visual fatigue and cognitive load. Particular attention was given to the uniformity of the typeface, whether being used for isolated terms, reading information on a map, mixing capital letters and numbers, waypoint lists, long or abbreviated texts, specific terms and data in the aeronautical field. In 2010, Airbus initiated a research collaboration with ENAC and Universit\u00e9 de Toulouse III on a prospective study to define and validate an \u201cAeronautical Font\u201d: the challenge was to improve the display of textual data information on all cockpit screens, concerning more specifically legibility, readability and reading comfort, and to enhance the overall cockpit consistency. The typographical research was conducted through iterations from experimentation to design. Two years later, Airbus came to Intactile DESIGN in order to design and develop the eight variants of the font. Baptized B612 in reference to the imaginary asteroid of the aviator Antoine de Saint\u2011Exup\u00e9ry, the font has been optimised following a calligraphic approach, in order to preserve the readable qualities of humanist typefaces like r\u00e9ales and incises, but also the technical and functional image of sans serif or bitmap. B612 is a two-weight font family including roman and italic styles but also a monospaced variation, B612 Mono. It was designed in 2012 by Nicolas Chauveau, Thomas Paillot and Jonathan Favre-Lamarine from the design agency Intactile DESIGN, and Jean-Luc Vinot from ENAC (French National University of Civil Aviation) Interactive Informatics Team for Laurent Spaggiari from the Airbus Human Factors department \u2014 prior research by Jean\u2011Luc Vinot (DGAC/DSNA) and Sylvie Ath\u00e8nes (Universit\u00e9 de Toulouse III). In 2017, Airbus agreed to publish the font with an open source license (Eclipse Public License) within the Polarsys project, an industry-oriented project hosted by the Eclipse foundation. B612 project was awarded the Observeur du Design: Industry Star in 2018. Updated 2019-03: Updated to latest upstream release. The B612 project is led by Polarsys, an Eclipse Working Group created by large industry players and by tools providers to collaborate on the creation and support of Open Source tools for the development of embedded systems. To contribute, see github.com/polarsys/b612", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "BIZ UDGothic": { + "name": "BIZ UDGothic", + "designer": [ + "Type Bank Co.", + "Morisawa Inc." + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "greek-ext", + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Jpan", + "article": "\u30e2\u30ea\u30b5\u30ef\u306eBIZ UD\u30b4\u30b7\u30c3\u30af\u306f\u3001\u6559\u80b2\u3084\u30d3\u30b8\u30cd\u30b9\u6587\u66f8\u4f5c\u6210\u306a\u3069\u306b\u6d3b\u7528\u3067\u304d\u308b\u3088\u3046\u3001\u3088\u308a\u591a\u304f\u306e\u65b9\u306b\u3068\u3063\u3066\u8aad\u307f\u3084\u3059\u304f\u4f7f\u3044\u3084\u3059\u3044\u3088\u3046\u306b\u8a2d\u8a08\u3055\u308c\u305f\u30e6\u30cb\u30d0\u30fc\u30b5\u30eb\u30c7\u30b6\u30a4\u30f3\u30d5\u30a9\u30f3\u30c8\u3067\u3059\u3002\u8aad\u307f\u3084\u3059\u3055\u3068\u30c7\u30b6\u30a4\u30f3\u30d0\u30e9\u30f3\u30b9\u306b\u512a\u308c\u305f\u3001\u3059\u3063\u304d\u308a\u3068\u3057\u305fUD\u30b4\u30b7\u30c3\u30af\u66f8\u4f53\u3067\u3001\u6f22\u5b57\u306e\u7701\u7565\u3067\u304d\u308b\u30cf\u30cd\u3084\u30b2\u30bf\u3092\u53d6\u308b\u3053\u3068\u3067\u3001\u6587\u5b57\u3092\u30af\u30ea\u30a2\u306b\u898b\u305b\u3066\u3044\u307e\u3059\u3002\u5927\u304d\u3081\u306a\u5b57\u9762\u3067\u3082\u6587\u5b57\u3068\u3057\u3066\u306e\u304b\u305f\u3061\u306e\u30d0\u30e9\u30f3\u30b9\u3092\u640d\u306d\u306a\u3044\u3088\u3046\u3001\u30d5\u30c8\u30b3\u30ed\u306a\u3069\u306e\u7a7a\u9593\u3092\u7d30\u304b\u304f\u8abf\u6574\u3057\u3066\u3044\u307e\u3059\u3002\u304b\u306a\u306f\u6f22\u5b57\u306b\u6bd4\u3079\u3066\u3084\u3084\u5c0f\u3076\u308a\u306b\u4f5c\u3089\u308c\u3066\u304a\u308a\u3001\u7d30\u3044\u30a6\u30a8\u30a4\u30c8\u3067\u9577\u6587\u3092\u7d44\u3080\u3068\u307b\u3069\u3088\u3044\u6291\u63da\u304c\u751f\u307e\u308c\u307e\u3059\u3002 BIZ UD Gothic is a universal design typeface designed to be easy to read and ideal for education and business documentation. It is a highly legible and well-balanced design sans serif. In order to make the kanji more clear and identifiable, the letterforms are simplified by omitting hane (hook) and geta (the vertical lines extending beyond horizontal strokes at the bottom of kanji). Counters and other spaces are finely adjusted so that the overall balance of the type is not impaired even with the use in relatively large size. The kana are made slightly smaller than the kanji to give a good rhythm and flow when setting long texts in the lighter weights. UDGothic includes full-width kana. UDPGothic includes proportional-width kana. To contribute to the project, visit github.com/googlefonts/morisawa-biz-ud-gothic Morisawa BIZ Universal Design (UD) Japanese fonts added to Google Fonts and Google Workspace As part of our larger effort to make great type accessible in more languages, Google Fonts is pleased to announce that the Japanese type foundry Morisawa has made 2 BIZ Universal Design (UD) font families available on Google Fonts, under the SIL Open Font License. These Gothic and Mincho designs, available in regular and bold weights and proportional and full width styles, are now also available in Google Workspace. \u201cHaving these fonts available in Japan allows Google Education to align with the most widely used fonts in education publishing in Japan,\u201d said Stuart Miller, Head of Marketing for Google Education in Asia Pacific (APAC). \u201cThis makes it easier for partners to collaborate with Google Education. It also ensures a more consistent, inclusive, delightful experience for the millions of teachers and students that use Google tools.\u201d Drawing on extensive end-user evaluation, the BIZ UD typefaces were developed using the principles of universal design (UD) to ensure legibility (the ease of differentiating individual characters) and readability (the ease of reading text overall). BIZ UD fonts are especially suited for conveying text accurately\u2014for example, in educational settings, corporate communication environments, and other places that use ICT. To learn more, read Morisawa BIZ Universal Design (UD) Japanese fonts added to Google Fonts and Google Workspace.", + "minisite_url": null + }, + "BIZ UDMincho": { + "name": "BIZ UDMincho", + "designer": [ + "Type Bank Co.", + "Morisawa Inc." + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "greek-ext", + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Jpan", + "article": "\u30e2\u30ea\u30b5\u30ef\u306eBIZ UD\u660e\u671d\u306f\u3001\u6559\u80b2\u3084\u30d3\u30b8\u30cd\u30b9\u6587\u66f8\u4f5c\u6210\u306a\u3069\u306b\u6d3b\u7528\u3067\u304d\u308b\u3088\u3046\u3001\u3088\u308a\u591a\u304f\u306e\u65b9\u306b\u3068\u3063\u3066\u8aad\u307f\u3084\u3059\u304f\u4f7f\u3044\u3084\u3059\u3044\u3088\u3046\u306b\u8a2d\u8a08\u3055\u308c\u305f\u30e6\u30cb\u30d0\u30fc\u30b5\u30eb\u30c7\u30b6\u30a4\u30f3\u30d5\u30a9\u30f3\u30c8\u3067\u3059\u3002\u683c\u8abf\u9ad8\u3044\u660e\u671d\u4f53\u306e\u4f1d\u7d71\u3092\u4fdd\u3061\u306a\u304c\u3089\u3001\u898b\u3084\u3059\u3055\u3001\u8aad\u307f\u3084\u3059\u3055\u3092\u5b9f\u73fe\u3057\u305f\u66f8\u4f53\u3067\u3059\u3002\u4e00\u822c\u7684\u306a\u660e\u671d\u4f53\u306f\u3001\u6a2a\u7dda\u304c\u7d30\u304f\u30c7\u30b6\u30a4\u30f3\u3055\u308c\u3066\u3044\u308b\u305f\u3081\u3001\u8996\u529b\u304c\u5f31\u3044\u65b9\u3084\u30c7\u30a3\u30b9\u30d7\u30ec\u30a4\u306e\u8868\u793a\u306a\u3069\u3067\u306f\u8aad\u307f\u306b\u304f\u3044\u3053\u3068\u304c\u3042\u308a\u307e\u3059\u3002BIZ UD\u660e\u671d\u306f\u5f93\u6765\u306e\u660e\u671d\u4f53\u3088\u308a\u3082\u6a2a\u7dda\u304c\u592a\u3044\u660e\u671d\u4f53\u3092\u30d9\u30fc\u30b9\u306b\u3057\u3066\u304a\u308a\u3001\u6fc1\u70b9\u3084\u534a\u6fc1\u70b9\u3092\u5927\u304d\u304f\u898b\u3084\u3059\u3044\u30c7\u30b6\u30a4\u30f3\u306b\u5909\u66f4\u3057\u3066\u3044\u308b\u307b\u304b\u3001\u5b57\u9762\u3084\u3075\u3068\u3053\u308d\u3092\u5927\u304d\u304f\u3068\u308a\u306a\u304c\u3089\u3082\u6587\u5b57\u306e\u30d5\u30a9\u30eb\u30e0\u3092\u5d29\u3055\u306a\u3044\u30c7\u30b6\u30a4\u30f3\u306b\u8abf\u6574\u3057\u3066\u3044\u307e\u3059\u3002 BIZ UD Mincho is a universal design typeface designed to be easy to read and ideal for education and business documentation. It combines high quality in readability and legibility while carrying on the stately Japanese Mincho type tradition. BIZ UD Mincho bases its design on one of the typefaces from the Morisawa font library, which has thicker horizontal lines than the traditional Mincho type style. Because most Mincho types have thin horizontal strokes, the style can be difficult to read on some displays or signs and for people with low vision. For the universal design version, dakuten (\u309b) and handakuten (\u309c) voicing marks are designed to be more legible, and the letterforms are adjusted to maintain their balance while having a larger face and wider counters. UD Mincho includes full-width kana. UDPMincho includes proportional-wdith kana. To contribute to the project, visit github.com/googlefonts/morisawa-biz-ud-mincho Morisawa BIZ Universal Design (UD) Japanese fonts added to Google Fonts and Google Workspace As part of our larger effort to make great type accessible in more languages, Google Fonts is pleased to announce that the Japanese type foundry Morisawa has made 2 BIZ Universal Design (UD) font families available on Google Fonts, under the SIL Open Font License. These Gothic and Mincho designs, available in regular and bold weights and proportional and full width styles, are now also available in Google Workspace. \u201cHaving these fonts available in Japan allows Google Education to align with the most widely used fonts in education publishing in Japan,\u201d said Stuart Miller, Head of Marketing for Google Education in Asia Pacific (APAC). \u201cThis makes it easier for partners to collaborate with Google Education. It also ensures a more consistent, inclusive, delightful experience for the millions of teachers and students that use Google tools.\u201d Drawing on extensive end-user evaluation, the BIZ UD typefaces were developed using the principles of universal design (UD) to ensure legibility (the ease of differentiating individual characters) and readability (the ease of reading text overall). BIZ UD fonts are especially suited for conveying text accurately\u2014for example, in educational settings, corporate communication environments, and other places that use ICT. To learn more, read Morisawa BIZ Universal Design (UD) Japanese fonts added to Google Fonts and Google Workspace.", + "minisite_url": null + }, + "BIZ UDPGothic": { + "name": "BIZ UDPGothic", + "designer": [ + "Type Bank Co.", + "Morisawa Inc." + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "greek-ext", + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Jpan", + "article": "\u30e2\u30ea\u30b5\u30ef\u306eBIZ UD\u30b4\u30b7\u30c3\u30af\u306f\u3001\u6559\u80b2\u3084\u30d3\u30b8\u30cd\u30b9\u6587\u66f8\u4f5c\u6210\u306a\u3069\u306b\u6d3b\u7528\u3067\u304d\u308b\u3088\u3046\u3001\u3088\u308a\u591a\u304f\u306e\u65b9\u306b\u3068\u3063\u3066\u8aad\u307f\u3084\u3059\u304f\u4f7f\u3044\u3084\u3059\u3044\u3088\u3046\u306b\u8a2d\u8a08\u3055\u308c\u305f\u30e6\u30cb\u30d0\u30fc\u30b5\u30eb\u30c7\u30b6\u30a4\u30f3\u30d5\u30a9\u30f3\u30c8\u3067\u3059\u3002\u8aad\u307f\u3084\u3059\u3055\u3068\u30c7\u30b6\u30a4\u30f3\u30d0\u30e9\u30f3\u30b9\u306b\u512a\u308c\u305f\u3001\u3059\u3063\u304d\u308a\u3068\u3057\u305fUD\u30b4\u30b7\u30c3\u30af\u66f8\u4f53\u3067\u3001\u6f22\u5b57\u306e\u7701\u7565\u3067\u304d\u308b\u30cf\u30cd\u3084\u30b2\u30bf\u3092\u53d6\u308b\u3053\u3068\u3067\u3001\u6587\u5b57\u3092\u30af\u30ea\u30a2\u306b\u898b\u305b\u3066\u3044\u307e\u3059\u3002\u5927\u304d\u3081\u306a\u5b57\u9762\u3067\u3082\u6587\u5b57\u3068\u3057\u3066\u306e\u304b\u305f\u3061\u306e\u30d0\u30e9\u30f3\u30b9\u3092\u640d\u306d\u306a\u3044\u3088\u3046\u3001\u30d5\u30c8\u30b3\u30ed\u306a\u3069\u306e\u7a7a\u9593\u3092\u7d30\u304b\u304f\u8abf\u6574\u3057\u3066\u3044\u307e\u3059\u3002\u304b\u306a\u306f\u6f22\u5b57\u306b\u6bd4\u3079\u3066\u3084\u3084\u5c0f\u3076\u308a\u306b\u4f5c\u3089\u308c\u3066\u304a\u308a\u3001\u7d30\u3044\u30a6\u30a8\u30a4\u30c8\u3067\u9577\u6587\u3092\u7d44\u3080\u3068\u307b\u3069\u3088\u3044\u6291\u63da\u304c\u751f\u307e\u308c\u307e\u3059\u3002 BIZ UD Gothic is a universal design typeface designed to be easy to read and ideal for education and business documentation. It is a highly legible and well-balanced design sans serif. In order to make the kanji more clear and identifiable, the letterforms are simplified by omitting hane (hook) and geta (the vertical lines extending beyond horizontal strokes at the bottom of kanji). Counters and other spaces are finely adjusted so that the overall balance of the type is not impaired even with the use in relatively large size. The kana are made slightly smaller than the kanji to give a good rhythm and flow when setting long texts in the lighter weights. UDGothic includes full-width kana. UDPGothic includes proportional-width kana. To contribute to the project, visit github.com/googlefonts/morisawa-biz-ud-gothic Morisawa BIZ Universal Design (UD) Japanese fonts added to Google Fonts and Google Workspace As part of our larger effort to make great type accessible in more languages, Google Fonts is pleased to announce that the Japanese type foundry Morisawa has made 2 BIZ Universal Design (UD) font families available on Google Fonts, under the SIL Open Font License. These Gothic and Mincho designs, available in regular and bold weights and proportional and full width styles, are now also available in Google Workspace. \u201cHaving these fonts available in Japan allows Google Education to align with the most widely used fonts in education publishing in Japan,\u201d said Stuart Miller, Head of Marketing for Google Education in Asia Pacific (APAC). \u201cThis makes it easier for partners to collaborate with Google Education. It also ensures a more consistent, inclusive, delightful experience for the millions of teachers and students that use Google tools.\u201d Drawing on extensive end-user evaluation, the BIZ UD typefaces were developed using the principles of universal design (UD) to ensure legibility (the ease of differentiating individual characters) and readability (the ease of reading text overall). BIZ UD fonts are especially suited for conveying text accurately\u2014for example, in educational settings, corporate communication environments, and other places that use ICT. To learn more, read Morisawa BIZ Universal Design (UD) Japanese fonts added to Google Fonts and Google Workspace.", + "minisite_url": null + }, + "BIZ UDPMincho": { + "name": "BIZ UDPMincho", + "designer": [ + "Type Bank Co.", + "Morisawa Inc." + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "greek-ext", + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Jpan", + "article": "\u30e2\u30ea\u30b5\u30ef\u306eBIZ UD\u660e\u671d\u306f\u3001\u6559\u80b2\u3084\u30d3\u30b8\u30cd\u30b9\u6587\u66f8\u4f5c\u6210\u306a\u3069\u306b\u6d3b\u7528\u3067\u304d\u308b\u3088\u3046\u3001\u3088\u308a\u591a\u304f\u306e\u65b9\u306b\u3068\u3063\u3066\u8aad\u307f\u3084\u3059\u304f\u4f7f\u3044\u3084\u3059\u3044\u3088\u3046\u306b\u8a2d\u8a08\u3055\u308c\u305f\u30e6\u30cb\u30d0\u30fc\u30b5\u30eb\u30c7\u30b6\u30a4\u30f3\u30d5\u30a9\u30f3\u30c8\u3067\u3059\u3002\u683c\u8abf\u9ad8\u3044\u660e\u671d\u4f53\u306e\u4f1d\u7d71\u3092\u4fdd\u3061\u306a\u304c\u3089\u3001\u898b\u3084\u3059\u3055\u3001\u8aad\u307f\u3084\u3059\u3055\u3092\u5b9f\u73fe\u3057\u305f\u66f8\u4f53\u3067\u3059\u3002\u4e00\u822c\u7684\u306a\u660e\u671d\u4f53\u306f\u3001\u6a2a\u7dda\u304c\u7d30\u304f\u30c7\u30b6\u30a4\u30f3\u3055\u308c\u3066\u3044\u308b\u305f\u3081\u3001\u8996\u529b\u304c\u5f31\u3044\u65b9\u3084\u30c7\u30a3\u30b9\u30d7\u30ec\u30a4\u306e\u8868\u793a\u306a\u3069\u3067\u306f\u8aad\u307f\u306b\u304f\u3044\u3053\u3068\u304c\u3042\u308a\u307e\u3059\u3002BIZ UD\u660e\u671d\u306f\u5f93\u6765\u306e\u660e\u671d\u4f53\u3088\u308a\u3082\u6a2a\u7dda\u304c\u592a\u3044\u660e\u671d\u4f53\u3092\u30d9\u30fc\u30b9\u306b\u3057\u3066\u304a\u308a\u3001\u6fc1\u70b9\u3084\u534a\u6fc1\u70b9\u3092\u5927\u304d\u304f\u898b\u3084\u3059\u3044\u30c7\u30b6\u30a4\u30f3\u306b\u5909\u66f4\u3057\u3066\u3044\u308b\u307b\u304b\u3001\u5b57\u9762\u3084\u3075\u3068\u3053\u308d\u3092\u5927\u304d\u304f\u3068\u308a\u306a\u304c\u3089\u3082\u6587\u5b57\u306e\u30d5\u30a9\u30eb\u30e0\u3092\u5d29\u3055\u306a\u3044\u30c7\u30b6\u30a4\u30f3\u306b\u8abf\u6574\u3057\u3066\u3044\u307e\u3059\u3002 BIZ UD Mincho is a universal design typeface designed to be easy to read and ideal for education and business documentation. It combines high quality in readability and legibility while carrying on the stately Japanese Mincho type tradition. BIZ UD Mincho bases its design on one of the typefaces from the Morisawa font library, which has thicker horizontal lines than the traditional Mincho type style. Because most Mincho types have thin horizontal strokes, the style can be difficult to read on some displays or signs and for people with low vision. For the universal design version, dakuten (\u309b) and handakuten (\u309c) voicing marks are designed to be more legible, and the letterforms are adjusted to maintain their balance while having a larger face and wider counters. UDMincho includes full-width kana. UDPMincho includes proportional-width kana. To contribute to the project, visit github.com/googlefonts/morisawa-biz-ud-mincho Morisawa BIZ Universal Design (UD) Japanese fonts added to Google Fonts and Google Workspace As part of our larger effort to make great type accessible in more languages, Google Fonts is pleased to announce that the Japanese type foundry Morisawa has made 2 BIZ Universal Design (UD) font families available on Google Fonts, under the SIL Open Font License. These Gothic and Mincho designs, available in regular and bold weights and proportional and full width styles, are now also available in Google Workspace. \u201cHaving these fonts available in Japan allows Google Education to align with the most widely used fonts in education publishing in Japan,\u201d said Stuart Miller, Head of Marketing for Google Education in Asia Pacific (APAC). \u201cThis makes it easier for partners to collaborate with Google Education. It also ensures a more consistent, inclusive, delightful experience for the millions of teachers and students that use Google tools.\u201d Drawing on extensive end-user evaluation, the BIZ UD typefaces were developed using the principles of universal design (UD) to ensure legibility (the ease of differentiating individual characters) and readability (the ease of reading text overall). BIZ UD fonts are especially suited for conveying text accurately\u2014for example, in educational settings, corporate communication environments, and other places that use ICT. To learn more, read Morisawa BIZ Universal Design (UD) Japanese fonts added to Google Fonts and Google Workspace.", + "minisite_url": null + }, + "Babylonica": { + "name": "Babylonica", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Babylonica is a dry brush style with hand written calligraphic brush characteristics. It's italicized approach is sometimes interrupted by upright or even back-slanted forms giving it an interrupted stress. This stress gives Babylonica that truly hand lettered appeal. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/babylonica.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Bacasime Antique": { + "name": "Bacasime Antique", + "designer": [ + "The DocRepair Project", + "Claus Eggers S\u00f8rensen" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Bacasime Antique is a DocRepair font, intended to improve compliance with the ISO/IEC 29500 standard by providing fallback for Baskerville Old Face that minimizes text reflow in Office Open XML documents. Bacasime Antique is based on Playfair, which is stylistically a transitional design. To contribute, please visit github.com/docrepair-fonts/bacasime-antique-fonts.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Bad Script": { + "name": "Bad Script", + "designer": [ + "Gaslight" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Bad Script started from a simple six-letter logotype and developed into a separate font, supporting Latin and Cyrillic character sets. It was completely made using a tablet to imitate casual and neat handwriting. Designed to resemble the designer's own handwriting, while making it systematic and smooth. The 2024 update improves kerning and offers better language support. Some bugs have been fixed, and the design has been enhanced. To contribute, see github.com/alexeiva/badscript.", + "primary_script": "Latn", + "article": null, + "minisite_url": null + }, + "Badeen Display": { + "name": "Badeen Display", + "designer": [ + "Hani Alasadi" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "arabic", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Badeen Display isn\u2019t just another typeface\u2014it\u2019s a bold, unapologetic move that challenges the conventions of Arabic typography. Think of it as a bridge between the energy of youth culture and the richness of Arab pop heritage. Badeen Display lives in the space between contrasts, blending thick and thin strokes with a purpose, bringing together soft, rounded forms and sharp, assertive edges. It\u2019s designed to do more than just look good; it\u2019s here to create an impact, to grab attention, and to express a sense of personality that\u2019s both grounded and forward-thinking. This is the font for creators who want to make a statement, who want every letter to have meaning and every word to stand out. Badeen Display is about embodying a vibrant character in a way that\u2019s contemporary, yet unmistakably rooted in culture. It\u2019s a tool to bring your brand to life, to speak with authenticity and clarity, and to capture the spirit of something timeless yet completely new. When you choose Badeen Display, you\u2019re not just choosing a font\u2014you\u2019re making a creative decision to stand out, to resonate, and to inspire. To contribute, see github.com/haniadnansd/Badeen-Display .", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Bagel Fat One": { + "name": "Bagel Fat One", + "designer": [ + "Kyungwon Kim", + "JAMO" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "korean", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Bagel Fat is a very heavy/fat font with rounded details. By these rounded corners, the overall mood is cute and lovely which is inspired by bread, pastries and sweets. Also a large contrast at where the horizontal and the vertical stroke come across makes it unique, not just cute. To contribute, please visit github.com/JAMO-TYPEFACE/BagelFat.", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "Bahiana": { + "name": "Bahiana", + "designer": [ + "Omnibus-Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Bahiana has a rustic, fresh and casual look. Its ideal for composing condensed titles and short texts. The family has OpenType alternatives to make the texture more organic. There are 490 glyphs and diacritics, supporting over 103 Latin languages (including Guarani.) Designed by Daniela Raskovsky and Pablo Cosgaya.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Bahianita": { + "name": "Bahianita", + "designer": [ + "Omnibus-Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Bahianita is an evolution of the Bahiana project, adding lowercase. It has a rustic, fresh and casual appearance, which has been influenced by wood carving. Its proportions are ideal for composing condensed titles and short texts. To contribute, see github.com/Omnibus-Type/Bahiana/tree/master/Bahianita", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Bai Jamjuree": { + "name": "Bai Jamjuree", + "designer": [ + "Cadson Demak" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "thai", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Bai Jamjuree is a Thai and Latin family which works well for headings and small passages of text. The design was inspired by Eurostyle and other square san serifs.", + "primary_script": "Thai", + "article": null, + "minisite_url": null + }, + "Bakbak One": { + "name": "Bakbak One", + "designer": [ + "Saumya Kishore", + "Sanchit Sawaria" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Bakbak One is a custom brand typeface for All India Bakchod. Owing to its usage, it is a heavyweight display typeface for headings, video titles and posters. It consists of 1 weight and 692 glyphs and borrows from humanist \u2018Johnston\u2019 like arches. Bakbak is loud and present but also neutral enough to render anything from a warning to a mockery. To contribute, please visit github.com/googlefonts/bakbak", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Ballet": { + "name": "Ballet", + "designer": [ + "Omnibus-Type", + "Maximiliano Sproviero" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Ballet is a reinterpretation of the classic Spencerian script style with a few whimsical twists in two different versions: Ballet aligned and crooked, both with Latin GF Plus character set (+630 characters/+800 glyphs). Ballet is designed by Maximiliano Sproviero and developed by Eduardo Tunni. To contribute, see github.com/Omnibus-Type/Ballet", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Baloo 2": { + "name": "Baloo 2", + "designer": [ + "Ek Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "devanagari", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "A perfect blend of pointy paws in a coat of fur, Baloo is an affable display typeface by Ek Type. Available in nine Indian scripts plus Arabic along with a Latin counterpart, the family is Unicode compliant and libre licensed. Baloo 2 is an extension of the earlier Baloo project. The new Baloo 2 includes additional glyphs, engineering improvements, and has been extended to five weights, ranging from the light footed Regular to the affable ExtraBold. The lighter weights retain Baloo\u2019s characteristic bounce, but they do so slightly, infusing life into each word. This allows the new family to freely fraternise with texts of all sizes and temperaments \u2014 be it short bursts or copious reams, demanding headlines or whispering bylines. Carefree yet confident, sprightly yet versatile, the renewed family of Baloo promises to bring warmth to every project. The Baloo 2 project consists of ten font families with unique local names for each of the nine Indic scripts plus Arabic (Baloo Bhaijaan 2). Each family supports one Indic/Arabic script plus Latin, Latin Extended, and Vietnamese. It took a team of committed type designers to rear Baloo and raise it to be the typeface we love. The Gurmukhi is designed by Shuchita Grover; Bangla by Noopur Datye and Sulekha Rajkumar; Odia by Yesha Goshar, Manish Minz, and Shuchita Grover; Gujarati by Noopur Datye and Supriya Tembe; Kannada by Divya Kowshik and Shuchita Grover; Telugu by Maithili Shingre and Omkar Shende; Malayalam by Maithili Shingre and Unnati Kotecha; and Tamil by Aadarsh Rajan. Baloo Devanagari and Latin are collaboratively designed by Ek Type. Font engineering and type design assistance by Girish Dalvi. To contribute to the project, visit github.com/EkType/Baloo2", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Baloo Bhai 2": { + "name": "Baloo Bhai 2", + "designer": [ + "Ek Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "gujarati", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "A perfect blend of pointy paws in a coat of fur, Baloo is an affable display typeface by Ek Type. Available in nine Indian scripts plus Arabic along with a Latin counterpart, the family is Unicode compliant and libre licensed. Baloo 2 is an extension of the earlier Baloo project. The new Baloo 2 includes additional glyphs, engineering improvements, and has been extended to five weights, ranging from the light footed Regular to the affable ExtraBold. The lighter weights retain Baloo\u2019s characteristic bounce, but they do so slightly, infusing life into each word. This allows the new family to freely fraternise with texts of all sizes and temperaments \u2014 be it short bursts or copious reams, demanding headlines or whispering bylines. Carefree yet confident, sprightly yet versatile, the renewed family of Baloo promises to bring warmth to every project. The Baloo 2 project consists of ten font families with unique local names for each of the nine Indic scripts plus Arabic (Baloo Bhaijaan 2). Each family supports one Indic/Arabic script plus Latin, Latin Extended, and Vietnamese. It took a team of committed type designers to rear Baloo and raise it to be the typeface we love. The Gurmukhi is designed by Shuchita Grover; Bangla by Noopur Datye and Sulekha Rajkumar; Odia by Yesha Goshar, Manish Minz, and Shuchita Grover; Gujarati by Noopur Datye and Supriya Tembe; Kannada by Divya Kowshik and Shuchita Grover; Telugu by Maithili Shingre and Omkar Shende; Malayalam by Maithili Shingre and Unnati Kotecha; and Tamil by Aadarsh Rajan. Baloo Devanagari and Latin are collaboratively designed by Ek Type. Font engineering and type design assistance by Girish Dalvi. To contribute to the project, visit github.com/EkType/Baloo2", + "primary_script": "Gujr", + "article": null, + "minisite_url": null + }, + "Baloo Bhaijaan 2": { + "name": "Baloo Bhaijaan 2", + "designer": [ + "Ek Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "arabic", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "A perfect blend of pointy paws in a coat of fur, Baloo is an affable display typeface by Ek Type. Available in nine Indian scripts plus Arabic along with a Latin counterpart, the family is Unicode compliant and libre licensed. Baloo 2 is an extension of the earlier Baloo project. The new Baloo 2 includes additional glyphs, engineering improvements, and has been extended to five weights, ranging from the light footed Regular to the affable ExtraBold. The lighter weights retain Baloo\u2019s characteristic bounce, but they do so slightly, infusing life into each word. This allows the new family to freely fraternise with texts of all sizes and temperaments \u2014 be it short bursts or copious reams, demanding headlines or whispering bylines. Carefree yet confident, sprightly yet versatile, the renewed family of Baloo promises to bring warmth to every project. The Baloo 2 project consists of ten font families with unique local names for each of the nine Indic scripts plus Arabic (Baloo Bhaijaan 2). Each family supports one Indic/Arabic script plus Latin, Latin Extended, and Vietnamese. It took a team of committed type designers to rear Baloo and raise it to be the typeface we love. The Gurmukhi is designed by Shuchita Grover; Bangla by Noopur Datye and Sulekha Rajkumar; Odia by Yesha Goshar, Manish Minz, and Shuchita Grover; Gujarati by Noopur Datye and Supriya Tembe; Kannada by Divya Kowshik and Shuchita Grover; Telugu by Maithili Shingre and Omkar Shende; Malayalam by Maithili Shingre and Unnati Kotecha; and Tamil by Aadarsh Rajan. Baloo Devanagari and Latin are collaboratively designed by Ek Type. Font engineering and type design assistance by Girish Dalvi. To contribute to the project, visit github.com/EkType/Baloo2", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Baloo Bhaina 2": { + "name": "Baloo Bhaina 2", + "designer": [ + "Ek Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "oriya", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "A perfect blend of pointy paws in a coat of fur, Baloo is an affable display typeface by Ek Type. Available in nine Indian scripts plus Arabic along with a Latin counterpart, the family is Unicode compliant and libre licensed. Baloo 2 is an extension of the earlier Baloo project. The new Baloo 2 includes additional glyphs, engineering improvements, and has been extended to five weights, ranging from the light footed Regular to the affable ExtraBold. The lighter weights retain Baloo\u2019s characteristic bounce, but they do so slightly, infusing life into each word. This allows the new family to freely fraternise with texts of all sizes and temperaments \u2014 be it short bursts or copious reams, demanding headlines or whispering bylines. Carefree yet confident, sprightly yet versatile, the renewed family of Baloo promises to bring warmth to every project. The Baloo 2 project consists of ten font families with unique local names for each of the nine Indic scripts plus Arabic (Baloo Bhaijaan 2). Each family supports one Indic/Arabic script plus Latin, Latin Extended, and Vietnamese. It took a team of committed type designers to rear Baloo and raise it to be the typeface we love. The Gurmukhi is designed by Shuchita Grover; Bangla by Noopur Datye and Sulekha Rajkumar; Odia by Yesha Goshar, Manish Minz, and Shuchita Grover; Gujarati by Noopur Datye and Supriya Tembe; Kannada by Divya Kowshik and Shuchita Grover; Telugu by Maithili Shingre and Omkar Shende; Malayalam by Maithili Shingre and Unnati Kotecha; and Tamil by Aadarsh Rajan. Baloo Devanagari and Latin are collaboratively designed by Ek Type. Font engineering and type design assistance by Girish Dalvi. To contribute to the project, visit github.com/EkType/Baloo2", + "primary_script": "Orya", + "article": null, + "minisite_url": null + }, + "Baloo Chettan 2": { + "name": "Baloo Chettan 2", + "designer": [ + "Ek Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "malayalam", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "A perfect blend of pointy paws in a coat of fur, Baloo is an affable display typeface by Ek Type. Available in nine Indian scripts plus Arabic along with a Latin counterpart, the family is Unicode compliant and libre licensed. Baloo 2 is an extension of the earlier Baloo project. The new Baloo 2 includes additional glyphs, engineering improvements, and has been extended to five weights, ranging from the light footed Regular to the affable ExtraBold. The lighter weights retain Baloo\u2019s characteristic bounce, but they do so slightly, infusing life into each word. This allows the new family to freely fraternise with texts of all sizes and temperaments \u2014 be it short bursts or copious reams, demanding headlines or whispering bylines. Carefree yet confident, sprightly yet versatile, the renewed family of Baloo promises to bring warmth to every project. The Baloo 2 project consists of ten font families with unique local names for each of the nine Indic scripts plus Arabic (Baloo Bhaijaan 2). Each family supports one Indic/Arabic script plus Latin, Latin Extended, and Vietnamese. It took a team of committed type designers to rear Baloo and raise it to be the typeface we love. The Gurmukhi is designed by Shuchita Grover; Bangla by Noopur Datye and Sulekha Rajkumar; Odia by Yesha Goshar, Manish Minz, and Shuchita Grover; Gujarati by Noopur Datye and Supriya Tembe; Kannada by Divya Kowshik and Shuchita Grover; Telugu by Maithili Shingre and Omkar Shende; Malayalam by Maithili Shingre and Unnati Kotecha; and Tamil by Aadarsh Rajan. Baloo Devanagari and Latin are collaboratively designed by Ek Type. Font engineering and type design assistance by Girish Dalvi. To contribute to the project, visit github.com/EkType/Baloo2", + "primary_script": "Mlym", + "article": null, + "minisite_url": null + }, + "Baloo Da 2": { + "name": "Baloo Da 2", + "designer": [ + "Ek Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "bengali", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "A perfect blend of pointy paws in a coat of fur, Baloo is an affable display typeface by Ek Type. Available in nine Indian scripts plus Arabic along with a Latin counterpart, the family is Unicode compliant and libre licensed. Baloo 2 is an extension of the earlier Baloo project. The new Baloo 2 includes additional glyphs, engineering improvements, and has been extended to five weights, ranging from the light footed Regular to the affable ExtraBold. The lighter weights retain Baloo\u2019s characteristic bounce, but they do so slightly, infusing life into each word. This allows the new family to freely fraternise with texts of all sizes and temperaments \u2014 be it short bursts or copious reams, demanding headlines or whispering bylines. Carefree yet confident, sprightly yet versatile, the renewed family of Baloo promises to bring warmth to every project. The Baloo 2 project consists of ten font families with unique local names for each of the nine Indic scripts plus Arabic (Baloo Bhaijaan 2). Each family supports one Indic/Arabic script plus Latin, Latin Extended, and Vietnamese. It took a team of committed type designers to rear Baloo and raise it to be the typeface we love. The Gurmukhi is designed by Shuchita Grover; Bangla by Noopur Datye and Sulekha Rajkumar; Odia by Yesha Goshar, Manish Minz, and Shuchita Grover; Gujarati by Noopur Datye and Supriya Tembe; Kannada by Divya Kowshik and Shuchita Grover; Telugu by Maithili Shingre and Omkar Shende; Malayalam by Maithili Shingre and Unnati Kotecha; and Tamil by Aadarsh Rajan. Baloo Devanagari and Latin are collaboratively designed by Ek Type. Font engineering and type design assistance by Girish Dalvi. To contribute to the project, visit github.com/EkType/Baloo2", + "primary_script": "Beng", + "article": null, + "minisite_url": null + }, + "Baloo Paaji 2": { + "name": "Baloo Paaji 2", + "designer": [ + "Ek Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "gurmukhi", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "A perfect blend of pointy paws in a coat of fur, Baloo is an affable display typeface by Ek Type. Available in nine Indian scripts plus Arabic along with a Latin counterpart, the family is Unicode compliant and libre licensed. Baloo 2 is an extension of the earlier Baloo project. The new Baloo 2 includes additional glyphs, engineering improvements, and has been extended to five weights, ranging from the light footed Regular to the affable ExtraBold. The lighter weights retain Baloo\u2019s characteristic bounce, but they do so slightly, infusing life into each word. This allows the new family to freely fraternise with texts of all sizes and temperaments \u2014 be it short bursts or copious reams, demanding headlines or whispering bylines. Carefree yet confident, sprightly yet versatile, the renewed family of Baloo promises to bring warmth to every project. The Baloo 2 project consists of ten font families with unique local names for each of the nine Indic scripts plus Arabic (Baloo Bhaijaan 2). Each family supports one Indic/Arabic script plus Latin, Latin Extended, and Vietnamese. It took a team of committed type designers to rear Baloo and raise it to be the typeface we love. The Gurmukhi is designed by Shuchita Grover; Bangla by Noopur Datye and Sulekha Rajkumar; Odia by Yesha Goshar, Manish Minz, and Shuchita Grover; Gujarati by Noopur Datye and Supriya Tembe; Kannada by Divya Kowshik and Shuchita Grover; Telugu by Maithili Shingre and Omkar Shende; Malayalam by Maithili Shingre and Unnati Kotecha; and Tamil by Aadarsh Rajan. Baloo Devanagari and Latin are collaboratively designed by Ek Type. Font engineering and type design assistance by Girish Dalvi. To contribute to the project, visit github.com/EkType/Baloo2", + "primary_script": "Guru", + "article": null, + "minisite_url": null + }, + "Baloo Tamma 2": { + "name": "Baloo Tamma 2", + "designer": [ + "Ek Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "kannada", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "A perfect blend of pointy paws in a coat of fur, Baloo is an affable display typeface by Ek Type. Available in nine Indian scripts plus Arabic along with a Latin counterpart, the family is Unicode compliant and libre licensed. Baloo 2 is an extension of the earlier Baloo project. The new Baloo 2 includes additional glyphs, engineering improvements, and has been extended to five weights, ranging from the light footed Regular to the affable ExtraBold. The lighter weights retain Baloo\u2019s characteristic bounce, but they do so slightly, infusing life into each word. This allows the new family to freely fraternise with texts of all sizes and temperaments \u2014 be it short bursts or copious reams, demanding headlines or whispering bylines. Carefree yet confident, sprightly yet versatile, the renewed family of Baloo promises to bring warmth to every project. The Baloo 2 project consists of ten font families with unique local names for each of the nine Indic scripts plus Arabic (Baloo Bhaijaan 2). Each family supports one Indic/Arabic script plus Latin, Latin Extended, and Vietnamese. It took a team of committed type designers to rear Baloo and raise it to be the typeface we love. The Gurmukhi is designed by Shuchita Grover; Bangla by Noopur Datye and Sulekha Rajkumar; Odia by Yesha Goshar, Manish Minz, and Shuchita Grover; Gujarati by Noopur Datye and Supriya Tembe; Kannada by Divya Kowshik and Shuchita Grover; Telugu by Maithili Shingre and Omkar Shende; Malayalam by Maithili Shingre and Unnati Kotecha; and Tamil by Aadarsh Rajan. Baloo Devanagari and Latin are collaboratively designed by Ek Type. Font engineering and type design assistance by Girish Dalvi. To contribute to the project, visit github.com/EkType/Baloo2", + "primary_script": "Knda", + "article": null, + "minisite_url": null + }, + "Baloo Tammudu": { + "name": "Baloo Tammudu", + "designer": [ + "Ek Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "telugu", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "A perfect blend of pointy paws in a coat of fur, Baloo is an affable display typeface by Ek Type. Available in nine Indian scripts along with a Latin counterpart, the family is Unicode compliant and libre licensed. Baloo is a distinctive heavy spurless design with a subtle tinge of playfulness and all the bare necessities of type. Snuggling several scripts under a single weight, the typeface focuses on giving equal justice to every act of this gentle jungle affair to secure single and multi-script use. Carefree yet confident, warm yet entertaining, sprightly yet intelligible, Baloo infuses life everywhere it goes. The Baloo project develops nine separate fonts with unique local names for each of the nine Indic Scripts. Each font supports one Indic subset plus Latin, Latin Extended, and Vietnamese. Baloo for Devanagari Baloo Bhai for Gujarati Baloo Bhaijaan for Urdu (Nasta\u02bfl\u012bq Arabic) Baloo Bhaina for Oriya Baloo Chettan for Malayalam Baloo Da for Bengali Baloo Paaji for Gurumukhi Baloo Tamma for Kannada Baloo Tammudu for Telugu Baloo Thambi for Tamil Well fed and thoroughly nourished across every script, it took a team of committed type designers to rear Baloo and raise it to be the typeface we love. Baloo Devanagari is designed by Sarang Kulkarni, Gurmukhi by Shuchita Grover, Bangla by Noopur Datye, Oriya by Manish Minz and Shuchita Grover, Gujarati by Supriya Tembe and Noopur Datye, Kannada by Divya Kowshik, Telugu by Omkar Shende, Malayalam by Maithili Shingre, Urdu by Devika Bhansali and Tamil by Aadarsh Rajan. Baloo Latin is collaboratively designed by Ek Type. Type design assistance and font engineering by Girish Dalvi. Baloo is grateful to Sulekha Rajkumar, Vaishnavi Murthy, Gangadharan Menon, Vinay Saynekar, Dave Crossland and others for their involvement, suggestions and feedback. To contribute to the project, visit github.com/EkType/Baloo", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Baloo Tammudu 2": { + "name": "Baloo Tammudu 2", + "designer": [ + "Ek Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "telugu", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "A perfect blend of pointy paws in a coat of fur, Baloo is an affable display typeface by Ek Type. Available in nine Indian scripts plus Arabic along with a Latin counterpart, the family is Unicode compliant and libre licensed. Baloo 2 is an extension of the earlier Baloo project. The new Baloo 2 includes additional glyphs, engineering improvements, and has been extended to five weights, ranging from the light footed Regular to the affable ExtraBold. The lighter weights retain Baloo\u2019s characteristic bounce, but they do so slightly, infusing life into each word. This allows the new family to freely fraternise with texts of all sizes and temperaments \u2014 be it short bursts or copious reams, demanding headlines or whispering bylines. Carefree yet confident, sprightly yet versatile, the renewed family of Baloo promises to bring warmth to every project. The Baloo 2 project consists of ten font families with unique local names for each of the nine Indic scripts plus Arabic (Baloo Bhaijaan 2). Each family supports one Indic/Arabic script plus Latin, Latin Extended, and Vietnamese. It took a team of committed type designers to rear Baloo and raise it to be the typeface we love. The Gurmukhi is designed by Shuchita Grover; Bangla by Noopur Datye and Sulekha Rajkumar; Odia by Yesha Goshar, Manish Minz, and Shuchita Grover; Gujarati by Noopur Datye and Supriya Tembe; Kannada by Divya Kowshik and Shuchita Grover; Telugu by Maithili Shingre and Omkar Shende; Malayalam by Maithili Shingre and Unnati Kotecha; and Tamil by Aadarsh Rajan. Baloo Devanagari and Latin are collaboratively designed by Ek Type. Font engineering and type design assistance by Girish Dalvi. To contribute to the project, visit github.com/EkType/Baloo2", + "primary_script": "Telu", + "article": null, + "minisite_url": null + }, + "Baloo Thambi 2": { + "name": "Baloo Thambi 2", + "designer": [ + "Ek Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "tamil", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "A perfect blend of pointy paws in a coat of fur, Baloo is an affable display typeface by Ek Type. Available in nine Indian scripts plus Arabic along with a Latin counterpart, the family is Unicode compliant and libre licensed. Baloo 2 is an extension of the earlier Baloo project. The new Baloo 2 includes additional glyphs, engineering improvements, and has been extended to five weights, ranging from the light footed Regular to the affable ExtraBold. The lighter weights retain Baloo\u2019s characteristic bounce, but they do so slightly, infusing life into each word. This allows the new family to freely fraternise with texts of all sizes and temperaments \u2014 be it short bursts or copious reams, demanding headlines or whispering bylines. Carefree yet confident, sprightly yet versatile, the renewed family of Baloo promises to bring warmth to every project. The Baloo 2 project consists of ten font families with unique local names for each of the nine Indic scripts plus Arabic (Baloo Bhaijaan 2). Each family supports one Indic/Arabic script plus Latin, Latin Extended, and Vietnamese. It took a team of committed type designers to rear Baloo and raise it to be the typeface we love. The Gurmukhi is designed by Shuchita Grover; Bangla by Noopur Datye and Sulekha Rajkumar; Odia by Yesha Goshar, Manish Minz, and Shuchita Grover; Gujarati by Noopur Datye and Supriya Tembe; Kannada by Divya Kowshik and Shuchita Grover; Telugu by Maithili Shingre and Omkar Shende; Malayalam by Maithili Shingre and Unnati Kotecha; and Tamil by Aadarsh Rajan. Baloo Devanagari and Latin are collaboratively designed by Ek Type. Font engineering and type design assistance by Girish Dalvi. To contribute to the project, visit github.com/EkType/Baloo2", + "primary_script": "Taml", + "article": null, + "minisite_url": null + }, + "Balsamiq Sans": { + "name": "Balsamiq Sans", + "designer": [ + "Michael Angeles" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Balsamiq Sans is the handwritten font created for the Balsamiq Wireframes and has been in use since version 2.1. The font contains 942 glyphs in 2 weights with italics/obliques, and includes the basic and extended latin character set, Cyrillic, Basic Symbols and Dingbats, Math and Technical Symbols, and punctuation To contribute, see github.com/balsamiq/balsamiqsans", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Balthazar": { + "name": "Balthazar", + "designer": [ + "Dario Manuel Muhafara" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Balthazar is a contemporary \"Copperplate Gothic like\" serif typeface inspired by the kind of typefaces used by many bistros and cafes in New York City and Paris. Unusually this type includes lowercase letters. The high x-height gives the text a compact look, true to the original Cooperplate Gothic design. The general form is less condensed. It has diagonal stress, and a soft variation in contrast to improve legibility. It is bolder than normal for better rasterization on screen. The typeface works smoothly at text sizes with its delicate serifs, which gives a crisp effect on the screen. At larger sizes it shows a strong personality with the combination of serif details and the modulation of its strokes. It is useful for both short text and headlines, but it is also comfortable for reading on screen. Designed by Dario Muhafara for tipo foundry.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Bangers": { + "name": "Bangers", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Bangers is a comicbook style font which packs a punch! It was designed in the style of mid-20th century superhero comics cover lettering in mind. To contribute, see github.com/googlefonts/bangers.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Barlow": { + "name": "Barlow", + "designer": [ + "Jeremy Tribby" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Barlow is a slightly rounded, low-contrast, grotesk type family. Drawing from the visual style of the California public, Barlow shares qualities with the state's car plates, highway signs, busses, and trains. This is the Normal family, which is part of the superfamily along with Semi Condensed and Condensed, each with 9 weights in Roman and Italic. The Barlow project is led by Jeremy Tribby, a designer based in San Francisco, USA. To contribute, see github.com/jpt/barlow", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Barlow Condensed": { + "name": "Barlow Condensed", + "designer": [ + "Jeremy Tribby" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Barlow is a slightly rounded, low-contrast, grotesk type family. Drawing from the visual style of the California public, Barlow shares qualities with the state's car plates, highway signs, busses, and trains. This is the Condensed family, which is part of the superfamily along with Normal and Semi Condensed, each with 9 weights in Roman and Italic. The Barlow project is led by Jeremy Tribby, a designer based in San Francisco, USA. To contribute, see github.com/jpt/barlow", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Barlow Semi Condensed": { + "name": "Barlow Semi Condensed", + "designer": [ + "Jeremy Tribby" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Barlow is a slightly rounded, low-contrast, grotesk type family. Drawing from the visual style of the California public, Barlow shares qualities with the state's car plates, highway signs, busses, and trains. This is the Semi Condensed family, which is part of the superfamily along with Condensed, and Normal, each with 9 weights in Roman and Italic. The Barlow project is led by Jeremy Tribby, a designer based in San Francisco, USA. To contribute, see github.com/jpt/barlow", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Barriecito": { + "name": "Barriecito", + "designer": [ + "Omnibus-Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Barriecito is an evolution of the Barrio project, adding lowercase. The amateur appearance conveys a friendly and authentic tone which works well for hand crafted products and billboards. It also works well on screens at headline sizes. To contribute, see github.com/Omnibus-Type/Barrio/tree/master/Barriecito", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Barrio": { + "name": "Barrio", + "designer": [ + "Omnibus-Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Barrio is designed to be used on screens, billboards, magazines and promotional material. Its particularly remarkable for its rhythmic contrast and its amateur appearance. These features make it ideal for warm, lively and fun communication. Barrio offers 490 glyphs and diacritics with support for over 103 languages \u200b\u200bLatin (including Guarani.) Designed by Sergio Jim\u00e9nez and Pablo Cosgaya.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Basic": { + "name": "Basic", + "designer": [ + "Magnus Gaarde" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Foundry: Sorkin Type Co Basic is a low contrast san serif text face. Basic mixes familiar forms with a hint of novelty. It is is easy to read and is slightly elegant. Basic can be used from small sizes to larger display settings. Source files are available from github.com/EbenSorkin/Basic. To contribute to the project, contact Eben Sorkin. Updated August 2014: Sorkin Type Co extended the character set and improved the hinting.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Baskervville": { + "name": "Baskervville", + "designer": [ + "ANRT" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Baskervville is a revival of Jacob\u2019s revival of Baskerville\u2019s typeface. It was distributed by the Berger-Levrault Foundry from 1815. The font Jacob produced was sold as a \u201cCaract\u00e8res dans le genre Baskerwille\u201d i.e. \u201cBaskerwille alike fonts\u201d \u2014 with a w instead of a v. The particularity of Jacob\u2019s Baskerwille is that the roman is very close to Baskerville\u2019s typefaces while the italic is closer to Didot\u2019s typefaces. The ANRT workshop that took place for five days aimed to digitize Jacob\u2019s font in order to show his work which moves from transitional to modern styles. The typeface was then developed and engineered by Rosalie Wagner. Baskervville was designed by the ANRT students from 2017 (Alexis Faudot, R\u00e9mi Forte, Morgane Pierson, Rafael Ribas, Tanguy Vanlaeys and Rosalie Wagner), under the direction of Charles Maz\u00e9 and Thomas Huot-Marchand. In 2025, a bold weight designed by Thomas Huot-Marchand was added. Rosalie Wagner fixed some kerning and glyphset issues and improved the font's outlines for a better rendering on screen. To contribute, see github.com/anrt-type/ANRT-Baskervville from Baskerville to Baskerwille to Baskervville In 1779, Sarah Eaves manages to sell Baskerville\u2019s punches and supplies to Pierre-Augustin Caron de Beaumarchais. Beaumarchais places his new printing house \u2014Soci\u00e9t\u00e9 Litt\u00e9raire Typographique\u2014 in Kehl, Germany (6 kilometers away from Strasbourg, France) and gives Jean Fran\u00e7ois Letellier the post of director. Letellier is in charge of supervising the negotiations of the sale and the transfer of the material from Birmingham to Kehl. Given the complexity of this work, Letellier hires a former Baskerville employee, presumably John Handy who had worked with Baskerville for a long time, \u201cto check, inspect, and put right if necessary all the punches used by Baskerville\u201d. But this employee being too old to leave England, Letellier decides to send an employee of Soci\u00e9t\u00e9 Litt\u00e9raire Typographique, named Claude Jacob, to Birmingham to carry out this work. 1784. Soon after his return from Birmingham, Jacob has an argument with his employer (probably Letellier) and leaves Kehl with another employee of the Soci\u00e9t\u00e9 Litt\u00e9raire Typographique, Henri Rolland, to settle in Strasbourg. Together they make a request to the Magistrat of Strasbourg for the creation of a typefoundry, called Soci\u00e9t\u00e9 Typographique de Strasbourg. At this time, there is no other type foundry in Strasbourg. 1784-85. A first type specimen is printed: \u00c9preuves des caract\u00e8res de la soci\u00e9t\u00e9 typographique de Strasbourg; Par Jacob \u00e9l\u00e8ve de Baskerville. It is the first appearance of Jacob\u2019s typeface based on Baskerville\u2019s design, in 3 sizes. Jacob & Rolland are not totally honest here stating that Jacob had been \u201ca pupil of Baskerville\u201d (Jacob went to Birmingham 7 years after the death of Baskerville). 1786. Rolland & Jacob want to diversify their activity, and are given the permission to print, in addition to the engraving activity. Apparently, printing in Strasbourg at the time was not something easy, as 5 other printers were already in business, protecting their territory. Rolland went to Paris to present their typefaces to the King, and they obtained the title of \u201cimprimeur du Roi\u201d in 1789. It was apparently too much for the other printers in Strasbourg, and they started a lawsuit against Rolland & Jacob. 1788-89. Despite these complications, a new type specimen is printed: \u00c9preuves des caract\u00e8res de Rolland et Jacob, \u00e0 Strasbourg, including Jacob\u2019s typeface now available in 6 sizes (Great Primer ou Gros Romain, English ou Saint-Augustin, Small-Pica ou Cicero, Long Primer ou Petit Romain, Parangon Petit oeil, Gros-Texte Petit oeil) all in roman and italic, among a few other typefaces, Vignettes and Filets. In 1789 however, Rolland & Jacob are ending their collaboration after a \u201cdisagreement\u201d. In 1790, one of the five printers of Strasbourg, Fran\u00e7ois-Xavier Levrault, took the opportunity to create a new partnership with Claude Jacob and a lawyer named Michel Thomassin, in order to continue to produce typefaces. A contract signed in January 12th and February 9th 1990 by Thomassin, Jacob, and Nicolas Levrault \u2014the eldest of the Levrault family\u2014 states that the association would last 12 years, that Jacob would work for nobody else but the foundry, and that he would create all kinds of typefaces with a minimum of one font per year. The new punches and matrices would belong to the association, and the association would go by the name of Soci\u00e9t\u00e9 typographique Levrault. The story of the printers Levrault is also a very long one, beginning as early as 1676. In fact, Levrault\u2019s printing activities have now stopped but the group still exists today as Berger- Levrault. They now produce software. Back in 1790, the new Soci\u00e9t\u00e9 typographique operated as an annex of the Levrault printing house. Its publications indicated that the text was typeset \u201cAvec les caract\u00e8res de Jacob\u201d. Jacob had to produce these so-called \u201ccaract\u00e8res de Jacob\u201d on behalf of Levrault, but also to be sold to other printers in Strasbourg, in Alsace, in Lorraine, in Avignon, but also in Belgium, Switzerland and Germany. Levrault might have shut down the Soci\u00e9t\u00e9 typographique between 1795 and 1800, and definitively integrated the type foundry to his printing facility. 1800. A new type specimen is printed: \u00c9preuves des caract\u00e8res de la fonderie des Fr\u00e8res Levrault, in Strasbourg, and showing the \u201cCaract\u00e8res dans le genre de Baskerwille\u201d. Jacob must have stopped working for Levrault earlier than in 1802 \u2014he signed a 12-years contract in 1790\u2014, as his name disappears. But the original source of his typeface, Baskerville, finally reappears, although spelled with a w instead of a v. We lose track of Claude Jacob at this point, but his design is preserved by Levrault. 1815. The last known specimen printed by Levrault, \u00c9preuves de la fonderie de Fran\u00e7ois Georges Levrault, \u00e0 Strasbourg, 1815 is still selling Jacob\u2019s \u201cCaract\u00e8res dans le genre de Baskerwille\u201d. In 1871, after the end of the Franco-Prussian War, Strasbourg is part of Imperial Germany and the Levrault decide to move to Nancy. Five years later, in 1876, a fire destroys the printing facility, and they have to build a new one from scratch. But despite all these difficulties, Jacob\u2019s typeface survived and one finally finds it again in 1878, in a publication telling the long story of the Levrault, entitled Notice historique de l\u2019Imprimerie Berger-Levrault & Cie, typesetted in \u201ccaract\u00e8res genre Baskerwille (propri\u00e9t\u00e9 de la Maison)\u201d, as mentioned in the imprint. Font specimen from the foundry Fran\u00e7ois Georges Levrault, Strasbourg, France, 1815.", + "minisite_url": null + }, + "Baskervville SC": { + "name": "Baskervville SC", + "designer": [ + "ANRT" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Baskervville is a revival of Jacob\u2019s revival of Baskerville\u2019s typeface. It was distributed by the Berger-Levrault Foundry from 1815. The font Jacob produced was sold as a \u201cCaract\u00e8res dans le genre Baskerwille\u201d i.e \u201cBaskerwille alike fonts\u201d \u2014 with a w instead of a v. The particularity of Jacob\u2019s Baskerwille is that the roman is very close to Baskerville\u2019s typefaces while the italic is closer to Didot\u2019s typefaces. The ANRT workshop that took place for five days aimed to digitize Jacob\u2019s font in order to show his work which moves from transitional to modern styles. The typeface was then developped and engineered by Rosalie Wagner. Baskervville was designed by the ANRT students from 2017 (Alexis Faudot, R\u00e9mi Forte, Morgane Pierson, Rafael Ribas, TanguyVanlaeys and Rosalie Wagner), under the direction of Charles Maz\u00e9 and Thomas Huot-Marchand. In 2025, a bold weight designed by Thomas Huot-Marchand was added. Rosalie Wagner fixed some kerning and glyphset issues and improved the font's outlines for a better rendering on screen. To contribute, see github.com/anrt-type/ANRT-Baskervville from Baskerville to Baskerwille to Baskervville In 1779, Sarah Eaves manages to sell Baskerville\u2019s punches and supplies to Pierre-Augustin Caron de Beaumarchais. Beaumarchais places his new printing house \u2014Soci\u00e9t\u00e9 Litt\u00e9raire Typographique\u2014 in Kehl, Germany (6 kilometers away from Strasbourg, France) and gives Jean Fran\u00e7ois Letellier the post of director. Letellier is in charge of supervising the negotiations of the sale and the transfer of the material from Birmingham to Kehl. Given the complexity of this work, Letellier hires a former Baskerville employee, presumably John Handy who had work with Baskerville for a long time, \u201cto check, inspect, and put right if necessary all the punches used by Baskerville\u201d. But this employee being too old to leave England, Letellier decides to send an employee of Soci\u00e9t\u00e9 Litt\u00e9raire Typographique, named Claude Jacob, to Birmingham to carry out this work. 1784. Soon after his return from Birmingham, Jacob has an argument with his employer (probably Letellier) and leaves Kehl with another employee of the Soci\u00e9t\u00e9 Litt\u00e9raire Typographique, Henri Rolland, to settle in Strasbourg. Together they make a request to the Magistrat of Strasbourg for the creation of a typefoundry, called Soci\u00e9t\u00e9 Typographique de Strasbourg. At this time, there is no other type foundry in Strasbourg. 1784-85. A first type specimen is printed: \u00c9preuves des caracteres de la soci\u00e9t\u00e9 typographique de Strasbourg; Par Jacob \u00e9l\u00e8ve de Baskerville. It is the first appearance of Jacob\u2019s typeface based on Baskerville\u2019s design, in 3 sizes. Jacob & Rolland are not totally honest here stating that Jacob had been \u201ca pupil of Baskerville\u201d (Jacob went to Birmingham 7 years after the death of Baskerville). 1786. Rolland & Jacob want to diversify their activity, and are given the permission to print, in addition to the engraving activity. Apparently, printing in Strasbourg at the time was not something easy, as 5 other printers were already in business, protecting their territory. Rolland went to Paris to present their typefaces to the King, and they obtained the title of \u201cimprimeur du Roi\u201d in 1789. It was apparently too much for the other printers in Strasbourg, and they started a lawsuit against Rolland & Jacob. 1788-89. Despite these complications, a new type specimen is printed: \u00c9preuves des caract\u00e8res de Rolland et Jacob, \u00e0 Strasbourg, including Jacob\u2019s typeface now available in 6 sizes (Great Primer ou Gros Romain, English ou Saint-Augustin, Small-Pica ou Cicero, Long Primer ou Petit Romain, Parangon Petit oeil, Gros-Texte Petit oeil) all in roman and italic, among a few other typefaces, Vignettes and Filets. In 1789 however, Rolland & Jacob are ending their collaboration after a \u201cdisagreement\u201d. In 1790, one of the five printers of Strasbourg, Fran\u00e7ois-Xavier Levrault, took the opportunity to create a new partnership with Claude Jacob and a lawyer named Michel Thomassin, in order to continue to produce typefaces. A contract signed in January 12th and February 9th 1990 by Thomassin, Jacob, and Nicolas Levrault \u2014the eldest of the Levrault family\u2014 states that the association would last 12 years, that Jacob would work for nobody else but the foundry, and that he would create all kind of typefaces with a minimum of one font per year. The new punches and matrices would belong to the association, and the association would go by the name of Soci\u00e9t\u00e9 typographique Levrault. The story of the printers Levrault is also a very long one, beginning as early as 1676. In fact, Levrault\u2019s printing activities have now stopped but the group still exists today as Berger- Levrault. They now produce softwares. Back in 1790, the new Soci\u00e9t\u00e9 typographique operated as an annex of the Levrault printing house. Its publications indicated that the text was typesetted \u201cAvec les caract\u00e8res de Jacob\u201d. Jacob had to produce these so-called \u201ccaract\u00e8res de Jacob\u201d on behalf of Levrault, but also to be sold to other printers in Strasbourg, in Alsace, in Lorraine, in Avignon, but also in Belgium, Switzerland and Germany. Levrault might have shut down the Soci\u00e9t\u00e9 typographique between 1795 and 1800, and definitively integrated the type foundry to his printing facility. 1800. A new type specimen is printed: \u00c9preuves des caract\u00e8res de la fonderie des Fr\u00e8res Levrault, in Strasbourg, and showing the \u201cCaract\u00e8res dans le genre de Baskerwille\u201d. Jacob must have stopped working for Levrault earlier than in 1802 \u2014he signed a 12-years contract in 1790\u2014, as his name disappears. But the original source of his typeface, Baskerville, finally reappears, although spelled with a w instead of a v. We lose track of Claude Jacob at this point, but his design is preserved by Levrault. 1815. The last known specimen printed by Levrault, \u00c9preuves de la fonderie de Fran\u00e7ois Georges Levrault, \u00e0 Strasbourg, 1815 is still selling Jacob\u2019s \u201cCaract\u00e8res dans le genre de Baskerwille\u201d. In 1871, after the end of the Franco-Prussian War, Strasbourg is part of Imperial Germany and the Levrault decide to move to Nancy. Five years later, in 1876, a fire destroys the printing facility, and they have to build a new one from scratch. But despite all these difficulties, Jacob\u2019s typeface survived and one finally finds it again in 1878, in a publication telling the long story of the Levrault, entitled Notice historique de l\u2019Imprimerie Berger-Levrault & Cie, typesetted in \u201ccaract\u00e8res genre Baskerwille (propri\u00e9t\u00e9 de la Maison)\u201d, as mentioned in the imprint. \u201c\u00c9preuves des caract\u00e8res de la fonderie des fr\u00e8res Levrault\u201d (font speciment from the foundry Fr\u00e8res Levrault), Strasbourg, France, 1815.", + "minisite_url": null + }, + "Batang": { + "name": "Batang", + "designer": [ + "HanYang I&C Co." + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "greek", + "korean", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Batang is a well-known myeongjo(brush)-style font that first shipped with Windows 95. It was designed for optimal readability and clarity for long-form text use. This version includes proportional Latin characters. For a version with monospace, half-width Latin characters, see BatangChe. To contribute to this project, please visit github.com/googlefonts/batang.", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "BatangChe": { + "name": "BatangChe", + "designer": [ + "HanYang I&C Co." + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "greek", + "korean", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "BatangChe is a well-known myeongjo(brush)-style font that first shipped with Windows 95. It was designed for optimal readability and clarity for long-form text use. This version includes monospace, half-width Latin characters. For a version with proportional Latin characters, see Batang. To contribute to this project, please visit github.com/googlefonts/batang.", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "Battambang": { + "name": "Battambang", + "designer": [ + "Danh Hong" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "khmer", + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Battambang is a Khmer font for body text. The shape is similar to the Battambang legacy font released in the 1990s. To contribute, see github.com/danhhong/Battambang.", + "primary_script": "Khmr", + "article": null, + "minisite_url": null + }, + "Baumans": { + "name": "Baumans", + "designer": [ + "Cyreal" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Baumans is a geometric typeface for headlines. Its letterforms are inspired by Bauhaus typefaces and preconstructivist forms. The concept of the typeface fits with Moholy-Nagy's typography statement that type must be clear, legible, and communicate its message. The main distinctive features are the sharp corners in MVW, curved Z and unicase-like N. Contrast is monolinear and proportions are balanced. Baumans is suitable for medium to large sizes and optimized for screen. Designed by Henadij Zarechnjuk.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Bayon": { + "name": "Bayon", + "designer": [ + "Danh Hong" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "khmer", + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Bayon is a Khmer font for headlines, titles and subtitles, and even banner designs. To contribute, see github.com/danhhong/Bayon.", + "primary_script": "Khmr", + "article": null, + "minisite_url": null + }, + "Be Vietnam": { + "name": "Be Vietnam", + "designer": [ + "Gabriel Lam", + "Tony Le", + "Vietanh Nguyen", + "beGroup Vietnam" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Be Vietnam is a Neo Grotesk which is well suited to tech companies and startups. It has been designed by the internal design team at beGroup Vietnam with Gabriel Lam as the principal designer, Tony Le as the project manager and Vietanh Nguyen from uxlagi.com as the design engineer. It has seven weights with matching italics. Being made by native Vietnamese designers, this typeface promises smooth reading experience in Vietnamese with carefully designed diacritics. Contribute at github.com/bettergui/BeVietnam", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Be Vietnam Pro": { + "name": "Be Vietnam Pro", + "designer": [ + "L\u00e2m B\u1ea3o", + "Tony Le", + "Vi\u1ec7tAnh Nguy\u1ec5n" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Be Vietnam Pro is a Neo Grotesk which is well suited to tech companies and startups. We have refined Vietnamese letterforms with diacritics adaptive forms and engineered them for the best readability. To contribute, see github.com/bettergui/BeVietnamPro.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Beau Rivage": { + "name": "Beau Rivage", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Beau Rivage is a classic calligraphic with strong contrast between thick and thin strokes. Perfect for invitations and posh events. Utilize the stylistic sets which contain ornamental caps and more flourished lower case forms. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/beau-rivage.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Bebas Neue": { + "name": "Bebas Neue", + "designer": [ + "Ryoichi Tsunekawa" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Bebas Neue is a display family suitable for headlines, captions, and packaging, designed by Ryoichi Tsunekawa. It's based on the original Bebas typeface. The family is suitable for pro users due to its extended character set and OpenType features. To contribute, see https://github.com/dharmatype/Bebas-Neue. http://bebasneue.com", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Beiruti": { + "name": "Beiruti", + "designer": [ + "Boutros Fonts", + "Arlette Boutros", + "Volker Schnebel" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "arabic", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Beiruti is a distinctive modern Arabic typeface, available as a variable font with a weight axis with unlimited styles from Thin to Black. The design was created by Boutros to offer a modern geometric style while still respecting the rules of Arabic calligraphy. The fluid geometry makes it the perfect choice to use in both print and web applications, and alongside its harmonized and built-in Latin typeface companion. The Arabic is designed by Arlette Boutros, while the Latin is designed by Volker Schnebel. To contribute, please see github.com/googlefonts/beiruti.", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Belanosima": { + "name": "Belanosima", + "designer": [ + "The DocRepair Project", + "Santiago Orozco" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Belanosima is a DocRepair font, intended to improve compliance with the ISO/IEC 29500 standard by providing fallback for Berlin Sans FB that minimizes text reflow in Office Open XML documents. Belanosima is based on Josefin Sans, a geometric, elegant family with a vintage feeling, for use at larger sizes. Josefin Sans is inspired by geometric sans serif designs from the 1920s. To contribute, please visit github.com/docrepair-fonts/belanosima-fonts.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Belgrano": { + "name": "Belgrano", + "designer": [ + "LatinoType" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Belgrano is a slab serif type designed initially for printed newspapers. It has been adapted for use on the web, with coarse terminals and larger counterforms that mean it works well in very small sizes.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Bellefair": { + "name": "Bellefair", + "designer": [ + "Nick Shinn", + "Liron Lavi Turkenic" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "hebrew", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Bellefair started life as a Latin typeface designed by Nick Shinn. Then a Hebrew typeface was designed as part of the project by Liron Lavi Turkenich, to be a good match in terms of style, weight and overall color.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Belleza": { + "name": "Belleza", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Belleza is a humanist sans serif typeface inspired by the world of fashion. With classic proportions, high contrast in its strokes and special counters, it provides a fresh look that reminds readers of elegant models and feminine beauty. Belleza is a Unicode typeface family that supports languages that use the Latin script and its variants, and could be expanded to support other scripts. The last release in June 2022, offers an major language support update. To contribute, see github.com/etunni/belleza.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Bellota": { + "name": "Bellota", + "designer": [ + "Kemie Guaida" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Bellota is an ornamented, low contrast sans-serif with text and swash alternates. It\u2019s just cute enough! It comes in two variations: Normal and Text. Each of these comes in three weights (Light/Regular/Bold) and Italics. There are stylistic alternates (for swash and non-ornamented characters) and ligatures available through OpenType features. Stylistic Set 1: Text, Stylistic Set 2: Swash caps. To contribute to the project, please go to github.com/kemie/Bellota-Font.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Bellota Text": { + "name": "Bellota Text", + "designer": [ + "Kemie Guaida" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Bellota is an ornamented, low contrast sans-serif with text and swash alternates. It\u2019s just cute enough! It comes in two variations: Normal and Text. Each of these comes in three weights (Light/Regular/Bold) and Italics. There are stylistic alternates (for swash and non-ornamented characters) and ligatures available through OpenType features. Stylistic Set 1: Text, Stylistic Set 2: Swash caps. To contribute to the project, please go to github.com/kemie/Bellota-Font.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "BenchNine": { + "name": "BenchNine", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "The design of BenchNine is loosely based on the look of the ink spreads and bleeds characteristic of traditional or vernacular woodcut type. The design takes a mash-up of a number of old Stephenson Blake designs and rounds the corners a little. In theory the face should work well for headlines that want to stand out just a little from the crowd.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Benne": { + "name": "Benne", + "designer": [ + "John Harrington" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "kannada", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Benne is a Kannada text font developed by John Harrington. The style and weights are designed to harmonise with EB Garamond, originally designed by Georg Duffner. To contribute, see github.com/googlefonts/Benne.", + "primary_script": "Knda", + "article": null, + "minisite_url": null + }, + "Bentham": { + "name": "Bentham", + "designer": [ + "Ben Weiner" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Bentham is inspired by the lettering of nineteenth-century maps, gravestones and the maker\u2019s plates of cast-iron machinery. It is characterized by expressive, flowing, and bulging curves, mannered awkwardness, and the bobbles on the terminals of its characters. The \u2018modern face\u2019 type genre is the typographical equivalent, and it can be found in books printed throughout the nineteenth century. This genre survived in educational textbooks produced throughout the twentieth century, and is preserved in computer science as the style which Donald Knuth adopted for his TEX typesetting system. Bentham is a half-way design; true neither to the type produced during the nineteenth century, nor to the letterforms of cartographers, stonecutters, or engravers. Really it is an examination of the characteristics that these letters share, colored by Ben's approach to type drawing.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Berkshire Swash": { + "name": "Berkshire Swash", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Berkshire Swash is an alluring semi-sweet typestyle with a bold yet feminine flair to it. Designed by Astigmatic (AOETI). To contribute to the project contact Brian J. Bonislawsky.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Besley": { + "name": "Besley", + "designer": [ + "Owen Earl" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SLAB_SERIF", + "classifications": [], + "description": "Besley is a antique slab serif inspired by Robert Besley's Clarendon. It features a full range of weights and matching italics, making it subtle for a variety of uses. A slight rounding of the corners gives a subtle warmth, and OpenType features such as ligatures and contextual substitutions perfect the finer details. It was made with love and will continue to improve with your support. The Besley project is designed by Owen Earl (indestructible type*). To contribute, see https://github.com/indestructible-type/Besley", + "primary_script": null, + "article": null, + "minisite_url": "https://indestructibletype.com/Besley.html" + }, + "Beth Ellen": { + "name": "Beth Ellen", + "designer": [ + "Rob Jelinski", + "Alyson Fraser Diaz" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Beth Ellen\u2122 font is a joyful handwritten font created by Rob Jelinski (Art Direction & Design) and Alyson Fraser Diaz (Typography & Functionality) in 2018. The typeface was crafted after the penmanship of Rob's mom, Beth Ellen Jelinski who passed away from cancer on March 5th, 2017. Upon it's formal release Jelinski stated, \u201cThe purpose of this typeface is to give, so it is totally free to use for personal or commercial projects under the SIL Open Font License. My single request is that you help the legacy of Beth Ellen live on by sending a short note to someone you love each time the font is used. Tell them you love them, encourage them to be their best, or send them a scripture. This is the way Beth Ellen lived her life, writing notes to share love and faith.\u201d To contribute, see github.com/googlefonts/BethEllen", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Bevan": { + "name": "Bevan", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SLAB_SERIF", + "classifications": [ + "display" + ], + "description": "Bevan is a reworking of a traditional slab serif display typeface created by Heinrich Jost in the 1930s. In Bevan, Jost's earlier letter forms have been digitised and then reshaped for use as a webfont, the counters have been opened up a little and the stems optimised for use as bold display font in modern web browsers. Upgrade December 2021: an Italic style was added during the Summer of Type Program 2016, thanks to the contribution of Kalapi Gajjar-Bordawekar and Jacques Le Bailly. To contribute, see github.com/googlefonts/BevanFont.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Bhavuka": { + "name": "Bhavuka", + "designer": [ + "Multiple Designers" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Bhavuka is a playful Latin and Devanagari typeface. It started life as Snippet, by Gesine Todt. The Bhavuka project is led by Matt Heximer, a type designer based in Vancouver. To contribute, see github.com/10four/Bhavuka", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "BhuTuka Expanded One": { + "name": "BhuTuka Expanded One", + "designer": [ + "Erin McLaughlin" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "gurmukhi", + "latin", + "latin-ext" + ], + "stroke": "SLAB_SERIF", + "classifications": [ + "display" + ], + "description": "BhuTuka Expanded One is a Gurmukhi companion to Aoife Mooney\u2019s BioRhyme Expanded Light typeface. To contribute, see github.com/erinmclaughlin/BhuTuka-Extended-One.", + "primary_script": "Guru", + "article": null, + "minisite_url": null + }, + "Big Shoulders": { + "name": "Big Shoulders", + "designer": [ + "Patric King" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Big Shoulders is a superfamily of condensed American Gothic variable fonts, created for the Chicago Design System, and the citizens of Chicago. The family's tall, sans-serif forms are based in Chicago's multiple histories in railway transport, public political action, and dance. Big Shoulders is used in the Chicago Design System as the primary typeface to identify Chicago and its citizens allowing the Chicagoans to speak with one consistent typographic voice. Big Shoulders Stencil explores Chicago's histories in work and protest, and is designed to apply the Chicagoan voice to those uses. Big Shoulders Inline formalizes a local typographic vernacular for celebration, taking its hypnotic inline design from Black Chicagoans' House parties, and local LGBTQ dance events, a tradition beginning in the early 1980s. To contribute, see github.com/xotypeco/big_shoulders.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Big Shoulders Display": { + "name": "Big Shoulders Display", + "designer": [ + "Patric King" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Big Shoulders is a superfamily of condensed American Gothic variable fonts, created for the Chicago Design System, and the citizens of Chicago. The family's tall, sans-serif forms are based in Chicago's multiple histories in railway transport, public political action, and dance. Big Shoulders is used in the Chicago Design System as the primary typeface to identify Chicago and its citizens allowing the Chicagoans to speak with one consistent typographic voice. Big Shoulders Stencil explores Chicago's histories in work and protest, and is designed to apply the Chicagoan voice to those uses. Big Shoulders Inline formalizes a local typographic vernacular for celebration, taking its hypnotic inline design from Chicago House parties, and local LGBTQ dance events, a tradition beginning in the early 1980s. To contribute, see github.com/xotypeco/big_shoulders.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Big Shoulders Display SC": { + "name": "Big Shoulders Display SC", + "designer": [ + "Patric King" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Big Shoulders is a superfamily of condensed American Gothic variable fonts, created for the Chicago Design System, and the citizens of Chicago. The family's tall, sans-serif forms are based in Chicago's multiple histories in railway transport, public political action, and dance. Big Shoulders is used in the Chicago Design System as the primary typeface to identify Chicago and its citizens allowing the Chicagoans to speak with one consistent typographic voice. Big Shoulders Stencil explores Chicago's histories in work and protest, and is designed to apply the Chicagoan voice to those uses. Big Shoulders Inline formalizes a local typographic vernacular for celebration, taking its hypnotic inline design from Black Chicagoans' House parties, and local LGBTQ dance events, a tradition beginning in the early 1980s. Big Shoulders Display SC is the Small Caps version of Big Shoulders Display. To contribute, see github.com/xotypeco/big_shoulders .", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Big Shoulders Inline": { + "name": "Big Shoulders Inline", + "designer": [ + "Patric King" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Big Shoulders is a superfamily of condensed American Gothic variable fonts, created for the Chicago Design System, and the citizens of Chicago. The family's tall, sans-serif forms are based in Chicago's multiple histories in railway transport, public political action, and dance. Big Shoulders is used in the Chicago Design System as the primary typeface to identify Chicago and its citizens allowing the Chicagoans to speak with one consistent typographic voice. Big Shoulders Stencil explores Chicago's histories in work and protest, and is designed to apply the Chicagoan voice to those uses. Big Shoulders Inline formalizes a local typographic vernacular for celebration, taking its hypnotic inline design from Black Chicagoans' House parties, and local LGBTQ dance events, a tradition beginning in the early 1980s. To contribute, see github.com/xotypeco/big_shoulders.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Big Shoulders Inline Display": { + "name": "Big Shoulders Inline Display", + "designer": [ + "Patric King" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Big Shoulders is a superfamily of condensed American Gothic variable fonts, created for the Chicago Design System, and the citizens of Chicago. The family's tall, sans-serif forms are based in Chicago's multiple histories in railway transport, public political action, and dance. Big Shoulders is used in the Chicago Design System as the primary typeface to identify Chicago and its citizens allowing the Chicagoans to speak with one consistent typographic voice. Big Shoulders Stencil explores Chicago's histories in work and protest, and is designed to apply the Chicagoan voice to those uses. Big Shoulders Inline formalizes a local typographic vernacular for celebration, taking its hypnotic inline design from Chicago House parties, and local LGBTQ dance events, a tradition beginning in the early 1980s. To contribute, see github.com/xotypeco/big_shoulders.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Big Shoulders Inline Display SC": { + "name": "Big Shoulders Inline Display SC", + "designer": [ + "Patric King" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Big Shoulders is a superfamily of condensed American Gothic variable fonts, created for the Chicago Design System, and the citizens of Chicago. The family's tall, sans-serif forms are based in Chicago's multiple histories in railway transport, public political action, and dance. Big Shoulders is used in the Chicago Design System as the primary typeface to identify Chicago and its citizens allowing the Chicagoans to speak with one consistent typographic voice. Big Shoulders Stencil explores Chicago's histories in work and protest, and is designed to apply the Chicagoan voice to those uses. Big Shoulders Inline formalizes a local typographic vernacular for celebration, taking its hypnotic inline design from Black Chicagoans' House parties, and local LGBTQ dance events, a tradition beginning in the early 1980s. This is the Small Cap sibling family to the main Big Shoulders Inline Display family. To contribute, see github.com/xotypeco/big_shoulders .", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Big Shoulders Inline Text": { + "name": "Big Shoulders Inline Text", + "designer": [ + "Patric King" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Big Shoulders is a superfamily of condensed American Gothic variable fonts, created for the Chicago Design System, and the citizens of Chicago. The family's tall, sans-serif forms are based in Chicago's multiple histories in railway transport, public political action, and dance. Big Shoulders is used in the Chicago Design System as the primary typeface to identify Chicago and its citizens allowing the Chicagoans to speak with one consistent typographic voice. Big Shoulders Stencil explores Chicago's histories in work and protest, and is designed to apply the Chicagoan voice to those uses. Big Shoulders Inline formalizes a local typographic vernacular for celebration, taking its hypnotic inline design from Chicago House parties, and local LGBTQ dance events, a tradition beginning in the early 1980s. To contribute, see github.com/xotypeco/big_shoulders.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Big Shoulders Inline Text SC": { + "name": "Big Shoulders Inline Text SC", + "designer": [ + "Patric King" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Big Shoulders is a superfamily of condensed American Gothic variable fonts, created for the Chicago Design System, and the citizens of Chicago. The family's tall, sans-serif forms are based in Chicago's multiple histories in railway transport, public political action, and dance. Big Shoulders is used in the Chicago Design System as the primary typeface to identify Chicago and its citizens allowing the Chicagoans to speak with one consistent typographic voice. Big Shoulders Stencil explores Chicago's histories in work and protest, and is designed to apply the Chicagoan voice to those uses. Big Shoulders Inline formalizes a local typographic vernacular for celebration, taking its hypnotic inline design from Black Chicagoans' House parties, and local LGBTQ dance events, a tradition beginning in the early 1980s. This is the Small Cap sibling family to the main Big Shoulders Inline Text family. To contribute, see github.com/xotypeco/big_shoulders .", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Big Shoulders Stencil": { + "name": "Big Shoulders Stencil", + "designer": [ + "Patric King" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Big Shoulders is a superfamily of condensed American Gothic variable fonts, created for the Chicago Design System, and the citizens of Chicago. The family's tall, sans-serif forms are based in Chicago's multiple histories in railway transport, public political action, and dance. Big Shoulders is used in the Chicago Design System as the primary typeface to identify Chicago and its citizens allowing the Chicagoans to speak with one consistent typographic voice. Big Shoulders Stencil explores Chicago's histories in work and protest, and is designed to apply the Chicagoan voice to those uses. Big Shoulders Inline formalizes a local typographic vernacular for celebration, taking its hypnotic inline design from Black Chicagoans' House parties, and local LGBTQ dance events, a tradition beginning in the early 1980s. To contribute, see github.com/xotypeco/big_shoulders.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Big Shoulders Stencil Display": { + "name": "Big Shoulders Stencil Display", + "designer": [ + "Patric King" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Big Shoulders is a superfamily of condensed American Gothic variable fonts, created for the Chicago Design System, and the citizens of Chicago. The family's tall, sans-serif forms are based in Chicago's multiple histories in railway transport, public political action, and dance. Big Shoulders is used in the Chicago Design System as the primary typeface to identify Chicago and its citizens allowing the Chicagoans to speak with one consistent typographic voice. Big Shoulders Stencil explores Chicago's histories in work and protest, and is designed to apply the Chicagoan voice to those uses. Big Shoulders Inline formalizes a local typographic vernacular for celebration, taking its hypnotic inline design from Chicago House parties, and local LGBTQ dance events, a tradition beginning in the early 1980s. To contribute, see github.com/xotypeco/big_shoulders.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Big Shoulders Stencil Display SC": { + "name": "Big Shoulders Stencil Display SC", + "designer": [ + "Patric King" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Big Shoulders is a superfamily of condensed American Gothic variable fonts, created for the Chicago Design System, and the citizens of Chicago. The family's tall, sans-serif forms are based in Chicago's multiple histories in railway transport, public political action, and dance. Big Shoulders is used in the Chicago Design System as the primary typeface to identify Chicago and its citizens allowing the Chicagoans to speak with one consistent typographic voice. Big Shoulders Stencil explores Chicago's histories in work and protest, and is designed to apply the Chicagoan voice to those uses. Big Shoulders Inline formalizes a local typographic vernacular for celebration, taking its hypnotic inline design from Black Chicagoans' House parties, and local LGBTQ dance events, a tradition beginning in the early 1980s. This is the Small Cap sibling family to the main Big Shoulders Stencil Display family. To contribute, see github.com/xotypeco/big_shoulders .", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Big Shoulders Stencil Text": { + "name": "Big Shoulders Stencil Text", + "designer": [ + "Patric King" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Big Shoulders is a superfamily of condensed American Gothic variable fonts, created for the Chicago Design System, and the citizens of Chicago. The family's tall, sans-serif forms are based in Chicago's multiple histories in railway transport, public political action, and dance. Big Shoulders is used in the Chicago Design System as the primary typeface to identify Chicago and its citizens allowing the Chicagoans to speak with one consistent typographic voice. Big Shoulders Stencil explores Chicago's histories in work and protest, and is designed to apply the Chicagoan voice to those uses. Big Shoulders Inline formalizes a local typographic vernacular for celebration, taking its hypnotic inline design from Chicago House parties, and local LGBTQ dance events, a tradition beginning in the early 1980s. To contribute, see github.com/xotypeco/big_shoulders.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Big Shoulders Stencil Text SC": { + "name": "Big Shoulders Stencil Text SC", + "designer": [ + "Patric King" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Big Shoulders is a superfamily of condensed American Gothic variable fonts, created for the Chicago Design System, and the citizens of Chicago. The family's tall, sans-serif forms are based in Chicago's multiple histories in railway transport, public political action, and dance. Big Shoulders is used in the Chicago Design System as the primary typeface to identify Chicago and its citizens allowing the Chicagoans to speak with one consistent typographic voice. Big Shoulders Stencil explores Chicago's histories in work and protest, and is designed to apply the Chicagoan voice to those uses. Big Shoulders Inline formalizes a local typographic vernacular for celebration, taking its hypnotic inline design from Black Chicagoans' House parties, and local LGBTQ dance events, a tradition beginning in the early 1980s. This is the Small Cap sibling family to the main Big Shoulders Stencil Text family. To contribute, see github.com/xotypeco/big_shoulders .", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Big Shoulders Text": { + "name": "Big Shoulders Text", + "designer": [ + "Patric King" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Big Shoulders is a superfamily of condensed American Gothic variable fonts, created for the Chicago Design System, and the citizens of Chicago. The family's tall, sans-serif forms are based in Chicago's multiple histories in railway transport, public political action, and dance. Big Shoulders is used in the Chicago Design System as the primary typeface to identify Chicago and its citizens allowing the Chicagoans to speak with one consistent typographic voice. Big Shoulders Stencil explores Chicago's histories in work and protest, and is designed to apply the Chicagoan voice to those uses. Big Shoulders Inline formalizes a local typographic vernacular for celebration, taking its hypnotic inline design from Chicago House parties, and local LGBTQ dance events, a tradition beginning in the early 1980s. To contribute, see github.com/xotypeco/big_shoulders.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Big Shoulders Text SC": { + "name": "Big Shoulders Text SC", + "designer": [ + "Patric King" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Big Shoulders is a superfamily of condensed American Gothic variable fonts, created for the Chicago Design System, and the citizens of Chicago. The family's tall, sans-serif forms are based in Chicago's multiple histories in railway transport, public political action, and dance. Big Shoulders is used in the Chicago Design System as the primary typeface to identify Chicago and its citizens allowing the Chicagoans to speak with one consistent typographic voice. Big Shoulders Stencil explores Chicago's histories in work and protest, and is designed to apply the Chicagoan voice to those uses. Big Shoulders Inline formalizes a local typographic vernacular for celebration, taking its hypnotic inline design from Black Chicagoans' House parties, and local LGBTQ dance events, a tradition beginning in the early 1980s. This is the Small Cap sibling family to the main Big Shoulders Text family. To contribute, see github.com/xotypeco/big_shoulders .", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Bigelow Rules": { + "name": "Bigelow Rules", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "The Bigelow Rules typeface is an odd hybrid from numerous inspirations. Imagine Times Roman feels the squeeze, marries a Didone, and gives birth to something with retro appeal and bounce with some eclectic glyph oddities thrown in for spunk. That is Bigelow Rules. To contribute to the project contact Brian J. Bonislawsky.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Bigshot One": { + "name": "Bigshot One", + "designer": [ + "Gesine Todt" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Bigshot One is a contemporary Didone. The design plays within its systematic features and likes to be cheeky. Bigshot One also likes to show-off and prefers big display sizes.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Bilbo": { + "name": "Bilbo", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Bilbo is a very legible calligraphic style that has a masculine feel. It can be used for more than just display. Use Bilbo in body copy that requires added warmth to a message. Bilbo comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/bilbo.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Bilbo Swash Caps": { + "name": "Bilbo Swash Caps", + "designer": [ + "TypeSETit" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Bilbo Swash Caps is a sister family to the normal Bilbo. It is very legible calligraphic style that has a masculine feel. This family is ideal for headlines and other display uses, while the normal Bilbo can also be used in body copy that requires added warmth to a message.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Bio Rhyme": { + "name": "Bio Rhyme", + "designer": [ + "Aoife Mooney" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "BioRhyme is a Latin typeface family comprised of two widths, a normal family and an expanded family. Each family has 5 weights, and both are intended for use in large and medium sizes. To contribute, see github.com/aoifemooney/makingbiorhyme", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Bio Rhyme Expanded": { + "name": "Bio Rhyme Expanded", + "designer": [ + "Aoife Mooney" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "BioRhyme is a Latin typeface family comprised of two widths, a normal family and an expanded family. Each family has 5 weights, and both are intended for use in large and medium sizes. To contribute, see github.com/aoifemooney/makingbiorhyme", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "BioRhyme": { + "name": "BioRhyme", + "designer": [ + "Aoife Mooney" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SLAB_SERIF", + "classifications": [], + "description": "BioRhyme is a Latin typeface family comprised of two widths, normal and expanded. Previously separated into two distinct families, BioRhyme has been updated in September 2023, and became variable on two axes, offering weights ranging from ExtraLight to ExtraBold. To contribute, see github.com/aoifemooney/makingbiorhyme", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "BioRhyme Expanded": { + "name": "BioRhyme Expanded", + "designer": [ + "Aoife Mooney" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SLAB_SERIF", + "classifications": [ + "display" + ], + "description": "BioRhyme is a Latin typeface family comprised of two widths, a normal family and an expanded family. Each family has 5 weights, and both are intended for use in large and medium sizes. To contribute, see github.com/aoifemooney/makingbiorhyme", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Birthstone": { + "name": "Birthstone", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "The Birthstone Family is a set of fonts that are not only diverse but perfectly compatible to interchange styles in a single block of text. There are 3 precious stylistic sets: Script, Casual, and Formal, plus a Titling set. For added luster, there is the sibling Birthstone Bounce (both Regular and Medium weights) a version that includes caps and ending swashed forms. All the styles are uniquely compatible to one another, but distinctly different. See how easily the fonts may change according to the needs of the look. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/birthstone.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Birthstone Bounce": { + "name": "Birthstone Bounce", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Birthstone Bounce is the sibling family of Birthstone that adds more luster and playfulness to it. Available in Regular and Medium weights, this version includes caps and ending swashed forms. All the styles are uniquely compatible to one another, but distinctly different. See how easily the fonts may change according to the needs of the look. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/birthstone-bounce.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Biryani": { + "name": "Biryani", + "designer": [ + "Dan Reynolds", + "Mathieu R\u00e9guer" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Biryani (\u092c\u093f\u0930\u092f\u093e\u0928\u0940) is a libre font development project. Its fonts are designed in a monolinear, geometric sans serif style. Like several early geometric sans typefaces from the last century, Biryani\u2019s characters have a strong flavor to them; they are more wonky than sterile. Biryani\u2019s fonts are indeed meant for text, just not necessarily for very long, immersive reading-length passages. The letterforms are a bit too \u201cdisplay\u201d for that. Currently, the Biryani fonts support the Latin and Devangari scripts, meaning that Indian languages like Hindi, Marathi, and Nepali may be set with the fonts, in addition to most Western and Central European languages. The Biryani project is led by Dan Reynolds, a type designer based in Berlin, Germany. To contribute, visit github.com/typeoff/biryani", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Bitcount": { + "name": "Bitcount", + "designer": [ + "Petr van Blokland" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "N/A", + "minisite_url": null + }, + "Bitcount Grid Double": { + "name": "Bitcount Grid Double", + "designer": [ + "Petr van Blokland" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "N/A", + "minisite_url": null + }, + "Bitcount Grid Single": { + "name": "Bitcount Grid Single", + "designer": [ + "Petr van Blokland" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "N/A", + "minisite_url": null + }, + "Bitcount Prop Double": { + "name": "Bitcount Prop Double", + "designer": [ + "Petr van Blokland" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "N/A", + "minisite_url": null + }, + "Bitcount Prop Single": { + "name": "Bitcount Prop Single", + "designer": [ + "Petr van Blokland" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "N/A", + "minisite_url": null + }, + "Bitcount Prop Single Ink": { + "name": "Bitcount Prop Single Ink", + "designer": [ + "Petr van Blokland" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "N/A", + "minisite_url": null + }, + "Bitcount Single": { + "name": "Bitcount Single", + "designer": [ + "Petr van Blokland" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "N/A", + "minisite_url": null + }, + "Bitcount Single Ink": { + "name": "Bitcount Single Ink", + "designer": [ + "Petr van Blokland" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "N/A", + "minisite_url": null + }, + "Bitter": { + "name": "Bitter", + "designer": [ + "Sol Matas" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "People read and interact with text on screens more and more each day. What happens on screen ends up being more important than what comes out of the printer. With the accelerating popularity of electronic books, type designers are working hard to seek out the ideal designs for reading on screen. Motivated by her love for the pixel, Sol Matas designed Bitter. A \"contemporary\" slab serif typeface for text, it is specially designed for comfortably reading on any computer or device. The robust design started from the austerity of the pixel grid, based on rational rather than emotional principles. It combines the large x-heights and legibility of the humanistic tradition with subtle characteristics in the characters that inject a certain rhythm to flowing texts. Bitter has little variation in stroke weight and the Regular style is thicker than a usual \u2018Regular\u2019 style for print design. This generates an intense color in paragraphs, accentuated by the serifs that are as thick as strokes with square terminals. Each glyph is carefully designed with an excellent curve quality added to the first stage of the design, that was entirely made in a pixel grid. The typeface is balanced and manually spaced to use very few kerning pairs. To contribute, see github.com/solmatas/BitterPro .", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Black And White Picture": { + "name": "Black And White Picture", + "designer": [ + "AsiaSoft Inc." + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "korean", + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Black And White Picture is a Korean font that expresses the nostalgia of faded black and white photos through its old and scratchy texture. A matching Latin font, Flavors, is built-in for convenience.", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "Black Han Sans": { + "name": "Black Han Sans", + "designer": [ + "Zess Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "korean", + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Black Han Sans is a new Korean Hangul typeface based on ZBLACK Original. With adjustments to the spacing between letters, this typeface has more structurally unified heights and widths. It has also been improved for greater legibility and usability. Black Han Sans has been designed to emphasize square shapes as a font for headlines and titles. It includes 2,580 Korean characters, numbers and punctuation marks. Latin alphabet characters and other symbols are not provided. To contribute, see github.com/zesstype/Black-Han-Sans.", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "Black Ops One": { + "name": "Black Ops One", + "designer": [ + "James Grieshaber", + "Eben Sorkin" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Black Ops One is a low contrast, semi geometric typeface inspired by military stencil lettering. It is heavy, sturdy, punchy, and looks best when used at medium to large sizes because of the small cuts found in stencils. In the July 2022 update, Black Ops One has improved language support. To contribute, see github.com/SorkinType/Black-Ops.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Blaka": { + "name": "Blaka", + "designer": [ + "Mohamed Gaber" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "arabic", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Blaka is an experimental typeface, enriching the gothic feeling of Black Letters by enhancing the geometric features to create midgrounds with the Kufic style for the Arabic letterforms. The aesthetical matching process between the two scripts relies on the features of being hand-drawn with a reed pen. While Latin letterforms maintain sharp edges, Arabic relies on sharp edges and thick strokes to create overlaps to replace a usual baseline in most letterforms, giving the Arabic letterforms contemporary features. The font family comes in two styles, Blaka and Blaka Hollow, featuring an outlined version of the font. Blaka also comes in two variants, the usual monochrome variants as well as an Ink variant Blaka Ink. The Ink variant are color fonts where the colors are defined by the font itself. Support for color fonts is currently limited to few applications like Google Chrome (version 98 or later). To contribute, see github.com/Gue3bara/Blaka.", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Blaka Hollow": { + "name": "Blaka Hollow", + "designer": [ + "Mohamed Gaber" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "arabic", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Blaka is an experimental typeface, enriching the gothic feeling of Black Letters by enhancing the geometric features to create midgrounds with the Kufic style for the Arabic letterforms. The aesthetical matching process between the two scripts relies on the features of being hand-drawn with a reed pen. While Latin letterforms maintain sharp edges, Arabic relies on sharp edges and thick strokes to create overlaps to replace a usual baseline in most letterforms, giving the Arabic letterforms contemporary features. The font family comes in two styles, Blaka and Blaka Hollow, featuring an outlined version of the font. Blaka also comes in two variants, the usual monochrome variants as well as an Ink variant Blaka Ink. The Ink variant are color fonts where the colors are defined by the font itself. Support for color fonts is currently limited to few applications like Google Chrome (version 98 or later). To contribute, see github.com/Gue3bara/Blaka.", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Blaka Ink": { + "name": "Blaka Ink", + "designer": [ + "Mohamed Gaber" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "arabic", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Blaka is an experimental typeface, enriching the gothic feeling of Black Letters by enhancing the geometric features to create midgrounds with the Kufic style for the Arabic letterforms. The aesthetical matching process between the two scripts relies on the features of being hand-drawn with a reed pen. While Latin letterforms maintain sharp edges, Arabic relies on sharp edges and thick strokes to create overlaps to replace a usual baseline in most letterforms, giving the Arabic letterforms contemporary features. The font family comes in two styles, Blaka and Blaka Hollow, featuring an outlined version of the font. Blaka also comes in two variants, the usual monochrome variants as well as an Ink variant Blaka Ink. The Ink variant are color fonts where the colors are defined by the font itself. Support for color fonts is currently limited to few applications like Google Chrome (version 98 or later). This font uses the COLRv1, CPAL and SVG tables. Please visit the gf-guide color page to learn more about Color Fonts technology. To contribute, see github.com/Gue3bara/Blaka", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Blinker": { + "name": "Blinker", + "designer": [ + "Juergen Huber" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Blinker is a low contrast sans serif typeface with a squircle as its basic shape, think squarish curves, or Eurostyle\u2019s flamboyant cousin. It\u2019s best used for medium to large text, rather than a long copy. To do its claim justice Blinker also comes with a headline weight with an extra large x-height, tight spacing, and glyphs drawn more narrowly. Blink! The original 9 weights with a latin extended glyph set were designed by supertype\u2019s J\u00fcrgen Huber in 2019. To contribute, see github.com/supertype-de/Blinker", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Bodoni Moda": { + "name": "Bodoni Moda", + "designer": [ + "Owen Earl" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Bodoni Moda is a no-compromises Bodoni family, built for the digital age. This font family includes a full range of weights, italics, an extended character set, OpenType features, and optical sizes, totalling 64 font files. It was made with love and will continue to improve with your support. The Bodoni Moda project is designed by Owen Earl (indestructible type*). To contribute, see github.com/indestructible-type/Bodoni", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Bodoni Moda SC": { + "name": "Bodoni Moda SC", + "designer": [ + "Owen Earl" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Bodoni Moda is a no-compromises Bodoni family, built for the digital age. This font family includes a full range of weights, italics, an extended character set, OpenType features, and optical sizes, totalling 64 font files. It was made with love and will continue to improve with your support. Bodoni Moda SC is the small caps version of Bodoni Moda. The Bodoni Moda project is designed by Owen Earl (indestructible type*). To contribute, see github.com/indestructible-type/Bodoni", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Bokor": { + "name": "Bokor", + "designer": [ + "Danh Hong" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "khmer", + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Bokor is a display Khmer font, suitable for headlines, titles, subtitles, and even banner designs. To contribute, see github.com/danhhong/Bokor.", + "primary_script": "Khmr", + "article": null, + "minisite_url": null + }, + "Boldonse": { + "name": "Boldonse", + "designer": [ + "Universitype" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "When it comes to making a big impact in design, UT Boldonse is here to help. This bold, condensed sans serif font is packed with personality and strength. It\u2019s more than just a font\u2014it\u2019s the tool you need to make your designs stand out. Let\u2019s explore why UT Boldonse is the perfect choice for your creative projects. To contribute, see github.com/googlefonts/boldonse.", + "minisite_url": null + }, + "Bona Nova": { + "name": "Bona Nova", + "designer": [ + "Capitalics", + "Mateusz Machalski", + "Andrzej Heidrich" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "hebrew", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Bona Nova is a digitisation of Bona, a cursive typeface designed in 1971 by Andrzej Heidrich \u2014 the creator of Polish banknotes. Besides giving it a digital form, this project was the opportunity to expand the character set, design the small caps, alternates and opentype functions for the typeface. Two new versions has been created together with the original author; a Regular and a Bold, to give the family a form of a classical triad. To contribute, see github.com/kosmynkab/Bona-Nova.", + "primary_script": null, + "article": null, + "minisite_url": "http://bonanova.wtf/" + }, + "Bona Nova SC": { + "name": "Bona Nova SC", + "designer": [ + "Capitalics", + "Mateusz Machalski", + "Andrzej Heidrich" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "hebrew", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Bona Nova is a digitisation of Bona, a cursive typeface designed in 1971 by Andrzej Heidrich \u2014 the creator of Polish banknotes. Besides giving it a digital form, this project was the opportunity to expand the character set, design the small caps, alternates and opentype functions for the typeface. Two new versions has been created together with the original author; a Regular and a Bold, to give the family a form of a classical triad. To contribute, see github.com/kosmynkab/Bona-Nova.", + "primary_script": null, + "article": null, + "minisite_url": "http://bonanova.wtf" + }, + "Bonbon": { + "name": "Bonbon", + "designer": [ + "Cyreal" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Bonbon is a fancy handwriting font for cheerful and bright headlines. The letterforms are artistic and naive as if they are written in a teenage girl's diary. It is drawn with a fine marker by author Ksenia Erulevich. Curves are carefully adjusted so that the font will also work well in print - making it a good choice for appetizing product design, greeting cards, or titling in children's books. Extra ornamental characters are included.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Bonheur Royale": { + "name": "Bonheur Royale", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "It's casual and contemporary. BonheurRoyale has the look of a calligraphic hand with a slightly brush feel. The contrast of this and thin strokes gives this clean style a legible quality. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/bonheur-royale.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Boogaloo": { + "name": "Boogaloo", + "designer": [ + "John Vargas Beltr\u00e1n" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Boogaloo was started in 2010 as a complement to the Salsa typeface, while thinking about type used in Latin American music genres and the culture's own identity. The structure of Boogaloo is that of classic American lettering, found so often in old LP albums cover art from the 1960s, when Latin music became very popular and preceding the birth of the musical phenomenon of Salsa. Functionally this typeface can be used to display texts that wish to remind readers of the 1960s, Latin music. There is movement, coolness and happiness across all its forms.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Borel": { + "name": "Borel", + "designer": [ + "Rosalie Wagner" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "math", + "symbols", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "handwriting" + ], + "description": "What considerations should be taken into account when approaching typography in the context of simultaneous learning of reading and writing? Borel is a French cursive primer \u2014 developed with primary school teachers and speech therapists \u2014 which aims aims to harmonise cursive strokes and common typographic structure. This typeface, named in tribute to Suzanne Borel-Maisonny (a pioneer in speech therapy), boasts a sturdy design featuring low contrast and a generous x-height. The letters are intentionally open and clearly differentiated while adhering to the conventions of handwriting in French schools. Due to the specifity of this project, the font only supports a limited set of glyphs allowing to write in French, English, Spanish, Catalan, German, Portuguese, Turkish and Vietnamese. Please submit language requests with images in the issue tracker of the reposotory linked below. Find more documentation here: Fran\u00e7ais | English To contribute, please see github.com/RosaWagner/Borel.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Bowlby One": { + "name": "Bowlby One", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Bowlby One has been designed for use as a utilitarian, all caps display font. A version with lowercase characters is also available. Its forms are a fusion of a handfull of designs scanned from old, early Twentieth Century type specimens. Bowlby One is perfect for big bold headlines and display uses that need a slightly roughened look. Bowlby is a web font, designed to be used freely across the internet by web browsers on desktop computers, laptops, cloud systems and mobile devices.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Bowlby One SC": { + "name": "Bowlby One SC", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Bowlby One SC is designed for use as a utilitarian, All Caps and Small Caps display font. A version with lowercase characters is also available. Its forms are a fusion of a handfull of designs scanned from old, early Twentieth Century type specimens. Bowlby One SC is perfect for big bold headlines and display uses that need a slightly roughened look. Bowlby is a web font, designed to be used freely across the internet by web browsers on desktop computers, laptops, cloud systems and mobile devices.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Braah One": { + "name": "Braah One", + "designer": [ + "Ashish Kumar" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "gurmukhi", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Braah is a display font that perfectly blends boldness and playfulness. The font is available with corresponding Latin/Gurmukhi scripts, making it versatile and adaptable to different languages. Braah was designed by India-based typeface and UX designer Ashish Kumar. An update in May 2023 corrects the original vertical metrics, which may impact line spacing in some layouts. To contribute to the project please see github.com/artandtype/Braah.", + "primary_script": "Guru", + "article": null, + "minisite_url": null + }, + "Brawler": { + "name": "Brawler", + "designer": [ + "Cyreal" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Brawler is a compact typeface with sharp features and a sturdy character, designed for comfortable reading in small sizes. It was initially planned as a typeface for newspapers and tabloids. Thus, the design concept was shaped by the demands of low quality printing media and the aesthetic preferences of periodical publications. To contribute, see github.com/cyrealtype/Brawler.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Bree Serif": { + "name": "Bree Serif", + "designer": [ + "TypeTogether" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "This friendly upright italic is the serif cousin of TypeTogether's award winning family Bree. Designed by Veronika Burian and Jos\u00e9 Scaglione, Bree was originally released in 2008 and became an immediate success because of its originality, charming appearance and versatility.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Bricolage Grotesque": { + "name": "Bricolage Grotesque", + "designer": [ + "Mathieu Triay" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Bricolage Grotesque is a collage of lots of different things: historical sources, technical decisions and personal feelings. It started as a fork of Mayenne Sans, an open-source single weight font designed by J\u00e9r\u00e9my Landes (Studio Triple). It evolved by reinforcing cues from French sources and British sources: the compressed weights lean more towards the anxious and wonky tones of Grotesque N\u00ba9 and the regular weights have a bit more of Antique Olive's relaxed and confident attitude. The smaller optical sizes become more neutral and reflective of contemporary sans serifs, notably through the use of exaggerated ink traps. By blending iconic British and French designs with modern trends and tools, it aims to traverse a complex typographical and emotional landscape. At the same time, it\u2019s so steeped in historical sources and references that it\u2019s hard to call it anything but a re-interpretation of the same ideas but for a different purpose: trying to express visually what it feels like to move countries and rebuild, what it feels like to have a hybrid identity where you cannot be what you were and yet you can never truly be anybody else. To contribute, see github.com/ateliertriay/bricolage.", + "primary_script": null, + "article": null, + "minisite_url": "https://ateliertriay.github.io/bricolage" + }, + "Briem Hand": { + "name": "Briem Hand", + "designer": [ + "Gunnlaugur SE Briem", + "Eben Sorkin" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "cyrillic-ext", + "greek-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Briem Hand is elegant while also being quite accessible and very legible. It is direct and sincere without being excessively sentimental. It provides a range of weights, and comes with and without guides and joins. Briem Hand is an extended version of Gunnlaugur's 'Briem Script' which was designed in 1992. The Briem Hand is a modern adaptation of sixteenth-century chancery cursive. Briem Hand includes Latin Vietnamese, all Western, Central, and South-Eastern European languages, Sami, South American and nearly all African language support, as well as several OpenType features (old-style and tabular figures, superscript and subscript numerals, fractions, stylistic alternates). To contribute, see github.com/SorkinType/Briem-Hand.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Bruno Ace": { + "name": "Bruno Ace", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Bruno Ace draws inspiration from modern automotive logos. This techno geometric sans has a wide stance with a tall x-height for a strong look and appeal. Both a normal case and small caps font exists. To contribute, see github.com/googlefonts/Bruno-ace.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Bruno Ace SC": { + "name": "Bruno Ace SC", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Bruno Ace draws inspiration from modern automotive logos. This techno geometric sans has a wide stance with a tall x-height for a strong look and appeal. Both a normal case and small caps font exists. To contribute, see github.com/googlefonts/Bruno-ace.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Brygada 1918": { + "name": "Brygada 1918", + "designer": [ + "Capitalics", + "Mateusz Machalski", + "Borys Kosmynka", + "Ania Wielu\u0144ska", + "Przemys\u0142aw Hoffer" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Brygada 1918 is a revival project created for the celebration of the 100 years of independance of the Republic of Poland in 2018, with the support of the \"Independent\" program and the President of the Republic of Poland. The typeface is based on the catalogue entry of the National Type Foundry from 1954, and a set of matrices found at the Book Arts Museum by Janusz Tryzno in 2016. More information is available on the project's website and Google Design. To contribute, see github.com/kosmynkab/Brygada-1918. Reviving a forgotten font: Type detectives give life to Brygada Mysterious Polish font matrices spark interest in a lost and forgotten pre-World War II typeface A man uncovers an unused font in dusty piles of metal plates and blocks. He is intrigued by the mysterious letters \u201cK\u201d and \u201cR\u201d with curly legs, and a handwritten note on old brown paper that says \u201cBrygada.\u201d He starts an archeological quest to research the origins of the font\u2013and inspires a team to revive the font with 21st century software and a microscopic camera. Is this the plot line for a new \u201cIndiana Jones\u201d movie or the origin story for a remade digitized font? It\u2019s the latter. It\u2019s the story of Brygada, a lost and forgotten 20th century typeface remade for the 21st century. Handwritten note with \u201cBrygada\u201d name in Polish It was the summer of 2015 and Mr. Janusz Tryzno was the owner of the Book Art Museum of \u0141\u00f3d\u017a located in a 19th century villa in \u0141\u00f3d\u017a (pronounced \u201cWoodge\u201d), Poland. He dug through piles of font matrices (metal blocks with letter shapes used to cast letters) and metal plates wrapped in brown paper from the Polish National Type Foundry. After uncovering the Brygada matrices, he asked museum volunteers, Przemys\u0142aw Hoffer and Borys Kosmynka, to examine the matrices to see if they could bring the font back to life. To learn more about Brygada, visit: Reviving a forgotten font: Type detectives give life to Brygada(English), Rewitalizacja zapomnianej czcionki: nowe \u017cycie Brygady(Polish).", + "minisite_url": "https://brygada1918.eu/" + }, + "Bubblegum Sans": { + "name": "Bubblegum Sans", + "designer": [ + "Sudtipos" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Bubblegum Sans is upbeat, flavor-loaded, brushalicious letters for the sunny side of the street. It bounces with joy and tells a great story. Designed by Angel Koziupa and produced by Ale Paul, this typeface is a loud 21st century shoutout to the kind of the 1930s lettering that sold everything to everyone through every medium. From Sudtipos.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Bubbler One": { + "name": "Bubbler One", + "designer": [ + "Brenda Gallo" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Bubbler One is an original font with thin strokes that are particularly straight. It is a legible typeface in small sizes. You can use Bubbler One for any kind of text, formal or informal, big or small; I hope you find it useful! Designed by Brenda Gallo and Gustavo Dipre.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Buda": { + "name": "Buda", + "designer": [ + "Ad\u00e8le Antignac" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Against the typographical grey, Buda is a black and white typeface. The letters are shared by two contrasting weights, which clash and balance each other out. This typeface is inspired by Budapest, a paradoxal town, beautiful and ugly, fragile and exuberant. Like this town, the typeface Buda is an assemblage of heterogeneous elements which form a harmony.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Buenard": { + "name": "Buenard", + "designer": [ + "Gustavo Ibarra" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Buenard is a high-quality serif typeface for art books. It is based on the Transitional Roman classical structure, with less contrasted strokes and heavier serifs. It has its own contemporary style, combining elegance, consistency and legibility for all text sizes, making it an excellent choice when selecting a serif font. Buenard was initially designed for an Argentinian art publisher and progressed as a final project in the Postgraduate Career in Typography at the University of Buenos Aires. To contribute, see github.com/googlefonts/buenard.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Bungee": { + "name": "Bungee", + "designer": [ + "David Jonathan Ross" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "In the crowded urban environment, space for signage is always at a premium. From crummy liquor stores to majestic theaters, sometimes signs have nowhere to go but up. Bungee is a font that celebrates urban signs that stack the Latin alphabet, one letter on top of the other, in order to make dramatic use of limited space. Following their lead, Bungee typesets horizontally and vertically, so it is always ready to take your text in a new direction. Bungee\u2019s letterforms were designed to reinforce a sense of verticality. Round characters like O and diagonal characters like A are straight-sided, and letters like L and I gain serifs in order to create vertical words with well-defined left and right edges. To contribute, see github.com/djrrb/Bungee The Bungee family Google Fonts distributes seven variants of Bungee, including two color fonts: Bungee Bungee Hairline Bungee Inline Bungee Outline Bungee Shade Bungee Tint, a COLRv0 font Bungee Spice, a COLRv1 font Bungee\u2019s downloadable releases also includes special layer fonts (for multicolor typesetting in environments where color fonts are not supported) and rotated fonts (for stacked typesetting in environments where vertical text is not supported). The Bungee project is led by David Jonathan Ross, and thanks to support from Google and The Font Bureau, Bungee was released under the SIL Open Font License. In 2023\u201324, Marte Verhaegen and Just van Rossum produced a major revision (v2), which includes an automated build process as well as many enhancements to the vertical features and color fonts.", + "minisite_url": "https://djr.com/bungee" + }, + "Bungee Color": { + "name": "Bungee Color", + "designer": [ + "David Jonathan Ross" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "In the crowded urban environment, space for signage is always at a premium. From dumpy liquor stores to majestic theaters, sometimes signs have nowhere to go but up. Bungee is a font family that celebrates urban signage. It wrangles the Latin alphabet to work vertically as well as horizontally. Thanks to support from Google and The Font Bureau, Bungee is released under the SIL Open Font License. As a display superfamily, 6 variations are available: Bungee Bungee Color Bungee Hairline Bungee Inline Bungee Outline Bungee Shade Learn more about Bungee\u2019s design in the digital specimen at djr.com/bungee The Bungee project is led by David Jonathan Ross, a type designer based in the USA. To contribute, see github.com/djrrb/Bungee", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Bungee Hairline": { + "name": "Bungee Hairline", + "designer": [ + "David Jonathan Ross" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "In the crowded urban environment, space for signage is always at a premium. From crummy liquor stores to majestic theaters, sometimes signs have nowhere to go but up. Bungee is a font that celebrates urban signs that stack the Latin alphabet, one letter on top of the other, in order to make dramatic use of limited space. Following their lead, Bungee typesets horizontally and vertically, so it is always ready to take your text in a new direction. Bungee\u2019s letterforms were designed to reinforce a sense of verticality. Round characters like O and diagonal characters like A are straight-sided, and letters like L and I gain serifs in order to create vertical words with well-defined left and right edges. To contribute, see github.com/djrrb/Bungee The Bungee family Google Fonts distributes seven variants of Bungee, including two color fonts: Bungee Bungee Hairline Bungee Inline Bungee Outline Bungee Shade Bungee Tint, a COLRv0 font Bungee Spice, a COLRv1 font Bungee\u2019s downloadable releases also includes special layer fonts (for multicolor typesetting in environments where color fonts are not supported) and rotated fonts (for stacked typesetting in environments where vertical text is not supported). The Bungee project is led by David Jonathan Ross, and thanks to support from Google and The Font Bureau, Bungee was released under the SIL Open Font License. In 2023\u201324, Marte Verhaegen and Just van Rossum produced a major revision (v2), which includes an automated build process as well as many enhancements to the vertical features and color fonts.", + "minisite_url": "https://djr.com/bungee" + }, + "Bungee Inline": { + "name": "Bungee Inline", + "designer": [ + "David Jonathan Ross" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "In the crowded urban environment, space for signage is always at a premium. From crummy liquor stores to majestic theaters, sometimes signs have nowhere to go but up. Bungee is a font that celebrates urban signs that stack the Latin alphabet, one letter on top of the other, in order to make dramatic use of limited space. Following their lead, Bungee typesets horizontally and vertically, so it is always ready to take your text in a new direction. Bungee\u2019s letterforms were designed to reinforce a sense of verticality. Round characters like O and diagonal characters like A are straight-sided, and letters like L and I gain serifs in order to create vertical words with well-defined left and right edges. To contribute, see github.com/djrrb/Bungee The Bungee family Google Fonts distributes seven variants of Bungee, including two color fonts: Bungee Bungee Hairline Bungee Inline Bungee Outline Bungee Shade Bungee Tint, a COLRv0 font Bungee Spice, a COLRv1 font Bungee\u2019s downloadable releases also includes special layer fonts (for multicolor typesetting in environments where color fonts are not supported) and rotated fonts (for stacked typesetting in environments where vertical text is not supported). The Bungee project is led by David Jonathan Ross, and thanks to support from Google and The Font Bureau, Bungee was released under the SIL Open Font License. In 2023\u201324, Marte Verhaegen and Just van Rossum produced a major revision (v2), which includes an automated build process as well as many enhancements to the vertical features and color fonts.", + "minisite_url": "https://djr.com/bungee" + }, + "Bungee Outline": { + "name": "Bungee Outline", + "designer": [ + "David Jonathan Ross" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "In the crowded urban environment, space for signage is always at a premium. From crummy liquor stores to majestic theaters, sometimes signs have nowhere to go but up. Bungee is a font that celebrates urban signs that stack the Latin alphabet, one letter on top of the other, in order to make dramatic use of limited space. Following their lead, Bungee typesets horizontally and vertically, so it is always ready to take your text in a new direction. Bungee\u2019s letterforms were designed to reinforce a sense of verticality. Round characters like O and diagonal characters like A are straight-sided, and letters like L and I gain serifs in order to create vertical words with well-defined left and right edges. To contribute, see github.com/djrrb/Bungee The Bungee family Google Fonts distributes seven variants of Bungee, including two color fonts: Bungee Bungee Hairline Bungee Inline Bungee Outline Bungee Shade Bungee Tint, a COLRv0 font Bungee Spice, a COLRv1 font Bungee\u2019s downloadable releases also includes special layer fonts (for multicolor typesetting in environments where color fonts are not supported) and rotated fonts (for stacked typesetting in environments where vertical text is not supported). The Bungee project is led by David Jonathan Ross, and thanks to support from Google and The Font Bureau, Bungee was released under the SIL Open Font License. In 2023\u201324, Marte Verhaegen and Just van Rossum produced a major revision (v2), which includes an automated build process as well as many enhancements to the vertical features and color fonts.", + "minisite_url": "https://djr.com/bungee" + }, + "Bungee Shade": { + "name": "Bungee Shade", + "designer": [ + "David Jonathan Ross" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "In the crowded urban environment, space for signage is always at a premium. From crummy liquor stores to majestic theaters, sometimes signs have nowhere to go but up. Bungee is a font that celebrates urban signs that stack the Latin alphabet, one letter on top of the other, in order to make dramatic use of limited space. Following their lead, Bungee typesets horizontally and vertically, so it is always ready to take your text in a new direction. Bungee\u2019s letterforms were designed to reinforce a sense of verticality. Round characters like O and diagonal characters like A are straight-sided, and letters like L and I gain serifs in order to create vertical words with well-defined left and right edges. To contribute, see github.com/djrrb/Bungee The Bungee family Google Fonts distributes seven variants of Bungee, including two color fonts: Bungee Bungee Hairline Bungee Inline Bungee Outline Bungee Shade Bungee Tint, a COLRv0 font Bungee Spice, a COLRv1 font Bungee\u2019s downloadable releases also includes special layer fonts (for multicolor typesetting in environments where color fonts are not supported) and rotated fonts (for stacked typesetting in environments where vertical text is not supported). The Bungee project is led by David Jonathan Ross, and thanks to support from Google and The Font Bureau, Bungee was released under the SIL Open Font License. In 2023\u201324, Marte Verhaegen and Just van Rossum produced a major revision (v2), which includes an automated build process as well as many enhancements to the vertical features and color fonts.", + "minisite_url": "https://djr.com/bungee" + }, + "Bungee Spice": { + "name": "Bungee Spice", + "designer": [ + "David Jonathan Ross" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "In the crowded urban environment, space for signage is always at a premium. From crummy liquor stores to majestic theaters, sometimes signs have nowhere to go but up. Bungee is a font that celebrates urban signs that stack the Latin alphabet, one letter on top of the other, in order to make dramatic use of limited space. Following their lead, Bungee typesets horizontally and vertically, so it is always ready to take your text in a new direction. Bungee\u2019s letterforms were designed to reinforce a sense of verticality. Round characters like O and diagonal characters like A are straight-sided, and letters like L and I gain serifs in order to create vertical words with well-defined left and right edges. This font uses the COLRv1, CPAL and SVG tables. Please visit the gf-guide color page to learn more about Color Fonts technology. To contribute, see github.com/djrrb/Bungee Bungee\u2019s color fonts Bungee was an early experimental color font, and has been updated as color font technology has developed over the past decade. Both Bungee Tint (flat colors) and Bungee Spice (gradients) contain multiple color palettes, so it is possible to create chromatic effects even in the most basic typesetting environments. Hopefully these fonts will help designers and developers explore the possibilities of what color fonts have to offer. The Bungee family Google Fonts distributes seven variants of Bungee, including two color fonts: Bungee Bungee Hairline Bungee Inline Bungee Outline Bungee Shade Bungee Tint, a COLRv0 font Bungee Spice, a COLRv1 font Bungee\u2019s downloadable releases also includes special layer fonts (for multicolor typesetting in environments where color fonts are not supported) and rotated fonts (for stacked typesetting in environments where vertical text is not supported). The Bungee project is led by David Jonathan Ross, and thanks to support from Google and The Font Bureau, Bungee was released under the SIL Open Font License. In 2023\u201324, Marte Verhaegen and Just van Rossum produced a major revision (v2), which includes an automated build process as well as many enhancements to the vertical features and color fonts.", + "minisite_url": "https://djr.com/bungee" + }, + "Bungee Tint": { + "name": "Bungee Tint", + "designer": [ + "David Jonathan Ross" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "In the crowded urban environment, space for signage is always at a premium. From crummy liquor stores to majestic theaters, sometimes signs have nowhere to go but up. Bungee is a font that celebrates urban signs that stack the Latin alphabet, one letter on top of the other, in order to make dramatic use of limited space. Following their lead, Bungee typesets horizontally and vertically, so it is always ready to take your text in a new direction. Bungee\u2019s letterforms were designed to reinforce a sense of verticality. Round characters like O and diagonal characters like A are straight-sided, and letters like L and I gain serifs in order to create vertical words with well-defined left and right edges. This font uses the COLRv0 and CPAL tables. Please visit the gf-guide color page to learn more about Color Fonts technology. To contribute, see github.com/djrrb/Bungee Bungee\u2019s color fonts Bungee was an early experimental color font, and has been updated as color font technology has developed over the past decade. Both Bungee Tint (flat colors) and Bungee Spice (gradients) contain multiple color palettes, so it is possible to create chromatic effects even in the most basic typesetting environments. Hopefully these fonts will help designers and developers explore the possibilities of what color fonts have to offer. The Bungee family Google Fonts distributes seven variants of Bungee, including two color fonts: Bungee Bungee Hairline Bungee Inline Bungee Outline Bungee Shade Bungee Tint, a COLRv0 font Bungee Spice, a COLRv1 font Bungee\u2019s downloadable releases also includes special layer fonts (for multicolor typesetting in environments where color fonts are not supported) and rotated fonts (for stacked typesetting in environments where vertical text is not supported). The Bungee project is led by David Jonathan Ross, and thanks to support from Google and The Font Bureau, Bungee was released under the SIL Open Font License. In 2023\u201324, Marte Verhaegen and Just van Rossum produced a major revision (v2), which includes an automated build process as well as many enhancements to the vertical features and color fonts.", + "minisite_url": "https://djr.com/bungee" + }, + "Butcherman": { + "name": "Butcherman", + "designer": [ + "Typomondo" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Butcherman is a zombified display font, hacked and chopped and left for dead, yet still crawling.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Butterfly Kids": { + "name": "Butterfly Kids", + "designer": [ + "Tart Workshop" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Cute and flirty, Butterfly Kids flits about spreading cheer! Be fun. Be cute. Be happy!", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Bytesized": { + "name": "Bytesized", + "designer": [ + "Baltdev" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Bytesized is a miniscule monospace pixel font - 3x4 modulo diacritics - made to be as legible as possible within these restrictions. The name comes from the fact that, if you restrict the font to ASCII only, you can store it raw in just under 150 bytes! While a few compromises had to be made to fit it into such a small profile, namely only supporting the Latin Core character set, and some \"creative\" glyph designs, so to speak, it's still quite readable! To contribute, see github.com/balt-dev/bytesized-gf.", + "minisite_url": null + }, + "Cabin": { + "name": "Cabin", + "designer": [ + "Impallari Type", + "Rodrigo Fuenzalida" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Cabin is a humanist sans inspired by Edward Johnston's and Eric Gill's typefaces, with a touch of modernism. Cabin incorporates modern proportions, optical adjustments, and some elements of the geometric sans. It remains true to its roots, but has its own personality. The Cabin font family comes in two variable fonts, roman and true italic, with a Weight range from Regular to Bold, and a Width range from normal to Condensed. The stroke contrast is almost monolinear, although top and bottom curves are slightly thinned. Counters of the b, g, p and q are rounded, and all are optically adjusted. Cabin has wide language support, including full Latin coverage of Vietnamese, additional to all Western, Central, and South/Eastern European languages. To contribute, see github.com/impallari/Cabin", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Cabin Condensed": { + "name": "Cabin Condensed", + "designer": [ + "Impallari Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "This is the condensed set of styles of the Cabin font family. The compete family is available as a variable font, with a Weight range from Regular to Bold, and a Width range from Normal to Condensed.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Cabin Sketch": { + "name": "Cabin Sketch", + "designer": [ + "Impallari Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "The Cabin Font is a humanist sans inspired by Edward Johnston\u2019s and Eric Gill\u2019s typefaces, with a touch of modernism.Cabin incorporates modern proportions, optical adjustments, and some elements of the geometric sans. This is the Sketch version, with the texture of a teenage doodle.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Cactus Classical Serif": { + "name": "Cactus Classical Serif", + "designer": [ + "Henry Chan", + "Tian Haidong", + "Moonlit Owen" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "chinese-traditional", + "cyrillic", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "\"Cactus Classical Serif\" is an open source font suitable for Traditional Chinese environments. This font uses inherited glyphs, largely adhering to the Inherited Glyphs standard maintained by the I.Font Project, combined with other commonly seen inherited glyphs, to produce a Chinese typeface with glyphs in the traditional style. This font is produced by Tian Haidong. Moonlit Owen has assisted in the font production and is also a maintainer. The CJK characters are based on glyphs prepared by Henry Chan on GlyphWiki, with modifications and characters supplemented by Tian Haidong. The Latin characters, Kana characters, and other symbols are based on glyphs from the Genyo Font developed by But Ko based on Source Han Serif. To contribute, see github.com/MoonlitOwen/CactusSerif.", + "primary_script": "Hant", + "article": null, + "minisite_url": null + }, + "Caesar Dressing": { + "name": "Caesar Dressing", + "designer": [ + "Open Window" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Caesar Dressing is a 'Markers' take on a Greek alphabet. Open Window fonts gravitate towards more experimental or spontaneous renderings and this one doesn't look out of place next to the most experimental of those. It also maintains the geometric balance of a classic Greek-font quite effectively. Designed by Dathan Boardman of Open Window.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Cagliostro": { + "name": "Cagliostro", + "designer": [ + "MADType" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Cagliostro was inspired by the early 20th Century lettering work of Ozwald Bruce Cooper. Care was taken to preserve the original hand-lettered feel of his work while updating the style for modern use. The x-height was increased from the original style and some of the more quirky aspects were toned back. The end result is a very handsome and unique sans that is very useful for titles and short blocks of text. Documentation can be found at www.madtype.com and to contribute to the project contact Matthew Desmond at mattdesmond@gmail.com", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Cairo": { + "name": "Cairo", + "designer": [ + "Mohamed Gaber", + "Accademia di Belle Arti di Urbino" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "arabic", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Cairo is a contemporary multilingual typeface family. Mohamed Gaber extended the Latin typeface family Titillum Web to support the Arabic script, with a design that is based on the Kufi calligraphic style. Now available as a variable font. Cairo balances classic and contemporary tastes with wide open counters and short ascenders and descenders that minimize length while maintaining easy readability. The lighter weights can be used for body text while the heavier weights are perfect for headlines and display typography. The Arabic component has a wide glyph set that supports the Arabic, Farsi and Urdu languages. The Cairo project is led by Mohamed Gaber, a type designer based in Cairo, Egypt. To contribute, see github.com/Gue3bara/Cairo", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Cairo Play": { + "name": "Cairo Play", + "designer": [ + "Mohamed Gaber", + "Accademia di Belle Arti di Urbino" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "arabic", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Cairo Play is a color font version of Cairo which features colored marks. This font uses the COLRv0 and CPAL tables. Please visit the gf-guide color page to learn more about Color Fonts technology. To contribute, see github.com/Gue3bara/Cairo.", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Cal Sans": { + "name": "Cal Sans", + "designer": [ + "Mark Davis", + "Cal.com Inc." + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Cal Sans is a geometric sans-serif typeface designed for display, particularly large point sizes. It was created by Mark Davis for Cal.com by Peer Richelsen and Bailey Pumfleet, with interface design by Ciar\u00e1n Hanrahan, and is open source. The design aims for a serious and geometric aesthetic, ensuring circular shapes throughout the \u201ccal.com\u201d lettering. To contribute, see github.com/calcom/font. Introduction Cal Sans is a geometric sans-serif tuned for display, that is, large point sizes. It is an Open Source typeface to adorn the headlines and interfaces of Cal.com, a company founded by Peer Richelsen and Bailey Pumfleet and interface design by Ciar\u00e1n Hanrahan. The basis of Cal Sans is my initial answer to what my Futura would be. It fit well with Peer\u2019s brief, for something serious and and geometric so that the letters of \u201ccal.com\u201d would have circular shapes throughout. It was decided early on that it be open source for all! Design Philosophy and Unique Characteristics As this design was created for display, and is currently a single static font, an unusual approach is taken for its texture and default typography. Letters are intentionally spaced to be extremely close for tight headlines \u201cout of the box.\u201d For smaller subheadings, positive letter spacing must be applied. There are currently no other Open Source geometric sanserifs geared as intentionally for \u201ctight but not touching\u201d typesetting\u2014as it is more labor intensive to produce with accurate texture. But for typesetters, if they would letterspace another design as tight as Cal Sans, the results would not be as consistent. So, for end users, more flexibility is available when the tightest typesetting extreme edge case is gracefully addressed. One may create looser typesetting as needed. Features While the default design is fairly ahistorical, there are historical design options. Using Stylistic Set 01 (ss01), Futura-specific alternates can be deployed. Including diacritic variants, there are 48 alternates for this set. I give credit to Rasmus Andersson implementing in his design Inter Character Variants to offer more control in website typography. Cal Sans also employs this feature. There are six Character Variants in Cal Sans, for Cc (cv01), j (cv02), t (cv03), u (cv04), 0 (cv05), and 1 (cv06). In celebration of Futura\u2019s geometrically extreme ligatures, Cal Sans has an experimental approach to ligatures, Stylistic Set 02 (ss02) is identical to ss01, but also combines eligible letters as historical Futura ligatures. This is included as a stylistic set and not as discretionary ligatures because default characters really do not match these historical ligatures. (But they were included anyway!) Probably the most novel OpenType feature of Cal Sans is its third Stylistic Set (ss03). The best way to exhibit the need of ss03 is to see how \u201ctight but not touching\u201d affects spacing with consecutive diagonals. Some designers would never want their letters to overlap or touch in a headline, or very large title. Diagonals\u2019 corners are kerned from eachother, and some might say this causes more problems than the \u201cstock\u201d kerning solves. Such letter combinations aren\u2019t\u2026incredibly common. But they are not rare, nor is spacing letters in a way that is sometimes consistent a goal of mine. But, I see merits in both paths. So, ss03 overrides diagonal-to-diagonal kerning pairs with new ones that let diagonal corners \u201ccrash.\u201d I don\u2019t know of any other typefaces that has many kerning options, hopefully this feature is of use! Thanks to Tal Leming\u2019s OpenType Cook Book for technical details.", + "minisite_url": null + }, + "Caladea": { + "name": "Caladea", + "designer": [ + "Andr\u00e9s Torresi", + "Carolina Giovagnoli" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Caladea is a free modern, friendly serif font family based on Cambo, designed by Carolina Giovagnoli and Andr\u00e9s Torresi for Huerta Tipogr\u00e1fica. Caladea has the following differences: More condensed width New metrics 4 styles. Regular, Bold, Italic, and Bold Italic Character set expanded to WGL (418 glyphs) To contribute, see github.com/huertatipografica/Caladea.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Calistoga": { + "name": "Calistoga", + "designer": [ + "Yvonne Sch\u00fcttler", + "Sorkin Type", + "Eben Sorkin" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Calistoga is a cheerful, space saving display typeface. It was inspired by Oscar M. Bryn's lettering as seen on the posters made for the Western US based Santa Fe Railroad. Its vintage railroad flavor is found in the whole design. Calistoga includes proportional, tabular, old style and lining figures. It also offers fractions, superiors, inferiors, a broad range of symbols, and it includes case sensitive forms. Calistoga is an original typeface designed by Yvonne Schuttler. Eben Sorkin expanded the language support and refined the design in 2018 and 2022. To contribute, see github.com/SorkinType/Calistoga", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Calligraffitti": { + "name": "Calligraffitti", + "designer": [ + "Open Window" + ], + "license": "apache2", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Calligraffitti by Open Window owes its credit to mom and all her years of Calligraphic experience. This impromptu rendering of her calligraphic alphabet captures her years or formal practice blended with a rare encounter with the mood altering music of Santana.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Cambay": { + "name": "Cambay", + "designer": [ + "Pooja Saxena" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Cambay is a libre Devanagari typeface family designed to match the Latin Cantarell. It comes in two weights, Regular and Bold, in upright and oblique styles. The oblique styles are slanted with only the absolutely necessary optical corrections. This project is led by Pooja Saxena, a type designer based in Bangalore, India. To contribute, see Cambay on GitHub.", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Cambo": { + "name": "Cambo", + "designer": [ + "Huerta Tipogr\u00e1fica" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Cambo is a modern Latin typeface inspired by the contrast, style and ornaments of Khmer typefaces and writing styles. Its main objective is to be used to write Latin texts in a Khmer context, but it is also an elegant choice for all kinds of texts. Designed by Carolina Giovagnoli and Andr\u00e9s Torresi for Huerta Tipogr\u00e1fica.", + "primary_script": null, + "article": null, + "minisite_url": "https://huertatipografica.com/en/fonts/cambo-ht" + }, + "Candal": { + "name": "Candal", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Candal is an original and fun sans serif type design by Vernon Adams which was inspired by historical types.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Cantarell": { + "name": "Cantarell", + "designer": [ + "Dave Crossland" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "The Cantarell typeface family was designed during Dave Crossland's study of MA Typeface Design in 2009 in the Department of Typography at the University of Reading (UK). The typeface is designed as a contemporary Humanist sans serif, and was developed for on-screen reading; in particular, reading web pages on an HTC Dream mobile phone. This family was developed using only open-source softwares, mainly FontForge. Typeface designs are tools too, and therefore these font files are licensed in a way that respects your freedom \u2014 you are invited to extend them to meet your needs, such as to add the glyphs missing from your own writing systems, under the terms of the Open Font License. In October 2022 some metadata were fixed such as license clification, style name and style linking. Users may notice that the style \"Oblique\" has changed to \"Italic\". To contribute, see github.com/davelab6/cantarell.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Cantata One": { + "name": "Cantata One", + "designer": [ + "Joana Correia" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Foundry: Sorkin Type Co Cantata One is a high contrast extended Didone style text face. In addition to being useful in medium to large text sizes, Cantata One is meant to evoke luxury when used in display sizes. Cantata One was originally inspired by hand written letters made with a pointed pen on an old map handmade map of NYC. Source files are available from Google Code. To contribute to the project contact Eben Sorkin.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Cantora One": { + "name": "Cantora One", + "designer": [ + "Impallari Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Cantora ('Singer' in Spanish) is a friendly semi formal, semi condensed, semi sans serif. It has reminiscences of hand lettering, mixing straight and bowed stems, and natural curves. It was born as an experiment in drawing from the outside to the inside (drawing the space surrounding the letters first, instead of drawing the letters themselves) in trying to apply the ideas and methods of Michael Harvey and Evert Bloemsma to my own glyphs construction. In 0ctober 2022 naming inconcistencies between the font file and the API were fixed, users maybe cautious with using this update as the font name now aligns with the family name displayed by the API: Cantora One (instead of CantoraOne). Although Cantora is a sans, the lowercase letters have serif proportions. It's perfect for headlines (H1, H2, H3) in sizes larger than 20px.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Caprasimo": { + "name": "Caprasimo", + "designer": [ + "The DocRepair Project", + "Phaedra Charles", + "Flavia Zimbardi" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Caprasimo is a DocRepair font, intended to improve compliance with the ISO/IEC 29500 standard by providing fallback for Cooper Black that minimizes text reflow in Office Open XML documents. Caprasimo is based on Fraunces, a display, old-style soft-serif typeface inspired by the mannerisms of early 20th century typefaces such as the Cooper Series. Fraunces was designed by Phaedra Charles and Flavia Zimbardi, partners at Undercase Type. To contribute, please visit github.com/docrepair-fonts/caprasimo-fonts.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Capriola": { + "name": "Capriola", + "designer": [ + "Viktoriya Grabowska" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Foundry: Sorkin Type Co Capriola is a sans-serif typeface whose unique style draws upon forms seen in handwriting and italic types. Skeletons of the most characteristic glyphs are inspired by quick handwriting and based on a single hand movement (G,a,g,k,e). Capriola ambitiously seeks to push the boundaries of originality in the genre without losing legibility. The unusual glyphs are quite noticeable in large sizes which allows for distinctive headlines. However in small sizes these gestures become less noticeable making it possible to set longer texts. The name \"Capriola\" means somersault in English. Such glyphs as \"a\", \"e\" or \"G\" are the real acrobats and the \"g\" makes a double salto! Capriola was spaced for web. Capriola's originality combined with utility makes it ideal for a wide range of uses. Source files are available from Google Code. To contribute to the project contact Eben Sorkin.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Caramel": { + "name": "Caramel", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "The Caramel Family is a fun, hand lettered script with three variations that are combined in the latest version of the font. Use alternates and style sets to customize your work. Caramel comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/caramel", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Carattere": { + "name": "Carattere", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Carattere is a beautiful italic style that is perfect for invitations and other uses where formal elegance and beauty are essential. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/carattere.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Cardo": { + "name": "Cardo", + "designer": [ + "David Perry" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "gothic", + "greek", + "greek-ext", + "hebrew", + "latin", + "latin-ext", + "old-italic", + "runic" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Cardo is a large Unicode font specifically designed for the needs of classicists, Biblical scholars, medievalists, and linguists. It also works well for general typesetting in situations where a high-quality Old Style font is appropriate. Its large character set supports many modern languages as well as those needed by scholars. Cardo also contains features that are required for high-quality typography such as ligatures, text figures (also known as old style numerals), true small capitals and a variety of punctuation and space characters.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Carlito": { + "name": "Carlito", + "designer": [ + "\u0141ukasz Dziedzic" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Carlito is a font designed derived from Lato (also designed by \u0141ukasz Dziedzic) that is metric-compatible with Calibri. It comes with Latin and Cyrillic character sets. To contribute, see github.com/googlefonts/carlito", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Carme": { + "name": "Carme", + "designer": [ + "Rub\u00e9n Prol" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Carme (Version 1.0) is a clean sans-serif font, specially designed for texts. It contains 206 glyphs and it was given visual metrics and kerning. The bold version is about to be released.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Carrois Gothic": { + "name": "Carrois Gothic", + "designer": [ + "Carrois Apostrophe" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Carrois Gothic is a well balanced and modern gothic type family. Clean and beautiful. What more do you need? There is the Small Caps sister family too, useful for all noble and significant applications. Learn more at carrois.com", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Carrois Gothic SC": { + "name": "Carrois Gothic SC", + "designer": [ + "Carrois Apostrophe" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Carrois Gothic is a well balanced and modern gothic type family. Clean and beautiful. What more do you need? This is the Small Caps sister family to the regular family, useful for all noble and significant applications. Learn more at carrois.com", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Carter One": { + "name": "Carter One", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Carter is a reworking of particular casual typeforms that were popular around the mid Twentieth Century, often found used areas such advertising or pulp fiction book covers. The letter forms of Carter have been reshaped and digitised for use as a webfont, the counters have been opened up a little and the stems optimised for use as display font for modern web browsers.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Cascadia Code": { + "name": "Cascadia Code", + "designer": [ + "Aaron Bell", + "Mohamad Dakak", + "Viktoriya Grabowska", + "Liron Lavi Turkenich" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "arabic", + "braille", + "cyrillic", + "cyrillic-ext", + "greek", + "hebrew", + "latin", + "latin-ext", + "symbols2", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Cascadia Code is a fun open source font that originated from the Windows Terminal project as a replacement for Consolas. It was intended to bring personality to monospace environemnts (especially in the italic!), while still maintaining a high degree of legibility and performance even on lower resolution screens at smaller sizes. It also offers broad language coverage, including extended Latin (and Vietnamese), Greek, Cyrillic, Arabic and Hebrew. Cascadia Code also has an alternate version available\u2014Cascadia Mono\u2014which has the programming ligatures disabled for those who prefer to see one glyph per square. For more information or to contribute to the project, please visit the github repository", + "minisite_url": null + }, + "Cascadia Mono": { + "name": "Cascadia Mono", + "designer": [ + "Aaron Bell", + "Mohamad Dakak", + "Viktoriya Grabowska", + "Liron Lavi Turkenich" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "arabic", + "braille", + "cyrillic", + "cyrillic-ext", + "greek", + "hebrew", + "latin", + "latin-ext", + "symbols2", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Cascadia Code is a fun open source font that originated from the Windows Terminal project as a replacement for Consolas. It was intended to bring personality to monospace environemnts (especially in the italic!), while still maintaining a high degree of legibility and performance even on lower resolution screens at smaller sizes. It also offers broad language coverage, including extended Latin (and Vietnamese), Greek, Cyrillic, Arabic and Hebrew. Cascadia Code also has an alternate version available\u2014Cascadia Mono\u2014which has the programming ligatures disabled for those who prefer to see one glyph per square. For more information or to contribute to the project, please visit the github repository", + "minisite_url": null + }, + "Castoro": { + "name": "Castoro", + "designer": [ + "Tiro Typeworks", + "John Hudson", + "Paul Hanslow", + "Kaja S\u0142ojewska" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Castoro began as a synthesis of aspects of assorted Dutch types from the 16\u201318th Centuries and was initially made for the Indic fonts that Tiro produced for Harvard University Press. The version released as Castoro retains the extensive diacritic set for transliteration of South Asian languages and additional characters for an increased number of European languages. Castoro is named for the North American beaver, Castor canadensis. Robust serif text types with extensive language and typographic layout support are sometimes referred to as 'workhorse' types. Castoro may be thought of as a busy beaver. The roman was designed by John Hudson, and the italic with his Tiro colleague Paul Hanslow, assisted by Kaja S\u0142ojewska. To contribute, see github.com/TiroTypeworks/Castoro.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Castoro Titling": { + "name": "Castoro Titling", + "designer": [ + "Tiro Typeworks", + "John Hudson" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Castoro Titling is an all-caps font in which the uppercase of the Castoro text typeface has been \u2018re-hung\u2019 on the proportions of Roman inscriptional letters. These lighter, elegant forms are ideal for larger sizes. The font covers the same set of extended diacritics for European orthographies and for transliteration of Indian languages. Castoro Titling was designed by John Hudson. To contribute, see github.com/TiroTypeworks/Castoro.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Catamaran": { + "name": "Catamaran", + "designer": [ + "Pria Ravichandran" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "tamil" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Catamaran is a Unicode-compliant Latin and Tamil text type family designed for the digital age. The Tamil is monolinear and was designed alongside the sans serif Latin and Devanagari family Palanquin. It currently comprises of 9 text weights, making it a versatile family that strikes a balance between typographic conventions and that bit of sparkle. (A catamaran is a multihulled vessel consisting of two parallel hulls of equal size. The catamaran concept is a relative newcomer for Western boat designers, been used since time immemorial among the Dravidian people, in South India.) The Catamaran project is led by Pria Ravichandran, a type designer from India. To contribute, visit github.com/VanillaandCream/Catamaran", + "primary_script": "Taml", + "article": null, + "minisite_url": null + }, + "Caudex": { + "name": "Caudex", + "designer": [ + "Nidud" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "greek", + "greek-ext", + "latin", + "latin-ext", + "runic", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Caudex is a Unicode TrueType font created with FontForge. It is developed on SourceForge. It includes most of the Medieval Unicode Font Initiative (MUFI) version 3.0 recommendations. The font was originally made in the late nineties using the ISO 8859-1 character set, and used for printing some old handwritten text. Greek is also included.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Caveat": { + "name": "Caveat", + "designer": [ + "Impallari Type" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Caveat is a handwriting type family designed by Pablo Impallari. It is designed for both short annotations and body text usage. For a different style, there is also a sister family, Caveat Brush The fonts have OpenType features that enable the letters to have slight variations according to their occurrence within a word, for a natural handwritten feel. The Caveat project was commissioned by Google from Impallari Type, a type design foundry in Rosario, Argentina. To contribute, see github.com/googlefonts/caveat Updated June 2019 to v1.500: Adding extended Cyrillic, by Cyreal, a type design foundry in Moscow, Russia.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Caveat Brush": { + "name": "Caveat Brush", + "designer": [ + "Impallari Type" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Caveat is a handwriting type family designed by Pablo Impallari. It is designed for short annotations. For a different style, there is also a sister family, Caveat The fonts have OpenType features that enable the letters to have slight variations according to their occurrence within a word, for a natural handwritten feel.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Cedarville Cursive": { + "name": "Cedarville Cursive", + "designer": [ + "Kimberly Geswein" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "This font is based on the handwriting of a perky, cheerful young preschool teacher. From her love of her Cedarville University alma mater to her passion for her students, she is a delightful, dependable person. I think her handwriting contains that same blend of fun appeal with restrained discipline alongside it. Many handwritten script fonts have large flourishes, but this is a more simple script, similar to authentic daily handwriting.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ceviche One": { + "name": "Ceviche One", + "designer": [ + "Miguel Hernandez" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Ceviche One is a bold expressionist sans. Tasty, wild and delicious curves are inspired in lettering from the 1960s. Ceviche One is a great and dynamic option for large headlines, displays and posters.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Chakra Petch": { + "name": "Chakra Petch", + "designer": [ + "Cadson Demak" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "thai", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Chakra Petch is a Thai and Latin family which features Thai's traditional looped letterforms. It's a square sans serif with tapered corners. Due to the design, it works well for both digital and print based media.", + "primary_script": "Thai", + "article": null, + "minisite_url": null + }, + "Changa": { + "name": "Changa", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "arabic", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Changa is intended for text usage, with its short ascenders and descenders and a set of lowercase letters inscribed within a square. The uppercase letters gains slightly more in height form a single height so that typographers can set text with minimum line spacing. Changa One is also available, the initial style that is an extra-bold sister family intended for display usage. In November 2019, it was updated with a Variable Font \"Weight\" axis. To contribute, see github.com/googlefonts/changa-vf.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Changa One": { + "name": "Changa One", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Changa One is intended for titles, with its short ascenders and descenders and a set of lowercase letters inscribed within a square. The uppercases case gains slightly more in height and develops its morphology in a single height in order to make it possible to create text composition with minimum line spacing. Its counter-shapes are rectangular, featuring small curvatures in opposite vertexes which accompany and break the shapes, thus evoking a modern style. Changa is also available, a continuation of the development of this typeface as a regular weight sister family intended for text usage. To contribute to the project contact Eduardo Tunni.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Chango": { + "name": "Chango", + "designer": [ + "Fontstage" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Chango is a display face based on letters drawn by Mexican illustrator Ernesto \u201cChango\u201d Garc\u00eda Cabral. It\u2019s big and heavy, ideal for head-line body sizes with a humorous touch.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Charis SIL": { + "name": "Charis SIL", + "designer": [ + "SIL International" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "The Charis project is intended to provide a free and open font family for all current languages and writing systems that use Latin and Cyrillic scripts. It supports almost the complete range of Unicode characters for these scripts, including a comprehensive range of diacritics and a large set of symbols useful for linguistics and literacy work. Smart font routines automatically adjust the position of diacritics to support and optimize arbitrary base+diacritic combinations. This project uses a UFO-based design and production workflow, with all sources in open formats and a completely open-source build toolkit. Learn more at software.sil.org/charis. To contribute, see github.com/silnrsi/font-charis.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Charm": { + "name": "Charm", + "designer": [ + "Cadson Demak" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "thai", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Charm is a handwritten Thai and Latin family. The letterforms were created using a flat tip pen on paper. It works well for Thai religous texts.", + "primary_script": "Thai", + "article": null, + "minisite_url": null + }, + "Charmonman": { + "name": "Charmonman", + "designer": [ + "Cadson Demak" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "thai", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Charmonman is a Thai and Latin family which takes inspiration from Zapfino. It features tall ascenders and descenders with swashed letterforms.", + "primary_script": "Thai", + "article": null, + "minisite_url": null + }, + "Chathura": { + "name": "Chathura", + "designer": [ + "Appaji Ambarisha Darbha" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "telugu" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Chathura was developed initially as an ASCII font in 2009 in the Ezi Fonts collection, which consists 42 Telugu ASCII fonts. In 2015 Chathura was developed into a Unicode font family with support for Telugu and Latin. The design is useful for invitations, headings, in print and on the web. Each letter has rectangular forms and a uniform stroke thickness. The Telugu component was designed by Appaji Ambarisha Darbha. The Latin component was added from Rajdhani, a Latin and Devanagari font family developed by Shiva Nalleperumal at Indian Type Foundry. The Chathura project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India. To contribute, see github.com/appajid/Chathura", + "primary_script": "Telu", + "article": null, + "minisite_url": null + }, + "Chau Philomene One": { + "name": "Chau Philomene One", + "designer": [ + "Vicente Lam\u00f3naca" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Chau Philomene One is one of four families within the Chau superfamily. Hardy, ideal for headings and highlighted text, with narrow letters and sharp angles that have a distinctive personality.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Chela One": { + "name": "Chela One", + "designer": [ + "Miguel Hernandez" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Chela One is a bold and condensed brush script typeface from Chilean type foundry LatinoType.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Chelsea Market": { + "name": "Chelsea Market", + "designer": [ + "Tart Workshop" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Let's picnic on the High Line, grab some delights from the market and we'll people-watch from our cozy blanket nestled on a small patch of nature surrounded in the bustle of the city as it ages gracefully. Enjoy the quirky bohemian feel of Chelsea Market and use it often.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Chenla": { + "name": "Chenla", + "designer": [ + "Danh Hong" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "khmer" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "The Chenla fonts are designed for readable and beautiful rendering of text in the Khmer script, the national language of Cambodia. The designer, Danh Hong, has many years of experience creating fonts for Khmer and other Southeast Asian languages, and is actively involved in the KhmerOS project, dedicated to a vision where Cambodians can learn and use computers in their own language.", + "primary_script": "Khmr", + "article": null, + "minisite_url": null + }, + "Cherish": { + "name": "Cherish", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Cherish is a gorgeous dry brush style that adds expression and sophistication to your design creations. Perfect for captions and short phrases combined with modern sans fonts. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/cherish.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Cherry Bomb": { + "name": "Cherry Bomb", + "designer": [ + "Satsuyako" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "japanese", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Satsuyako first released the kana font Cherry Bomb in 2012 with the concept, \"Cute with a kick.\" Its round and modern bounciness has made it appealing for diverse use, ranging from title logos and food packaging to children's magazines. For the Google Fonts version, the designer has adjusted the outline and balance of all the letters, added symbols and Latin glyphs, and made it into a proportional font that could also be used in the vertical writing style. To contribute, see github.com/satsuyako/CherryBomb.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Cherry Bomb One": { + "name": "Cherry Bomb One", + "designer": [ + "Satsuyako" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "japanese", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Satsuyako first released the kana font CherryBomb in 2012 with the concept, \"Cute with a kick.\" Its round and modern bounciness has made it appealing for diverse use from title logos and food packaging to children' s magazines. To publish on Google Fonts, the designer adjusted the outline and balance of all the letters, added symbols and Latin glyphs, and made it into a proportional font that could also be used in the vertical writing style. To contribute to the project, visit github.com/satsuyako/CherryBomb", + "primary_script": "Hira", + "article": null, + "minisite_url": null + }, + "Cherry Cream Soda": { + "name": "Cherry Cream Soda", + "designer": [ + "Font Diner" + ], + "license": "apache2", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Cruise in to your favorite soda fountain and ask the jerk behind the counter to pull you a sweet red cherry cream soda! This extra wide sans-serif will take you back to the world of the 1950s teenager complete with bubbly enthusiasm and an optimistic outlook!", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Cherry Swash": { + "name": "Cherry Swash", + "designer": [ + "Nataliya Kasatkina" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Cherry Swash is a contemporary slab-serif, with no stroke contrast yet eye-catching form with its elegant swash capitals. This typeface will look at its best in your headlines and logos.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Chewy": { + "name": "Chewy", + "designer": [ + "Sideshow" + ], + "license": "apache2", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "A font you can really sink your teeth into. And unlike all those tasteless fonts, Chewy never loses its flavor! Chewy is sealed for freshness in an easy-open package. Be sure to sample Squid's other main courses and side dishes!", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Chicle": { + "name": "Chicle", + "designer": [ + "Sudtipos" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "In a much needed break from complex scripts and polished packaging fonts, Koziupa and Paul decided to show their playful side. Chicle has bold, stretchable, kid-proof, pet-resistant letters. This font is made to take the abuse of software used to put together the elaborate, attention-scrambling artwork of candy, cereal, and toy packaging, or whatever boxed obscenity contains cat and dog treats. Chicle is Spanish for bubble gum. Its a definite sugar fix \u2014 no substitutes.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Chilanka": { + "name": "Chilanka", + "designer": [ + "SMC", + "Santhosh Thottingal" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "malayalam" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Chilanka is Malayalam handwriting style font designed by Santhosh Thottingal. It follows the common style one can see in everyday handwriting of Malayalam. It has a comprehensive Malayalam glyph set that contains most of the unique Malayalam conjuncts. To contribute, see gitlab.com/smc/fonts/chilanka.", + "primary_script": "Mlym", + "article": null, + "minisite_url": null + }, + "Chiron Hei HK": { + "name": "Chiron Hei HK", + "designer": [ + "Tamcy" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "chinese-hongkong", + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext", + "symbols2", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Hant", + "article": "Chiron Hei HK (\u662d\u6e90\u9ed1\u9ad4) is a Traditional Chinese sans typeface based on Adobe's Source Han Sans (a.k.a. Google's Noto Sans CJK). The font aims at providing a modern, region-agnostic glyph set adopting the \"modern\" glyph style that is similar to the prevailing, usually commercial, typefaces in the Traditional Chinese regions. In Chiron Hei HK, glyph shapes in Source Han Sans Traditional Chinese (Hong Kong) are reviewed and adjusted for the better display effect on screen and in print. The font takes references from the glyph shapes of typefaces commonly seen in daily life to provide a set of regional agnostic, modern-style glyphs that balance standard glyph shapes and the usual stroke forms of printed typefaces. The glyph set is similar to the prevailing, usually commercial, typefaces in the Traditional Chinese communities. To contribute, see github.com/chiron-fonts/chiron-hei-hk.", + "minisite_url": null + }, + "Chiron Sung HK": { + "name": "Chiron Sung HK", + "designer": [ + "Tamcy" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "chinese-hongkong", + "cyrillic", + "cyrillic-ext", + "greek", + "latin", + "latin-ext", + "symbols2", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Hant", + "article": "Chiron Sung HK (\u662d\u6e90\u5b8b\u9ad4) is a Traditional Chinese serif typeface based on Adobe's Source Han Serif (branded as Noto Serif CJK by Google). The font aims to provide a modern, region-agnostic glyph set that adopts the \u201cmodern\u201d glyph style similar to the prevailing, usually commercial, typefaces in Traditional Chinese regions. In Chiron Sung HK, glyph shapes in Source Han Serif Traditional Chinese (Hong Kong) are reviewed and adjusted for the better display effect on screen and in print. The font takes references from the glyph shapes of typefaces commonly seen in daily life to provide a set of regional agnostic, modern-style glyphs that balance standard glyph shapes and the usual stroke forms of printed typefaces. The glyph set is similar to the prevailing, usually commercial, typefaces in the Traditional Chinese communities. To contribute, see github.com/chiron-fonts/chiron-sung-hk.", + "minisite_url": null + }, + "Chivo": { + "name": "Chivo", + "designer": [ + "Omnibus-Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Chivo (\"Goat\" in Spanish) is Omnibus-Type's first grotesque family. The strength of Chivo Black makes it ideal for highlights and headlines whilst Chivo Regular's elegance is ideal for continuous reading. Its design details make it an indispensable ally for any designer. In october 2022, the family is upgraded to a variable font ranging from Thin to Black, including matching italics. The glyphset has also been extended, supporting now a wider number of languages. The family was developed by H\u00e9ctor Gatti. To contribute, see github.com/Omnibus-Type/Chivo.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Chivo Mono": { + "name": "Chivo Mono", + "designer": [ + "Omnibus-Type" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "monospace" + ], + "description": "Chivo (\u2018goat\u2019 in Spanish) is the first Omnibus-Type neo-grotesque typeface family. Its solidness and balanced strokes give Chivo both elegance and practicality. Chivo Mono is the monospace sibling of Chivo. Likewise, Chivo Mono is a variable font ranging from Thin to Black with matching Italics. The family was developed by H\u00e9ctor Gatti. To contribute, see github.com/Omnibus-Type/Chivo.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Chocolate Classical Sans": { + "name": "Chocolate Classical Sans", + "designer": [ + "Moonlit Owen" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "chinese-traditional", + "cyrillic", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "\"Chocolate Classical Sans\" is an open source font suitable for Traditional Chinese environments. This font uses inherited glyphs, largely adhering to the Inherited Glyphs standard maintained by the I.Font Project, combined with other commonly seen inherited glyphs, to produce a Chinese typeface with glyphs in the traditional style.. This font is produced by Tian Haidong, with modifications from Moonlit Owen. This font is based on the \"Source Han Sans\" font jointly developed by Adobe and Google, incorporating modifications and additional glyphs by using open source contributions from Steve Yuu, GuiWonder and ChiuMing. To contribute, see github.com/MoonlitOwen/ChocolateSans.", + "primary_script": "Hant", + "article": null, + "minisite_url": null + }, + "Chokokutai": { + "name": "Chokokutai", + "designer": [ + "Font Zone 108" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "japanese", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Chokokutai is a display Japanese font family whose characters have a funky appearance. To contribute to the project, visit github.com/go108go/Chokokutai", + "primary_script": "Hira", + "article": null, + "minisite_url": null + }, + "Chonburi": { + "name": "Chonburi", + "designer": [ + "Cadson Demak" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "thai", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Chonburi is a new Thai + Latin typeface for display usage, with an formal looped + serif design. The Chonburi project is led by Cadson Demak, a type foundry in Thailand. To contribute, see github.com/cadsondemak/chonburi", + "primary_script": "Thai", + "article": null, + "minisite_url": null + }, + "Cinzel": { + "name": "Cinzel", + "designer": [ + "Natanael Gama" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Cinzel is a typeface inspired in first century roman inscriptions, and based on classical proportions. However it\u2019s not a simple revivalism, while it conveys all the ancient history of the latin alphabet it also merges a contemporary feel onto it. To contribute, see github.com/NDISCOVER/Cinzel.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Cinzel Decorative": { + "name": "Cinzel Decorative", + "designer": [ + "Natanael Gama" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Cinzel is a typeface inspired in first century roman inscriptions, and based on classical proportions. However it\u2019s not a simple revivalism, while it conveys all the ancient history of the latin alphabet it also merges a contemporary feel onto it.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Clicker Script": { + "name": "Clicker Script", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Clicker Script finds its inspiration from RCA Records Stereo Action Series from the 1960's. This signature elegant yet slightly bouncy script truly sings, and lends a happy go lucky flavor to any design. Designed by Brian J. Bonislawsky and Jim Lyles for Astigmatic (AOETI). To contribute to the project contact Brian J. Bonislawsky.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Climate Crisis": { + "name": "Climate Crisis", + "designer": [ + "Daniel Coull", + "Eino Korkala" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "Climate Crisis, is a variable font designed to help visualise the urgency of climate change, designed for Helsingin Sanomat, the largest Nordic newspaper. The typeface\u2019s weight responds to the levels of Arctic sea ice from 1979 to 2019 and predictions for 2050, based on data from the National Snow and Ice Data Center. Case study on the mini website. To contribute, see github.com/dancoull/ClimateCrisis. Show your type melting over time like a glacier with Climate Crisis and its Year axis As mentioned in the recent article about the Tilt family, Google Fonts is adding a bunch of new expressive variable fonts and axes to the library. Check out the latest release, Climate Crisis. Climate Crisis, with its new variable axis called Year, was commissioned by the Nordic newspaper \"Helsingin Sanomat\" to use in its own editorial and marketing. It visualizes the urgency of climate change by appearing to degrade over time, like each character is a glacier melting away. More than just a metaphor, the font reflects actual data from the National Snow and Ice Data Center to represent the levels of Arctic sea ice from 1979 to 2019. Satellite measuring began in 1979. Predictive data from The Intergovernmental Panel on Climate Change (IPCC) is used to visualize the ice melting through 2050. The typeface's designers, Daniel Coull and Eino Korkala included eight masters for the Year axis. (When type designers create a variable font, they need to embed masters at each extreme end of a variable axis, but often they embed multiple masters along the axis in order to give the in-between instances more finesse.) The heaviest weight represents the Arctic sea ice in 1979. The lightest weight represents the IPCC's 2050 forecast, when only 30% of the ice will remain. To learn more, read:Show your type melting over time like a glacier with Climate Crisis and its Year axis. Climate Crisis minisite", + "minisite_url": "https://kampanjat.hs.fi/climatefont" + }, + "Coda": { + "name": "Coda", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Eye-catching, no-messing, bandwidth-saving, Coda's Heavy (800) style is designed to be an unassuming, practical, impact heavy display font for the world wide web. Designed to be used in large sizes to bring bold information to web pages, it is complemented by a Regular weight for use in text and display contexts. These webfonts are designed to be used freely across the internet by web browsers on desktop computers, laptops and mobile devices.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Coda Caption": { + "name": "Coda Caption", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Eye-catching, no-messing, bandwidth-saving, Coda is designed to be an unassuming, practical, impact heavy display font for the world wide web. Designed to be used in large sizes to bring bold information to web pages.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Codystar": { + "name": "Codystar", + "designer": [ + "Neapolitan" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "As you stroll down Manhattan streets and through Times Square, look all around you at the sizzling lights! Sparkling. Brilliant. Codystar. Designed by Crystal Kluge of Neapolitan (a DBA of Font Diner, Inc.) To contribute to the project contact Font Diner.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Coiny": { + "name": "Coiny", + "designer": [ + "Marcelo Magalh\u00e3es" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "tamil", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Coiny is a typeface designed originally for the Latin and Tamil scripts in parallel. Naturally bold, and born on street to shine on screen. It has a structure based on simple geometrical shapes, and is inspired by the vernacular designs seen around every big city. The forms are similar to those found with writing made with a rounded brush point. It is a lot of fun for titles and headlines. The Coiny project is led by Marcelo Magalh\u00e3es, a type designer based in S\u00e3o Paulo, Brasil. To contribute, see github.com/marcelommp/Coiny", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Combo": { + "name": "Combo", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Combo has a simple structure, based on the elliptical arcs and strokes of a flat-tipped marker pen. This display typeface is suitable for use in advertisements, headlines and short texts.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Comfortaa": { + "name": "Comfortaa", + "designer": [ + "Johan Aakerlund" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Comfortaa is a rounded geometric sans-serif type design intended for large sizes. It is absolutely free, both for personal and commercial use. If you like it please visit my DeviantArt page and fav it (but obviously only if you like it.) You are also more than welcome to comment about anything you want (I'm open to critique). I obviously would love to see how my font is being used, so feel free to comment with a link to your work, or send me a message. I hope you will enjoy using my font!", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Comforter": { + "name": "Comforter", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "cyrillic", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Comforter is a bouncy, upright brush style script. Its look is appealing for many usages. It\u2019s contemporary, and non- traditional. It\u2019s sophisticated, yet fun and funky. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/comforter.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Comforter Brush": { + "name": "Comforter Brush", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "cyrillic", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Comforter Brush is the \"brushy\" companion of Comforter, a bouncy, upright brush style script a contemporary, and non- traditional script font. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/comforter-brush.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Comic Neue": { + "name": "Comic Neue", + "designer": [ + "Craig Rozynski", + "Hrant Papazian" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Comic Neue is an original reinterpretation of the classic, Comic Sans. Comic Neue aspires to be the casual script choice for everyone, including the typographically savvy. The squashed, wonky, and weird glyphs of Comic Sans have been beaten into shape \u2013 while maintaining the honesty that made Comic Sans so popular. Don't miss the project homepage, comicneue.com The Comic Neue project was initiated by Craig Rozynski, a designer living in Australia and Japan. To contribute or report any issues, see github.com/crozynski/comicneue", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Comic Relief": { + "name": "Comic Relief", + "designer": [ + "Jeff Davis" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "greek", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Comic Relief is a typeface designed to be metrically equivalent to the popular Comic Sans MS. Comic Relief can be used in place of Comic Sans MS without having to move, resize, or reset any part of the copy. Perfect for missing cat posters and all of your WordArt needs! To contribute, see github.com/loudifier/Comic-Relief.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Coming Soon": { + "name": "Coming Soon", + "designer": [ + "Open Window" + ], + "license": "apache2", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Coming Soon by Open Window is based on the handwriting from mom when she was in 6th grade. Solid balance, masterful strokes, and just a touch of lemonade stand for good measure!", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Comme": { + "name": "Comme", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Comme is a variable Sans Serif font forked from the Oxygen family. Language support is improved in this version, and the font is variable, with a weight axis ranging from thin to black. To contribute, please see github.com/googlefonts/comme.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Commissioner": { + "name": "Commissioner", + "designer": [ + "Kostas Bartsokas" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Commissioner is a low-contrast humanist sans-serif with almost classical proportions, conceived as a variable family. The family consists of three \u201cvoices\u201d. The default style is a grotesque with straight stems. As the flair axis grows the straight grotesque terminals develop a swelling and become almost glyphic serifs and the joints become more idiosyncratic. The volume axis transforms the glyphic serifs to wedge-like ones. Each voice of Commissioner comes in a range of styles from Thin to Black including italics. The diverse proportions of lowercase and capitals add warmth and appeal to texts across sizes, while the different voices can express a variation in the typographic texture that ranges from delicate in text sizes to exuberant in larger sizes. To contribute, please see github.com/kosbarts/Commissioner.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Concert One": { + "name": "Concert One", + "designer": [ + "Johan Kallas", + "Mihkel Virkus" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Concert One is a rounded grotesque typeface inspired by 19th century 3D lettering from a leaflet announcing a chamber concert. To contribute to the project contact Johan Kallas or Mihkel Virkus.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Condiment": { + "name": "Condiment", + "designer": [ + "Sudtipos" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Condiment adds flavor to your design. This font by Angel Koziupa and Ale Paul is prepared with powdered soft shapes mixed with brush-drawn letters.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Content": { + "name": "Content", + "designer": [ + "Danh Hong" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "khmer" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "The Content fonts are designed for readable and beautiful rendering of text in the Khmer script, the national language of Cambodia. The designer, Danh Hong, has many years of experience creating fonts for Khmer and other Southeast Asian languages, and is actively involved in the KhmerOS project, dedicated to a vision where Cambodians can learn and use computers in their own language.", + "primary_script": "Khmr", + "article": null, + "minisite_url": null + }, + "Contrail One": { + "name": "Contrail One", + "designer": [ + "Riccardo De Franceschi" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Foundry: Sorkin Type Co Contrail is based on handmade sans letters seen on UK posters. It's slight slant and bouncy quality suggest the emerging jet age and a state of both readiness and excited anticipation. Its rounded corners give it an approachable friendly feeling. Contrail is a low contrast design that is suitable for use in medium to large sizes including headlines. This font was made specifically to be used as web type. Source files are available from Google Code. To contribute to the project contact Eben Sorkin.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Convergence": { + "name": "Convergence", + "designer": [ + "Nicol\u00e1s Silva", + "John Vargas Beltr\u00e1n" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Convergence is a low contrast Upright Italic Sans Serif Typeface with a large x-height. It was created by two designers with very different ideas, who took advantage of their divergent criteria to draw glyphs that made the Upright and Italic styles converge without mixing them. In this way, it was possible to converge the inclination of an Upright Sans Serif with a Sans Serif Italic. Looking at the font in detail, the bottom halves of the glyphs have Transitive serifs while the upper halves conserve the Sans Serif terminals. Other specific details can be seen in the a, g, and e glyphs, which have an Italic structure, not an Upright one. In addition, the glyph for the letter r has a relatively closed instroke. The references used to develop this font were Bree from TypeTogether, Parisine de Porchez Typofonderie, and, undeniably, Ludovico Degli Arrighi's manuscript about the structure the \"humanistic cursive\" that is Convergence. Designed by Nicola\u0087s Silva (@zar_nicolas20) and John Vargas (@vargas74)", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Cookie": { + "name": "Cookie", + "designer": [ + "Ania Kruk" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Cookie is a script typeface based on brush calligraphy. It has a little bit of 1950s style that makes you think about all the beautiful ads and pin-ups from this time. It is sweet and friendly - but not too decorative; simple and legible even in text sizes.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Copse": { + "name": "Copse", + "designer": [ + "Dan Rhatigan" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Copse is a low-contrast slab serif that is a little soft around the edges, but with a clear and sturdy posture.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Coral Pixels": { + "name": "Coral Pixels", + "designer": [ + "Tanukizamurai" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "Coral Pixels is a color font inspired by subpixel rendering techniques. It enhances the retro pixel font style commonly seen in games and digital art by adding color, creating a more vivid digital aesthetic. This font uses the COLRv0 and CPAL tables. Please visit the gf-guide color page to learn more about Color Fonts technology. To contribute, see github.com/tanukifont/Coral-Pixels. Coral Pixels is a color font inspired by subpixel rendering techniques. It elevates the retro pixel font style commonly seen in games and digital art by infusing it with color, creating a more vibrant and dynamic digital aesthetic. Beyond being merely a font, it offers a new dimension for visual expression. Subpixel Rendering Expression: By applying display technology to font design, Coral Pixels creates a depth and dimensionality not typically found in traditional fonts. This innovative approach could inspire new ideas for retro game pixel art. Rich Color Expression: The font's glyphs, when viewed from a distance, appear as blurred black text. However, upon closer inspection, they reveal a random arrangement of colorful dots, offering a unique and visually engaging experience. Transparency Implementation: Coral Pixels incorporates transparency into its color elements to minimize the occurrence of unsightly fringes. While this design choice enhances the font's appearance, it can result in a loss of color vibrancy when used against dark backgrounds. As a temporary workaround, we recommend using color inversion or other adjustments within your application.", + "minisite_url": null + }, + "Corben": { + "name": "Corben", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Corben is a simple web friendly display font with ample curves and ligatures. Corben is designed to be easy on the eye with a touch of classic display lettering.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Corinthia": { + "name": "Corinthia", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Corinthia flows with perfect connections and beautiful curves. It\u2019s a delightful design that offers wide usage... All three weights are perfect for creating elegant design work from packaging and romance novels, to invitations and social expression products. This award winning font comes with over 500 glyphs, covering Latin Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/corinthia.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Cormorant": { + "name": "Cormorant", + "designer": [ + "Christian Thalmann" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Cormorant is a free display type family developed by Christian Thalmann. The project currently comprises a total of 45 font files spanning 9 different visual styles (Roman, Italic, Infant, Infant Italic, Garamond, Garamond Italic, Upright Cursive, Small Caps, and Unicase) and 5 weights (Light, Regular, Medium, SemiBold, and Bold.) Cormorant was conceived, drawn, spaced, kerned, programmed, interpolated, and produced in its entirety by Christian Thalmann of Catharsis Fonts. For an illustrated presentation and description of the family, please visit its B\u0113hance page. While this project was heavily inspired by Claude Garamont's immortal legacy, Christian did not use any specific font as a starting point or direct reference for the designs. Most glyphs were drawn from scratch; when he needed guidance on a specific character, he searched for the term Garamond and skimmed through the results for a general impression. He is grateful to the creative souls on the Typophile, TypeDrawers and Typografie forums, and Github, for a wealth of knowledge about type design, and for providing a large amount of excellent feedback on Cormorant during its development. He also thanks the tireless folks at Glyphs, in particular Rainer Erich Scheichelbauer of Schriftlabor and Georg Seifert. Special thanks go to Dave Crossland and Google Fonts for making the libre release of this font family possible through generous funding of the development process. The Cormorant project is led by Christian Thalmann, a type designer based in Zurich, Switzerland. To contribute, see github.com/CatharsisFonts/Cormorant", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Cormorant Garamond": { + "name": "Cormorant Garamond", + "designer": [ + "Christian Thalmann" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Cormorant is a free display type family developed by Christian Thalmann. The project currently comprises a total of 45 font files spanning 9 different visual styles (Roman, Italic, Infant, Infant Italic, Garamond, Garamond Italic, Upright Cursive, Small Caps, and Unicase) and 5 weights (Light, Regular, Medium, SemiBold, and Bold.) Cormorant was conceived, drawn, spaced, kerned, programmed, interpolated, and produced in its entirety by Christian Thalmann of Catharsis Fonts. For an illustrated presentation and description of the family, please visit its B\u0113hance page. While this project was heavily inspired by Claude Garamont's immortal legacy, Christian did not use any specific font as a starting point or direct reference for the designs. Most glyphs were drawn from scratch; when he needed guidance on a specific character, he searched for the term Garamond and skimmed through the results for a general impression. He is grateful to the creative souls on the Typophile, TypeDrawers and Typografie forums, and Github, for a wealth of knowledge about type design, and for providing a large amount of excellent feedback on Cormorant during its development. He also thanks the tireless folks at Glyphs, in particular Rainer Erich Scheichelbauer of Schriftlabor and Georg Seifert. Special thanks go to Dave Crossland and Google Fonts for making the libre release of this font family possible through generous funding of the development process. The Cormorant project is led by Christian Thalmann, a type designer based in Zurich, Switzerland. To contribute, see github.com/CatharsisFonts/Cormorant", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Cormorant Infant": { + "name": "Cormorant Infant", + "designer": [ + "Christian Thalmann" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Cormorant is a free display type family developed by Christian Thalmann. The project currently comprises a total of 45 font files spanning 9 different visual styles (Roman, Italic, Infant, Infant Italic, Garamond, Garamond Italic, Upright Cursive, Small Caps, and Unicase) and 5 weights (Light, Regular, Medium, SemiBold, and Bold.) Cormorant was conceived, drawn, spaced, kerned, programmed, interpolated, and produced in its entirety by Christian Thalmann of Catharsis Fonts. For an illustrated presentation and description of the family, please visit its Behance page. While this project was heavily inspired by Claude Garamont's immortal legacy, Christian did not use any specific font as a starting point or direct reference for the designs. Most glyphs were drawn from scratch; when he needed guidance on a specific character, he searched for the term Garamond and skimmed through the results for a general impression. He is grateful to the creative souls on the Typophile, TypeDrawers and Typografie forums, and Github, for a wealth of knowledge about type design, and for providing a large amount of excellent feedback on Cormorant during its development. He also thanks the tireless folks at Glyphs, in particular Rainer Erich Scheichelbauer of Schriftlabor and Georg Seifert. Special thanks go to Dave Crossland and Google Fonts for making the libre release of this font family possible through generous funding of the development process. The Cormorant project is led by Christian Thalmann, a type designer based in Zurich, Switzerland. To contribute, see github.com/CatharsisFonts/Cormorant", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Cormorant SC": { + "name": "Cormorant SC", + "designer": [ + "Christian Thalmann" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Cormorant is a free display type family developed by Christian Thalmann. The project currently comprises a total of 45 font files spanning 9 different visual styles (Roman, Italic, Infant, Infant Italic, Garamond, Garamond Italic, Upright Cursive, Small Caps, and Unicase) and 5 weights (Light, Regular, Medium, SemiBold, and Bold.) Cormorant was conceived, drawn, spaced, kerned, programmed, interpolated, and produced in its entirety by Christian Thalmann of Catharsis Fonts. For an illustrated presentation and description of the family, please visit its B\u0113hance page. While this project was heavily inspired by Claude Garamont's immortal legacy, Christian did not use any specific font as a starting point or direct reference for the designs. Most glyphs were drawn from scratch; when he needed guidance on a specific character, he searched for the term Garamond and skimmed through the results for a general impression. He is grateful to the creative souls on the Typophile, TypeDrawers and Typografie forums, and Github, for a wealth of knowledge about type design, and for providing a large amount of excellent feedback on Cormorant during its development. He also thanks the tireless folks at Glyphs, in particular Rainer Erich Scheichelbauer of Schriftlabor and Georg Seifert. Special thanks go to Dave Crossland and Google Fonts for making the libre release of this font family possible through generous funding of the development process. The Cormorant project is led by Christian Thalmann, a type designer based in Zurich, Switzerland. To contribute, see github.com/CatharsisFonts/Cormorant", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Cormorant Unicase": { + "name": "Cormorant Unicase", + "designer": [ + "Christian Thalmann" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Cormorant is a free display type family developed by Christian Thalmann. The project currently comprises a total of 45 font files spanning 9 different visual styles (Roman, Italic, Infant, Infant Italic, Garamond, Garamond Italic, Upright Cursive, Small Caps, and Unicase) and 5 weights (Light, Regular, Medium, SemiBold, and Bold.) Cormorant was conceived, drawn, spaced, kerned, programmed, interpolated, and produced in its entirety by Christian Thalmann of Catharsis Fonts. For an illustrated presentation and description of the family, please visit its B\u0113hance page. While this project was heavily inspired by Claude Garamont's immortal legacy, Christian did not use any specific font as a starting point or direct reference for the designs. Most glyphs were drawn from scratch; when he needed guidance on a specific character, he searched for the term Garamond and skimmed through the results for a general impression. He is grateful to the creative souls on the Typophile, TypeDrawers and Typografie forums, and Github, for a wealth of knowledge about type design, and for providing a large amount of excellent feedback on Cormorant during its development. He also thanks the tireless folks at Glyphs, in particular Rainer Erich Scheichelbauer of Schriftlabor and Georg Seifert. Special thanks go to Dave Crossland and Google Fonts for making the libre release of this font family possible through generous funding of the development process. The Cormorant project is led by Christian Thalmann, a type designer based in Zurich, Switzerland. To contribute, see github.com/CatharsisFonts/Cormorant", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Cormorant Upright": { + "name": "Cormorant Upright", + "designer": [ + "Christian Thalmann" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Cormorant is a free display type family developed by Christian Thalmann. The project currently comprises a total of 45 font files spanning 9 different visual styles (Roman, Italic, Infant, Infant Italic, Garamond, Garamond Italic, Upright Cursive, Small Caps, and Unicase) and 5 weights (Light, Regular, Medium, SemiBold, and Bold.) Cormorant was conceived, drawn, spaced, kerned, programmed, interpolated, and produced in its entirety by Christian Thalmann of Catharsis Fonts. For an illustrated presentation and description of the family, please visit its B\u0113hance page. While this project was heavily inspired by Claude Garamont's immortal legacy, Christian did not use any specific font as a starting point or direct reference for the designs. Most glyphs were drawn from scratch; when he needed guidance on a specific character, he searched for the term Garamond and skimmed through the results for a general impression. He is grateful to the creative souls on the Typophile, TypeDrawers and Typografie forums, and Github, for a wealth of knowledge about type design, and for providing a large amount of excellent feedback on Cormorant during its development. He also thanks the tireless folks at Glyphs, in particular Rainer Erich Scheichelbauer of Schriftlabor and Georg Seifert. Special thanks go to Dave Crossland and Google Fonts for making the libre release of this font family possible through generous funding of the development process. The Cormorant project is led by Christian Thalmann, a type designer based in Zurich, Switzerland. To contribute, see github.com/CatharsisFonts/Cormorant", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Courgette": { + "name": "Courgette", + "designer": [ + "Karolina Lach" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Foundry: Sorkin Type Co Courgette is a medium low contrast brushy italic script type. A brushy italic style is traditionally for display and unsurprisingly Courgette works well in display. However Courgette's low contrast and carefully made forms mean that it also works well in smaller sizes and even in massed text. Source files are available from Google Code. To contribute to the project contact Eben Sorkin.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Courier Prime": { + "name": "Courier Prime", + "designer": [ + "Alan Dague-Greene" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "monospace" + ], + "description": "Courier Prime is a new take on IBM's Courier which was designed in 1956 by Howard Kettler. It's a monospaced family, designed specifically for screenplays. Overall the family is more refined than its predecessor. The serifs are crisper and less rounded. The counters are subtly wider. The bold weight is a bit darker and the italics are more cursive. To contribute, see github.com/quoteunquoteapps/CourierPrime", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Cousine": { + "name": "Cousine", + "designer": [ + "Steve Matteson" + ], + "license": "apache2", + "category": "MONOSPACE", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "hebrew", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "monospace" + ], + "description": "Cousine was designed by Steve Matteson as an innovative, refreshing sans serif design that is metrically compatible with Courier New\u2122. Cousine offers improved on-screen readability characteristics and the pan-European WGL character set and solves the needs of developers looking for width-compatible fonts to address document portability across platforms.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Coustard": { + "name": "Coustard", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Coustard is a display and text serif webfont designed to be used freely across the internet by web browsers on desktop computers, laptops and mobile devices. Coustard has been developed from a fork of Tienne, another font in the Google Font Directory, available under the SIL Open Font License which allows for remixing fonts.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Covered By Your Grace": { + "name": "Covered By Your Grace", + "designer": [ + "Kimberly Geswein" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Covered By Your Grace is based on the adorable handwriting of a very sweet teacher friend. I love her whimsical curves and extensions.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Crafty Girls": { + "name": "Crafty Girls", + "designer": [ + "Tart Workshop" + ], + "license": "apache2", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Crafty Girls is inspired by crochet hooks, yarn, button boxes, thread, and glitter. This delightfully playful casual handwriting script font was hand drawn by Crystal Kluge and makes the perfect compliment to all your projects. Use it in your very best creative projects, then blog about them in the same font!", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Creepster": { + "name": "Creepster", + "designer": [ + "Sideshow" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Creepster is a fright-filled font, perfect for all of your grisly graphic needs!", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Creepster Caps": { + "name": "Creepster Caps", + "designer": [ + "Sideshow" + ], + "license": "apache2", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "It's ghastly! It's gory! It's gruesomely gleeful! It's Creepster Caps, the blood-curdling new font from Squid and Sideshow. This fright-filled font has so many alternates it's like stitching together your own monster every time you use it. Creepster Caps: perfect for all of your grisly graphic needs!", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Crete Round": { + "name": "Crete Round", + "designer": [ + "TypeTogether" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Crete Round is a warm slab serif providing a hint of softness to texts. It started as a tailored version of the original Crete fonts, created specially to serve as corporate typeface for the type design competition Letter2. Crete Round is more independent from the original with modified terminals and serifs to create two new fonts that deliver a more contemporary and functional appearance. The tall x-height, low contrast and sturdy slabs prove to be surprisingly efficient for web use.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Crimson Pro": { + "name": "Crimson Pro", + "designer": [ + "Jacques Le Bailly" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Crimson Pro is a serif typeface family: Contemporary, clear, classic and rounded/open. Something for a college textbook, editorial websites and any reading experience with book-length texts It contributes to the tradition of beautiful Garamond-inspired typefaces, often called \u201cGaralde\u201d or \u201cOld Style,\u201d and has 8 named weights, in Roman and Italic, and is available as a Variable Font with a Weight axis. The first Crimson design was initiated by Sebastian Kosch in 2009, and he later completely redrew a new version called Crimson Prime. Google commissioned Jacques Le Bailly to review both typefaces, and develop Crimson Pro as a new design that synthesises both designs into a final authoritative family, first released in January 2019. All decisions were made to enable better readability for longer texts and the ability to make good and diverse typography. The Crimson Pro project is led by Jacques Le Bailly, a type designer based in Den Haag, Netherlands. To contribute, see github.com/Fonthausen/CrimsonPro", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Crimson Text": { + "name": "Crimson Text", + "designer": [ + "Sebastian Kosch" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Crimson Text is a font family for book production in the tradition of beautiful oldstyle typefaces. There are a lot of great free fonts around, but one kind is missing: those Garamond-inspired types with all the little niceties like oldstyle figures, small caps, fleurons, math characters and the like. In fact, a lot of time is spend developing free knock-offs of ugly \"standards\" like Times and Helvetica. Crimson Text is inspired by the fantastic work of people like Jan Tschichold, Robert Slimbach and Jonathan Hoefler. We hope that the free type community will one day be able to enjoy Crimson Text as a beautiful workhorse. Several important bug fixes have been brought in March 2022, including the harmonisation of the line-spacing across all styles. To contribute, see github.com/googlefonts/Crimson.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Croissant One": { + "name": "Croissant One", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Croissant is a typeface inspired by the Parisian spirit, in the people and the landscapes there. The lowercase letters have smooth round shapes, and a nice long out-stroke to connect nearly every glyph, reminding the reader of elegant French handwriting. The uppercases have a classical structure and soft terminals that embody the spirit of this multi-purpose typeface. To contribute to the project contact Eduardo Tunni.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Crushed": { + "name": "Crushed", + "designer": [ + "Astigmatic" + ], + "license": "apache2", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Crushed was designed in 2010 as a headline and display typeface. Featuring a condensed body width and subtlely tapered vertical strokes, Crushed is a unicase design, tossing aside the traditional lowercase for one that matches the cap height. Though intended for display, Crushed actually looks great and reads well in text usage. The gentle taper of the stems add a certain class and the basic letterforms are modern and fresh.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Cuprum": { + "name": "Cuprum", + "designer": [ + "Jovanny Lemonad" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Cuprum was created in 2006 based on the works Miles Newlyn. Cuprum is a narrow grotesque. It is quite versatile. Mostly how it is now, I do not like myself, because as time passed and since then I have learned to make fonts much better. An interesting history of the appearance of his name: Cuprum is copper, not gold or silver. Copper is too noble, but it is much cheaper and copper is not used for medals \u2013 only pots.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Cute Font": { + "name": "Cute Font", + "designer": [ + "TypoDesign Lab. Inc" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "korean", + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Cute Font is a Korean and Latin font", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "Cutive": { + "name": "Cutive", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SLAB_SERIF", + "classifications": [ + "display" + ], + "description": "The design of Cutive, and this monospace sister family Cutive Mono, is based on a number of classic typewriter typefaces, in particular the faces of IBM's 'Executive,' and the older 'Smith-Premier.' In Cutive these old faces re-emerge as webfonts that are useful for adding character to body texts as well as in larger sizes for headers and display. To contribute to the project see github.com/googlefonts/CutiveFont.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Cutive Mono": { + "name": "Cutive Mono", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "monospace" + ], + "description": "The design of Cutive , and this monospace sister family Cutive Mono, is based on a number of classic typewriter typefaces, in particular the faces of IBM's 'Executive,' and the older 'Smith-Premier.' In Cutive these old faces re-emerge as webfonts that are useful for adding character to body texts as well as in larger sizes for headers and display. To contribute to the project see github.com/googlefonts/cutivemono .", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "DM Mono": { + "name": "DM Mono", + "designer": [ + "Colophon Foundry" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "monospace" + ], + "description": "DM Mono is a three weight, three style family designed for DeepMind. DM Mono was loosely based off of DM Sans, with a reduction in contrast and less geometric proportions. The type design and font development was commissioned from Colophon Foundry, with Creative Direction from the DeepMind team. To contribute, see github.com/googlefonts/dm-mono.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "DM Sans": { + "name": "DM Sans", + "designer": [ + "Colophon Foundry" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "DM Sans is a low-contrast geometric sans serif design, intended for use at smaller text sizes. DM Sans supports a Latin Extended glyph set, enabling typesetting for English and other Western European languages. It was designed by Colophon Foundry (UK), who started from the Latin portion of Indian Type Foundry's Poppins. In May 2023 DM Sans is updated, expanding the coverage of the weight range to Thin & ExtraBlack (100\u20131000 weight range) along with a new optical size axis. To contribute, see github.com/googlefonts/dm-fonts", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "DM Serif Display": { + "name": "DM Serif Display", + "designer": [ + "Colophon Foundry" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "DM Serif Display is a high-contrast transitional face. With delicate serifs and fine detailing, the design has been shaped for use in super-sized poster settings. It is accompanied by DM Serif Text, for use in smaller point ranges. DM Serif Display supports a Latin Extended glyph set, enabling typesetting for English and other Western European languages. It was designed by Colophon Foundry (UK), that started from the Latin portion of Adobe Source Serif 4, by Frank Grie\u00dfhammer et al. To contribute, see github.com/googlefonts/dm-fonts", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "DM Serif Text": { + "name": "DM Serif Text", + "designer": [ + "Colophon Foundry" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "DM Serif Text is a lower-contrast counterpart to the high-contrast DM Serif Display. While the serifs remain delicate, the DM Serif Text family is a more robust variant of the Display sibling, intended for smaller sub-headings and text sizes. DM Serif Text supports a Latin Extended glyph set, enabling typesetting for English and other Western European languages. It was designed by Colophon Foundry (UK), that started from the Latin portion of Adobe Source Serif 4, by Frank Grie\u00dfhammer et al. To contribute, see github.com/googlefonts/dm-fonts", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Dai Banna SIL": { + "name": "Dai Banna SIL", + "designer": [ + "SIL International" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "new-tai-lue" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Dai Banna provides a libre and open font family for the New Tai Lue (Xishuangbanna Dai) script. The New Tai Lue (Xishuangbanna Dai) script is used by approximately 300,000 people who speak the Xishuangbanna Dai language in Yunnan, China. It is a simplification of the Tai Tham (Old Tai Lue) script as used for this language for hundreds of years. To contribute, please see github.com/silnrsi/font-daibannasil.", + "primary_script": "Talu", + "article": null, + "minisite_url": null + }, + "Damion": { + "name": "Damion", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Damion is a casual script face derived from some typical mid C20 casual typefaces such as that drawn by Max Kaufmann in 1936 for American Type Founders. Damion has taken these and similar type forms and also added some of it's own forms to create a casual webfont for Display use on modern web pages. Latest upgrade from April 2024 expands the Latin script language coverage. To contribute, see github.com/googlefonts/damionFont.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Dancing Script": { + "name": "Dancing Script", + "designer": [ + "Impallari Type" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Dancing Script is a lively casual script where the letters bounce and change size slightly. Caps are big, and goes below the baseline. Dancing Script references popular scripts typefaces from the 50's. It relates to Murray Hill (Emil Klumpp. 1956) in his weight distribution, and to Mistral (Roger Excoffon. 1953) in his lively bouncing effect. Use it when you want a friendly, informal and spontaneous look. Updated May 18th 2011 with bold! In November 2019, it was updated with a Variable Font \"Weight\" axis. To contribute, see github.com/impallari/DancingScript.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Danfo": { + "name": "Danfo", + "designer": [ + "Afrotype", + "Seyi Olusanya", + "Eyiyemi Adegbite", + "David Udoh", + "Mirko Velimirovi\u0107" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "Danfo, a variable-axis font, is the result of a collaboration between Afrotype and Abu, a lettering artist from Ojota Bus Stop. It is inspired by the cut-out shapes of vinyl sticker lettering on public transportation buses in Lagos, Nigeria. This font, the first project from Afrotype, is an improved version of the 2018 design, now featuring a richer character set that supports all of Sub-Saharan African Latin. Danfo is the base set of a family of Danfo fonts Afrotype plans to release. To contribute, please see github.com/Afrotype/danfo.", + "minisite_url": "https://www.afrotype.com/danfo" + }, + "Dangrek": { + "name": "Dangrek", + "designer": [ + "Danh Hong" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "khmer", + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Dangrek is a Khmer font for headlines, titles and subtitles, and even banner designs. To contribute, see github.com/danhhong/Dangrek.", + "primary_script": "Khmr", + "article": null, + "minisite_url": null + }, + "Darker Grotesque": { + "name": "Darker Grotesque", + "designer": [ + "Gabriel Lam", + "Vi\u1ec7tAnh Nguy\u1ec5n" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Darker Grotesque is a contemporary grotesque designed by Gabriel Lam, inspired by the post-modern and brutalism typographic trends. This is an original Vietnamese typeface designed by a Vietnamese type designer, Vi\u1ec7tAnh Nguy\u1ec5n. In 2023, an upgrade fixed some issues, taking the opportunity to make the font variable. To contribute, see github.com/bettergui/DarkerGrotesque. Darker Grotesque l\u00e0 b\u1ed9 m\u1eb7t ch\u1eef kh\u00f4ng ch\u00e2n \u0111\u01b0\u01a1ng \u0111\u1ea1i \u0111\u01b0\u1ee3c thi\u1ebft k\u1ebf b\u1edfi Gabriel Lam (Gia L\u00e2m B\u1ea3o) v\u00e0 \u0111\u01b0\u1ee3c truy\u1ec1n c\u1ea3m h\u1ee9ng t\u1eeb phong tr\u00e0o thi\u1ebft k\u1ebf ch\u1eef post-modern v\u00e0 brutalism. C\u1ea3 b\u1ed9 ch\u1eef bao g\u1ed3m 14 ki\u1ec3u, 7 lo\u1ea1i tr\u1ecdng l\u01b0\u1ee3ng kh\u00e1c nhau k\u00e8m theo phi\u00ean b\u1ea3n nghi\u00eang. \u0110\u00e2y l\u00e0 m\u1ed9t thi\u1ebft k\u1ebf m\u1eb7t ch\u1eef Vi\u1ec7t Nam \u0111\u01b0\u1ee3c thi\u1ebft k\u1ebf b\u1edfi ng\u01b0\u1eddi Vi\u1ec7t Nam. N\u0103m 2023 c\u00f3 th\u00eam b\u1ea3n n\u00e2ng c\u1ea5p \u0111\u1ec3 s\u1eeda m\u1ed9t s\u1ed1 l\u1ed7i nh\u1ecf v\u00e0 h\u1ed7 tr\u1ee3 ph\u00f4ng ch\u1eef \u0111a h\u00ecnh. H\u00e3y \u0111\u00f3ng g\u00f3p cho d\u1ef1 \u00e1n c\u1ee7a ch\u00fang t\u00f4i \u1edf github.com/bettergui/DarkerGrotesque.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Daruma Drop One": { + "name": "Daruma Drop One", + "designer": [ + "Maniackers Design" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "japanese", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Darumdrop is a flavorful handwritten font inspired by Japanese handwriting and \"Daruma Otoshi\" which is a Japanese folk craft game. To contribute to the project, visit github.com/ManiackersDesign/darumadrop", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Darumadrop One": { + "name": "Darumadrop One", + "designer": [ + "Maniackers Design" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Darumdrop is a flavorful handwritten font inspired by Japanese handwriting and \"Daruma Otoshi\" which is a Japanese folk craft game. To contribute to the project, visit github.com/ManiackersDesign/darumadrop", + "primary_script": "Hira", + "article": null, + "minisite_url": null + }, + "David Libre": { + "name": "David Libre", + "designer": [ + "Monotype Imaging Inc.", + "SIL International", + "Meir Sadan" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "hebrew", + "latin", + "latin-ext", + "math", + "symbols", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "David Libre is a Libre David Hebrew, based on David Hadash Formal, released by Monotype Corporation in 2012. David Hadash Formal is a modern digitization made from original large scale technical drawings for the typeface drawn by Ismar David. Google has worked with Monotype to release the 3 book weights (Regular, Medium and Bold) under the SIL Open Font License and create a new version for use by the public. This project includes working with the David Hadash sources to create a new version, that fits the requirements of Israeli instituions, since David is the official font for Israeli correspondence. Some glyphs were updated, such as the Sheqel symbol. It was redesigned to be recognizable by contemporary Hebrew readers, since the original Sheqel symbol is too far from today's standard. Latin characters from the Gentium typeface were derived and integrated to accommodate cases in which Latin and Hebrew characters will be used in tandem. Each font includes OpenType features required for diacritic marks (nikud) and Hebrew-specific uses, including alternative Hebrew-height numerals (available as Stylistic Set 1) an alternative \"Hebrew ampersand\" symbol designed by Ismar David (available in Stylistic Set 2) and an alternative Sheqel symbol designed by Ismar David (available in Stylistic Set 3.) Every effort was made to keep the original designs intact, and the type's original spacing is well preserved. However, several changes have been made to fit with David Libre's goal to be used as a free alternative to the David font commonly installed on PCs. In order to be compatible with documents previously set in the version of David bundled with Microsoft Windows, David Hadash's glyph size has been reduced by 12.5%. This was made to prevent cases in which documents previously typed in Microsoft's David to take up more pages and cause odd line breaks. Please note that this does not guarantee full compatibility with that David, only a close approximation. Diacritic marks have been repositioned. Biblical cantillation marks are not supported. The construction of David Libre was made by Meir Sadan, commissioned by Google for the Google Fonts project. The David Libre project is led by Meir Sadan, a type designer based in Tel Aviv, Israel. To contribute, see github.com/meirsadan/david-libre.", + "primary_script": "Hebr", + "article": null, + "minisite_url": null + }, + "Dawning of a New Day": { + "name": "Dawning of a New Day", + "designer": [ + "Kimberly Geswein" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Dawning of a New Day is based on the handwriting of a friend. The title was chosen by my friend, but also had great meaning to me. I like to think of each new day as a chance to start fresh, free from past mistakes. It is my desire that the light, fluid motions of this script mimic that hopeful feeling.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Days One": { + "name": "Days One", + "designer": [ + "Jovanny Lemonad" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Days One is an experiment, which was established in 2008 by three people: Alexander Kalachev, Ivan Gladkikh, Alexei Maslov. Letterforms are wide, and the strokes are thick. This makes Days One good for headlines. It is similar to the more Regular weight font 'Numans' also available in Google Web Fonts.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Dekko": { + "name": "Dekko", + "designer": [ + "Sorkin Type" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "handwriting" + ], + "description": "Dekko\u2019s personality is both warm and casual. It originated with Modular InfoTech's 4948, and was modified to feel more written and regular in appearance and weight. The inter-letter spacing of the design is now wider, allowing for it to be used at smaller sizes on screens. Dekko also comes with a complete set of Latin which matches the Devanagari in weight and and size, and originates with Short Stack. Both the Devanagari and the Latin are based on written forms, and their stroke contrast has thick horizontals. The pen angles traditionally associated with Devanagari has some diagonal stress, but here the Latin script uses a vertical stress. This project is led by Eben Sorkin at Sorkin Type Co, a type foundry based in Boston, USA. To contribute, visit github.com/EbenSorkin/Dekko Updated: Improvements made to OpenType shaping and vertical metrics in May 2015.", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Dela Gothic One": { + "name": "Dela Gothic One", + "designer": [ + "artakana" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "greek", + "japanese", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "DelaGothic is a flat, very thick Gothic body. Its stability and strength make it ideal for use on posters and packaging. To contribute to the project, visit github.com/syakuzen/DelaGothic", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "Delicious Handrawn": { + "name": "Delicious Handrawn", + "designer": [ + "Agung Rohmat" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Delicious Handrawn is a font inspired by Agung Rohmat's handwriting. He drew all the glyphs on his iPad using the Procreate app. It took a lot of testing to find the perfect design as he felt his handwriting was not neat. To contribute, see github.com/alphArtype/Delicious-Handrawn.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Delius": { + "name": "Delius", + "designer": [ + "Natalia Raices" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Delius is a high quality comic book lettering typeface super-family; it has several families, Delis, Delius Unicase and Delius Swash Caps. A round marker was used to define Delius's stroke: the line gets thicker at both ends to define the beginning and end of the stroke, as a marker line would do, and the ductus imitates the movements of handwriting.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Delius Swash Caps": { + "name": "Delius Swash Caps", + "designer": [ + "Natalia Raices" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Delius Swash Caps is part of a high quality comic book lettering typeface super-family. It has special uppercase letters for special uses, such as in titles and logos. It has companion families, Delius and Delius Unicase. A round marker was used to define Delius's stroke: the line gets thicker at both ends to define the beginning and end of the stroke, as a marker line would do, and the ductus imitates the movements of handwriting.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Delius Unicase": { + "name": "Delius Unicase", + "designer": [ + "Natalia Raices" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "handwriting", + "display" + ], + "description": "Delius Unicase is part of a high quality comic book lettering typeface super-family. It has mixed uppercase and lowercase letters for 'unicase' uses, such as in comic strip lettering. It has companion families, Delius and Delius Swash Caps. A round marker was used to define Delius's stroke: the line gets thicker at both ends to define the beginning and end of the stroke, as a marker line would do, and the ductus imitates the movements of handwriting.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Della Respira": { + "name": "Della Respira", + "designer": [ + "Nathan Willis" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Della Respira a revival of the Della Robbia typeface by American Type Founders (ATF).Della Respira is a Unicode typeface family that supports languages that use the Latin script and its variants, and could be expanded to support other scripts.To contribute to the project contact Nathan Willis and see the source files on Launchpad.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Denk One": { + "name": "Denk One", + "designer": [ + "Sorkin Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Denk One is a medium contrast display sans serif. It was inspired by a hand painted German sign. It has been carefully adjusted to the restrictions of the screen. Despite having display characteristics, Denk One can be used in a wide range of sizes. Latest upgrade from February 2023 expands the Latin script language coverage. To contribute, see github.com/SorkinType/Denk-One.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Devonshire": { + "name": "Devonshire", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Devonshire is a non-connecting brush script typeface of medium weight. Its playful brush letterforms are reminiscent of old sign painter scripts, while being restricted to none of the rules of a connecting script font, allowing it to visually dance.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Dhurjati": { + "name": "Dhurjati", + "designer": [ + "Purushoth Kumar Guttula" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "telugu" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Dhurjati is a Telugu font with a square design and round corners. It has ornamental vowel marks that evoke a traditional Indian feeling and is suitable for headlines, invitations, posters and other uses at large sizes. Dhurjati is named after the Telugu poet from the court of the king Krishnadevaraya, and was one of the Astadiggajalu (literally eight legends) there. The Telugu and Latin is designed and developed by Purushoth Kumar Guttula in 2013 and made available by Silicon Andhra under the SIL Open Font License v1.1. The Dhurjati project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India. To contribute, see github.com/appajid/dhurjati", + "primary_script": "Telu", + "article": null, + "minisite_url": null + }, + "Dhyana": { + "name": "Dhyana", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "lao", + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Dhyana is a new Lao typeface designed by Vern Adams. For more information, please see the project homepage on GitHub.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Didact Gothic": { + "name": "Didact Gothic", + "designer": [ + "Daniel Johnson", + "Cyreal" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Didact Gothic is a sans-serif font designed to present each letter in the form most often used in elementary classrooms. This makes it suitable for literacy efforts. Initially designed by Daniel Johnson, the entire font was revised by Alexei Vanyashin at Cyreal in 2017. To contribute, see github.com/ossobuffo/didact-gothic", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Digital Numbers": { + "name": "Digital Numbers", + "designer": [ + "Stephan Ahlf" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "monospace" + ], + "description": "Digital Numbers is a fixed width font in a cool liquid-crystal display (LCD) style. More information about this font can be found at github.com/s-a/digital-numbers-font", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Diphylleia": { + "name": "Diphylleia", + "designer": [ + "Minha Hyung", + "JAMO" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "korean", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Diphylleia is a typeface based on the motif of the song \"Diphylleia grayi\" by singer Jonghyun of SHINee; designed to better convey his sentimental lyrics. The typeface was inspired by the affectionate expression of the song about how the flower becomes transparent and disappearing, and puts these impressions into the brush style strokes. Diphylleia grayi is a mysterious flower that gets transparent when the water touches its petals. To contribute, please visit github.com/JAMO-TYPEFACE/Diphylleia.", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "Diplomata": { + "name": "Diplomata", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Diplomata started several years ago when a friend in the printing industry who had an old metal typeface wanted it to be digitalized for offset printing. He brought everything the original type offered as a start, a set of upper case characters, numbers, and some punctuation marks. But what he brought in printed form was not enough to meet his needs, and letterforms that did not exist had to be created. It is a fine job to reinterpret a design, to make decisions on what already exists and also have in mind the changes needed for the new technological context where Diplomata will be used. Its style, similar to Bodoni, has a remarkable degree of horizontal expansion; a weight which indicates verticality; areas between serif and stem softened by a curve connecting them, and the light in the main stroke of each glyph is a detail that lightens up and gives prominence to Diplomata. It is a distinct typeface, ideal for composing headlines and small prestigious pieces of text. The February 2023 update features a bigger glyphset, fractions and some minor aesthetic modifications. To improve and expand the use of Diplomata, it was necessary to create small caps and a lower case, which ended up constituting this family that has two variables today. To contribute, see github.com/etunni/diplomata.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Diplomata SC": { + "name": "Diplomata SC", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Diplomata started several years ago when a friend in the printing industry who had an old metal typeface wanted it to be digitalized for offset printing. He brought everything the original type offered as a start, a set of upper case characters, numbers, and some punctuation marks. But what he brought in printed form was not enough to meet his needs, and letterforms that did not exist had to be created. It is a fine job to reinterpret a design, to make decisions on what already exists and also have in mind the changes needed for the new technological context where Diplomata will be used. Its style, similar to Bodoni, has a remarkable degree of horizontal expansion; a weight which indicates verticality; areas between serif and stem softened by a curve connecting them, and the light in the main stroke of each glyph is a detail that lightens up and gives prominence to Diplomata. It is a distinct typeface, ideal for composing headlines and small prestigious pieces of text. The February 2023 update features a bigger glyphset, fractions and some minor aesthetic modifications. To improve and expand the use of Diplomata, it was necessary to create small caps and a lower case, which ended up constituting this family that has two variables today. To contribute, see github.com/etunni/diplomata.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Do Hyeon": { + "name": "Do Hyeon", + "designer": [ + "Woowahan Brothers" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "korean", + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Do Hyeon Is a Korean and Latin font", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "Dokdo": { + "name": "Dokdo", + "designer": [ + "FONTRIX" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "korean", + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Dokdo is a Korean and Latin font.", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "Domine": { + "name": "Domine", + "designer": [ + "Impallari Type" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "From the very first steps in the design process, Domine was designed, tested and optimized for body text on the web. Harmless to the eyes when reading long texts, Domine is a perfect choice for newspapers or magazines websites, where text is the main focus. It shines at px sizes 14 and 16, and can even be used as small as 11 px. Friendly in appearance, it combines the classic elements of familiar typefaces that have been in use from more than 100 years like Clarendon, Century, Cheltenham and Clearface. The rounded letters (b, c, d, e, o, p, q) are a bit squarish on the inside. This feature opens up the counters for better rendering and also make it look a bit more up-to-date than the classic typefaces previously referenced. The serifs are a bit shorter than usual. Another feature that improves the rendering by allowing more \"air\" between each letter pair. The joins of the stems to the branches in letters like h, m, n are deep enough to prevent dark spots, also improving legibility at small sizes. The friendly lowercase 'a', with the curve starting from the bottom of the stem, is reminiscent of Cheltenham and Clearface. That soft curve is also echoed in the curves of the f, j, n, m and r. The spacing is also optimized for body text on the web, clearly more open than that of typefaces made for print or for headlines. To contribute, see github.com/googlefonts/Dominee.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Donegal One": { + "name": "Donegal One", + "designer": [ + "Gary Lonergan" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Foundry: Sorkin Type Co Donegal One is a text typeface designed to be highly legible and comfortable when reading on screen. Donegal's utility and personality consistently shows from small text sizes to display. Donegal uses the cut interior curve associated with W.A. Dwiggins. This feature is one of many that contribute to Donegal's distinctive and pleasing character. Source files are available from Google Code. To contribute to the project contact Eben Sorkin.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Dongle": { + "name": "Dongle", + "designer": [ + "Yanghee Ryu" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "korean", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Dongle(\ub3d9\uae00) is a rounded sans-serif typeface for display. It is a modular Hangeul with the de-square frame, creating a playful and rhythmic movement. The name, Dongle(\ub3d9\uae00) comes from a Korean onomatopoeia, meaning 'rounded or curved shape(with adorable impression)\u2019. To contribute to the project, visit https://github.com/yangheeryu/Dongle", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "Doppio One": { + "name": "Doppio One", + "designer": [ + "Szymon Celej" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Foundry: Sorkin Type Co Doppio One is a robust low contrast sans serif type with a contemporary feeling. Doppio One will work from small text sizes through large display sizes. Doppio's boxy style makes it especially suitable for screen use. Source files are available from Google Code. To contribute to the project contact Eben Sorkin.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Dorsa": { + "name": "Dorsa", + "designer": [ + "Santiago Orozco" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "I always been attracted to condensed typefaces, and one of the first I came across was Empire, designed by Morris Benton Fuller for ATF in 1937. I first spotted it in an architecture book at my college's library while doing homework. Dorsa is a modern interpretation of Empire with some personal details. When I start sketching I knew it would be a little less condensed than the original Empire because I wanted it to be used for use in titles, and combined with positive letter spacing it gives an elegant look to text. Although the original hasn't got a lowercase, I studied a lot of skyline typefaces and drew a fully original lowercase. I started with lowercase \u201co\u201d, which isn't completely geometric, it is expanded to the outside, keeping the same whitespace through all weights. And this repeats all over the typeface, because the construction of all the characters was modular, based on that \u201co\u201d; the \u201cf\u201d is designed to not meet any of the diacritics; and uppercase \u201cA\u201d has a traditional form, because I think this is more legible.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Dosis": { + "name": "Dosis", + "designer": [ + "Impallari Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Dosis is a rounded sans-serif type family. It started with the Extra Light style, useful only at size 36pt or upm and the Extended Latin character set included many alternative characters, all designed by Edgar Tolentino and Pablo Impallari. Dosis was expanded into a complete set of weights in September 2011. Dosis was remastered as a variable font in 2019. To contribute updates or file issues, see https://github.com/eliheuer/dosis-vf.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "DotGothic16": { + "name": "DotGothic16", + "designer": [ + "Fontworks Inc." + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Dotgothic 16 is based on the old 16x16 Gothic bitmap font that recreates the feel of pixel fonts from old video games, cell phones and computer screens on print. With its high readability, this font has become more popular in recent years due to the growing popularity of pixel art. To contribute to the project, visit github.com/fontworks-fonts/DotGothic16", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "Doto": { + "name": "Doto", + "designer": [ + "\u00d3liver Lalan" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "Doto is a bit-map inspired, open-source, variable, monospace and geometric typeface family, designed for display purposes. Each glyph is built using a 6x10 reference matrix, and the typeface supports two variable axes: one controlling the size of the dots and another controlling the roundness of the dots. To contribute, see github.com/oliverlalan/Doto.", + "minisite_url": null + }, + "Dotum": { + "name": "Dotum", + "designer": [ + "HanYang I&C Co." + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "greek", + "korean", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Dotum is a well-known gothic-style font that first shipped with Windows 95. It was designed with clean, simple strokes for clarity in user interfaces. This version includes proportional Latin characters. For a version with monospace, half-width Latin characters, see GulimChe. To contribute to this project, please visit github.com/googlefonts/gulim.", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "DotumChe": { + "name": "DotumChe", + "designer": [ + "HanYang I&C Co." + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "greek", + "korean", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "DotumChe is a well-known gothic-style font that first shipped with Windows 95. It was designed with clean, simple strokes for clarity in user interfaces. This version includes monospace, half-width Latin characters. For a version with proportional Latin characters, see Gulim. To contribute to this project, please visit github.com/googlefonts/gulim.", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "Dr Sugiyama": { + "name": "Dr Sugiyama", + "designer": [ + "Sudtipos" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "The Charles Bluemlein Script Collection is an intriguing reminder of the heady days of hand lettering and calligraphy in the United States. From the early 1930s through World War II, there were about 200 professional hand letterers working in New York City alone. This occupation saw its demise with the advent of photo lettering, and after digital typography it became virtually extinct. The odd way in which the Bluemlein scripts were assembled and created - by collecting different signatures and then building complete alphabets from them - is a fascinating calligraphic adventure. Because the set of constructed designs looked nothing like the original signatures, fictitious names were assigned to the new script typefaces. The typeface styles were then showcased in Higgins Ink catalogs. Alejandro Paul and Sudtipos bring the Bluemlein scripts back to life in a set of expanded digital versions, reflecting the demands of today\u2019s designer. Extreme care has been taken to render the original scripts authentically, keeping the fictitious names originally assigned to them by Bluemlein.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Duru Sans": { + "name": "Duru Sans", + "designer": [ + "Onur Yaz\u0131c\u0131gil" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Foundry: Sorkin Type Co Duru Sans is low contrast a classic 20th century style sans design. Duru Sans is a new take on mixing the humanist urge with the modernist one. Duru Sans also somehow manages to be elegant and a workhorse type at the same time. Duru Sans can be used at a wide range of sizes. Source files are available from Google Code. To contribute to the project contact Eben Sorkin.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "DynaPuff": { + "name": "DynaPuff", + "designer": [ + "Toshi Omagari", + "Jennifer Daniel" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic-ext", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "Dynapuff\u2019s loveable demeanor and hand-drawn charm makes it well suited for your, \u201czomg\u2019s\u201d and \u201casdfajlskdfjalksdfjkj\u2019s\u201d. \ud83d\ude02\ud83d\ude02\ud83d\ude02\ud83d\ude02\ud83d\ude02 Dynapuff features OpenType code that alternates the vertical position of the letters to make those \u201cnoooooooooo waaaaaaay\u201ds appear hand-drawn and less like a robot texting on a typewriter. Give it a whirl in Google\u2019s keyboard (Gboard) where you can transform text messages into typographic stickers. Plain text \u201chahas\u201d are a thing of the past after you\u2019ve sent an \u201clol\u201d in Dynapuff. What Dynapuff might lack in subtlety, it makes up for it with its playful and flexible typographic energy. Designed by Toshi Omagari, this casual typeface is optimized for legibility in small text environments like stickers or candy packaging. It also manages to be large when displayed in children\u2019s books to shop signage. To contribute see github.com/googlefonts/dynapuff. Have fun making stickers with DynaPuff Create custom text stickers on Android and Pixel phones There\u2019s a new way to make stickers in Android and Pixel phones, with the DynaPuff typeface. Tired of writing \u201cGood night\u201d and \u201cHappy birthday\u201d in boring text-only messages? Perhaps you have fond memories of getting stickers when you were a kid and would like to send stickers as greetings to your friends... But it just takes too long to search for stickers on the keyboard when writing messages. You can make custom text stickers with the DynaPuff typeface on Google\u2019s keyboard, Gboard, running on Android and Pixel devices. Most recently, this project was recognized as a finalist in Fast Company\u2019s Innovation Design Awards. To read more, visit Have fun making stickers with DynaPuff.", + "minisite_url": null + }, + "Dynalight": { + "name": "Dynalight", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Dynalight is a dynamic high speed script inspired by a vintage luggage tag for the Southern Pacific 4449 Daylight steam locomotive. Loaded with curves and soft angles, this connecting script is an attention getter.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "EB Garamond": { + "name": "EB Garamond", + "designer": [ + "Georg Duffner", + "Octavio Pardo" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "EB Garamond is intended to be an excellent, classical, Garamond. It is a community project to create a revival of Claude Garamont\u2019s famous humanist typefaces from the mid-16th century. This digital version reproduces the original design by Claude Garamont closely: The source for the letterforms is a scan of a specimen known as the \u201cBerner specimen,\u201d which was composed in 1592 by Conrad Berner, the son-in-law of Christian Egenolff and his successor at the Egenolff print office. This specimen shows Garamont\u2019s roman and Granjon\u2019s italic types at different sizes. Hence the name of this project: Egenolff-Berner Garamond. Why another Garamond? That typeface is a key moment in the history of typography, and European type designers have been reacting to this work ever since. It is probably the most revived typeface in the world and many are excellent. In the world of free/libre culture, however, only a few Garamond-inspired types exist, and none share the scope of this project. In November 2019, the family has been updated to a variable font family. This project is led by Georg Duffner, and developed at github.com/georgd/EB-Garamond", + "primary_script": null, + "article": null, + "minisite_url": "https://googlefonts.github.io/ebgaramond-specimen/" + }, + "Eagle Lake": { + "name": "Eagle Lake", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "The Eagle Lake typeface is a calligraphic lettering style based on the practical Running Book Hand. It has shorter capitals that create a visually taller x-height lending to high legibility and fluidity.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "East Sea Dokdo": { + "name": "East Sea Dokdo", + "designer": [ + "YoonDesign Inc" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "korean", + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "East Sea Dokdo is a Korean and Latin font", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "Eater": { + "name": "Eater", + "designer": [ + "Typomondo" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Eater is a display font infected by the darkest of rare disease that slowly spreads at night while the webfont user sleeps.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Economica": { + "name": "Economica", + "designer": [ + "Vicente Lam\u00f3naca" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Economica is the first digital typeface created in Montevideo, Uruguay, to be distributed internationally. The development of the typeface took most of 2007 and received the assistance of type design colleagues from all over Latin America. Economica has four basic styles: Regular, Bold, Italic and Bold Italic. It includes a comprehensive character set that lets you work with diverse European languages. This typeface family was designed for the output of inkjet printers. It was inspired by the concept of saving space in publishing texts without loss of height. This means it is a very condensed type. The visual advantage of Econ\u0097omica is that accomplishes this horizontal compression while keeping a strong personality. It is not a typical, neutral, sans serif. The open forms and tendency towards flattened curves allow it to be used in very small spaces while retaining high legibility. To contribute to the project contact Vicente Lam\u00f3naca.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Eczar": { + "name": "Eczar", + "designer": [ + "Rosetta", + "Vaibhav Singh" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "devanagari", + "greek", + "greek-ext", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Eczar started as a student project in 2010\u201311 during Vaibhav Singh\u2019s MA studies in Typeface Design at the University of Reading. Eczar was designed to bring liveliness and vigor to multi-script typesetting in Latin and Devanagari \u2013 with the intention of providing an alternative to existing designs by imparting a strong mix of personality and performance, both at text sizes and in display settings. The family offers a wide expressive range and the display qualities of the design intensify with corresponding increase in weight, making the heaviest weights best suited for headlines and display purposes. To contribute, see github.com/rosettatype/eczar.", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Edu AU VIC WA NT Arrows": { + "name": "Edu AU VIC WA NT Arrows", + "designer": [ + "Tina Anderson", + "Corey Anderson" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "The AU School Handwriting Fonts are an English language, OpenType, variable typeface family designed specifically to meet Australian Education standards. While weights, widths and optical sizes were carefully crafted to work well in an Australian classroom environment, they are just as comfortable to read and work with in the home environment. This font represents the forms used in Victoria, Western Australia and the Northern Territory. To contribute, see github.com/SorkinType/VICWANTSchoolhandAustralia.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Edu AU VIC WA NT Dots": { + "name": "Edu AU VIC WA NT Dots", + "designer": [ + "Tina Anderson", + "Corey Anderson" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "The AU School Handwriting Fonts are an English language, OpenType, variable typeface family designed specifically to meet Australian Education standards. While weights, widths and optical sizes were carefully crafted to work well in an Australian classroom environment, they are just as comfortable to read and work with in the home environment. This font represents the forms used in Victoria, Western Australia and the Northern Territory. To contribute, see github.com/SorkinType/VICWANTSchoolhandAustralia.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Edu AU VIC WA NT Guides": { + "name": "Edu AU VIC WA NT Guides", + "designer": [ + "Tina Anderson", + "Corey Anderson" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "The AU School Handwriting Fonts are an English language, OpenType, variable typeface family designed specifically to meet Australian Education standards. While weights, widths and optical sizes were carefully crafted to work well in an Australian classroom environment, they are just as comfortable to read and work with in the home environment. This font represents the forms used in Victoria, Western Australia and the Northern Territory. To contribute, see github.com/SorkinType/VICWANTSchoolhandAustralia.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Edu AU VIC WA NT Hand": { + "name": "Edu AU VIC WA NT Hand", + "designer": [ + "Tina Anderson", + "Corey Anderson" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "handwriting" + ], + "description": "The AU School handwriting Fonts are an English language, OpenType, variable typeface family designed specifically to meet Australian Education standards. While weights, widths and optical sizes were carefully crafted to work well in an Australian classroom environment, they are just as comfortable to read and work with in the home environment. This font represents the forms used in Victoria, Western Australia and the Northern Territory. To contribute, see github.com/SorkinType/VICWANTSchoolhandAustralia.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Edu AU VIC WA NT Pre": { + "name": "Edu AU VIC WA NT Pre", + "designer": [ + "Tina Anderson", + "Corey Anderson" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "The AU School Handwriting Fonts are an English language, OpenType, variable typeface family designed specifically to meet Australian Education standards. While weights, widths and optical sizes were carefully crafted to work well in an Australian classroom environment, they are just as comfortable to read and work with in the home environment. This font represents the forms used in Victoria, Western Australia and the Northern Territory. To contribute, see github.com/SorkinType/VICWANTSchoolhandAustralia.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Edu NSW ACT Cursive": { + "name": "Edu NSW ACT Cursive", + "designer": [ + "Tina Anderson", + "Corey Anderson" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "The AU School Handwriting Fonts are an English language, OpenType, variable typeface family designed specifically to meet Australian Education standards. While weights, widths and optical sizes were carefully crafted to work well in an Australian classroom environment, they are just as comfortable to read and work with in the home environment. This font represents the forms used in New South Wales an the Australian Capital Territory. To contribute, see github.com/SorkinType/VICWANTSchoolHandAustralia.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Edu NSW ACT Foundation": { + "name": "Edu NSW ACT Foundation", + "designer": [ + "Tina Anderson", + "Corey Anderson" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "The Foundation Fonts for Australian Schools collection is a set of handwriting fonts designed specifically to meet Australian Education standards. While weights, widths and optical sizes were carefully crafted to work well in an Australian classroom environment, they are just as comfortable to read and work with in the home environment. Each Australian state teaches different handwriting styles in lower primary school (although some states do share the same style). There are essentially three stages involved with each state's styles: The foundational stage involves learning basic letter formation. The transitional stage adds joining ligatures to some letters. The cursive stage joins almost all letters (with some exceptions). The NSW ACT School Fonts include both: New South Wales Foundation Print - a simple sloped print for early primary school. New South Wales Foundation Cursive - transitional joining letter alternates (pre-cursive stage). Students in New South Wales and Australian Capital Territory learn Foundation Print from years 1 to 2 and Beginner Cursive from year 3. Google Workspace users are provided standard versions online, however they may download or build the complete OpenType versions from GitHub for local installations. To download the full version, or to contribute, see github.com/MezMerrit/AU-School-Handwriting-Fonts. The handwriting fonts that help Australian students learn how to read and write are now available in Google Workspace Google for Education Australia and Google Fonts partnered to make Foundation Fonts for Australian Schools available on Google Workspace, including Google Workspace for Education. The fonts are also available for download from the Google Fonts website. Australian teachers are required to use state-mandated handwriting styles to teach reading and writing to school children from ages four to nine. Designed by Tina and Corey Anderson, the five Foundation Fonts exemplify proper handwriting for English and other languages using the Latin writing system, and include common math symbols. The regular weight of each font imitates the pencil thickness of handwriting, making the fonts easy for students to recognize as they learn how to write letter shapes. The availability of these fonts on Google Docs, Sheets, and Slides is also important for the adoption of Chromebooks and Google Workspace for Education in Australian schools. To read more, visit The handwriting fonts that help Australian students learn how to read and write are now available in Google Workspace", + "minisite_url": null + }, + "Edu NSW ACT Hand": { + "name": "Edu NSW ACT Hand", + "designer": [ + "Tina Anderson", + "Corey Anderson" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "The AU School Handwriting Fonts are an English language, OpenType, variable typeface family designed specifically to meet Australian Education standards. While weights, widths and optical sizes were carefully crafted to work well in an Australian classroom environment, they are just as comfortable to read and work with in the home environment. This font represents the forms used in New South Wales an the Australian Capital Territory. To contribute, see github.com/SorkinType/NSWACTSchoolHandAustralia.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Edu NSW ACT Hand Pre": { + "name": "Edu NSW ACT Hand Pre", + "designer": [ + "Tina Anderson", + "Corey Anderson" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "The AU School Handwriting Fonts are an English language, OpenType, variable typeface family designed specifically to meet Australian Education standards. While weights, widths and optical sizes were carefully crafted to work well in an Australian classroom environment, they are just as comfortable to read and work with in the home environment. This font represents the forms used in New South Wales an the Australian Capital Territory. To contribute, see github.com/SorkinType/VICWANTSchoolHandAustralia.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Edu QLD Beginner": { + "name": "Edu QLD Beginner", + "designer": [ + "Tina Anderson", + "Corey Anderson" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "The Foundation Fonts for Australian Schools collection is a set of handwriting fonts designed specifically to meet Australian Education standards. While weights, widths and optical sizes were carefully crafted to work well in an Australian classroom environment, they are just as comfortable to read and work with in the home environment. Each Australian state teaches different handwriting styles in lower primary school (although some states do share the same style). There are essentially three stages involved with each state's styles: The foundational stage involves learning basic letter formation. The transitional stage adds joining ligatures to some letters. The cursive stage joins almost all letters (with some exceptions). The QLD School Fonts include both: Queensland Beginners Alphabet - a simple sloped print for early primary school. Queensland Beginners Cursive - transitional joining letter alternates (pre-cursive stage). Students in Queensland learn QBeginners from years 1 to 3 and QCursive from year 4. Google Workspace users are provided standard versions online, however they may download or build the complete OpenType versions from GitHub for local installations. To download the full version, or to contribute, see github.com/MezMerrit/AU-School-Handwriting-Fonts. The handwriting fonts that help Australian students learn how to read and write are now available in Google Workspace Google for Education Australia and Google Fonts partnered to make Foundation Fonts for Australian Schools available on Google Workspace, including Google Workspace for Education. The fonts are also available for download from the Google Fonts website. Australian teachers are required to use state-mandated handwriting styles to teach reading and writing to school children from ages four to nine. Designed by Tina and Corey Anderson, the five Foundation Fonts exemplify proper handwriting for English and other languages using the Latin writing system, and include common math symbols. The regular weight of each font imitates the pencil thickness of handwriting, making the fonts easy for students to recognize as they learn how to write letter shapes. The availability of these fonts on Google Docs, Sheets, and Slides is also important for the adoption of Chromebooks and Google Workspace for Education in Australian schools. To read more, visit The handwriting fonts that help Australian students learn how to read and write are now available in Google Workspace", + "minisite_url": null + }, + "Edu QLD Beginners": { + "name": "Edu QLD Beginners", + "designer": [ + "Tina Anderson", + "Corey Anderson" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "The Educational School Fonts collection is a set of handwriting fonts for teachers and pupils. Each Australian state teaches different handwriting styles in lower primary school (although some states do share the same style), in line with Department of Education Australia standards. There are essentially three stages involved with each state's styles: The foundational stage involves learning basic letter formation. The transitional stage adds joining ligatures to some letters. The cursive stage joins almost all letters (with some exceptions). The QLD School Fonts include both: Queensland Beginners Alphabet - a simple sloped print for early primary school. Queensland Beginners Cursive - transitional joining letter alternates (pre-cursive stage). Students in Queensland learn QBeginners from years 1 to 3 and QCursive from year 4. To contribute, see github.com/MezMerrit/AU-School-Handwriting-Fonts.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Edu QLD Hand": { + "name": "Edu QLD Hand", + "designer": [ + "Tina Anderson", + "Corey Anderson" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "The AU School Handwriting Fonts are an English language, OpenType, variable typeface family designed specifically to meet Australian Education standards. While weights, widths and optical sizes were carefully crafted to work well in an Australian classroom environment, they are just as comfortable to read and work with in the home environment. This font represents the forms used in Queensland. To contribute, see github.com/SorkinType/QLDSchoolHandAustralia.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Edu SA Beginner": { + "name": "Edu SA Beginner", + "designer": [ + "Tina Anderson", + "Corey Anderson" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "The Foundation Fonts for Australian Schools collection is a set of handwriting fonts designed specifically to meet Australian Education standards. While weights, widths and optical sizes were carefully crafted to work well in an Australian classroom environment, they are just as comfortable to read and work with in the home environment. Each Australian state teaches different handwriting styles in lower primary school (although some states do share the same style). There are essentially three stages involved with each state's styles: The foundational stage involves learning basic letter formation. The transitional stage adds joining ligatures to some letters. The cursive stage joins almost all letters (with some exceptions). The SA School Fonts include: South Australia Beginner Alphabet - a simple sloped print for early primary school. Students in South Australia learn the Beginners Alphabet from years 1 and 2, moving on to Pre-Cursive from year 3. Google Workspace users are provided standard versions online, however they may download or build the complete OpenType versions from GitHub for local installations. To download the full version, or to contribute, see github.com/MezMerrit/AU-School-Handwriting-Fonts. The handwriting fonts that help Australian students learn how to read and write are now available in Google Workspace Google for Education Australia and Google Fonts partnered to make Foundation Fonts for Australian Schools available on Google Workspace, including Google Workspace for Education. The fonts are also available for download from the Google Fonts website. Australian teachers are required to use state-mandated handwriting styles to teach reading and writing to school children from ages four to nine. Designed by Tina and Corey Anderson, the five Foundation Fonts exemplify proper handwriting for English and other languages using the Latin writing system, and include common math symbols. The regular weight of each font imitates the pencil thickness of handwriting, making the fonts easy for students to recognize as they learn how to write letter shapes. The availability of these fonts on Google Docs, Sheets, and Slides is also important for the adoption of Chromebooks and Google Workspace for Education in Australian schools. To read more, visit The handwriting fonts that help Australian students learn how to read and write are now available in Google Workspace", + "minisite_url": null + }, + "Edu SA Dotted Guide": { + "name": "Edu SA Dotted Guide", + "designer": [ + "Tina Anderson", + "Corey Anderson" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "The AU School Handwriting Fonts are an English language, OpenType, variable typeface family designed specifically to meet Australian Education standards. While weights, widths and optical sizes were carefully crafted to work well in an Australian classroom environment, they are just as comfortable to read and work with in the home environment. This font represents the forms used in South Australia. To contribute, see github.com/SorkinType/SASchoolHandAustralia.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Edu SA Hand": { + "name": "Edu SA Hand", + "designer": [ + "Tina Anderson", + "Corey Anderson" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "The AU School Handwriting Fonts are an English language, OpenType, variable typeface family designed specifically to meet Australian Education standards. While weights, widths and optical sizes were carefully crafted to work well in an Australian classroom environment, they are just as comfortable to read and work with in the home environment. This font represents the forms used in South Australia. To contribute, see github.com/SorkinType/SASchoolHandAustralia.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Edu SA Hand Cursive": { + "name": "Edu SA Hand Cursive", + "designer": [ + "Tina Anderson", + "Corey Anderson" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "The AU School Handwriting Fonts are an English language, OpenType, variable typeface family designed specifically to meet Australian Education standards. While weights, widths and optical sizes were carefully crafted to work well in an Australian classroom environment, they are just as comfortable to read and work with in the home environment. This font represents the forms used in South Australia. To contribute, see github.com/SorkinType/SASchoolHandAustralia.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Edu TAS Beginner": { + "name": "Edu TAS Beginner", + "designer": [ + "Tina Anderson", + "Corey Anderson" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "The Foundation Fonts for Australian Schools collection is a set of handwriting fonts designed specifically to meet Australian Education standards. While weights, widths and optical sizes were carefully crafted to work well in an Australian classroom environment, they are just as comfortable to read and work with in the home environment. Each Australian state teaches different handwriting styles in lower primary school (although some states do share the same style). There are essentially three stages involved with each state's styles: The foundational stage involves learning basic letter formation. The transitional stage adds joining ligatures to some letters. The cursive stage joins almost all letters (with some exceptions). The TAS School Fonts include: Tasmania Beginners Alphabet - a simple sloped print for early primary school. Students in Tasmania learn the Beginners Alphabet from years 1 and 2, moving on to Pre-Cursive from year 3. Google Workspace users are provided standard versions online, however they may download or build the complete OpenType versions from GitHub for local installations. To download the full version, or to contribute, see github.com/MezMerrit/AU-School-Handwriting-Fonts. The handwriting fonts that help Australian students learn how to read and write are now available in Google Workspace Google for Education Australia and Google Fonts partnered to make Foundation Fonts for Australian Schools available on Google Workspace, including Google Workspace for Education. The fonts are also available for download from the Google Fonts website. Australian teachers are required to use state-mandated handwriting styles to teach reading and writing to school children from ages four to nine. Designed by Tina and Corey Anderson, the five Foundation Fonts exemplify proper handwriting for English and other languages using the Latin writing system, and include common math symbols. The regular weight of each font imitates the pencil thickness of handwriting, making the fonts easy for students to recognize as they learn how to write letter shapes. The availability of these fonts on Google Docs, Sheets, and Slides is also important for the adoption of Chromebooks and Google Workspace for Education in Australian schools. To read more, visit The handwriting fonts that help Australian students learn how to read and write are now available in Google Workspace", + "minisite_url": null + }, + "Edu VIC WA NT Beginner": { + "name": "Edu VIC WA NT Beginner", + "designer": [ + "Tina Anderson", + "Corey Anderson" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "The Foundation Fonts for Australian Schools collection is a set of handwriting fonts designed specifically to meet Australian Education standards. While weights, widths and optical sizes were carefully crafted to work well in an Australian classroom environment, they are just as comfortable to read and work with in the home environment. Each Australian state teaches different handwriting styles in lower primary school (although some states do share the same style). There are essentially three stages involved with each state's styles: The foundational stage involves learning basic letter formation. The transitional stage adds joining ligatures to some letters. The cursive stage joins almost all letters (with some exceptions). The VIC WA NT School Fonts include: Victoria, Western Australia and Northern Territory Label Print Alphabet - a simple sloped print for early primary school. Students in Victoria, Western Australia and Northern Territory learn Label Print from years 1 to 3 and Infant Cursive from year 4. Google Workspace users are provided standard versions online, however they may download or build the complete OpenType versions from GitHub for local installations. To download the full version, or to contribute, see github.com/MezMerrit/AU-School-Handwriting-Fonts. The handwriting fonts that help Australian students learn how to read and write are now available in Google Workspace Google for Education Australia and Google Fonts partnered to make Foundation Fonts for Australian Schools available on Google Workspace, including Google Workspace for Education. The fonts are also available for download from the Google Fonts website. Australian teachers are required to use state-mandated handwriting styles to teach reading and writing to school children from ages four to nine. Designed by Tina and Corey Anderson, the five Foundation Fonts exemplify proper handwriting for English and other languages using the Latin writing system, and include common math symbols. The regular weight of each font imitates the pencil thickness of handwriting, making the fonts easy for students to recognize as they learn how to write letter shapes. The availability of these fonts on Google Docs, Sheets, and Slides is also important for the adoption of Chromebooks and Google Workspace for Education in Australian schools. To read more, visit The handwriting fonts that help Australian students learn how to read and write are now available in Google Workspace", + "minisite_url": null + }, + "Edu VIC WA NT Guide": { + "name": "Edu VIC WA NT Guide", + "designer": [ + "Tina Anderson", + "Corey Anderson" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "The AU School Handwriting Fonts are an English language, OpenType, variable typeface family designed specifically to meet Australian Education standards. While weights, widths and optical sizes were carefully crafted to work well in an Australian classroom environment, they are just as comfortable to read and work with in the home environment. This font represents the forms used in Victoria, Western Australia and the Northern Territory. To contribute, see github.com/SorkinType/VICWANTSchoolHandAustralia.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Edu VIC WA NT Hand": { + "name": "Edu VIC WA NT Hand", + "designer": [ + "Tina Anderson", + "Corey Anderson" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "The AU School Handwriting Fonts are an English language, OpenType, variable typeface family designed specifically to meet Australian Education standards. While weights, widths and optical sizes were carefully crafted to work well in an Australian classroom environment, they are just as comfortable to read and work with in the home environment. This font represents the forms used in Victoria, Western Australia and the Northern Territory. To contribute, see github.com/SorkinType/VICWANTSchoolHandAustralia.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Edu VIC WA NT Hand Pre": { + "name": "Edu VIC WA NT Hand Pre", + "designer": [ + "Tina Anderson", + "Corey Anderson" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "The AU School Handwriting Fonts are an English language, OpenType, variable typeface family designed specifically to meet Australian Education standards. While weights, widths and optical sizes were carefully crafted to work well in an Australian classroom environment, they are just as comfortable to read and work with in the home environment. This font represents the forms used in Victoria, Western Australia and the Northern Territory. To contribute, see github.com/SorkinType/VICWANTSchoolHandAustralia.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Edu VIC WA NT Pre Guide": { + "name": "Edu VIC WA NT Pre Guide", + "designer": [ + "Tina Anderson", + "Corey Anderson" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "The AU School Handwriting Fonts is an English language, OpenType, variable typeface family specifically designed to meet Australian Education standards. While weights, widths, and optical sizes were carefully crafted to work well in an Australian classroom environment, they are just as comfortable to read and work within the home environment. This font represents the forms used in Victoria, Western Australia, and the Northern Territory. To contribute, see github.com/SorkinType/VICWANTSchoolHandAustralia.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ek Mukta": { + "name": "Ek Mukta", + "designer": [ + "Ek Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "This project was renamed Mukta This project is led by Ek Type, a collective of type designers based in Mumbai focused on designing contemporary Indian typefaces. To contribute, see github.com/EkType/Mukta", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "El Messiri": { + "name": "El Messiri", + "designer": [ + "Mohamed Gaber", + "Jovanny Lemonad" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "arabic", + "cyrillic", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "El Messiri is a modern Arabic typeface family designed by Mohamed Gaber (Arabic) that began with Jovanny Lemonad's Latin and Cyrillic typeface Philosopher. The Arabic started with the concept of a curvy Arabic typeface inspired by the beauty of Naskh and drawn as if with a brush instead of the traditional bamboo pen. The idea took form with wide counters that improve readability at smaller text sizes, and has subtle details that make it a great display face at larger sizes. El Messiri current comes in 4 weights (Light, Regular, SemiBold and Bold) and the Arabic component has a wide glyph set that supports the Arabic, Farsi and Urdu languages. The font has been upgraded to a variable font with a weight axis (Regular to Bold) in August 2021. To contribute, see github.com/Gue3bara/El-Messiri", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Electrolize": { + "name": "Electrolize", + "designer": [ + "Gaslight" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Lettering in a Russian commuter train inspired designer Valery Zaveryaev to create the Electrolize typeface with an accurate techno character. It came out solid enought to work well in any size from body copy to headlines. Electrolize can be best described as a squarish geometric typeface with humanistic proportions. It has an accurate techno character, holds the baseline well because of its rectangular modular-based construction. At display sizes its detailing in terminals become noticeable. It is optimized for screen, and will work well in print thank to its simple and straight outlines.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Elsie": { + "name": "Elsie", + "designer": [ + "Alejandro Inler" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Elsie is inspired by feminine energy. This new typeface was created to celebrate the world of women, glamour and fashion. It combines the strength of Bodoni with the softness of italics. Sensitive, attractive, full of personality, innovative and subtle with both classic and new design features. I aimed to add expressive features to the letters, providing nuances that make this a unique vision of Bodoni type. It provides an option to the type which readers often encounter. The font was developed by Alejandro Inler in conjunction with Ana Sanfelippo. There are two Elsie families, this Regular family and a Swash Caps family, each with a regular weight and a black weight suitable for large display usage.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Elsie Swash Caps": { + "name": "Elsie Swash Caps", + "designer": [ + "Alejandro Inler" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Elsie is inspired by feminine energy. This new typeface was created to celebrate the world of women, glamour and fashion. It combines the strength of Bodoni with the softness of italics. Sensitive, attractive, full of personality, innovative and subtle with both classic and new design features. I aimed to add expressive features to the letters, providing nuances that make this a unique vision of Bodoni type. It provides an option to the type which readers often encounter. The font was developed by Alejandro Inler in conjunction with Ana Sanfelippo. There are two Elsie families, a Regular family and this Swash Caps family, each with a regular weight and a black weight suitable for large display usage.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Emblema One": { + "name": "Emblema One", + "designer": [ + "Riccardo De Franceschi" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Foundry: Sorkin Type Co Emblema One is inspired by UK Victorian era bold italic display type. It breaks from tradition by using a stenciled kind of construction. The stencil style too is atypical and gives the font its distinctive feeling. Emblema One has been made for display purposes and should be used from medium to large sizes. Source files are available from Google Code. To contribute to the project contact Eben Sorkin.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Emilys Candy": { + "name": "Emilys Candy", + "designer": [ + "Neapolitan" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Sweet Emily got a quarter from her grandpa for being such a good girl! She took a walk downtown to the local dimestore for some penny candy and loaded up a heaping sackful she'd love to share with you! Enjoy! Designed by Crystal Kluge of Neapolitan (a DBA of Font Diner, Inc.) To contribute to the project, contact Font Diner.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Encode Sans": { + "name": "Encode Sans", + "designer": [ + "Impallari Type", + "Andres Torresi", + "Jacques Le Bailly" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Encode Sans is a versatile workhorse sans-serif superfamily ready for all kinds of typographic challenges, offering a unique blend of warmth and practicality. Its humanist aspects of simple letterforms and open apertures keep it crisp and legible, while its geometric approach of rounded letters with partially-straightened sides delivers a friendly but precise tone. It includes 5 widths from Condensed to Expanded, each with 9 weights from Light to Black. To simplify the use of smallcaps in word processors, there are also small-cap versions of each family. This project was initially designed by Pablo Impallari and Andres Torresi, refined by Jacques Le Bailly, and upgraded as a variable font by Stephen Nixon and Marc Foley. To contribute, see github.com/thundernixon/Encode-Sans", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Encode Sans Condensed": { + "name": "Encode Sans Condensed", + "designer": [ + "Impallari Type", + "Andres Torresi", + "Jacques Le Bailly" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Encode Sans is a versatile workhorse sans serif design, featuring a huge range of weights and widths, ready for all kind of typographic challenges. This is the Condensed family, which is part of the superfamily along with Normal, Semi Condensed, Semi Expanded, and Expanded families, each with 9 weights. This project is led by Impallari Type, a foundry based in Rosario, Argentina. It was initially designed by Pablo Impallari and Andres Torresi. To contribute, see github.com/impallari/Encode-Sans", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Encode Sans Expanded": { + "name": "Encode Sans Expanded", + "designer": [ + "Impallari Type", + "Andres Torresi", + "Jacques Le Bailly" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Encode Sans is a versatile workhorse sans serif design, featuring a huge range of weights and widths, ready for all kind of typographic challenges. This is the Expanded family, which is part of the superfamily along with Normal, Condensed, Semi Condensed, and Semi Expanded, families, each with 9 weights. This project is led by Impallari Type, a foundry based in Rosario, Argentina. It was initially designed by Pablo Impallari and Andres Torresi. To contribute, see github.com/impallari/Encode-Sans", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Encode Sans SC": { + "name": "Encode Sans SC", + "designer": [ + "Impallari Type", + "Andres Torresi", + "Jacques Le Bailly" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Encode Sans is a versatile workhorse sans-serif superfamily ready for all kinds of typographic challenges, offering a unique blend of warmth and practicality. Its humanist aspects of simple letterforms and open apertures keep it crisp and legible, while its geometric approach of rounded letters with partially-straightened sides delivers a friendly but precise tone. It includes 5 widths from Condensed to Expanded, each with 9 weights from Light to Black. To simplify the use of smallcaps in word processors, there are also small-cap versions of each family. This project was initially designed by Pablo Impallari and Andres Torresi, refined by Jacques Le Bailly, and upgraded as a variable font by Stephen Nixon and Marc Foley. To contribute, see github.com/thundernixon/Encode-Sans", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Encode Sans Semi Condensed": { + "name": "Encode Sans Semi Condensed", + "designer": [ + "Impallari Type", + "Andres Torresi", + "Jacques Le Bailly" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Encode Sans is a versatile workhorse sans serif design, featuring a huge range of weights and widths, ready for all kind of typographic challenges. This is the Semi Condensed family, which is part of the superfamily along with Normal, Condensed, Semi Expanded, and Expanded families, each with 9 weights. This project is led by Impallari Type, a foundry based in Rosario, Argentina. It was initially designed by Pablo Impallari and Andres Torresi. To contribute, see github.com/impallari/Encode-Sans", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Encode Sans Semi Expanded": { + "name": "Encode Sans Semi Expanded", + "designer": [ + "Impallari Type", + "Andres Torresi", + "Jacques Le Bailly" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Encode Sans is a versatile workhorse sans serif design, featuring a huge range of weights and widths, ready for all kind of typographic challenges. This is the Semi Expanded family, which is part of the superfamily along with Normal, Condensed, Semi Condensed, and Expanded families, each with 9 weights. This project is led by Impallari Type, a foundry based in Rosario, Argentina. It was initially designed by Pablo Impallari and Andres Torresi. To contribute, see github.com/impallari/Encode-Sans", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Engagement": { + "name": "Engagement", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Semi-formal with a steady hand and soft contours, Engagement is a brush script that dances a line between vintage and modern flair.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Englebert": { + "name": "Englebert", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "handwriting", + "display" + ], + "description": "Englebert draws inspiration from the title screen of the 1930's film titled Der blue Engel, starring Marlene Dietrich. It is casual and playful in a mild manner, yet striking enough to catch the eye. To contribute, see github.com/librefonts/englebert.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Enriqueta": { + "name": "Enriqueta", + "designer": [ + "FontFuror" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Enriqueta is a serif typeface designed to meet the technical demands of silkscreen printing. Since that is a grid system, this makes it an excellent candidate for digital display applications too since they are built in pixels. Its a slab serif type with clear, direct and not so subtle features, that was conceived as a hybrid that takes from the Egyptian style some robustness and strong serifs, and from Roman fonts the proportions and soft humanist tones, resulting in a harmonic and legible typeface for texts. Enriqueta was selected to be exhibit at Tipos Latinos 2010, fourth Latin-american tipography biennial and to be part of the German editorial project Typodarium 2012.In July 2019, the family was updated to include Medium and SemiBold styles.To contribute, see github.com/vv-monsalve/Enriqueta_2019.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ephesis": { + "name": "Ephesis", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Ephesis is a contemporary script great for casual invitations, cards, tubes, scrapbooking. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/ephesis.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Epilogue": { + "name": "Epilogue", + "designer": [ + "Tyler Finck", + "ETC" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Epilogue is a sans serif variable font with a weight axis. 9 weights, upright and italic. It supports a wide range of languages in the latin script scope. The Epilogue project is led by Tyler Finck \u2014 type designer running Etcetera Type Co in Ithaca, New-York, USA. To contribute, see github.com/Etcetera-Type-Co/Epilogue", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Epunda Sans": { + "name": "Epunda Sans", + "designer": [ + "Typofactur" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Epunda Sans is a simple sans serif font. Its characteristic features are its slanted indentations. It is an unadorned but friendly font that remains easy to read even at small font sizes and on screens thanks to its high x-height and large interior spaces. Epunda Sans was originally designed by Simon Atzbach in 2007, based on the completely symmetric Epunda. In 2022 it was redesigned as a variable font. The variable font has a weight axis that ranges from Light (300) to Black (900). To contribute, see github.com/typofactur/epundasans.", + "minisite_url": null + }, + "Epunda Slab": { + "name": "Epunda Slab", + "designer": [ + "Typofactur" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Epunda Slab is the perfect companion of Epunda Sans. The sturdy, angled serifs give the font a robust and traditional look. Epundas Sans is a variable font with a weight axis that ranges from Light (300) to Black (900).", + "minisite_url": null + }, + "Erica One": { + "name": "Erica One", + "designer": [ + "Miguel Hernandez" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Erica is a voluptuous contemporary tribute to the sans serif work of Eric Gill that is mixed with the painter Botero.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Esteban": { + "name": "Esteban", + "designer": [ + "Ang\u00e9lica D\u00edaz" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Esteban is a typeface intended to be used in texts, specially literature and poetry. Its a serif font with medium contrast, tall x height, medium compression, and robust serifs. It offers personality, readability and economy. One of the most important features of Esteban is its stroke, that loses or gains weight in the stems. This feature was defined from the manuscripts of Jorge Alfredo D\u00edaz Esteban, a writer who used a tool that can generate modulated strokes. This means the stroke width varies due to the pressure of the pen on the paper, and this quality allows the font to have a presence on the page that makes texts more dynamic. The precise level of contrast was decided by experimenting with various 'colors' of density that emerge in text settings. This allows Esteban to achieve good performance even in medium and low quality prints and as a web font.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Estonia": { + "name": "Estonia", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Estonia is based on the calligraphic style found in the east European country of Estonia. The swash stylistic sets are designed to be used in conjunction with the regular version. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/estonia.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Euphoria Script": { + "name": "Euphoria Script", + "designer": [ + "Sabrina Mariela Lopez" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Euphoria Script is an informal script type. It began with letterform sketches made by hand with a copperplate nib, which were redrawn digitally with the stroke endings of a brush script. This makes the type seem playful, which is important in casual scripts. It has very fast curves, thanks to the slight slant angle, but it remains highly legible. It will be perfect for titles and short phrases in branding, magazines, content about food, fashion, music - anything which is as lively as the font itself.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ewert": { + "name": "Ewert", + "designer": [ + "Johan Kallas", + "Mihkel Virkus" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Ewert is slab serif wood type inspired by and loosely based on the collection of cultural infographic maps by Estonian graphic artist Olev Soans. Ewert has been higly simplified for screen usage yet still includes the characteristic \"ornamental leg\" of the letterform. Ewert was designed by Johan Kallas and Mihkel Virkus.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Exile": { + "name": "Exile", + "designer": [ + "Bart\u0142omiej R\u00f3zga" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "Exile is a display stencil font inspired by music and iconic logo of The Rolling Stones. The author saw it as a great challenge to design custom fonts for bands as a personal project. Their idea was to create a stencil typeface due to its practicality. It needed to be bold and loud, without compromising on design &emdash; making an all-caps approach essential. The contrast between swashy, soft, tongue-like elements and sharp, heavy slab serifs gave it the unique look the author envisioned. Its name was inspired by one of the author\u2019s favorite Rolling Stones albums, Exile on Main St. To contribute, please see github.com/rozgatype/Exile.", + "minisite_url": null + }, + "Exo": { + "name": "Exo", + "designer": [ + "Natanael Gama", + "Robin Mientjes" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Exo is a contemporary geometric sans serif typeface that tries to convey a technological/futuristic feeling while keeping an elegant design. Exo was meant to be a very versatile font, so it has 9 weights (the maximum on the web) each with a true italic version. It works great as a display face but it also works good for small to intermediate size texts. Update December 2013: Exo was completely redrawn and published as Exo 2, with a more organic look that will perform much better at small text sizes and in long texts. Update April 2020: The family has been updated to a variable font family. To contribute, see github.com/NDISCOVER/Exo-1.0.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Exo 2": { + "name": "Exo 2", + "designer": [ + "Natanael Gama" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Exo 2 is a complete redrawing of Exo, a contemporary geometric sans serif typeface that tries to convey a technological/futuristic feeling while keeping an elegant design. Exo is a very versatile font, so it has 9 weights (the maximum on the web) and each with a true italic version. Exo 2 has a more organic look that will perform much better at small text sizes and in long texts. In March 2020, the family has been updated to a variable font family. To contribute, see github.com/googlefonts/Exo-2.0.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Expletus Sans": { + "name": "Expletus Sans", + "designer": [ + "Designtown" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "Expletus Sans is a display typeface, which means that it is not recommended for long pieces of text. However, it's very effective for setting headers and other large sized text, due to it's way of pulling in the reader. It comes in 4 weights and will include italics from May 2011. Expletus Sans has been upgraded to a variable font in November 2021. Line spacing has also been adjusted to improve user experience. To contribute, see github.com/googlefonts/Expletus-Sans. Jasper de Waard, born in 1996, first came in contact with the beauty of type design when he was 10, and developed his skills as a type and graphic designer ever since. He was born and raised in Rotterdam, the Netherlands, and went to a bilingual high school there, training him to read and write English fluently and have a more international focus. He is currently in his third year, three years before his exam. He hopes to continue his practices in the fields of type and graphic design after he finishes school and release many more typefaces in the future. His love for the tiny details, balance in proportions and urge for perfection made him into what he is today. However, the great support and feedback from people on several forums can't be denied as a great source of inspiration and evaluation material, giving him a greater understanding of the method behind type design. He is also available for custom type work and identity design. To learn more, visit Introducing Expletus Sans.", + "minisite_url": null + }, + "Explora": { + "name": "Explora", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "cherokee", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Explora is a beautiful calligraphic typeface with swash forms. Its light and delicate strokes contribute to its elegance. In addition, it features one of the few fonts that contains the entire Cherokee Nation language glyphs. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/explora.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Faculty Glyphic": { + "name": "Faculty Glyphic", + "designer": [ + "Koto Studio" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Latn", + "article": "Faculty Glyphic is a typeface that captures the essence of Faculty, a global leader in applied AI. Designed at Koto London in 2024, it reflects London\u2019s rich history and innovative legacy in computing, drawing inspiration from carved typography and the works of Berthold Wolpe and Edward Johnston. This typeface is a modern tribute to Wolpe's iconic Albertus, which appears on the street signs of the City of London, becoming a defining symbol of the City\u2019s identity after World War II. By marrying timeless design with contemporary digital optimization, Faculty Glyphic pays homage to its home city while seamlessly merging tradition and modernity. To contribute, see github.com/DylanYoungKoto/FacultyGlyphic.", + "minisite_url": null + }, + "Fahkwang": { + "name": "Fahkwang", + "designer": [ + "Cadson Demak" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "thai", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Fahkwang is a Thai and Latin san serif family which features a high contrast. It has been inspired by headlines in old Thai newspapers.", + "primary_script": "Thai", + "article": null, + "minisite_url": null + }, + "Familjen Grotesk": { + "name": "Familjen Grotesk", + "designer": [ + "Familjen STHLM AB" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Familjen Grotesk is a sans serif typeface with a contemporary appearance intended for both text and display. Large notches known as \"ink traps\" add style to headlines and clarity to small size text. The large x-height, closed apertures and sturdy upper-case letters relate to the grotesque subgenre of sans serifs. To contribute, see github.com/Familjen-Sthlm/Familjen-Grotesk.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Fanwood Text": { + "name": "Fanwood Text", + "designer": [ + "Barry Schwartz" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Fanwood Text is a revival of Fairfield, the typeface first published in 1940 and designed by Rudolph Ruzicka, a famous Czech-American type designer. The roman and italic are slightly darker and reduced in contrast than the original; this was tailored for increased readability on the Amazon Kindle 3 e-book reader hardware. To learn more, see bitbucket.org/sortsmill/sortsmill-fonts and the theleagueofmoveabletype.com/fanwood", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Farro": { + "name": "Farro", + "designer": [ + "Grayscale" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Farro is an artsy, four-weighted, display typeface that has a peculiar personality flowing through its European humanist silhouette. To contribute, see github.com/grayscaleltd/farro>.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Farsan": { + "name": "Farsan", + "designer": [ + "Pooja Saxena" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "gujarati", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "handwriting" + ], + "description": "Farsan is a single-weight typeface that supports the Gujarati and Latin scripts. The Farsan project is led by Pooja Saxena, a type designer based in Bangalore, India. To contribute, see github.com/anexasajoop/farsan", + "primary_script": "Gujr", + "article": null, + "minisite_url": null + }, + "Fascinate": { + "name": "Fascinate", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Fascinate and Fascinate Inline are nods to Art Deco yesteryear and typefaces like Broadway, yet they have an exaggerated x-height and softness that give them a friendly yet sophisticated vibe. Even with their high contrast weighting, the Fascinate family is cleanly legible at small sizes, although the Inline version is better visible at larger display sizes.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Fascinate Inline": { + "name": "Fascinate Inline", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Fascinate and Fascinate Inline are nods to Art Deco yesteryear and typefaces like Broadway, yet they have an exaggerated x-height and softness that give them a friendly yet sophisticated vibe. Even with their high contrast weighting, the Fascinate family is cleanly legible at small sizes, although the Inline version is better visible at larger display sizes.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Faster One": { + "name": "Faster One", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Faster One was developed from a sans serif italics. In order to create an impression of velocity, the horizontal and gradual lines generate the idea of the image of the wind. Ideal for writing headlines where efficiency and speed are priorities. Updated September 2015: Internal metadata corrected. The February 2023 update features a bigger glyphset, fractions and some minor aesthetic modifications. To contribute, see github.com/etunni/faster.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Fasthand": { + "name": "Fasthand", + "designer": [ + "Danh Hong", + "Neapolitan" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "khmer", + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Fasthand is a Khmer font for body text. The Khmer design is inspired by a popular style of Khmer handwriting letterforms that are written quickly. The Latin design is a copy of Seaweed Script, by Neapolitan. To contribute, see github.com/danhhong/Fasthand", + "primary_script": "Khmr", + "article": null, + "minisite_url": null + }, + "Fauna One": { + "name": "Fauna One", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Fauna is a modern typeface with low contrast strokes and soft terminals that form traditional serifs. Its structure is soft and slightly condensed. It reads clearly in paragraph composition and looks beautiful in headlines. The January 2023 update features a bigger glyphset, fractions and some minor aesthetic modifications. To contribute, see github.com/etunni/fauna-one.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Faustina": { + "name": "Faustina", + "designer": [ + "Omnibus-Type" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Faustina is part of the Omnibus-Type Press Series, designed by Alfonso Garcia for editorial typography (books, newspapers and magazines) in print and online. In September 2019, the family has been converted into a variable font family. To contribute to the project, visit github.com/Omnibus-Type", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Federant": { + "name": "Federant", + "designer": [ + "Cyreal" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Federant revives the Reklameschrift typeface Feder Antiqua by Otto Ludwig N\u00e4gele (1911). The main challenge of designing a modern interpretation was to balance between applying visual corrections for overall consistency and staying close to the original source. In certain cases the historical authenticy was sacrificed in favour of an even typographic color. This project required research of historic type specimens in search for the missing letterforms. The unusual interpretation of the Yen currency symbol can be found in typefaces of that period. Designed by Olexa M.Volochay, Alexei Vanyashin for Cyreal. To contribute to the project, visit github.com/cyrealtype/Federant Updated: February 2016 to Version 1.011, to correct the GPOS table (enabling kerning, so the horizontal metrics may change, causing some reflow in Firefox where kerning is used by default.)", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Federo": { + "name": "Federo", + "designer": [ + "Cyreal" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Federo is a display webfont that references Jakob Erbar's Feder Grotesk. The goal was to keep the typeface as close as possible to the original 1909 design while adapting it for crisp web typography. Details were refined and contrast was slightly reduced for consistency. Figures obtained regular proportions and counters were increased for better legibility. Designed by Olexa Volochay in 2011.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Felipa": { + "name": "Felipa", + "designer": [ + "Fontstage" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Felipa is a carefully written calligraphic font based on a traditional Italian chancery cursive, though reinterpreted with a contemporary feeling.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Fenix": { + "name": "Fenix", + "designer": [ + "Fernando D\u00edaz" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Fenix is a serif typeface designed for use in both display and long text. Very inspired by calligraphy, it has strong serifs and rough strokes. Its proportions are designed to gain space savings in text, both in height and width. It is elegant at large sizes and legible at the same time, with a lot of rhythm in small sizes.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Festive": { + "name": "Festive", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "It's Festive! But don't let the name fool you\u2026 It's a fun script font (that includes a Roman stylistic set) accompanied by an assortment of exciting ornamental dingbats suitable for any occasion where festivities abound from New Years to Graduation, Baby & Wedding Showers, Thanksgiving, and much more, even Sports. The base font works well with bodies of copy, while the alternate glyphs can be used to swap out individual characters to give a custom, hand written look. Be sure to scroll thru to see all the stylistic sets. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/festive.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Figtree": { + "name": "Figtree", + "designer": [ + "Erik Kennedy" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Figtree is a clean yet friendly geometric sans serif font for usage in web and mobile apps. It's light-hearted and crisp when used for text, yet still retains some punch when used in uppercase \u2013 perfect for buttons and short labels. The thicker weights have a distinctly friendlier character, great for headlines of more personable brands. Figtree comes as a variable font with 7 legacy weights, light through black, and supports 280+ Latin languages. In November 2022, the italic style is added to complete the family. To contribute, see github.com/erikdkennedy/figtree.", + "minisite_url": "https://www.erikdkennedy.com/projects/figtree.html" + }, + "Finger Paint": { + "name": "Finger Paint", + "designer": [ + "Carrois Apostrophe" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Finger Paint began as an experiment with artistic brush effects and then became a real typeface. Learn more at carrois.com", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Finlandica": { + "name": "Finlandica", + "designer": [ + "Helsinki Type Studio", + "Niklas Ekholm", + "Juho Hiilivirta", + "Jaakko Suomalainen" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "The official typeface of Finland commissioned by the Prime ministers office and Business Finland for the promotion of Finnish exports. Its strong and compressed shapes embody a traditional virtue in Finnish culture: honest and resilient determination - \"Sisu\". Ink traps like cuts from a blunt ax, makes the typeface reliable in small sizes and gives it character in large headlines. Like the Finnhorse it's a breed suitable both as riding horse and workhorse. To contribute, see github.com/HelsinkiTypeStudio/Finlandica.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Fira Code": { + "name": "Fira Code", + "designer": [ + "The Mozilla Foundation", + "Telefonica S.A.", + "Nikita Prokopov" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext", + "symbols2" + ], + "stroke": null, + "classifications": [ + "monospace" + ], + "description": "Programmers use a lot of symbols, often encoded with several characters. For the human brain, sequences like ->, <= or := are single logical tokens, even if they take two or three characters on the screen. Your eye spends a non-zero amount of energy to scan, parse and join multiple characters into a single logical one. Ideally, all programming languages should be designed with full-fledged Unicode symbols for operators, but that\u2019s not the case yet. Fira Code is an extension of the Fira Mono font containing a set of ligatures for common programming multi-character combinations. This is just a font rendering feature: underlying code remains ASCII-compatible. This helps to read and understand code faster. For some frequent sequences like .. or //, ligatures allow us to correct spacing. To contribute, see https://github.com/tonsky/FiraCode.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Fira Mono": { + "name": "Fira Mono", + "designer": [ + "Carrois Apostrophe" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext", + "symbols2" + ], + "stroke": null, + "classifications": [ + "monospace" + ], + "description": "Designed to integrate with the character of the FirefoxOS, the Fira typefaces also aim to cover the legibility needs for a large range of handsets varying in screen quality and rendering. The Fira font family comes in a Sans Serif with 4 weights (Light, Regular, Medium and Bold) all accompanied by italic styles. The package also includes this Mono Spaced variant with 3 weights (Regular, Medium, Bold.) See the Mozilla FirefoxOS Style Guide for more details.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Fira Sans": { + "name": "Fira Sans", + "designer": [ + "Carrois Apostrophe" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Designed to integrate with the character of the Mozilla FirefoxOS, the Fira typefaces also aim to cover the legibility needs for a large range of handsets varying in screen quality and rendering. The Fira font family comes in 3 widths, all accompanied by italic styles. The package also includes a Mono Spaced variant. This project is led by Carrois, a type foundry based in Berlin. To contribute, see github.com/mozilla/Fira", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Fira Sans Condensed": { + "name": "Fira Sans Condensed", + "designer": [ + "Carrois Apostrophe" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Designed to integrate with the character of the Mozilla FirefoxOS, the Fira typefaces also aim to cover the legibility needs for a large range of handsets varying in screen quality and rendering. The Fira font family comes in 3 widths, all accompanied by italic styles. The package also includes a Mono Spaced variant. This project is led by Carrois, a type foundry based in Berlin. To contribute, see github.com/mozilla/Fira", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Fira Sans Extra Condensed": { + "name": "Fira Sans Extra Condensed", + "designer": [ + "Carrois Apostrophe" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Designed to integrate with the character of the Mozilla FirefoxOS, the Fira typefaces also aim to cover the legibility needs for a large range of handsets varying in screen quality and rendering. The Fira font family comes in 3 widths, all accompanied by italic styles. The package also includes a Mono Spaced variant. This project is led by Carrois, a type foundry based in Berlin. To contribute, see github.com/mozilla/Fira", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Fjalla One": { + "name": "Fjalla One", + "designer": [ + "Sorkin Type", + "Irina Smirnova" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Fjalla One is a medium contrast display sans serif. Fjalla One has been carefully adjusted to the restrictions of the screen. Despite having display characteristics Fjalla One can be used in a wide range of sizes. Latest upgrade from March 2023 expands the Latin script language coverage and improves the overhall horizontal space for a better readability. To contribute, see github.com/SorkinType/FjallaOne.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Fjord One": { + "name": "Fjord One", + "designer": [ + "Viktoriya Grabowska" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Foundry: Sorkin Type Co Fjord is a serif typeface, originally designed with printed books in mind, and particularly intended for long texts in small print sizes. Fjord features sturdy construction, prominent serifs, low-contrast modulation and long elegant ascenders and descenders relative to the 'x' height. Fjord performs well in sizes form 12 px and higher but because of its original design and careful detailing Fjord can also be a distinctive font choice for larger text headlines and in corporate design. Fjord is inspired by the feeling found in both renaissance and contemporary typeface design. Source files are available from Google Code. To contribute to the project contact Eben Sorkin.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Flamenco": { + "name": "Flamenco", + "designer": [ + "LatinoType" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Flamenco is a semi-serif slab typeface. It is inspired by the bird of the same name; its long ascenders and descenders provide elegance and a classic touch, while it is monolinear humanist structure and rounded terminals give it a kind and smooth feeling.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Flavors": { + "name": "Flavors", + "designer": [ + "Sideshow" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Does your blog taste bland? Is you website cooked up from the same old recipe? Ladies and gentlemen, we have the missing ingredient! With Flavors you'll get the zest and zing not found in those boring vanilla fonts. Another tasty typeface designed by Squid and brought to you by Dave 'Squid' Cohen of Sideshow", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Fleur De Leah": { + "name": "Fleur De Leah", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Fleur De Leah is a formal script with a floral flavour. One of the first fonts to incorporate embellishment design elements within the letterforms. Use it sparingly for captions and short phrases and as with any script font, but never use it in all caps. Enjoy! It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/fleurdeleah.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Flow Block": { + "name": "Flow Block", + "designer": [ + "Dan Ross" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "symbols", + "display" + ], + "description": null, + "primary_script": null, + "article": "Flow is a font family built for abstracting content and code for design mockups, wireframing, presentations, and websites. It's not perfect, but neither are your wireframes. Flow has sub-pixels, artifacts, overlaps and other imperfections. Flow comes in three styles: Circular, Rounded and Block. Check out danross.co/flow/. To contribute, see github.com/HYPD/flow-typeface. Flow and Redacted: Check out these new options for wireframes and other early-stage designs Give your simulated text a realistic look while making it easy to add copy later on with Dan Ross\u2019s Flow Fonts and Christian Naths\u2019s Redacted. Showing text in an early-stage wireframe can be distracting, even if it\u2019s just Lorem ipsum placeholder copy. After all, a successful wireframe is clean and simple, with just enough information to communicate an idea. But how do you convey \u201cthis is text\u201d without showing text? One popular technique is to draw shapes that resemble a block of redacted text. (Redacted text is usually used as a security or privacy measure in a document to make certain words unreadable.) Another technique is to use handwritten scribbles. This creates a sketch-like look that\u2019s especially suited to quick concepting. To learn more, visit Flow and Redacted: Check out these new options for wireframes and other early-stage designs", + "minisite_url": null + }, + "Flow Circular": { + "name": "Flow Circular", + "designer": [ + "Dan Ross" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "symbols", + "display" + ], + "description": null, + "primary_script": null, + "article": "Flow is a font family built for abstracting content and code for design mockups, wireframing, presentations, and websites. It's not perfect, but neither are your wireframes. Flow has sub-pixels, artifacts, overlaps and other imperfections. Flow comes in three styles: Circular Rounded and Block. Check out danross.co/flow/. To contribute, see github.com/HYPD/flow-typeface. Flow and Redacted: Check out these new options for wireframes and other early-stage designs Give your simulated text a realistic look while making it easy to add copy later on with Dan Ross\u2019s Flow Fonts and Christian Naths\u2019s Redacted. Showing text in an early-stage wireframe can be distracting, even if it\u2019s just Lorem ipsum placeholder copy. After all, a successful wireframe is clean and simple, with just enough information to communicate an idea. But how do you convey \u201cthis is text\u201d without showing text? One popular technique is to draw shapes that resemble a block of redacted text. (Redacted text is usually used as a security or privacy measure in a document to make certain words unreadable.) Another technique is to use handwritten scribbles. This creates a sketch-like look that\u2019s especially suited to quick concepting. To learn more, visit Flow and Redacted: Check out these new options for wireframes and other early-stage designs", + "minisite_url": null + }, + "Flow Rounded": { + "name": "Flow Rounded", + "designer": [ + "Dan Ross" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "symbols", + "display" + ], + "description": null, + "primary_script": null, + "article": "Flow is a font family built for abstracting content and code for design mockups, wireframing, presentations, and websites. It's not perfect, but neither are your wireframes. Flow has sub-pixels, artifacts, overlaps and other imperfections. Flow comes in three styles: Circular, Rounded and Block. Check out danross.co/flow/. To contribute, see github.com/HYPD/flow-typeface. Flow and Redacted: Check out these new options for wireframes and other early-stage designs Give your simulated text a realistic look while making it easy to add copy later on with Dan Ross\u2019s Flow Fonts and Christian Naths\u2019s Redacted. Showing text in an early-stage wireframe can be distracting, even if it\u2019s just Lorem ipsum placeholder copy. After all, a successful wireframe is clean and simple, with just enough information to communicate an idea. But how do you convey \u201cthis is text\u201d without showing text? One popular technique is to draw shapes that resemble a block of redacted text. (Redacted text is usually used as a security or privacy measure in a document to make certain words unreadable.) Another technique is to use handwritten scribbles. This creates a sketch-like look that\u2019s especially suited to quick concepting. To learn more, visit Flow and Redacted: Check out these new options for wireframes and other early-stage designs", + "minisite_url": null + }, + "Foldit": { + "name": "Foldit", + "designer": [ + "Sophia Tai" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Foldit is a variable-gradient COLRv1 font which uses gradients to play with dimensions and give a sense of space. The concept of this design was, as the name suggests, based on a folded paper strip. This font uses the COLRv1 and CPAL tables. Please visit the gf-guide color page to learn more about Color Fonts technology. To contribute, see https://github.com/SophiaDesign/Foldit.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Fondamento": { + "name": "Fondamento", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Fondamento and Fondamento Italic are calligraphic lettering styles based on the traditional Foundational Hand, a basic teaching style created by Edward Johnston in the early 20th century. The letterforms are clear and cleanly legible, basic and formal.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Fontdiner Swanky": { + "name": "Fontdiner Swanky", + "designer": [ + "Font Diner" + ], + "license": "apache2", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Atomic Age science meets ultra cool with this swingin' retro latin sharp serif font we call Fontdiner Swanky! Like the older much hipper brother of it's Loungy counterpart, Swanky brings his bolder style and charming good looks when it's time to really let the neighbors know you mean business!", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Forum": { + "name": "Forum", + "designer": [ + "Denis Masharov" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Forum has antique, classic \"Roman\" proportions. It can be used to set body texts and works well in titles and headlines too. It is truly multilingual, with glyphs for Central and Eastern Europe, Baltics, Cyrillic and Asian Cyrillic communities.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Fragment Mono": { + "name": "Fragment Mono", + "designer": [ + "Wei Huang", + "URW Design Studio" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "cyrillic-ext", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "monospace" + ], + "description": "Fragment Mono is a monospaced coding version of Helvetica created by modifying and extending Nimbus Sans by URW Design Studio. Fragment Mono is designed by Wei Huang based on Nimbus Sans by URW Design Studio, based on Helvetica by Max Miedinger. To contribute, see github.com/weiweihuanghuang/fragment-mono/", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Fragment Mono SC": { + "name": "Fragment Mono SC", + "designer": [ + "Wei Huang", + "URW Design Studio" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "cyrillic-ext", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "monospace" + ], + "description": "Fragment Mono is a monospaced coding version of Helvetica created by modifying and extending Nimbus Sans by URW Design Studio. Fragment Mono is designed by Wei Huang based on Nimbus Sans by URW Design Studio, based on Helvetica by Max Miedinger. Fragment Mono SC is the Small Caps version of Fragment Mono . To contribute, see github.com/weiweihuanghuang/fragment-mono/", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Francois One": { + "name": "Francois One", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Francois One is a reworking of traditional sans serif gothic display typeface forms. In Francois One, the earlier letter forms have been digitised and then reshaped for use as a webfont, the counters have been opened up a little and the stems optimised for use as bold display font in modern web browsers. Slanted stem terminals have been added to give the face added visual play.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Frank Ruhl Libre": { + "name": "Frank Ruhl Libre", + "designer": [ + "Yanek Iontef" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "hebrew", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Frank Ruhl Libre is an open source version of the classic Hebrew typeface Frank R\u00fchl, the most ubiquitous Hebrew typeface in print. Frank R\u00fchl was designed in 1908 by Rafael Frank in collaboration with Auto R\u00fchl of the C. F. R\u00fchl foundry of Leipzig. A final version was released in 1910. Many Israeli books, newspapers and magazines use Frank R\u00fchl as their main body text typeface. Made to accommodate the growing need for typefaces in secular Hebrew writings, the typeface was fitted to modern printing demands and designed to be readable in longform text, with and without vowel marks. Frank R\u00fchl has Sephardi proportions (mem-height is approximately 4\u00bd stroke widths), and is based roughly on Venetian typefaces used by printer Daniel Bomberg. Frank wrote of his design that he wishes to combine the simpleness of Antiqua with the \"pleasantness\" of Fraktur, leading him to \"quieten\" the letterforms by reducing the contrast between its thin and thick strokes. This newly designed revival by Yanek Iontef is a family of 7 weights, Light to Black (the original typeface had only one) and in November 2022, it became variable and offers a larger choice of weights. To contribute, see github.com/fontef/frankruhllibre.", + "primary_script": "Hebr", + "article": null, + "minisite_url": null + }, + "Fraunces": { + "name": "Fraunces", + "designer": [ + "Undercase Type", + "Phaedra Charles", + "Flavia Zimbardi" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Fraunces is a display, \"Old Style\" soft-serif typeface inspired by the mannerisms of early 20th century typefaces such as Windsor, Souvenir, and the Cooper Series. Fraunces was designed by Phaedra Charles and Flavia Zimbardi, partners at Undercase Type. Fraunces is a Variable Font with four axes: Weight (wght), Optical Size (opsz), Softness (SOFT), and Wonky (WONK). The Softness axis controls the \u201cwetness\u201d or \u201cinkiness\u201d of the typeface. The Wonky axis controls the manual substitution of \u201cwonky\u201d characters, such as the lean of the h, n, and m glyphs in the Roman, and the flagged ball terminals of the b, d, h, k, l, v, and w glyphs of the Italic. To contribute, please see github.com/undercasetype/Fraunces. Wonky, goofy, playful, elegant and a workhorse: Meet a new breed of \u201cOld Style\u201d typeface Fraunces is a variable font that offers a variety of styles for text and display typography. In 2018, Google Fonts commissioned Flavia Zimbardi and Phaedra Charles of Undercase Type to make a new display typeface that would demonstrate the power and promise of variable fonts with a sense of humor. Their solution to this challenge is inspired by the early 20th century typefaces such as Windsor, Souvenir, and the Cooper Series. Fraunces Black Soft Wonky at 14pt \u201cFraunces probably leans a little more (pun intended) towards the mannerism in Windsor than any of the others, but they all have some qualities common with each other. Those typefaces were meant to evoke a hand-drawn quality more appropriate for display advertising. The leaning \u2018n\u2019 in Windsor is a very distinctive characteristic of this style and is probably the most direct comparison. Fraunces does something unique by creating a design space that incorporates both heavy inky qualities, as well as thinner, more refined and delicate qualities seen in the lighter weights of Windsor. The italic pairing for Fraunces is also very distinct and draws influences from Cooper Nouveau, which blends Art Nouveau influences,\u201d said Phaedra Charles. Using variable font technology gives more flexibility; Fraunces embraces the new variable font technology with four axes\u2013softness, weight, wonk, and optical size\u2013making it much more versatile and customizable than any typeface released in the 1970\u2019s. To learn more, read Wonky, goofy, playful, elegant and a workhorse: Meet a new breed of \u201cOld Style\u201d typeface.", + "minisite_url": "https://fraunces.undercase.xyz" + }, + "Freckle Face": { + "name": "Freckle Face", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Freckle Face draws its inspiration from Pillbury's Funny Face drink mix packages. I loved these drink mixes when I was a kid, not only because of the great flavors, but also the fun packaging. Who knew I'd renew the love affair later by finding myself loving the lettering too! Designed by Brian J. Bonislawsky for Astigmatic (AOETI). To contribute to the project contact Brian J. Bonislawsky.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Fredericka the Great": { + "name": "Fredericka the Great", + "designer": [ + "Tart Workshop" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Fredericka recalls my college days of nights spent creating handdrawn presentation boards, architectural sketches and student union posters. She's fun, she's casual, she's preppy, she's classic, she's Great! Designed by Crystal Kluge of Tart Workshop.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Fredoka": { + "name": "Fredoka", + "designer": [ + "Milena Brand\u00e3o", + "Hafontia" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "hebrew", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Fredoka is a big, round, bold font that is perfect for adding a little fun to any headline or large text. The initial Latin component was designed by Milena Brand\u00e3o. The later Hebrew component was designed by Ben Nathan. Fredoka is a variable font with a width and weight axes. The Fredoka project is led by Ben Nathan, a type design foundry based in Israel. To contribute, see github.com/hafontia/Fredoka-One.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Fredoka One": { + "name": "Fredoka One", + "designer": [ + "Milena Brandao" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Fredoka One is a big, round, bold font that is perfect for adding a little fun to any headline or large text. To contribute to the project contact Milena Brandao.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Freehand": { + "name": "Freehand", + "designer": [ + "Danh Hong" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "khmer", + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Freehand is a Khmer font for body text. The design is inspired by a popular style of Khmer handwriting letterforms. To contribute, see github.com/danhhong/Freehand.", + "primary_script": "Khmr", + "article": null, + "minisite_url": null + }, + "Freeman": { + "name": "Freeman", + "designer": [ + "Rodrigo Fuenzalida", + "Aoife Mooney", + "Vernon Adams" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Freeman is a re-interpretation of the traditional display sans serif gothic typeface where some elements of the handwritten style are added to give a bit more personality to the design. In Freeman, the counters have opened up a little, and the stems are optimized for use as a bold display font in modern web browsers. Sloped stem terminals have been added to give the face added visual play. Freeman language support now includes African Latin and full coverage of Vietnamese, in addition to all Western, Central, and South-Eastern European languages. To contribute, see github.com/rfuenzalida/Freeman.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Fresca": { + "name": "Fresca", + "designer": [ + "Fontstage" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "A very friendly font for display use with a fresh atmosphere, Fresca gives the text an alternative to comic settings.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Frijole": { + "name": "Frijole", + "designer": [ + "Sideshow" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "What's on your font menu tonight? The same old boring beans? Then why not try Frijole! Its a fresh new face that's anything but re-fried. And it's sure to be a hit when you're cooking up something that needs to be bold, spicy and satisfying! Another fresh font from Squid and Sideshow.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Fruktur": { + "name": "Fruktur", + "designer": [ + "Viktoriya Grabowska", + "Eben Sorkin" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Fruktur initially appears to be a playful and powerful black letter type with a warm friendly feeling. However its construction is closer to that of an upright italic. Fruktur offers some of the feeling of a black letter but with higher legibility and greater utility than is typical of black letter type. Fruktur will be most useful from medium to large sizes. To contribute to the project, visit github.com/EbenSorkin/Fruktur Updated: January 2016, to v1.004 with additional language support, improved hinting (visible in Windows browsers at smaller font sizes) and other minor fixes. August 2022, expanded glyph set, better language support. Italic style has been added to complement Roman.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Fugaz One": { + "name": "Fugaz One", + "designer": [ + "LatinoType" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Fugaz One is a sans serif with very geometric features and gestural characteristics, which brings it away from its formal beginnings. Combined with its italic inclination, Fugaz One has become a very dynamic font.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Fuggles": { + "name": "Fuggles", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Take a little Inspiration, mix in some Sassy Frass and a splash of Waterfall; add hundreds of alternate forms and you have the recipe for a versatile handwriting font. This fun, scribbly little font can fool you. At first glance it looks crude and simple. But, with over 1600 glyphs, combine the right character pairs and suddenly Fuggles is a powerful script that can be used for sophisticated commercial design. Some characters are quirky, some are swashy, some are scribbly and others are elegant. Fuggles comes with Latin Character sets including Western, Central, and Vietnamese language support. The name comes from classic English beer brewing, a kind of aroma hop cultivated in 1875 by Mr Richard Fuggle. To contribute, see github.com/googlefonts/fuggles", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Funnel Display": { + "name": "Funnel Display", + "designer": [ + "NORD ID", + "Kristian M\u00f6ller" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "Funnel Sans and Funnel Display are modern sans-serif typefaces with both clarity and character, originally developed by NORD ID and Kristian M\u00f6ller for Funnel. The typefaces are inspired by the movement and shapes of data points. In Funnel Display, certain parts of the stems are shifted to further enhance the sense of movement. To contribute, see github.com/Dicotype/Funnel.", + "minisite_url": null + }, + "Funnel Sans": { + "name": "Funnel Sans", + "designer": [ + "NORD ID", + "Kristian M\u00f6ller" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Funnel Sans and Funnel Display are modern sans-serif typefaces with both clarity and character, originally developed by NORD ID and Kristian M\u00f6ller for Funnel. The typefaces are inspired by the movement and shapes of data points. Funnel Sans is a functional yet personal sans-serif, featuring both square and circular shapes in its letterforms. To contribute, see github.com/Dicotype/Funnel.", + "minisite_url": null + }, + "Fustat": { + "name": "Fustat", + "designer": [ + "Mohamed Gaber", + "Laura Garcia Mut", + "Khaled Hosny" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "arabic", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Fustat Arabic designed by Mohamed Gaber and engineered by Khaled Hosny, draws its inspiration from the traditional manuscript Kufi style. The typeface uniquely balances modernization with the authentic elements of Arabic script. It supports a large number of languages that use Arabic script, and includes a number of OpenType features for finer typography, including stylistic sets, proportional and tabular digits, super/subscripts, and fractions. Additionally, Fustat is a variable that providing dynamic flexibility for various design applications, and includes seven pre-defined weight instances: ExtraLight, Light, Regular, Medium, SemiBold, Bold, and ExtraBold. Fustat Latin designed by Laura Garcia Mut, was developed to match the Arabic script, implementing features and subtle details from the Arabic strokes and flows. With a mix of simple grotesque structure and other geometric forms, it is a very low-contrast sans serif family with a neutral and kind texture. With a high x-height, it works in many sizes and purposes, allowing compact consistency. It supports a Latin Extended glyph set, and includes many OpenType features and Stylistic Sets with alternate geometric forms and tailed ends, looking for a more connected feeling. Fustat is optimized for web usage, offering an authentic yet contemporary presence online. It is ideal for titles due to its distinct style, yet it also performs well in body text, ensuring readability. This makes it perfect for creating a strong, authentic brand identity with a modern twist. The typeface supports both Arabic and Latin scripts, making it versatile for bilingual design projects. Its extensive character set and the manuscript-inspired modern approach to Kufi style ensure that it meets diverse design needs. Published under the Open Font License (OFL), Fustat promotes free and open use while ensuring quality and consistency. Embrace the rich heritage of the Kufi manuscript style with the modern versatility of Fustat, the go-to typeface for authentic and contemporary Arabic design. To contribute, see github.com/Kief-Type-Foundry/Fustat .", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Fuzzy Bubbles": { + "name": "Fuzzy Bubbles", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Fuzzy Bubbles is a cute juvenile style. Playful and loose, its innocence is perfect for children's parties. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/fuzzy-bubbles.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "GFS Didot": { + "name": "GFS Didot", + "designer": [ + "Greek Font Society" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "greek", + "greek-ext", + "latin", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Under the influence of the neoclassical ideals of the late 18th century, the famous French typecutter Firmin Didot in Paris designed a new Greek typeface (1805) which was immediately used in the publishing programme of Adamantios Korais, the prominent intellectual figure of the Greek diaspora and leading scholar of the Greek Enligntment. The typeface eventually arrived in Greece, with the field press which came with Didot\u2019s grandson Ambroise Firmin Didot, during the Greek Revolution in 1821. Since then the typeface enjoyed an unrivaled success as the type of choice for almost every kind of publication, until the last decades of the 20th century. Didot\u2019s type was the base for a new font, GFS Didot (1994), which was designed by Takis Katsoulidis, and digitised by George Matthiopoulos, of the Greek Font Society. The typeface is accompanied by a matching Latin design, inspired by Hermann Zapf\u2019s Palatino.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "GFS Neohellenic": { + "name": "GFS Neohellenic", + "designer": [ + "Greek Font Society" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "greek", + "greek-ext", + "latin", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "The design of new Greek typefaces always followed the growing needs of the Classical Studies in the major European Universities. Furthermore, by the end of the 19th century bibliology had become an established section of Historical Studies, and, as John Bowman commented, the prevailing attitude was that Greek types should adhere to a lost idealized, yet undefined, greekness of yore. Especially in Great Britain this tendency remained unchallenged in the first decades of the 20th century, both by Richard Proctor, curator of the incunabula section in the British Museum Library and his successor Victor Scholderer. In 1927, Scholderer, on behalf of the Society for the Promotion of Greek Studies, got involved in choosing and consulting the design and production of a Greek type called New Hellenic cut by the Lanston Monotype Corporation. He chose the revival of a round, and almost monoline type which had first appeared in 1492 in the edition of Macrobius, ascribable to the printing shop of Giovanni Rosso (Joannes Rubeus) in Venice. New Hellenic was the only successful typeface in Great Britain after the introduction of Porson Greek well over a century before. The type, since to 1930\u2019s, was also well received in Greece, albeit with a different design for \u039e and \u03a9. GFS digitized the typeface (1993-1994) funded by the Athens Archeological Society with the addition of a new set of epigraphical symbols. Later (2000) more weights were added (italic, bold and bold italic) as well as a latin version.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ga Maamli": { + "name": "Ga Maamli", + "designer": [ + "Afotey Clement Nii Odai", + "Ama Diaka", + "David Abbey-Thompson" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "Inspired by the historic handwritten posters found in the vibrant coastal communities of Accra, Ga Maamli is a font that embodies the spirited essence of the Ga people. Originally used to announce social events like concerts, boxing matches, and parties, these original posters exuded a distinct flair and vivacity. Ga Maamli has been adapted and reworked into an extended character set that preserves the dynamism and allure of its traditional counterpart. This font\u2019s variations and nuances exude a charm that pays homage to its vernacular origins while embracing modern typographic standards. Ga Maamli is more than just a font \u2013 it captures and celebrates the lively culture of the people of Accra. To contribute, see github.com/SorkinType/GaMaamli/.", + "minisite_url": "https://aayalolo.com/fonts/ga-maamli" + }, + "Gabarito": { + "name": "Gabarito", + "designer": [ + "Naipe Foundry", + "Leandro Assis", + "\u00c1lvaro Franca", + "Felipe Casaprima" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "Gabarito is a light-hearted geometric sans typeface with 6 weights ranging from Regular to Black originally designed for an online learning platform in Brazil. Named after the Brazilian Portuguese work for an answer sheet, Gabarito was made to help young people learn and overcome the university entry exams known as \"vestibular\", and it did that by packing lots of high-school level symbols and figures into a very friendly voice that was equal parts functional and engaging. Beyond the Google Fonts Latin Core Character set which supports over several latin alphabet languages, Gabarito also includes things like Logic and Set Theory symbols, scientific inferiors and superiors, extensive math operators, roman numerals and anything else a high-schooler may need for their homework. The initial design was comissioned in 2017, started by Leandro Assis and \u00c1lvaro Franca, it then got developed and improved further in 2020 by \u00c1lvaro Franca and Felipe Casaprima, and finally in 2023 it got a little bit of a makeover in order for it's debut in the commons, that last part with a lot of help from Henrique Beier of Harbor Type. To contribute, please see github.com/naipefoundry/gabarito.", + "minisite_url": null + }, + "Gabriela": { + "name": "Gabriela", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Gabriela is a Latin and Cyrillic serif typeface with soft shapes, and special terminal forms which are shaped like curls. They connect each letter to create attractive word shapes and text blocks with a fine texture. In small bodies of text it works well for reading, and in headlines provides interesting details to catch the eye. In 2015, the design was extended to the Devanagari writing system and published as Kurale. It was updated in 2023 with additional Latin language support and a bigger glyphset, proper fractions, and minor aesthetic improvements. To contribute, see github.com/etunni/Gabriela", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Gaegu": { + "name": "Gaegu", + "designer": [ + "JIKJI SOFT" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "korean", + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Gaegu is a Korean and Latin font", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "Gafata": { + "name": "Gafata", + "designer": [ + "Lautaro Hourcade" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Gafata is a font designed for small sizes in medium-long text, mixing elegance and readability which is why it has great applicability in books, magazines and web pages. In the process of finding the finest legibility, particular features emerged making this whimsical sans serif different from the rest, creating an original mark to the text it's applied to. Updated in March 2013 with updated spacing. Updated in April 2013 with updated hinting. To contribute to the project contact Lautaro Hourcade.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Gajraj One": { + "name": "Gajraj One", + "designer": [ + "Saurabh Sharma" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Gajraj (the king of elephants) is a Latin display typeface with Devanagari language support, designed for use in large hoardings, signage, and print materials for branding and advertising. It is a single variant display typeface, created as the designer's first attempt at designing in the Devanagari script. To contribute, see github.com/xconsau/GajrajOne.", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Galada": { + "name": "Galada", + "designer": [ + "Black Foundry" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "bengali", + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Galada is a Bengali and Latin font that started with the famous Latin Lobster font, and extended the design to Bengali. The Bengali was developed as a studio collaboration by Jeremie Hornus, Yoann Minet, and Juan Bruce. The Galada project is led by Black Foundry, a type design foundry based in Paris, France. To contribute, see github.com/TypefactoryNet/Galada", + "primary_script": "Beng", + "article": null, + "minisite_url": null + }, + "Galdeano": { + "name": "Galdeano", + "designer": [ + "Dario Manuel Muhafara" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Galdeano is a humanist san serif typeface with strong variation in its stroke weight. The general form is slightly condensed. It has soft variation in its contrast, diagonal stress and open forms to improve legibility. The relation between x-height, ascender and descenders gives the text a bright color on the screen. It has only the necessary curves and it is a little darker for better rasterization. The typeface works smooth at text sizes and shows strong personality in larger sizes too. It is best recommended for short text and headlines, but it is also comfortable for reading on screen. Designed by Dario Muhafara for tipo foundry.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Galindo": { + "name": "Galindo", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "The Galindo typeface is an inspired spin off light-hearted animated fonts with geometric counters.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Gamja Flower": { + "name": "Gamja Flower", + "designer": [ + "YoonDesign Inc" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "korean", + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Gamja Flower is a Korean and Latin font.", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "Gantari": { + "name": "Gantari", + "designer": [ + "Lafontype" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Gantari is a sans serif font with a geometric touch, designed by Anugrah Pasau from Lafontype. Gantari is not purely geometric, proportions have been designed so that all characters can look harmonious. The font was originally designed for large sizes, but it also reads well at small sizes. To contribute, see github.com/Lafontype/Gantari.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Gasoek One": { + "name": "Gasoek One", + "designer": [ + "Jiashuo Zhang", + "JAMO" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "korean", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "When people mention \"Soek\" in South Korea, they will think of the Chinese character. This word gives the impression of being as thick and hard as a stone. Ga means \"to add\" in Korean. So this typeface, Gasoek, is a much thicker typeface than usual typefaces. The thick strokes fill up the embox, but by giving the right angle at the end of stroke to match with Hangeul characteristics, the font has natural counter spaces with good legibility. So, Gasoek is not just a thick font but a font that has a character and gives a unique impression. To contribute, please visit github.com/JAMO-TYPEFACE/Gasoek.", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "Gayathri": { + "name": "Gayathri", + "designer": [ + "SMC", + "Binoy Dominic" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "malayalam" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "A gentle and modern Malayalam display typeface. Available in three weights, Gayathri is best suited for headlines, posters, titles and captions. Unicode compliant and libre licensed. To contribute, see gitlab.com/smc/fonts/gayathri.", + "primary_script": "Mlym", + "article": null, + "minisite_url": null + }, + "Geist": { + "name": "Geist", + "designer": [ + "Andr\u00e9s Briganti", + "Mateo Zaragoza", + "Guillermo Rauch", + "Evil Rabbit", + "Jos\u00e9 Rago", + "Facundo Santana" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Latn", + "article": "Geist Sans is a sans-serif typeface designed to complement its monospace counterpart, Geist Mono. This geometric typeface offers a clean, modern aesthetic that is ideal for headlines, logos, posters, and other large display sizes. Created by Vercel in collaboration with Basement Studio, it embodies their design principles of simplicity, minimalism, and speed, drawing inspiration from the renowned Swiss design movement. With precision, clarity, and functionality at its core, Geist enhances the visual experience of developers and designers, empowering them to effectively communicate their ideas. To contribute, see github.com/vercel/geist-font.", + "minisite_url": "https://vercel.com/font" + }, + "Geist Mono": { + "name": "Geist Mono", + "designer": [ + "Andr\u00e9s Briganti", + "Mateo Zaragoza", + "Guillermo Rauch", + "Evil Rabbit", + "Jos\u00e9 Rago", + "Facundo Santana" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "cyrillic", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "monospace" + ], + "description": null, + "primary_script": "Latn", + "article": "Geist Mono is a monospace typeface that prioritizes readability and seamless integration into coding environments. It is complemented by its sans-serif counterpart, Geist. Created by Vercel in collaboration with Basement Studio, Geist fonts embody their design principles of simplicity, minimalism, and speed, drawing inspiration from the renowned Swiss design movement. With precision, clarity, and functionality at its core, Geist enhances the visual experience of developers and designers, empowering them to effectively communicate their ideas. To contribute, see github.com/vercel/geist-font.", + "minisite_url": "https://vercel.com/font" + }, + "Gelasio": { + "name": "Gelasio", + "designer": [ + "Eben Sorkin" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Gelasio is an original typeface that is metrics compatible with Georgia in its Regular, Bold, Italic and Bold Italic weights. Its design was inspired by an original printed sample of a French Transitional typeface which follows the Romain Du Roi typeface introduced in 1702. As a transitional type, it is marked by an interest in rational planning and it has a tension between rigor and expression. It feels generally formal and rational but its rounded terminals make it more contemporary and friendly. It also offers an occasional flourish, especially in the italics. The June 2022 update offers an major language support update. In March 2024, the glyph set for GF Africa Pri has been enhanced with improved diacritics, along with the addition of some other basic language support from the 'Beyond' glyph set. Updates were also made to currency symbols, other symbols, spaces, and NSM localization. To contribute, see github.com/SorkinType/Gelasio.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Gemunu Libre": { + "name": "Gemunu Libre", + "designer": [ + "Mooniak" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "sinhala" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Gemunu Libre is the Unicode compliant version of the popular Sinhala typeface \u2018FM Gemunu\u2019 and includes Latin support as well. This font family has been improved in many ways over FM Gemunu during the Unicode adaptation process by acquiring more breathing space, bigger counters and smooth uniformity in curves. What sets Gemunu Libre apart from all the other Sinhala typefaces currently in use is the distinctive smooth and square edge, which was perfected whilst completely redrawing the set of characters in order to cater to the requirements of web and screens. Gemunu Libre comes in 7 weights from Extra Light to Extra Bold, and each weight contains the complete Sinhala script and a matching Latin characters. The project is led by Mooniak in collaboration with Pushpananda Ekanayake. Latin set is designed by Sol Matas. Initial development and release was funded by Google Fonts in 2015. Project sources are hosted and developed on Github and Mooniak welcomes suggestions and contributions to the development.", + "primary_script": "Sinh", + "article": null, + "minisite_url": null + }, + "Genos": { + "name": "Genos", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cherokee", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Genos is a modern display font with a futuristic feel. Within the Genos family are fourteen variations ranging from Thin to Black. Whether it be futuristic, industrial, or technical, Genos may be what you're looking for. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/genos.", + "primary_script": "Cher", + "article": null, + "minisite_url": null + }, + "Gentium Basic": { + "name": "Gentium Basic", + "designer": [ + "Victor Gaultney" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "The Gentium Basic font family is based on the original Gentium design, but with additional weights. The family comes with a complete regular, bold, italic and bold italic set of fonts. The supported character set, however, is much smaller than for the main Gentium Plus fonts. These \"Basic\" fonts support only the Basic Latin and Latin-1 Supplement Unicode ranges, plus a selection of the more commonly used extended Latin characters, with miscellaneous diacritical marks, symbols and punctuation. In particular, these fonts do not support full extended Latin IPA, complete support for Central European languages, Greek and Cyrillic. Please see the Gentium project homepage for more details. The Gentium Book Basic family is very similar but has a slightly darker weight. Updated: January 2016 to version 1.102", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Gentium Book Basic": { + "name": "Gentium Book Basic", + "designer": [ + "Victor Gaultney" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "The Gentium Book Basic font family is based on the original Gentium design, but with additional weights. The family comes with a complete regular, bold, italic and bold italic set of fonts. The supported character set, however, is much smaller than for the main Gentium Plus fonts. These \"Basic\" fonts support only the Basic Latin and Latin-1 Supplement Unicode ranges, plus a selection of the more commonly used extended Latin characters, with miscellaneous diacritical marks, symbols and punctuation. In particular, these fonts do not support full extended Latin IPA, complete support for Central European languages, Greek and Cyrillic. Please see the Gentium project homepage for more details. The Gentium Basic family is very similar but has a slightly lighter weight. Updated: January 2016 to version 1.102", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Gentium Book Plus": { + "name": "Gentium Book Plus", + "designer": [ + "SIL International" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Gentium Book Plus is the new version of the reduced character set families, Gentium Book Basic. This 'Basic' familie only cover a limited range of Latin, and none of Gentium Book Plus's Ext Latin, Cyrillic, or Greek (both modern and ancient). Gentium Book Plus now extends the same 4 styles/weights of the previous Gentium Book Basic and to the full character set that complete Gentium Plus (also on github). This update brings many other improvements, including a very significant improvement in hinting for Windows users and WOFF2 versions. These fonts cover a far greater character set than the Gentium Book Basic, so are larger, but since GF subsets the difference won't affect users. You can find here the Gentium Plus, a very similar family that has a slightly lighter weight. To contribute, see github.com/silnrsi/font-gentium.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Gentium Plus": { + "name": "Gentium Plus", + "designer": [ + "SIL International" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Gentium Plus is the new version of the two reduced character set families, Gentium Basic and Gentium Book Basic. Those 'Basic' families only cover a limited range of Latin, and none of Gentium Plus's Ext Latin, Cyrillic, or Greek (both modern and ancient). Gentium Plus now extends the same 8 styles/weights of the previous Gentium Basic and to the full character set, packaged as two R B I BI families: Gentium Plus and Gentium Book Plus (also on github). This update brings many other improvements, including a very significant improvement in hinting for Windows users and WOFF2 versions. These fonts cover a far greater character set than the Gentium Basic, so are larger, but since GF subsets the difference won't affect users. The Gentium Book Plus family is very similar but has a slightly darker weight. To contribute, see github.com/silnrsi/font-gentium.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Geo": { + "name": "Geo", + "designer": [ + "Ben Weiner" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "I was shown squared-off lettering on a record label and asked to draw something similar. Geo, the result, was substantially completed within four hours in July 1999. It\u2019s a simple geometric typeface in the mould of some of the experimental faces designed during the 1920s by well-known modernist designers such as Theo van Doesberg and Herbert Bayer. This style found a strong echo in designs of Neville Brody in the 1980s, which are now identified as an expression of the consumer culture of that decade. During the 1990s the magazine and font catalogue Emigre was at the public front of typeface design, and was a place where computer fonts with this same look appeared. I think Geo expresses both the directness of some of the 1920s faces and the rather disingenuous consumerist thrust of the 1980s and 1990s descendants of theirs.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Geologica": { + "name": "Geologica", + "designer": [ + "Monokrom", + "Sindre Bremnes", + "Frode Helland" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Geologica is grounded in the humanist genre, but leans assertively into geometric, constructed letterforms to find its stability. The wide stance, generous spacing, large apertures and even colour makes Geologica a serious text typeface. The stylistic \u201cSharpness\u201d axis adds a rational interpretation of calligraphic pen strokes - a modernist echo of the roots of writing. Variable axes: Cursive (CRSV) Sharpness (SHRP) Weight (wght) Slant (slnt) To contribute, please see https://github.com/googlefonts/geologica.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Georama": { + "name": "Georama", + "designer": [ + "Production Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Georama is an original typeface available in several widths and weights. It supports Google Fonts Latin Plus glyph set, enabling the typesetting of English, Western European languages as well as Vietnamese and 130+ other languages. To contribute, please see github.com/productiontype/Georama.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Geostar": { + "name": "Geostar", + "designer": [ + "Joe Prince" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Geostar is a great font for large headlines on websites. Its single weight allows for easy legibility and captivates the audience at first glance. Because Geostar is so symmetrical, it is a fantastic option to add charisma and sophistication to any web page.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Geostar Fill": { + "name": "Geostar Fill", + "designer": [ + "Joe Prince" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Geostar is a great font for large headlines on websites. Its single weight allows for easy legibility and captivates the audience at first glance. Because Geostar is so symmetrical, it is a fantastic option to add charisma and sophistication to any web page.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Germania One": { + "name": "Germania One", + "designer": [ + "John Vargas Beltr\u00e1n" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Germania One is a hybrid between two historical and functional concepts found in German typography, the old fraktur and the simplified geometric sans serif forms from the Bauhaus. I sought to create a new font that mixes these two styles to provide a new and original typeface. Something modern and at the same time old, reworking the geometric forms in a contemporary and expressive way.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Gideon Roman": { + "name": "Gideon Roman", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Based on a Roman character set, Gideon is a traditional typeface with classic forms. Perfect for uses from invitations, greeting cards and menus, to display advertising. The upper case letters have a tradition Roman feel that adds warmth and sophistication to text while the legibility allows for larger blocks of copy to be easily read. Gideon comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/gideon.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Gidole": { + "name": "Gidole", + "designer": [ + "Andreas Larsen" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "greek", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Gidole is a small, beautiful mountain town in southern Ethiopia where the font\u2019s author grew up. The font, his first, is a humanist and minimal variation of the original DIN 1451 design. The author wishes that you thank him for the design by donating to the Ethiopian Red Cross Society. To contribute, see https://github.com/googlefonts/gidole.", + "minisite_url": null + }, + "Gidugu": { + "name": "Gidugu", + "designer": [ + "Purushoth Kumar Guttula" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "telugu" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Gidugu is a Telugu font suitable for headlines, invitations and posters and is best used at large sizes. Gidugu is named after Gidugu Venkata Ramamurthy, who championed using Telugu as a language for everyone, not only a scholastic language. The Telugu is designed and developed by Purushoth Kumar Guttula, and made available under the SIL Open Font License v1.1 by Silicon Andhra. The Latin is newly designed for this project by Eduardo Tunni, a type designer in Buenos Aires, Argentina. The Gidugu project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India. To contribute, see github.com/googlefonts/gidugu", + "primary_script": "Telu", + "article": null, + "minisite_url": null + }, + "Gilda Display": { + "name": "Gilda Display", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Gilda Display is a font of classic proportions, in which we can see the finest treatment of curves, strokes and serifs. The high stroke contrast has especially smooth transitions, making this type perfect for the world of fashion, jewelry and luxury items. Gilda Display typically contributes all its glamor to headlines, but the considered design of this font gives it potential for use in longer texts with a fine page texture. Since Junuary 2023, the glyphset is completed and and the font has a bigger language support To contribute, see github.com/etunni/gilda-display.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Girassol": { + "name": "Girassol", + "designer": [ + "Liam Spradlin" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Girassol is a display typeface inspired by the hand-painted street signs in and around Carcavelos, Portugal. It attempts to collect, synthesize, and lovingly evoke the identity and spirit of the region in which the original forms were encountered, while acknowledging my own relationship to and presence in the place and the design. The primary characteristics that define Girassol include its condensed proportions, moderate contrast following the expansion model, a thorny, decorative serif construction that pierces the baseline and cap height, and playful flourishes that mimic the decoration possible in hand-painted signage. Numerous discretionary ligatures play on the typeface's angular and thorny construction to evoke a sense of improvisation in the signs on which the forms are based. The smallcaps are the result of my effort to capture the secondary style found in the Carcavelos signs. My approach to the smallcaps lead to a set of letters that perfectly complements the main caps but which simultaneously becomes softer and more gentle because of its more square proportion. Girassol feels at home set in large, striking titles and smaller graphical vignettes. To contribute, see github.com/liamspradlin/Girassol-Display.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Give You Glory": { + "name": "Give You Glory", + "designer": [ + "Kimberly Geswein" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "This mixed-case font is a quirky, fun font infused with that special \u201csomething\u201d that makes it feel authentic. I love that it isn\u2019t perfect or traditional but that it has the flow of real handwriting \u2013 complete with the mixed-case style so many of us use in our daily writing.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Glass Antiqua": { + "name": "Glass Antiqua", + "designer": [ + "Denis Masharov" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "handwriting" + ], + "description": "This is revival of the 1913 typeface \"Glass Antiqua\" by \"Genzsch & Heyse\" found in the Taschen book \"Type: A Visual History of Typefaces and Graphic Styles, 1901-1938.\" A magnificent and unique design with a Jugenstile fleur, combining Slab Serif and Antiqua, plus elements of cursive calligraphy. It is suitable for any purpose, giving a text a retro feel and soft informal look. The character set is extended but the originals are carefully restored, and all are patiently spaced and kerned.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Glegoo": { + "name": "Glegoo", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SLAB_SERIF", + "classifications": [], + "description": "Glegoo, a truly modern slab serif. It has a precise balance of shapes, counterforms and strokes. Glegoo is slightly condensed, has a large x-height, short ascenders/descenders and large counterforms. These attributes all add up to help reading text, even in very small sizes. Its careful design and proper choice of weight generate a nice texture in paragraphs of text, but the design is also intended to work well when composing headlines with presence and elegance. Large usage will show off the delicate modulation of strokes that are in this font. Updated August 2014: A Bold style was added, the family was hinted with ttfautohint, and a Devanagari subset was included. Contribute to the project at github.com/etunni/glegoo", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Gloock": { + "name": "Gloock", + "designer": [ + "Duarte Pinto" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic-ext", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Gloock is a contemporary high-contrast serif typeface intended for display use. It draws inspiration from newspaper's headlines but with a contemporary approach. Its main focus is the smooth relationship between the thin and thick strokes. It's a perfect typeface for headlines and has a great performance anywhere in big sizes. To contribute, see github.com/duartp/gloock.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Gloria Hallelujah": { + "name": "Gloria Hallelujah", + "designer": [ + "Kimberly Geswein" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "This font is based on the handwriting of a Korean high school student. It is fun and reminds me of a comic style writing. It looks great in all caps and is easy to read.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Glory": { + "name": "Glory", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Glory is a modern sans serif font. The rounded corners give it a soft, contemporary feel. While the characters are slightly condensed, this medium contrast sans features subtly curved vertical strokes. It was created with graphic design in mind. It is suitable for logos, headlines and body text with the available six weights within a variable font Weight axis. Combine Glory with other script styles to give your work warmth and contrast. For a truly professional look, team up Glory with its script companion, Hurricane. Glory comes with a wide Latin Glyph set including support for Western, Central, Eastern European languages and also Vietnamese. To contribute, see github.com/googlefonts/glory", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Gluten": { + "name": "Gluten", + "designer": [ + "Tyler Finck", + "ETC" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Gluten is a delicious font! It's also slightly loud, very round, and 100% fun. Gluten is filling, we'll put it that way. Hope you're hungry. To contribute see github.com/Etcetera-Type-Co/Gluten.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Goblin One": { + "name": "Goblin One", + "designer": [ + "Riccardo De Franceschi" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Foundry: Sorkin Type Co Goblin One belongs to the category of display types called \"Latin\". This is because of its sharp triangular serifs. Goblin One was inspired by a hand painted sign above a pub in the town of Reading (UK). Goblin One is a somewhat wide medium contrast design with a large x-height. Goblin One is both attention-getting and fun. Goblin is suitable for use in medium to large sizes including headlines. This font was made specifically to be web type. Source files are available from Google Code. To contribute to the project contact Eben Sorkin.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Gochi Hand": { + "name": "Gochi Hand", + "designer": [ + "Huerta Tipogr\u00e1fica" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Gochi Hand is a typographic interpretation of the handwriting of a teenager. The style is fresh, not like the letters made by a calligrapher, but those of an ordinary person. The text line is spontaneous but solid and consistent, expressive and works well on screen, even in small sizes. The glyphs were carefully designed with a good curve quality that makes it able to look good when printed too. Designed by Juan Pablo del Peral for Huerta Tipogr\u00e1fica. To contribute, see github.com/huertatipografica/gochi-hand.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Goldman": { + "name": "Goldman", + "designer": [ + "Jaikishan Patel" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Goldman is a Latin display typeface designed by Jaikishan Patel. It was exclusively designed for posters of Genre: Passion, Science Fiction, Sports, Drama, Thriller genres. The Goldman font family includes two weights. Regular, designed for the large headers or titles, and Bold, designed for heavyweight title designs. Each font includes 640 glyphs that covers Western, Central and South Latin as well as Vietnamese. To contribute, see https://github.com/magictype/goldman", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Golos Text": { + "name": "Golos Text", + "designer": [ + "Alexandra Korolkova", + "Vitaly Kuzmin" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Golos is a versatile closed sans-serif commissioned by Smena and AIC Media for state and social service websites. Golos Text suits perfectly for continuous reading on screen. It includes five weights from Regular to Black. Golos was designed by Alexandra Korolkova and Vitaly Kuzmin and released by Paratype in 2019. To contribute, see github.com/googlefonts/golos-text.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Gorditas": { + "name": "Gorditas", + "designer": [ + "Gustavo Dipre" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Gorditas is a fun and funky display slab serif typeface family, with heart details - cute like a newborn puppy! Designed by Brenda Gallo and Gustavo Dipre.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Gothic A1": { + "name": "Gothic A1", + "designer": [ + "HanYang I&C Co" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "korean", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Gothic A1 is a Korean and Latin font.", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "Gotu": { + "name": "Gotu", + "designer": [ + "Ek Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Rotund curves, large loops and voluminous counters. Gotu reimagines Devanagari calligraphy while at the same time reinterprets what high contrast Latin typefaces can be. Though the Devanagari is penned with a traditional canted nib, the structures are improvised with an expressive whim that belies conventions of structure and challenges notions of consistency. Swooping calligraphic strokes inspire forms that are lyrical without being too opulent. The same spirit resonates within a modulated sans serif style Latin as letters retain a calligraphic stress and keep the delicate typographic quirks. Furnished with such typographic subtleties, Gotu can lend its distinct style to a quaint monograph, a striking headline, an ornate invite or even a chic brand. This project is led by Ek Type, a collective of type designers based in Mumbai focused on designing contemporary Indian typefaces. To contribute, see github.com/EkType/Gotu", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Goudy Bookletter 1911": { + "name": "Goudy Bookletter 1911", + "designer": [ + "Barry Schwartz" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Based on Frederic Goudy\u2019s Kennerley Oldstyle. A few words on why I think Kennerley Oldstyle is beautiful: In making this font, I discovered that Kennerley fits together tightly and evenly with almost no kerning. Thus the following words from Monotype specimen books are just: \u201c[W]hen composed into words the characters appear to lock into one another with a closeness common in early types, but not so often seen in later-day creations.\u201d These are letters that take command of the space around them; notice, for instance, the bowed shapes of the v and w.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Gowun Batang": { + "name": "Gowun Batang", + "designer": [ + "Yanghee Ryu" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "korean", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Gowun Batang(\uace0\uc6b4\ubc14\ud0d5) is a serif text typeface inspired by neat, pencil-written handwriting letterforms. Gowun means \u2018neat and delicate\u2019 in Korean and this typeface has a warm and friendly impression. Batang is the style name for serif Hangeul text typeface. To contribute to the project, visit github.com/yangheeryu/Gowun-Batang", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "Gowun Dodum": { + "name": "Gowun Dodum", + "designer": [ + "Yanghee Ryu" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "korean", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Gowun Dodum(\uace0\uc6b4\ub3cb\uc6c0) is a humanist sans-serif typeface with a touch of hand movement. Gowun means \u2018neat and delicate\u2019 in Korean and this typeface has a warm and friendly impression. Dodum is the style name for sans-serif Hangeul text typeface. To contribute to the project, visit https://github.com/yangheeryu/Gowun-Dodum", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "Graduate": { + "name": "Graduate", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SLAB_SERIF", + "classifications": [ + "display" + ], + "description": "\"Graduate\" showcases a high-quality rendition of the classic college block style of lettering commonly seen across campuses throughout the USA. To contribute, visit github.com/etunni/graduate.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Grand Hotel": { + "name": "Grand Hotel", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Grand Hotel finds its inspiration from the title screen of the 1937 film \"Cafe Metropole\" starring Tyrone Power. This condensed upright connecting script has a classic vibe to it. It has a wonderful weight to it that feels subtly tied to Holiday and Bakery themed designs, even though it can work outside that genre. Designed by Brian J. Bonislawsky and Jim Lyles for Astigmatic (AOETI). To contribute to the project contact Brian J. Bonislawsky.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Grandiflora One": { + "name": "Grandiflora One", + "designer": [ + "Haesung Cho", + "JAMO" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "korean", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "handwriting", + "display" + ], + "description": "Grandiflora, or in its original language, Neungsohwa is a decorative Hangeul typeface inspired by the Art Nouveau style of the 20th century. It is presented exclusively in hairline weight to highlight the elegant curves and ornamental characteristics of Hangeul. As Art Nouveau is commonly represented by vines and florals, the typeface was named after the most beloved summer vines of Korea, Campsis grandiflora (Neungsohwa). To contribute, please visit github.com/JAMO-TYPEFACE/Grandiflora.", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "Grandstander": { + "name": "Grandstander", + "designer": [ + "Tyler Finck", + "ETC" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Grandstander is a display variable font with a weight axis. 9 weights, upright and italic. It supports a wide range of languages in the latin script scope. The Grandstander project is led by Tyler Finck \u2014 type designer running Etcetera Type Co in Ithaca, New-York, USA. To contribute, see github.com/Etcetera-Type-Co/Grandstander", + "primary_script": null, + "article": null, + "minisite_url": "https://etceteratype.co/grandstander" + }, + "Grape Nuts": { + "name": "Grape Nuts", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Grape Nuts is a simple handwritten casual font. The name is derived from a well-known breakfast cereal that dates back to the late 1800s. This cute style can be used for any casual or even humorous situation. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/grapenuts.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Gravitas One": { + "name": "Gravitas One", + "designer": [ + "Riccardo De Franceschi" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Foundry: Sorkin Type Co Gravitas One is modeled on the \"UK fat face\" which is a kind of very heavy advertising type created during the industrial revolution in England. The letter forms are characterized by an attention getting and strong contrast between the very heavy vertical shapes and the thin horizontal ones. The contrast of the design means that it will be most useful when set from medium to large sizes. Source files are available from Google Code. To contribute to the project contact Eben Sorkin.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Great Vibes": { + "name": "Great Vibes", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Great Vibes is a beautifully flowing script with casual uppercase forms combined with more formal lowercase letters. It has over 2000 glyphs, with smooth connecting ligatures and alternate characters. In March 2024, Great Vibes was updated to provide extended language support, including Sub-Saharan Latin and Cyrillic. To contribute, see github.com/googlefonts/great-vibes.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Grechen Fuemen": { + "name": "Grechen Fuemen", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Grechen Fuemen is a playful font with an unorthodox use of thick and thin weights. Don't take this font too seriously because there's not a serious stroke in the font. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/grechen-fuemen.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Grenze": { + "name": "Grenze", + "designer": [ + "Omnibus-Type" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Grenze is a large text family which features nine weights with matching italics. It draws inspiration from Roman and Blackletter typefaces. It was originally designed to be used in magazines. To contribute, see github.com/Omnibus-Type/Grenze.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Grenze Gotisch": { + "name": "Grenze Gotisch", + "designer": [ + "Omnibus-Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Grenze Gotisch is a Blackletter version of Grenze, which has more dramatic details in certain letters. To contribute, see github.com/Omnibus-Type/Grenze-Gotisch.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Grey Qo": { + "name": "Grey Qo", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "A contemporary calligraphic script, Grey Qo combines traditional uppercase calligraphics with more stylized script lowercase forms. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/grey-qo.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Griffy": { + "name": "Griffy", + "designer": [ + "Neapolitan" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "He's one cool customer with that crazy casual beatnik outfit, a long silky goatee and a touch of spooky just to give you the creeps... They call him Griffy! Dig this fun and wacky hip new font from Squid and Neapolitan and turn your L7 designs into way out masterpieces! Designed by Dave 'Squid' Cohen of Neapolitan (a DBA of Font Diner, Inc)", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Gruppo": { + "name": "Gruppo", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Gruppo was conceived as a display typeface for style conscious, laid-back branding where 'little is more', or, in Jasper Morrison's words, \"Special is generally less useful than normal\". The Mai 2023 update features a bigger glyphset and some minor aesthetic modifications. To contribute, see github.com/googlefonts/GruppoFont.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Gudea": { + "name": "Gudea", + "designer": [ + "Agustina Mingote" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Gudea is a readable, clear and functional typeface family, with a simple and condensed structure that brings a pleasant feeling when used at any size. Inspired by engineering documentation, it expresses the technical feeling of graphic information enjoyed by those who are interested in areas such as engineering, land surveying and architecture. Initially this type was developed for use in labels and maps, but it is now a versatile family that seamlessly suits any piece of design.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Gugi": { + "name": "Gugi", + "designer": [ + "TAE System & Typefaces Co." + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "korean", + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Gugi is a Korean and Latin font.", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "Gulim": { + "name": "Gulim", + "designer": [ + "HanYang I&C Co." + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "greek", + "korean", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Gulim is a well-known gothic-style font that first shipped with Windows 95. It was designed with clean, simple strokes for clarity in user interfaces, and has rounded terminals. This version includes proportional Latin characters. For a version with monospace, half-width Latin characters, see GulimChe. To contribute to this project, please visit github.com/googlefonts/gulim.", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "GulimChe": { + "name": "GulimChe", + "designer": [ + "HanYang I&C Co." + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "greek", + "korean", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "GulimChe is a well-known gothic-style font that first shipped with Windows 95. It was designed with clean, simple strokes for clarity in user interfaces, and has rounded terminals. This version includes monospace, half-width Latin characters. For a version with proportional Latin characters, see Gulim. To contribute to this project, please visit github.com/googlefonts/gulim.", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "Gulzar": { + "name": "Gulzar", + "designer": [ + "Borna Izadpanah", + "Fiona Ross", + "Alice Savoie", + "Simon Cozens" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "arabic", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": "Arab", + "article": "Gulzar is a contemporary Urdu Nasta\u2019liq typeface \u2013 and its Latin counterpart \u2013 designed and developed through a collaboration by Borna Izadpanah (Principal Designer and Project Leader), Simon Cozens (Font Engineering), Alice Savoie (Designer, Gulzar Latin), Fiona Ross (Consultant, Gulzar Urdu), Amir Mahdi Moslehi (Calligraphic adviser, Gulzar Urdu) and Martin Dodds (Consultant, Gulzar Urdu). This typeface was designed to provide an effective textual communication tool primarily for Urdu readers on digital platforms and in print. In Gulzar, the aim has been to produce a typeface which is legible at text sizes and suitable for sustained reading. The first phase of this project involved conducting research into the history of Urdu digital typefaces from the early 1980s. The design of Gulzar was inspired by carefully collected specimens of Urdu calligraphy and lettering which were closely studied to achieve an accurate representation of the Urdu flavour of the Nasta\u2019liq style. Once the Nasta\u2019liq design was firmly established, a proposal was made for a Latin counterpart that took inspiration from two eminent humanistic references: the versatile and sturdy proportions of Robert Granjon\u2019s types, coupled with the sharp and distinctive feel of Hendrik van den Keere\u2019s work. The Latin letterforms thus feature some subtle references to their calligraphic roots and echo the contrast present in the Nasta\u2019liq, while remaining embedded in their classical typographic proportions. Gulzar is not the first OpenType Nasta\u2019liq typeface, but it is the first Nasta\u2019liq type for which an original Latin counterpart was designed. It covers all the required transliterations characters to transcribe Arabic, Persian and Urdu languages. You can read more about the inspiration, design, and engineering of Gulzar at gulzarfont.org. To contribute, see github.com/googlefonts/Gulzar/. Gulzar: Expanding the variety of Urdu Nasta'liq options Making of Gulzar To give Urdu speakers more typeface choices, in July 2022, Google Fonts added Gulzar, a new Nasta'liq Urdu typeface. 1. Gulzar Nasta'liq 2. Gulzar Latin \"All human beings are born free and equal in terms of rights and dignity.\" In Urdu (Gulzar Nasta'liq) and transliterated in Latin (Gulzar Latin). Simon Cozens, Dr. Borna Izadpanah, and Dr. Fiona Ross conducted their own research and consulted with Urdu language specialists in Pakistan and the United Kingdom to create the Gulzar Urdu Nasta'liq typeface project. Gulzar means \"flower meadow\" in Urdu. Izadpanah is a native Persian speaker from Tehran, Iran. He learned Nasta'liq as a model for Persian handwriting in primary school. \"Designing a digital Nasta'liq typeface was my long-held dream,\" Izadpanah stated. As the principal Gulzar designer, he conducted the preliminary research and drew the glyphs. Ross was familiar with the Urdu language and type design from her language studies and earlier work on two Nasta'liq typefaces, Sheeraz and Qalmi, for which Linotype acquired a patent. To make a modern digital font based on the Urdu flavor of the Nasta'liq style, Izadpanah studied the proportions, stroke modulation, and character features in calligraphy manuals and a collection of lettering specimens To learn more, visit \"Gulzar: Expanding the variety of Urdu Nasta'liq options\" (English, Urdu) and \"Why are there so few Urdu fonts?\" (English, Urdu).", + "minisite_url": "https://gulzarfont.org" + }, + "Gungsuh": { + "name": "Gungsuh", + "designer": [ + "HanYang I&C Co." + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "greek", + "korean", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Gungsuh is a well-known myeongjo(brush)-style font that first shipped with Windows 95. It is derived from handwritten calligraphy and is more suitable for shorter text strings or display applications than long-form text. This version includes proportional Latin characters. For a version with monospace, half-width Latin characters, see GungsuhChe. To contribute to this project, please visit github.com/googlefonts/batang.", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "GungsuhChe": { + "name": "GungsuhChe", + "designer": [ + "HanYang I&C Co." + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "greek", + "korean", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "GungsuhChe is a well-known myeongjo(brush)-style font that first shipped with Windows 95. It is derived from handwritten calligraphy and is more suitable for shorter text strings or display applications than long-form text. This version includes monospace, half-width Latin characters. For a version with proportional Latin characters, see Gungsuh. To contribute to this project, please visit github.com/googlefonts/batang.", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "Gupter": { + "name": "Gupter", + "designer": [ + "Octavio Pardo" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Gupter is a condensed serif font inspired by early 20th century English fonts such as Times New Roman. The family excels in small spaces due to its large x-height and condensed letterforms. The light stems and subtle details give it a gentle personality and a nice color balance on the page. To contribute, see github.com/octaviopardo/GUPTER", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Gurajada": { + "name": "Gurajada", + "designer": [ + "Purushoth Kumar Guttula" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "telugu" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Gurajada is Telugu handwriting font, suitable for headings, posters, and invitations. The Telugu is designed and developed by Purushoth Kumar Guttula in 2013 and made available by Silicon Andhra under the SIL Open Font License v1.1. The Latin is developed by Juan Pablo del Peral at Huerta Tipografia, a type foundry in Argentina, and originally published as Alegreya Sans. The Gurajada project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India. To contribute, see github.com/appajid/gurajada", + "primary_script": "Telu", + "article": null, + "minisite_url": null + }, + "Gwendolyn": { + "name": "Gwendolyn", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "This is a charming semi-formal script style. Need an enchanting look to go with a fantasy-like bedtime story? Gwendolyn will work beautifully. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/gwendolyn.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Habibi": { + "name": "Habibi", + "designer": [ + "Magnus Gaarde" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Foundry: Sorkin Type Co Habibi is a high contrast serifed text face. Habibi is easy to read and offers a certain elegance to go with this. Habibi draws both on the qualities of 15th and 16th century text faces and on crisp contenporary ones. Habibi can be used from small sizes to larger display settings. Source files are available from Google Code. To contribute to the project contact Eben Sorkin.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Hachi Maru Pop": { + "name": "Hachi Maru Pop", + "designer": [ + "Nonty" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "cyrillic", + "japanese", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "HachiMaruPop is a cute font that was popular among young Japanese girls in the 1970s and 1980s. It has an informal handwritten appearance which works well at larger sizes. To contribute to the project, visit github.com/noriokanisawa/HachiMaruPop", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "Hahmlet": { + "name": "Hahmlet", + "designer": [ + "Hypertype" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "korean", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Hahmlet is inspired by a poster for the Korean \u2018Hamlet\u2019 movie from the 1940\u2019s, created by an unknown letterer. The distinct and sharp, quirky and attention seeking details inspired Minjoo Ham to use it for a rather uncommon revival project and turn it into a robust, contemporary typeface. Once the Hangeul was finished, Mark Fr\u00f6mberg took on the challenge to translate the characteristics to the Latin design. A lively exploration into the possible and impossible began. Hahmlet is great for any kind of typesetting, print or screen but also a perfect eyecatcher for signage and poster designs. We highly recommend to use it for Hangeul and Latin bilingual typography. To contribute to the project, visit https://github.com/hyper-type/hahmlet/", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "Halant": { + "name": "Halant", + "designer": [ + "Indian Type Foundry" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Halant is a typeface family supporting the Devanagari and Latin scripts. This is an Open Source font family, first published by the Indian Type Foundry in 2014. The Devanagari glyphs in the Halant project were designed by Vivek Sadamate and Ninad Kale. The Latin is by Jonny Pinhorn. The Indian Type Foundry first published Halant in 2014.", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Hammersmith One": { + "name": "Hammersmith One", + "designer": [ + "Nicole Fally" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Foundry: Sorkin Type Co Hammersmith One is a very low contrast typeface inspired by the Johnston UK lettering tradition. Hammersmith One shows the quirks of a somewhat naive, handmade, brush written letters including a wider than normal \"e\" and \"s\" as well as dark joins between stroke which are normally compensated for in type. The sources for this design have been adapted not just for type but specifically for use as a web type. This font works well to even smaller sizes than was originally expected. Source files are available from Google Code. To contribute to the project contact Eben Sorkin.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Hanalei": { + "name": "Hanalei", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Hanalei is for the Polynesian fan. Inspired by the bamboo lettering of the iconic Mai Kai restaurant logo, Hanalei has all the flavor of the genre without compromise. Great for titling and larger typesetting. Hanalei Fill is a compliment to Hanalei. Designed by Brian J. Bonislawsky for Astigmatic (AOETI). To contribute to the project contact Brian J. Bonislawsky.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Hanalei Fill": { + "name": "Hanalei Fill", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Hanalei Fill is for the Polynesian fan. Inspired by the bamboo lettering of the iconic Mai Kai restaurant logo, Hanalei Fill has all the flavor of the genre without compromise. Great for titling and larger typesetting. Hanalei Fill is a compliment to Hanalei (the outline version.) Designed by Brian J. Bonislawsky for Astigmatic (AOETI). To contribute to the project contact Brian J. Bonislawsky.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Handjet": { + "name": "Handjet", + "designer": [ + "Rosetta", + "David B\u0159ezina" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "arabic", + "armenian", + "cyrillic", + "cyrillic-ext", + "greek", + "hebrew", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Handjet is an element-based variable font (aka pixel font, modular font, \u2026) where every glyph is composed using multiple copies of the same element. Each element can take one of 23 shapes and transition smoothly between them while creating various effects. The font currently supports these scripts: Arabic, Armenian, Cyrillic, Greek, Hebrew, and Latin. Due to rendering issues specific to Mac OS, the font may show aberrations and visual artifacts, resulting in an unusual appearance. Handjet is designed by David B\u0159ezina with the contribution of Johannes Neumeier, Borna Izadpanah, Khajag Apelian and Meir Sadan. To contribute see github.com/rosettatype/handjet.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Handlee": { + "name": "Handlee", + "designer": [ + "Joe Prince" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "handwriting" + ], + "description": "Handlee is loosely based on the handwriting of typographer Joe Prince. Its inconsistent curves give it a nice, human-like quality that is reflected in the characters. Each glyph is stationed at a different position in respect to the baseline, and ascenders and descenders vary, which all contribute to the human-like qualities of the font. Handlee is a great font for any web page looking to add some personality and charisma. There was careful attention to detail in removing unnecessary overlap between letters, which allows Handlee to be scaled down to very small sizes while still maintaining legibility. The diaritics were purposefully designed at a slightly larger scale than normal to add to the ability to be scaled down. Also, the accents on the accented characters were not automatically generated but were rather hand placed individually to portray asymmetry and inconsistency that is typically found in handwriting. All of the little details and careful considerations in Handlee make it the perfect font for any project.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Hanken Grotesk": { + "name": "Hanken Grotesk", + "designer": [ + "Alfredo Marco Pradil", + "Hanken Design Co." + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Hanken Grotesk is a sans serif typeface inspired by the classic grotesques. Geometry, metrics, punctuations and OpenType features have been updated to support a wide range of projects such as environmental signage, textface for books and magazines, Interface, Websites and Mobile Applications. The Hanken Grotesk project is led by Alfredo Marco Pradil. To contribute, see github.com/marcologous/hanken-grotesk", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Hanuman": { + "name": "Hanuman", + "designer": [ + "Danh Hong" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "khmer", + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Hanuman is a Khmer font for body text, that pairs well with Latin serif fonts. To contribute, see github.com/danhhong/Hanuman.", + "primary_script": "Khmr", + "article": null, + "minisite_url": null + }, + "Happy Monkey": { + "name": "Happy Monkey", + "designer": [ + "Brenda Gallo" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Happy Monkey is a display sans serif typeface family, with thin and rounded strokes. Suitable for informal headlines and all your fun typography! Designed by Brenda Gallo and Gustavo Dipre.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Harmattan": { + "name": "Harmattan", + "designer": [ + "SIL International" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "arabic", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Harmattan, named after the trade winds that blow during the winter in West Africa, is designed in a Warsh style to suit the needs of languages using the Arabic script in West Africa. This font provides a simplified rendering of Arabic script, using basic connecting glyphs but not including a wide variety of additional ligatures or contextual alternates (only the required lam-alef ligatures.) Harmattan Version 2.000 (released in June 2020) now includes a Bold style and contains near complete coverage of all the characters defined in Unicode 13.0 for Arabic script (excluding the Arabic Presentation Forms blocks, which are not recommended for normal use). It has full support for the Arabic and Arabic Supplement Unicode blocks, and the Arabic Extended-A block with the exception of U+08D3..U+08E2. In 2023 an additional two weights for this typeface family were added for a total of four weights now. The glyphset was expanded to support all of the Unicode 15.0 character set. Support for the Kyrgyz language was added. Bob Hallissy does Graphite, OpenType, and TypeTuner code, and build support. Becca Hirsbrunner is the Lead Designer. George W. Nuss is the Original Designer. Iska Routamaa is a Contributing Designer. The Harmattan project is maintained by SIL International. Harmattan is released under the SIL Open Font License. Harmattan is a trademark of SIL International. For further information about this font, including Unicode ranges supported, Graphite and OpenType font features and how to use them, and licensing, please see the documentation on the website software.sil.org/Harmattan. To contribute, see github.com/silnrsi/font-harmattan.", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Headland One": { + "name": "Headland One", + "designer": [ + "Gary Lonergan" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Foundry: Sorkin Type Co Headland One is a text typeface designed to be highly legible and comfortable when reading screens. Headland One is useful from very small sizes to headlines. Headland One's personality recalls the geniality of the UK private press movement types made at the turn of the 20th century. Headland One's eccentric details contribute to the distinctive feeling of the type at smaller sizes but do not become obvious until the type becomes much larger. Source files are available from Google Code. To contribute to the project contact Eben Sorkin.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Hedvig Letters Sans": { + "name": "Hedvig Letters Sans", + "designer": [ + "Kanon Foundry", + "Alexander \u00d6rn", + "Tor Weibull", + "Hedvig" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Hedvig is a digital insurance company that is challenging the traditional insurance industry by providing a predictable insurance experience. The Hedvig typeface family was created by Kanon Foundry in collaboration with Hedvig\u2019s in-house design department. The typface reflects Hedvig\u2019s brand philosophy \u201cStuff happens\u201d \u2013 embracing all the things that happen in life, without worry or fear. The typeface family Hedvig Letters consists of two fonts: Hedvig Letters Serif is designed to balance punchy and honest copy with responsibility and comfort. Hedvig Letters Sans takes the role of the work-horse typeface in Hedvig\u2019s visual toolbox. The concept for the typeface was developed by approaching a \u201cnon-type-designer\u201d point of view. Optical corrections are usually applied to a typeface to fool the eye that certain shapes are balanced or aligned, when in reality they are not. For this typeface, the imperfections were embraced instead of corrected. The result is a typeface where some letters have a slightly odd, yet characteristic look that effectively communicates Hedvig\u2019s brand and design philosophy. To contribute, please see github.com/KanonFoundry/HedvigLetters.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Hedvig Letters Serif": { + "name": "Hedvig Letters Serif", + "designer": [ + "Kanon Foundry", + "Alexander \u00d6rn", + "Tor Weibull", + "Hedvig" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Hedvig is a digital insurance company that is challenging the traditional insurance industry by providing a predictable insurance experience. The Hedvig typeface family was created by Kanon Foundry in collaboration with Hedvig\u2019s in-house design department. The typface reflects Hedvig\u2019s brand philosophy \u201cStuff happens\u201d \u2013 embracing all the things that happen in life, without worry or fear. The typeface family Hedvig Letters consists of two fonts: Hedvig Letters Serif is designed to balance punchy and honest copy with responsibility and comfort. Hedvig Letters Sans takes the role of the work-horse typeface in Hedvig\u2019s visual toolbox. The concept for the typeface was developed by approaching a \u201cnon-type-designer\u201d point of view. Optical corrections are usually applied to a typeface to fool the eye that certain shapes are balanced or aligned, when in reality they are not. For this typeface, the imperfections were embraced instead of corrected. The result is a typeface where some letters have a slightly odd, yet characteristic look that effectively communicates Hedvig\u2019s brand and design philosophy. To contribute, please see github.com/KanonFoundry/HedvigLetters.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Heebo": { + "name": "Heebo", + "designer": [ + "Oded Ezer" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "hebrew", + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Heebo is a Hebrew and Latin typeface family, which extends Christian Roberton's Roboto Latin to Hebrew. The Hebrew was drawn by Oded Ezer and the font files were mastered by Meir Sadan. Since the Hebrew design of this family is primary, the vertical metrics are different to the original Roboto family. This family is auto-hinted, whereas Roboto is hand-hinted, so the rendering quality of Roboto may be better on older Windows machines. In May 2020, the family has been updated to a variable font family. The November 2023 update fixed some Hebrew bugs and improve the langage support. The Heebo project is led by Oded Ezer, a type designer based in Tel Aviv, Israel. To contribute, see github.com/OdedEzer/heebo", + "primary_script": "Hebr", + "article": null, + "minisite_url": null + }, + "Henny Penny": { + "name": "Henny Penny", + "designer": [ + "Brownfox" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Henny Penny is an offbeat display font with loads of personality, named in honour of the fairy-tale character chicken Henny Penny. It is a friendly and playful decorative typeface. Its classical nature is successfully hidden behind its very informal structure: There is no common baseline, no common character size and no common slope of the letters. This makes the typeface very amusing. HennyPenny is a headline typeface for use in large size fonts. It may be used for childrens books, magazines and websites. Designed by Olga Umpeleva for Brownfox. To contribute to the project contact Gayaneh Bagdasaryan.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Hepta Slab": { + "name": "Hepta Slab", + "designer": [ + "Mike LaGattuta" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SLAB_SERIF", + "classifications": [], + "description": "Hepta Slab is a slab-serif revival based on specimens of antique genre types from Bruce and Co., primarily Antique 307. The family is a variable font which consists of 10 weights with the extremes intended for display use and the middle weights for setting text. To contribute, see github.com/mjlagattuta/Hepta-Slab.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Hermeneus One": { + "name": "Hermeneus One", + "designer": [ + "Impallari Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Hermeneus is a grecian style font, inspired by the works of Jim Parkinson and Ortiz Lopez. It condensation lets you put more characters into a line of text giving your paragraphs more efficiency. It is intended to be read at small size text, but also works on large headers and titles.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Herr Von Muellerhoff": { + "name": "Herr Von Muellerhoff", + "designer": [ + "Sudtipos" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "The Charles Bluemlein Script Collection is an intriguing reminder of the heady days of hand lettering and calligraphy in the United States. From the early 1930s through World War II, there were about 200 professional hand letterers working in New York City alone. This occupation saw its demise with the advent of photo lettering, and after digital typography it became virtually extinct. The odd way in which the Bluemlein scripts were assembled and created - by collecting different signatures and then building complete alphabets from them - is a fascinating calligraphic adventure. Because the set of constructed designs looked nothing like the original signatures, fictitious names were assigned to the new script typefaces. The typeface styles were then showcased in Higgins Ink catalogs. Alejandro Paul and Sudtipos bring the Bluemlein scripts back to life in a set of expanded digital versions, reflecting the demands of today\u2019s designer. Extreme care has been taken to render the original scripts authentically, keeping the fictitious names originally assigned to them by Bluemlein.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Hi Melody": { + "name": "Hi Melody", + "designer": [ + "YoonDesign Inc" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "korean", + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Hi Melody is a Korean and Latin font.", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "Hina Mincho": { + "name": "Hina Mincho", + "designer": [ + "Satsuyako" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "japanese", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Hina Mincho is old-fashined and cute Japanese font. It includes Google Latin Plus, hiragana, katakana, JIS level 1 and 2 kanji glyphs. This font is licensed under the SIL Open Font License, Version 1.1. To contribute to the project, visit github.com/satsuyako/Hina-Mincho", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "Hind": { + "name": "Hind", + "designer": [ + "Indian Type Foundry" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Hind is an Open Source typeface supporting the Devanagari and Latin scripts. Developed explicitly for use in User Interface design, the Hind font family includes five styles. Hind\u2019s letterforms have a humanist-style construction, which is paired with seemingly monolinear strokes. Most of these strokes have flat endings: they either terminate with a horizontal or a vertical shear, rather than on a diagonal. This helps create clear-cut counter forms between the characters. In addition to this, Hind\u2019s letterforms feature open apertures. The entire typeface family feels very legible when used to set text. The Devanagari and Latin script components are scaled in relation to each other so that the Devanagari headline falls just below the Latin capital-height. In other words, the Devanagari base characters are 94% as tall as the Latin uppercase. Text set in the Devanagari script sits nicely alongside the Latin lowercase, too. Hind\u2019s Devanagari vowel marks take forms that tends toward the traditional end of the design spectrum, while the knotted terminals inside of the base characters feature a treatment that appears more contemporary. Each font in the Hind family has 1146 glyphs, which include hundreds of unique Devanagari conjuncts. These ensure full support for the major languages written with the Devanagari script. The Latin component\u2019s character set is a basic western one, which enables typesetting in English and the other Western European languages. Hind is a solid choice for UI design, and a wise selection for electronic display embedding. Manushi Parikh designed Hind for the Indian Type Foundry, who first published the fonts in 2014. The Hind project is led by Indian Type Foundry, a type design foundry based in Ahmedabad, India. To contribute, see github.com/itfoundry/hind", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Hind Colombo": { + "name": "Hind Colombo", + "designer": [ + "Indian Type Foundry" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "sinhala" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Hind Colombo is a family of five Sinhala fonts, which are part of the Indian Type Foundry\u2019s larger Open Source Hind Multi-Script project. Hind Multi-Script is a type system providing nine stylistically-matching font families \u2013 one for each of the following writing systems used in Bangladesh, India, Nepal, and Sri Lanka: Bengali, Devanagari, Gujarati, Gurmukhi, Kannada, Malayalam, Tamil, Telugu, and Sinhala. In addition to Sinhala, the Hind Colombo fonts also include Latin-script characters. Developed explicitly for use in User Interface design, Hind Colombo\u2019s letterforms have a humanist-style construction, paired with seemingly monolinear strokes. Most strokes have flat endings: they either terminate with a horizontal or a vertical shear, rather than on a diagonal. This helps create clear-cut counter forms between the characters. Additionally, Hind Colombo\u2019s letterforms feature open apertures and counterforms. The entire family feels very legible when used to set text. Hind Colombo is a solid alternate when choosing typefaces for UI design, and a wise selection for electronic display embedding. Hind Colombo is named after Colombo, the capital city of Sri Lanka. The Hind Colombo project is led by Indian Type Foundry, a type design foundry based in Ahmedabad, India. To contribute, see github.com/itfoundry/hind-colombo", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Hind Guntur": { + "name": "Hind Guntur", + "designer": [ + "Indian Type Foundry" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "telugu" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Hind Guntur is a family of five Telugu fonts, which are part of the Indian Type Foundry\u2019s larger Open Source Hind Multi-Script project. In addition to Telugu, the Hind Guntur fonts also include Latin-script characters. Developed explicitly for use in User Interface design, Hind Guntur\u2019s letterforms have a humanist-style construction, paired with seemingly monolinear strokes. Most strokes have flat endings: they either terminate with a horizontal or a vertical shear, rather than on a diagonal. This helps create clear-cut counter forms between the characters. Additionally, Hind Guntur\u2019s letterforms feature open apertures and counterforms. The entire family feels very legible when used to set text. Hind Guntur is a solid alternate when choosing typefaces for UI design, and a wise selection for electronic display embedding. Hind Guntur is named after Guntur, a city where Telugu is used. The Hind Guntur project is led by Indian Type Foundry, a type design foundry based in Ahmedabad, India. To contribute, see github.com/itfoundry/hind-guntur", + "primary_script": "Telu", + "article": null, + "minisite_url": null + }, + "Hind Jalandhar": { + "name": "Hind Jalandhar", + "designer": [ + "Indian Type Foundry" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "gurmukhi", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Hind Jalandhar is a family of five Gurmukhi fonts, which are part of the Indian Type Foundry\u2019s larger Open Source Hind Multi-Script project. Hind Multi-Script is a type system providing nine stylistically-matching font families \u2013 one for each of the following writing systems used in Bangladesh, India, Nepal, and Sri Lanka: Bengali, Devanagari, Gujarati, Gurmukhi, Kannada, Malayalam, Tamil, Telugu, and Sinhala. In addition to Gurmukhi, the Hind Jalandhar fonts also include Latin-script characters. Developed explicitly for use in User Interface design, Hind Jalandhar\u2019s letterforms have a humanist-style construction, paired with seemingly monolinear strokes (quite a common feature in Gurmukhi typefaces.) Most strokes have flat endings: they either terminate with a horizontal or a vertical shear, rather than on a diagonal. This helps create clear-cut counter forms between the characters. Additionally, Hind Jalandhar\u2019s letterforms feature open apertures and counterforms. The entire family feels very legible when used to set text. The Gurmukhi and Latin script components are scaled in relation to each other so that the Gurmukhi headline is more or less at the same visual height as the Latin capital letters share. The exact height of the Gurmukhi headline increases vis \u00e0 vis the capital height as the family increases in weight, just as the Latin lowercase does. Hind Jalandhar\u2019s Gurmukhi vowel marks take forms that tends toward the traditional end of the design spectrum, while the knotted terminals, etc. inside of the base characters feature a treatment that appears more contemporary. Each font in the Hind Jalandhar family has 475 glyphs, which includes all of the characters needed to write the Punjabi languages. The fonts\u2019 Latin character set is Adobe Latin 3, enabling typesetting for English and other Western European languages. Hind Jalandhar is a solid alternate when choosing typefaces for UI design, and a wise selection for electronic display embedding. Namrata Goyal designed Hind Jalandhar for ITF, who first published the fonts in 2015. Hind Jalandhar is named after Jalandhar, a city in Punjab, India. The Hind Jalandhar project is led by Indian Type Foundry, a type design foundry based in Ahmedabad, India. To contribute, see github.com/itfoundry/hind-jalandhar", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Hind Kochi": { + "name": "Hind Kochi", + "designer": [ + "Indian Type Foundry" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "malayalam" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Hind Kochi is a family of five Malayalam fonts, which are part of the Indian Type Foundry\u2019s larger Open Source Hind Multi-Script project. Hind Multi-Script is a type system providing nine stylistically-matching font families \u2013 one for each of the following writing systems used in Bangladesh, India, Nepal, and Sri Lanka: Bengali, Devanagari, Gujarati, Gurmukhi, Kannada, Malayalam, Tamil, Telugu, and Sinhala. In addition to Malayalam, the Hind Kochi fonts also include Latin-script characters. Developed explicitly for use in User Interface design, Hind\u2019s letterforms have a humanist-style construction, paired with seemingly monolinear strokes. Most of these strokes have flat endings: they either terminate with a horizontal or a vertical shear, rather than on a diagonal. This helps create clear-cut counter forms between the characters. Additionally, Hind\u2019s letterforms feature both open apertures and very open counterforms. The entire family feels very legible when used to set text. Hind Kochi\u2019s Malayalam and Latin script components are scaled in relation to each other so that multi-script texts will sit nicely alongside each other. Like many other Malayalam typefaces, Hind Kochi\u2019s characters are monolinear. But the specific design features added to Hind Kochi\u2019s Malayalam features give text set in that language a nice, fresh feeling, with a very modern appearance. Each font in the Hind Kochi family has 530 glyphs, which includes all of the characters needed to write Malayalam. The Latin character set is Adobe Latin 3, enabling typesetting for English and other Western European languages. Hind Kochi is a solid alternate when choosing typefaces for UI design, and a wise selection for electronic display embedding. Dhruvi Tolia designed Hind Kochi for ITF, who first published the fonts in 2015. Hind Kochi is named after Kochi, a city in Kerala, India. The Hind Kochi project is led by Indian Type Foundry, a type design foundry based in Ahmedabad, India. To contribute, see github.com/itfoundry/hind-kochi", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Hind Madurai": { + "name": "Hind Madurai", + "designer": [ + "Indian Type Foundry" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "tamil" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Hind Madurai is a family of five Tamil fonts, which are part of the Indian Type Foundry\u2019s larger Open Source Hind Multi-Script project. In addition to Tamil, the Hind Madurai fonts also include Latin-script characters. Developed explicitly for use in User Interface design, Hind\u2019s letterforms have a humanist-style construction, paired with seemingly monolinear strokes. Most of these strokes have flat endings: they either terminate with a horizontal or a vertical shear, rather than on a diagonal. This helps create clear-cut counter forms between the characters. Additionally, Hind\u2019s letterforms feature open apertures and counterforms. The entire family feels very legible when used to set text. The Tamil and Latin script components are scaled in relation to each other so that the head of the Tamil characters falls just below the Latin capital-height. Depending in the font weight, Tamil letters appear to be about 80\u201385% of the height of the Latin uppercase. Text set in the Tamil script sits nicely alongside the Latin\u2019s lowercase, too. Although Hind Madurai is a \u201cmonolinear sans\u201d face, much of its design features tends toward the traditional end of the design spectrum. Each font in the Hind Madurai family has 552 glyphs, which includes all of the characters needed to write Tamil. The Latin character set is Adobe Latin 3, enabling typesetting for English and other Western European languages. Hind Madurai is a solid alternate when choosing typefaces for UI design, and a wise selection for electronic display embedding. Jyotish Sonowal designed Hind Madurai for ITF, who first published the fonts in 2015. Hind Madurai is named after Madurai, a city in Tamil Nadu, India. The Hind Madurai project is led by Indian Type Foundry, a type design foundry based in Ahmedabad, India. To contribute, see github.com/itfoundry/hind-madurai", + "primary_script": "Taml", + "article": null, + "minisite_url": null + }, + "Hind Mysuru": { + "name": "Hind Mysuru", + "designer": [ + "Indian Type Foundry" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "kannada", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Hind Mysuru is a family of five Kannada fonts, which are part of the Indian Type Foundry\u2019s larger Open Source Hind Multi-Script project. Hind Multi-Script is a type system providing nine stylistically-matching font families \u2013 one for each of the following writing systems used in Bangladesh, India, Nepal, and Sri Lanka: Bengali, Devanagari, Gujarati, Gurmukhi, Kannada, Malayalam, Tamil, Telugu, and Sinhala. In addition to Kannada, the Hind Mysuru fonts also include Latin-script characters. Developed explicitly for use in User Interface design, Hind\u2019s letterforms have a humanist-style construction, paired with seemingly monolinear strokes. Most of these strokes have flat endings: they either terminate with a horizontal or a vertical shear, rather than on a diagonal. This helps create clear-cut counter forms between the characters. Additionally, Hind\u2019s letterforms feature open apertures and counterforms. The entire family feels very legible when used to set text. Hind Mysuru\u2019s Kannada and Latin script components are scaled in relation to each other so that multi-script texts will sits nicely alongside each other. Since Hind Mysuru\u2019s Kannada characters are monolinear, they have a nice, fresh feeling, and appear very modern. Aside from the Latin glyphs, each of the five Hind Mysuru fonts has 444 Kannada glyphs, including many unique conjuncts. These ensure full support for the writing of the Kannada language. The Latin script\u2019s character set is Adobe Latin 3, enabling the typesetting of English and other Western European languages. Hind Mysuru is a solid alternate when choosing typefaces for UI design, and a wise selection for electronic display embedding. Manushi Parikh designed Hind Mysuru for ITF, who first published the fonts in 2015. Hind Mysuru is named after Mysuru, a city in Karnataka, India. The Hind Mysuru project is led by Indian Type Foundry, a type design foundry based in Ahmedabad, India. To contribute, see github.com/itfoundry/hind-mysuru", + "primary_script": "Knda", + "article": null, + "minisite_url": null + }, + "Hind Siliguri": { + "name": "Hind Siliguri", + "designer": [ + "Indian Type Foundry" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "bengali", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Hind Siliguri is a family of five Bengali fonts, which are part of the Indian Type Foundry\u2019s larger Open Source Hind Multi-Script project. Hind Multi-Script is a type system providing nine stylistically-matching font families \u2013 one for each of the following writing systems used in Bangladesh, India, Nepal, and Sri Lanka: Bengali, Devanagari, Gujarati, Gurmukhi, Kannada, Malayalam, Tamil, Telugu, and Sinhala. In addition to Bengali, the Hind Siliguri fonts also include Latin-script characters. Developed explicitly for use in User Interface design, Hind\u2019s letterforms have a humanist-style construction, paired with seemingly monolinear strokes. Most of these strokes have flat endings: they either terminate with a horizontal or a vertical shear, rather than on a diagonal. This helps create clear-cut counter forms between the characters. Additionally, Hind\u2019s letterforms feature open apertures. The entire family feels very legible when used to set text. The Bengali and Latin script components are scaled in relation to each other so that the Bengali headline is more or less at the same visual height as the Latin capital letters share. The exact height of the Bengali headline increases vis \u00e0 vis the capital height as the family increases in weight, just as the Latin lowercase does. Each font in the Hind Siliguri family has 820 glyphs, including many unique Bengali conjuncts. These ensure support for the languages written with the Bengali script. The Latin component\u2019s character set is Adobe Latin 3, which enables typesetting in English and the other Western European languages. Hind Siliguri is a solid alternate when choosing typefaces for UI design, and a wise selection for electronic display embedding. Jyotish Sonowal designed Hind Siliguri for ITF, who first published the fonts in 2015. Hind Siliguri is named after Siliguri, a city in West Bengal, India. The Hind Siliguri project is led by Indian Type Foundry, a type design foundry based in Ahmedabad, India. To contribute, see github.com/itfoundry/hind-siliguri", + "primary_script": "Beng", + "article": null, + "minisite_url": null + }, + "Hind Vadodara": { + "name": "Hind Vadodara", + "designer": [ + "Indian Type Foundry" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "gujarati", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Hind Vadodara is a family of five Gujarati fonts, which are part of the Indian Type Foundry\u2019s larger Open Source Hind Multi-Script project. Hind Multi-Script is a type system providing nine stylistically-matching font families \u2013 one for each of the following writing systems used in Bangladesh, India, Nepal, and Sri Lanka: Bengali, Devanagari, Gujarati, Gurmukhi, Kannada, Malayalam, Tamil, Telugu, and Sinhala. In addition to Gujarati, the Hind Vadodara fonts also include Latin-script characters. Developed explicitly for use in User Interface design, Hind\u2019s letterforms have a humanist-style construction, paired with seemingly monolinear strokes. Most of these strokes have flat endings: they either terminate with a horizontal or a vertical shear, rather than on a diagonal. This helps create clear-cut counter forms between the characters. Additionally, Hind\u2019s letterforms feature open apertures and counterforms. The entire family feels very legible when used to set text. The Gujarati and Latin script components are scaled in relation to each other so that the height of the Gujarati base characters is more or less at the same visual height that the Latin capital letters share. The exact height of the Gujarati characters increases vis \u00e0 vis the capital height as the family increases in weight, just as the Latin lowercase does. Each font in the Hind Vadodara family has 851 glyphs, which include many unique Gujarati conjuncts. These ensure full support for the writing of the Gujarati language. The Latin component\u2019s character set is Adobe Latin 3, which enables typesetting in English and the other Western European languages. Hind Vadodara is a solid alternate when choosing typefaces for UI design, and a wise selection for electronic display embedding. Hitesh Malaviya designed Hind Vadodara for ITF, who first published the fonts in 2015. Hind Vadodara is named after Vadodara, a city in Gujarat, India. The Hind Vadodara project is led by Indian Type Foundry, a type design foundry based in Ahmedabad, India. To contribute, see github.com/itfoundry/hind-vadodara", + "primary_script": "Gujr", + "article": null, + "minisite_url": null + }, + "Holtwood One SC": { + "name": "Holtwood One SC", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SLAB_SERIF", + "classifications": [ + "display" + ], + "description": "Holtwood is a bold display font developed for use with modern web browsers. It has a lot of the look of some traditional woodblock poster typefaces of the Nineteenth Century but updated for the Twenty First. Holtwood was envisioned to be used in big and bold text sizes, but it still works well when running as smaller headlines too. To contribute, see github.com/googlefonts/HoltwoodFont.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Homemade Apple": { + "name": "Homemade Apple", + "designer": [ + "Font Diner" + ], + "license": "apache2", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Nothing says down-home goodness like a delicious Homemade Apple pie. For a good one, you have to make it yourself. Should you find yourself lacking in the recipe department, use this beautifully drawn cursive handwriting script font to give a personal touch.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Homenaje": { + "name": "Homenaje", + "designer": [ + "Constanza Artigas Preller", + "Agustina Mingote" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Homenaje is inspired by the bronze cemetery art found in the Recoleta and Chacaritas districts of Buenos Aires, Argentina. A grotesque and narrow type, it provides economy in text setting without losing its strong, straight and steady features. The name \u201cHomenaje\u201d means tribute in Spanish, a modest way to honor the patient and accurate work of the lettering artists whose bronze letters honor a lifetime. Designed by Constanza Artigas Preller and Agustina Mingote.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Honk": { + "name": "Honk", + "designer": [ + "Ek Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "math", + "symbols", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Loud, bright, and exuberantly fun! Honk is a variable colour font from Ek Type. It is a riotous digital interpretation of the bold and boisterous lettering seen on Indian trucks. An extravaganza of form and colour, Honk is a modular system with ten distinct styles, shadows, and colour palettes. An embodiment of India's colourful complexity, it effortlessly oscillates between simple and subtle to over-the-top and ornate. It's the kind of font that doesn't just speak; it shouts, honks, and sings with its varied styles, dynamic shape-shifting and use of colorv1 technology. Honk reflects the essence of India's vibrant spirit, and it does so with an audacious flair. So, the next time you need a font that's as lively as an Indian street corner, give Honk a try. It is a typographic adventure you won't forget! This project is designed, engineered and maintained by Ek Type; a collective of type designers focused on designing contemporary Indian typefaces. Honk is designed by Noopur Datye and Yesha Goshar, and engineered by Sidharth Jaishankar and Girish Dalvi, emojis are designed by Athul Jayaraman and testing is done by Taresh Vohra and team Ek Type. A big honk to all the amazing designers who helped by open sourcing their color/element-based variable fonts. This font uses the COLRv1 and CPAL tables. Please visit the gf-guide color page to learn more about Color Fonts technology. To contribute, see github.com/EkType/Honk", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Host Grotesk": { + "name": "Host Grotesk", + "designer": [ + "Element Type", + "Do\u011fukan Karap\u0131nar", + "\u0130brahim Ka\u00e7t\u0131o\u011flu" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Latn", + "article": "Host Grotesk is a uniwidth sans serif variable font tailored by Element Type for modern user interfaces. It features uniform letter widths and spacing across all weights and corresponding italics, ensuring seamless adaptability without compromising layout consistency. To contribute, see github.com/Element-Type/HostGrotesk A uniwidth typeface As a uniwidth typeface, Host Grotesk allows for smooth transitions between font weights without disrupting overall design and layouts. For instance, a button's size remains constant even when the font weight increases during a hover state. Similarly, making a part of a sentence bolder will not push the letters to the next line. Calibrated for both display and text applications, Host Grotesk has low contrast stroke modulation and closed terminals that complement the straightforward construction of its letterforms, making it an excellent choice for digital media. The proportions are balanced between a generous geometric sans and a compact grotesque, suitable for both display sizes and small body copy. The Host Grotesk family is built on Jonny Pinhorn's beloved Poppins (Indian Type Foundry, 2020). While most letters are reworked and modified for the new look and duplexed proportions, Poppins' soft and approachable essence remains visible. A reliable and cohesive type family for user interfaces, branding, and communication materials, combining the contemporary workhorse category with the elevated functionality of uni-width proportions.", + "minisite_url": "https://elementtype.co/host-grotesk" + }, + "Hubballi": { + "name": "Hubballi", + "designer": [ + "Erin McLaughlin" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "kannada", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Hubballi is a Kannada and Latin typeface designed by Erin McLaughlin. Hubballi is a monolinear typeface with an informal, friendly appearance. To contribute to the project, visit github.com/erinmclaughlin/Hubballi", + "primary_script": "Knda", + "article": null, + "minisite_url": null + }, + "Hubot Sans": { + "name": "Hubot Sans", + "designer": [ + "Tobias Bjerrome Ahlin", + "GitHub", + "Degarism Studio", + "Sebastian Carewe" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Latn", + "article": "Hubot Sans is Mona Sans\u2019s robotic sidekick. The typeface is designed with more geometric accents to lend a technical and idiosyncratic feel\u2014perfect for headers and pull-quotes. Made together with Degarism. Hubot Sans is a variable font. Variable fonts enable different variations of a typeface to be incorporated into one single file, and are supported by all major browsers. To contribute, see github.com/github/hubot-sans.", + "minisite_url": "https://github.com/mona-sans" + }, + "Huninn": { + "name": "Huninn", + "designer": [ + "Justfont" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "chinese-traditional", + "cyrillic", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Hant", + "article": "Huninn is an open-source Traditional Chinese round typeface based on the Kosugi Maru and Varela Round fonts, specially designed for better use in Taiwan. The font includes commonly used characters in Taiwan, Zhuyin (Bopomofo) symbols, and even adds Taigi and Hokkien phonetic symbols and characters to meet local requirements.Besides creating more than 2,000 new characters, the designers also refined the typographic settings and improved the grayscale quality of the original sources. To contribute to this font, please visit the font github repository: github.com/justfont/Huninn", + "minisite_url": null + }, + "Hurricane": { + "name": "Hurricane", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "A storm has been brewing. It\u2019s Hurricane. Flair and excitement abounds with this fast moving spirited brush script. There are three regular styles incorporated into the PRO version of the this font, plus graphics to add an extra breeze to your work. The Script stylistic set swaps the caps out for the more flourished uppercase. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/hurricane.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "IBM Plex Mono": { + "name": "IBM Plex Mono", + "designer": [ + "Mike Abbink", + "Bold Monday" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "monospace" + ], + "description": "IBM Plex\u00ae is the corporate typeface for IBM worldwide and an open-source project developed by the IBM Brand & Experience team (BX&D). Plex is an international typeface family designed to capture IBM\u2019s brand spirit and history and to illustrate the unique relationship between mankind and machine\u2014a principal theme for IBM since the turn of the century. The result is a neutral yet friendly Grotesque style typeface that balances design with the engineered details that make Plex distinctly IBM. The family includes a Sans, Sans Condensed, Mono, and Serif and has excellent legibility in print, web, and mobile interfaces. Plex\u2019s three designs work well independently and even better together. Use the Sans as a contemporary compadre, the Serif for editorial storytelling, or the Mono to show code snippets. The unexpectedly expressive nature of the italics gives you even more options for your designs. Currently, IBM Plex Sans supports Extended Latin, Arabic, Cyrillic, Devanagari, Greek, Hebrew, Japanese, Korean and Thai.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "IBM Plex Sans": { + "name": "IBM Plex Sans", + "designer": [ + "Mike Abbink", + "Bold Monday" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "IBM Plex\u2122 is an international typeface family designed by Mike Abbink, IBM BX&D, in collaboration with Bold Monday, an independent Dutch type foundry. Plex was designed to capture IBM\u2019s spirit and history, and to illustrate the unique relationship between mankind and machine\u2014a principal theme for IBM since the turn of the century. The result is a neutral, yet friendly Grotesque style typeface that includes a Sans, Sans Condensed, Mono, Serif, and several other styles for several languages, and has excellent legibility in print, web and mobile interfaces. Plex\u2019s three designs work well independently, and even better together. Use the Sans as a contemporary compadre, the Serif for editorial storytelling, or the Mono to show code snippets. The unexpectedly expressive nature of the italics give you even more options for your designs. To contribute, see github.com/googlefonts/plex.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "IBM Plex Sans Arabic": { + "name": "IBM Plex Sans Arabic", + "designer": [ + "Mike Abbink", + "Bold Monday" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "arabic", + "cyrillic-ext", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "IBM Plex\u2122 is an international typeface family designed by Mike Abbink, IBM BX&D, in collaboration with Bold Monday, an independent Dutch type foundry. Plex was designed to capture IBM\u2019s spirit and history, and to illustrate the unique relationship between mankind and machine\u2014a principal theme for IBM since the turn of the century. The result is a neutral, yet friendly Grotesque style typeface that includes a Sans, Sans Condensed, Mono, Serif, and several other styles for several languages, and has excellent legibility in print, web and mobile interfaces. Plex\u2019s three designs work well independently, and even better together. Use the Sans as a contemporary compadre, the Serif for editorial storytelling, or the Mono to show code snippets. The unexpectedly expressive nature of the italics give you even more options for your designs.", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "IBM Plex Sans Condensed": { + "name": "IBM Plex Sans Condensed", + "designer": [ + "Mike Abbink", + "Bold Monday" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "IBM Plex\u00ae is the corporate typeface for IBM worldwide and an open-source project developed by the IBM Brand & Experience team (BX&D). Plex is an international typeface family designed to capture IBM\u2019s brand spirit and history and to illustrate the unique relationship between mankind and machine\u2014a principal theme for IBM since the turn of the century. The result is a neutral yet friendly Grotesque style typeface that balances design with the engineered details that make Plex distinctly IBM. The family includes a Sans, Sans Condensed, Mono, and Serif and has excellent legibility in print, web, and mobile interfaces. Plex\u2019s three designs work well independently and even better together. Use the Sans as a contemporary compadre, the Serif for editorial storytelling, or the Mono to show code snippets. The unexpectedly expressive nature of the italics gives you even more options for your designs. Currently, IBM Plex Sans supports Extended Latin, Arabic, Cyrillic, Devanagari, Greek, Hebrew, Japanese, Korean and Thai.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "IBM Plex Sans Devanagari": { + "name": "IBM Plex Sans Devanagari", + "designer": [ + "Mike Abbink", + "Bold Monday" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic-ext", + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "IBM Plex\u00ae is the corporate typeface for IBM worldwide and an open-source project developed by the IBM Brand & Experience team (BX&D). Plex is an international typeface family designed to capture IBM\u2019s brand spirit and history and to illustrate the unique relationship between mankind and machine\u2014a principal theme for IBM since the turn of the century. The result is a neutral yet friendly Grotesque style typeface that balances design with the engineered details that make Plex distinctly IBM. The family includes a Sans, Sans Condensed, Mono, and Serif and has excellent legibility in print, web, and mobile interfaces. Plex\u2019s three designs work well independently and even better together. Use the Sans as a contemporary compadre, the Serif for editorial storytelling, or the Mono to show code snippets. The unexpectedly expressive nature of the italics gives you even more options for your designs. Currently, IBM Plex Sans supports Extended Latin, Arabic, Cyrillic, Devanagari, Greek, Hebrew, Japanese, Korean and Thai.", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "IBM Plex Sans Hebrew": { + "name": "IBM Plex Sans Hebrew", + "designer": [ + "Mike Abbink", + "Bold Monday" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic-ext", + "hebrew", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "IBM Plex\u00ae is the corporate typeface for IBM worldwide and an open-source project developed by the IBM Brand & Experience team (BX&D). Plex is an international typeface family designed to capture IBM\u2019s brand spirit and history and to illustrate the unique relationship between mankind and machine\u2014a principal theme for IBM since the turn of the century. The result is a neutral yet friendly Grotesque style typeface that balances design with the engineered details that make Plex distinctly IBM. The family includes a Sans, Sans Condensed, Mono, and Serif and has excellent legibility in print, web, and mobile interfaces. Plex\u2019s three designs work well independently and even better together. Use the Sans as a contemporary compadre, the Serif for editorial storytelling, or the Mono to show code snippets. The unexpectedly expressive nature of the italics gives you even more options for your designs. Currently, IBM Plex Sans supports Extended Latin, Arabic, Cyrillic, Devanagari, Greek, Hebrew, Japanese, Korean and Thai.", + "primary_script": "Hebr", + "article": null, + "minisite_url": null + }, + "IBM Plex Sans JP": { + "name": "IBM Plex Sans JP", + "designer": [ + "Mike Abbink", + "Bold Monday" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "IBM Plex\u00ae is the corporate typeface for IBM worldwide and an open-source project developed by the IBM Brand & Experience team (BX&D). Plex is an international typeface family designed to capture IBM\u2019s brand spirit and history and to illustrate the unique relationship between mankind and machine\u2014a principal theme for IBM since the turn of the century. The result is a neutral yet friendly Grotesque style typeface that balances design with the engineered details that make Plex distinctly IBM. The family includes a Sans, Sans Condensed, Mono, and Serif and has excellent legibility in print, web, and mobile interfaces. Plex\u2019s three designs work well independently and even better together. Use the Sans as a contemporary compadre, the Serif for editorial storytelling, or the Mono to show code snippets. The unexpectedly expressive nature of the italics gives you even more options for your designs. Currently, IBM Plex Sans supports Extended Latin, Arabic, Cyrillic, Devanagari, Greek, Hebrew, Japanese, Korean and Thai.", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "IBM Plex Sans KR": { + "name": "IBM Plex Sans KR", + "designer": [ + "Mike Abbink", + "Bold Monday" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "korean", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "IBM Plex\u00ae is the corporate typeface for IBM worldwide and an open-source project developed by the IBM Brand & Experience team (BX&D). Plex is an international typeface family designed to capture IBM\u2019s brand spirit and history and to illustrate the unique relationship between mankind and machine\u2014a principal theme for IBM since the turn of the century. The result is a neutral yet friendly Grotesque style typeface that balances design with the engineered details that make Plex distinctly IBM. The family includes a Sans, Sans Condensed, Mono, and Serif and has excellent legibility in print, web, and mobile interfaces. Plex\u2019s three designs work well independently and even better together. Use the Sans as a contemporary compadre, the Serif for editorial storytelling, or the Mono to show code snippets. The unexpectedly expressive nature of the italics gives you even more options for your designs. Currently, IBM Plex Sans supports Extended Latin, Arabic, Cyrillic, Devanagari, Greek, Hebrew, Japanese, Korean and Thai.", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "IBM Plex Sans Thai": { + "name": "IBM Plex Sans Thai", + "designer": [ + "Mike Abbink", + "Bold Monday" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic-ext", + "latin", + "latin-ext", + "thai" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "IBM Plex\u00ae is the corporate typeface for IBM worldwide and an open-source project developed by the IBM Brand & Experience team (BX&D). Plex is an international typeface family designed to capture IBM\u2019s brand spirit and history and to illustrate the unique relationship between mankind and machine\u2014a principal theme for IBM since the turn of the century. The result is a neutral yet friendly Grotesque style typeface that balances design with the engineered details that make Plex distinctly IBM. The family includes a Sans, Sans Condensed, Mono, and Serif and has excellent legibility in print, web, and mobile interfaces. Plex\u2019s three designs work well independently and even better together. Use the Sans as a contemporary compadre, the Serif for editorial storytelling, or the Mono to show code snippets. The unexpectedly expressive nature of the italics gives you even more options for your designs. Currently, IBM Plex Sans supports Extended Latin, Arabic, Cyrillic, Devanagari, Greek, Hebrew, Japanese, Korean and Thai.", + "primary_script": "Thai", + "article": null, + "minisite_url": null + }, + "IBM Plex Sans Thai Looped": { + "name": "IBM Plex Sans Thai Looped", + "designer": [ + "Mike Abbink", + "Bold Monday" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic-ext", + "latin", + "latin-ext", + "thai" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "IBM Plex\u00ae is the corporate typeface for IBM worldwide and an open-source project developed by the IBM Brand & Experience team (BX&D). Plex is an international typeface family designed to capture IBM\u2019s brand spirit and history and to illustrate the unique relationship between mankind and machine\u2014a principal theme for IBM since the turn of the century. The result is a neutral yet friendly Grotesque style typeface that balances design with the engineered details that make Plex distinctly IBM. The family includes a Sans, Sans Condensed, Mono, and Serif and has excellent legibility in print, web, and mobile interfaces. Plex\u2019s three designs work well independently and even better together. Use the Sans as a contemporary compadre, the Serif for editorial storytelling, or the Mono to show code snippets. The unexpectedly expressive nature of the italics gives you even more options for your designs. Currently, IBM Plex Sans supports Extended Latin, Arabic, Cyrillic, Devanagari, Greek, Hebrew, Japanese, Korean and Thai.", + "primary_script": "Thai", + "article": null, + "minisite_url": null + }, + "IBM Plex Serif": { + "name": "IBM Plex Serif", + "designer": [ + "Mike Abbink", + "Bold Monday" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "IBM Plex\u00ae is the corporate typeface for IBM worldwide and an open-source project developed by the IBM Brand & Experience team (BX&D). Plex is an international typeface family designed to capture IBM\u2019s brand spirit and history and to illustrate the unique relationship between mankind and machine\u2014a principal theme for IBM since the turn of the century. The result is a neutral yet friendly Grotesque style typeface that balances design with the engineered details that make Plex distinctly IBM. The family includes a Sans, Sans Condensed, Mono, and Serif and has excellent legibility in print, web, and mobile interfaces. Plex\u2019s three designs work well independently and even better together. Use the Sans as a contemporary compadre, the Serif for editorial storytelling, or the Mono to show code snippets. The unexpectedly expressive nature of the italics gives you even more options for your designs. Currently, IBM Plex Sans supports Extended Latin, Arabic, Cyrillic, Devanagari, Greek, Hebrew, Japanese, Korean and Thai.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "IM Fell DW Pica": { + "name": "IM Fell DW Pica", + "designer": [ + "Igino Marini" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "STANLEY MORISON, in his \u201cTHE ROMAN ITALIC & BLACK LETTER bequeathed to the University of Oxford by Dr. JOHN FELL\u201d (Oxford University Press, Oxford, 1951), began this way the description of the FELL TYPES: \"The Oxford Printing house holds the oldest punches and matrices surviving in England, material not only treasured but used; types cast therefrom being employed for the composition of books and other printed matter.\"It\u2019s essentially the inheritance of the will of John Fell, D.D. who died on 10 July 1686, aged 61, Bishop of Oxford and Dean of Christ Church. Since 1668 he spent his life creating a \u2018learned press\u2019 in Oxford, endowed with invaluable equipment, setting a high standard for the future of his publishing. He wrote: \"The foundation of all successe must be layd in doing things well, and I am sure that will not be don with English letters\" (to Jenkins, 2 Dec. 1672). So he collectected types available in the foreign market: mainly France, Holland and Germany. Fell decided to develop types in its own \u2018workhouse\u2019 too.Peter De Walpergen became his personal type-founder. Says Harry Carter in \u201cTHE FELL TYPES. What has been done in and about them\u201d (Oxford University Press, New York, 1968): \"He was born at Frankfurt am Main, descended from a Protestant refugee from Antwerp. He was engaged by the Dutch East India Company in 1671 to work as a type-founder and printer in Java. The comparative crudity of his letter design makes it seems unlikely that he had been trained to cut punches.\"John Fell entrusted him with the cut of the larger bodies: Great Primer Roman and Italic; Double Pica Roman and Italic; French Canon Roman and Italic; Three Lines Pica Roman. De Walpergen cut other types and letters for existing types to be harmonized with the larger bodies. Commented Morison: \"The design of these large Fell Types is difficult to characterize and impossible wholly to approve. It has some affinity with the Dutch work of the second half of the seventeenth century, especially with the bigger size of type shown in the Widow Elsevier\u2019s specimen-sheet of types attributed to Christoffel van Dyck; but De Walpergen went much further in the contrasting weight of thick and thin strokes and his design has crudities about it of which Van Dyck would not have been capable.\"In 1686 John Fell died. In his \u201cwill\u201d he bequeathed the entire collection of type to the University of Oxford. Remembers Morison: \"This entire collection of \u2018founding Materialls of Punchions Matrices Moulds\u2019 was \u2018got together\u2019 by John Fell \u2018and others at great expense\u2019. Fell\u2019s instructions that they \u2018be carefully kept together\u2019 by his executors were duly observed. The Chancellor, Masters, and Scholars of the University of Oxford honourably played their part in sustaining the interests of \u2018learning and printing\u2019 and thus the collection was not dissipated but manteined entire.\"", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "IM Fell DW Pica SC": { + "name": "IM Fell DW Pica SC", + "designer": [ + "Igino Marini" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "STANLEY MORISON, in his \u201cTHE ROMAN ITALIC & BLACK LETTER bequeathed to the University of Oxford by Dr. JOHN FELL\u201d (Oxford University Press, Oxford, 1951), began this way the description of the FELL TYPES: \"The Oxford Printing house holds the oldest punches and matrices surviving in England, material not only treasured but used; types cast therefrom being employed for the composition of books and other printed matter.\"It\u2019s essentially the inheritance of the will of John Fell, D.D. who died on 10 July 1686, aged 61, Bishop of Oxford and Dean of Christ Church. Since 1668 he spent his life creating a \u2018learned press\u2019 in Oxford, endowed with invaluable equipment, setting a high standard for the future of his publishing. He wrote: \"The foundation of all successe must be layd in doing things well, and I am sure that will not be don with English letters\" (to Jenkins, 2 Dec. 1672). So he collectected types available in the foreign market: mainly France, Holland and Germany. Fell decided to develop types in its own \u2018workhouse\u2019 too.Peter De Walpergen became his personal type-founder. Says Harry Carter in \u201cTHE FELL TYPES. What has been done in and about them\u201d (Oxford University Press, New York, 1968): \"He was born at Frankfurt am Main, descended from a Protestant refugee from Antwerp. He was engaged by the Dutch East India Company in 1671 to work as a type-founder and printer in Java. The comparative crudity of his letter design makes it seems unlikely that he had been trained to cut punches.\"John Fell entrusted him with the cut of the larger bodies: Great Primer Roman and Italic; Double Pica Roman and Italic; French Canon Roman and Italic; Three Lines Pica Roman. De Walpergen cut other types and letters for existing types to be harmonized with the larger bodies. Commented Morison: \"The design of these large Fell Types is difficult to characterize and impossible wholly to approve. It has some affinity with the Dutch work of the second half of the seventeenth century, especially with the bigger size of type shown in the Widow Elsevier\u2019s specimen-sheet of types attributed to Christoffel van Dyck; but De Walpergen went much further in the contrasting weight of thick and thin strokes and his design has crudities about it of which Van Dyck would not have been capable.\"In 1686 John Fell died. In his \u201cwill\u201d he bequeathed the entire collection of type to the University of Oxford. Remembers Morison: \"This entire collection of \u2018founding Materialls of Punchions Matrices Moulds\u2019 was \u2018got together\u2019 by John Fell \u2018and others at great expense\u2019. Fell\u2019s instructions that they \u2018be carefully kept together\u2019 by his executors were duly observed. The Chancellor, Masters, and Scholars of the University of Oxford honourably played their part in sustaining the interests of \u2018learning and printing\u2019 and thus the collection was not dissipated but manteined entire.\"", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "IM Fell Double Pica": { + "name": "IM Fell Double Pica", + "designer": [ + "Igino Marini" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "STANLEY MORISON, in his \u201cTHE ROMAN ITALIC & BLACK LETTER bequeathed to the University of Oxford by Dr. JOHN FELL\u201d (Oxford University Press, Oxford, 1951), began this way the description of the FELL TYPES: \"The Oxford Printing house holds the oldest punches and matrices surviving in England, material not only treasured but used; types cast therefrom being employed for the composition of books and other printed matter.\"It\u2019s essentially the inheritance of the will of John Fell, D.D. who died on 10 July 1686, aged 61, Bishop of Oxford and Dean of Christ Church. Since 1668 he spent his life creating a \u2018learned press\u2019 in Oxford, endowed with invaluable equipment, setting a high standard for the future of his publishing. He wrote: \"The foundation of all successe must be layd in doing things well, and I am sure that will not be don with English letters\" (to Jenkins, 2 Dec. 1672). So he collectected types available in the foreign market: mainly France, Holland and Germany. Fell decided to develop types in its own \u2018workhouse\u2019 too.Peter De Walpergen became his personal type-founder. Says Harry Carter in \u201cTHE FELL TYPES. What has been done in and about them\u201d (Oxford University Press, New York, 1968): \"He was born at Frankfurt am Main, descended from a Protestant refugee from Antwerp. He was engaged by the Dutch East India Company in 1671 to work as a type-founder and printer in Java. The comparative crudity of his letter design makes it seems unlikely that he had been trained to cut punches.\"John Fell entrusted him with the cut of the larger bodies: Great Primer Roman and Italic; Double Pica Roman and Italic; French Canon Roman and Italic; Three Lines Pica Roman. De Walpergen cut other types and letters for existing types to be harmonized with the larger bodies. Commented Morison: \"The design of these large Fell Types is difficult to characterize and impossible wholly to approve. It has some affinity with the Dutch work of the second half of the seventeenth century, especially with the bigger size of type shown in the Widow Elsevier\u2019s specimen-sheet of types attributed to Christoffel van Dyck; but De Walpergen went much further in the contrasting weight of thick and thin strokes and his design has crudities about it of which Van Dyck would not have been capable.\"In 1686 John Fell died. In his \u201cwill\u201d he bequeathed the entire collection of type to the University of Oxford. Remembers Morison: \"This entire collection of \u2018founding Materialls of Punchions Matrices Moulds\u2019 was \u2018got together\u2019 by John Fell \u2018and others at great expense\u2019. Fell\u2019s instructions that they \u2018be carefully kept together\u2019 by his executors were duly observed. The Chancellor, Masters, and Scholars of the University of Oxford honourably played their part in sustaining the interests of \u2018learning and printing\u2019 and thus the collection was not dissipated but manteined entire.\"", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "IM Fell Double Pica SC": { + "name": "IM Fell Double Pica SC", + "designer": [ + "Igino Marini" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "STANLEY MORISON, in his \u201cTHE ROMAN ITALIC & BLACK LETTER bequeathed to the University of Oxford by Dr. JOHN FELL\u201d (Oxford University Press, Oxford, 1951), began this way the description of the FELL TYPES: \"The Oxford Printing house holds the oldest punches and matrices surviving in England, material not only treasured but used; types cast therefrom being employed for the composition of books and other printed matter.\"It\u2019s essentially the inheritance of the will of John Fell, D.D. who died on 10 July 1686, aged 61, Bishop of Oxford and Dean of Christ Church. Since 1668 he spent his life creating a \u2018learned press\u2019 in Oxford, endowed with invaluable equipment, setting a high standard for the future of his publishing. He wrote: \"The foundation of all successe must be layd in doing things well, and I am sure that will not be don with English letters\" (to Jenkins, 2 Dec. 1672). So he collectected types available in the foreign market: mainly France, Holland and Germany. Fell decided to develop types in its own \u2018workhouse\u2019 too.Peter De Walpergen became his personal type-founder. Says Harry Carter in \u201cTHE FELL TYPES. What has been done in and about them\u201d (Oxford University Press, New York, 1968): \"He was born at Frankfurt am Main, descended from a Protestant refugee from Antwerp. He was engaged by the Dutch East India Company in 1671 to work as a type-founder and printer in Java. The comparative crudity of his letter design makes it seems unlikely that he had been trained to cut punches.\"John Fell entrusted him with the cut of the larger bodies: Great Primer Roman and Italic; Double Pica Roman and Italic; French Canon Roman and Italic; Three Lines Pica Roman. De Walpergen cut other types and letters for existing types to be harmonized with the larger bodies. Commented Morison: \"The design of these large Fell Types is difficult to characterize and impossible wholly to approve. It has some affinity with the Dutch work of the second half of the seventeenth century, especially with the bigger size of type shown in the Widow Elsevier\u2019s specimen-sheet of types attributed to Christoffel van Dyck; but De Walpergen went much further in the contrasting weight of thick and thin strokes and his design has crudities about it of which Van Dyck would not have been capable.\"In 1686 John Fell died. In his \u201cwill\u201d he bequeathed the entire collection of type to the University of Oxford. Remembers Morison: \"This entire collection of \u2018founding Materialls of Punchions Matrices Moulds\u2019 was \u2018got together\u2019 by John Fell \u2018and others at great expense\u2019. Fell\u2019s instructions that they \u2018be carefully kept together\u2019 by his executors were duly observed. The Chancellor, Masters, and Scholars of the University of Oxford honourably played their part in sustaining the interests of \u2018learning and printing\u2019 and thus the collection was not dissipated but manteined entire.\"", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "IM Fell English": { + "name": "IM Fell English", + "designer": [ + "Igino Marini" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "STANLEY MORISON, in his \u201cTHE ROMAN ITALIC & BLACK LETTER bequeathed to the University of Oxford by Dr. JOHN FELL\u201d (Oxford University Press, Oxford, 1951), began this way the description of the FELL TYPES: \"The Oxford Printing house holds the oldest punches and matrices surviving in England, material not only treasured but used; types cast therefrom being employed for the composition of books and other printed matter.\"It\u2019s essentially the inheritance of the will of John Fell, D.D. who died on 10 July 1686, aged 61, Bishop of Oxford and Dean of Christ Church. Since 1668 he spent his life creating a \u2018learned press\u2019 in Oxford, endowed with invaluable equipment, setting a high standard for the future of his publishing. He wrote: \"The foundation of all successe must be layd in doing things well, and I am sure that will not be don with English letters\" (to Jenkins, 2 Dec. 1672). So he collectected types available in the foreign market: mainly France, Holland and Germany. Fell decided to develop types in its own \u2018workhouse\u2019 too.Peter De Walpergen became his personal type-founder. Says Harry Carter in \u201cTHE FELL TYPES. What has been done in and about them\u201d (Oxford University Press, New York, 1968): \"He was born at Frankfurt am Main, descended from a Protestant refugee from Antwerp. He was engaged by the Dutch East India Company in 1671 to work as a type-founder and printer in Java. The comparative crudity of his letter design makes it seems unlikely that he had been trained to cut punches.\"John Fell entrusted him with the cut of the larger bodies: Great Primer Roman and Italic; Double Pica Roman and Italic; French Canon Roman and Italic; Three Lines Pica Roman. De Walpergen cut other types and letters for existing types to be harmonized with the larger bodies. Commented Morison: \"The design of these large Fell Types is difficult to characterize and impossible wholly to approve. It has some affinity with the Dutch work of the second half of the seventeenth century, especially with the bigger size of type shown in the Widow Elsevier\u2019s specimen-sheet of types attributed to Christoffel van Dyck; but De Walpergen went much further in the contrasting weight of thick and thin strokes and his design has crudities about it of which Van Dyck would not have been capable.\"In 1686 John Fell died. In his \u201cwill\u201d he bequeathed the entire collection of type to the University of Oxford. Remembers Morison: \"This entire collection of \u2018founding Materialls of Punchions Matrices Moulds\u2019 was \u2018got together\u2019 by John Fell \u2018and others at great expense\u2019. Fell\u2019s instructions that they \u2018be carefully kept together\u2019 by his executors were duly observed. The Chancellor, Masters, and Scholars of the University of Oxford honourably played their part in sustaining the interests of \u2018learning and printing\u2019 and thus the collection was not dissipated but manteined entire.\"", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "IM Fell English SC": { + "name": "IM Fell English SC", + "designer": [ + "Igino Marini" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "STANLEY MORISON, in his \u201cTHE ROMAN ITALIC & BLACK LETTER bequeathed to the University of Oxford by Dr. JOHN FELL\u201d (Oxford University Press, Oxford, 1951), began this way the description of the FELL TYPES: \"The Oxford Printing house holds the oldest punches and matrices surviving in England, material not only treasured but used; types cast therefrom being employed for the composition of books and other printed matter.\"It\u2019s essentially the inheritance of the will of John Fell, D.D. who died on 10 July 1686, aged 61, Bishop of Oxford and Dean of Christ Church. Since 1668 he spent his life creating a \u2018learned press\u2019 in Oxford, endowed with invaluable equipment, setting a high standard for the future of his publishing. He wrote: \"The foundation of all successe must be layd in doing things well, and I am sure that will not be don with English letters\" (to Jenkins, 2 Dec. 1672). So he collectected types available in the foreign market: mainly France, Holland and Germany. Fell decided to develop types in its own \u2018workhouse\u2019 too.Peter De Walpergen became his personal type-founder. Says Harry Carter in \u201cTHE FELL TYPES. What has been done in and about them\u201d (Oxford University Press, New York, 1968): \"He was born at Frankfurt am Main, descended from a Protestant refugee from Antwerp. He was engaged by the Dutch East India Company in 1671 to work as a type-founder and printer in Java. The comparative crudity of his letter design makes it seems unlikely that he had been trained to cut punches.\"John Fell entrusted him with the cut of the larger bodies: Great Primer Roman and Italic; Double Pica Roman and Italic; French Canon Roman and Italic; Three Lines Pica Roman. De Walpergen cut other types and letters for existing types to be harmonized with the larger bodies. Commented Morison: \"The design of these large Fell Types is difficult to characterize and impossible wholly to approve. It has some affinity with the Dutch work of the second half of the seventeenth century, especially with the bigger size of type shown in the Widow Elsevier\u2019s specimen-sheet of types attributed to Christoffel van Dyck; but De Walpergen went much further in the contrasting weight of thick and thin strokes and his design has crudities about it of which Van Dyck would not have been capable.\"In 1686 John Fell died. In his \u201cwill\u201d he bequeathed the entire collection of type to the University of Oxford. Remembers Morison: \"This entire collection of \u2018founding Materialls of Punchions Matrices Moulds\u2019 was \u2018got together\u2019 by John Fell \u2018and others at great expense\u2019. Fell\u2019s instructions that they \u2018be carefully kept together\u2019 by his executors were duly observed. The Chancellor, Masters, and Scholars of the University of Oxford honourably played their part in sustaining the interests of \u2018learning and printing\u2019 and thus the collection was not dissipated but manteined entire.\"", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "IM Fell French Canon": { + "name": "IM Fell French Canon", + "designer": [ + "Igino Marini" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "STANLEY MORISON, in his \u201cTHE ROMAN ITALIC & BLACK LETTER bequeathed to the University of Oxford by Dr. JOHN FELL\u201d (Oxford University Press, Oxford, 1951), began this way the description of the FELL TYPES: \"The Oxford Printing house holds the oldest punches and matrices surviving in England, material not only treasured but used; types cast therefrom being employed for the composition of books and other printed matter.\"It\u2019s essentially the inheritance of the will of John Fell, D.D. who died on 10 July 1686, aged 61, Bishop of Oxford and Dean of Christ Church. Since 1668 he spent his life creating a \u2018learned press\u2019 in Oxford, endowed with invaluable equipment, setting a high standard for the future of his publishing. He wrote: \"The foundation of all successe must be layd in doing things well, and I am sure that will not be don with English letters\" (to Jenkins, 2 Dec. 1672). So he collectected types available in the foreign market: mainly France, Holland and Germany. Fell decided to develop types in its own \u2018workhouse\u2019 too.Peter De Walpergen became his personal type-founder. Says Harry Carter in \u201cTHE FELL TYPES. What has been done in and about them\u201d (Oxford University Press, New York, 1968): \"He was born at Frankfurt am Main, descended from a Protestant refugee from Antwerp. He was engaged by the Dutch East India Company in 1671 to work as a type-founder and printer in Java. The comparative crudity of his letter design makes it seems unlikely that he had been trained to cut punches.\"John Fell entrusted him with the cut of the larger bodies: Great Primer Roman and Italic; Double Pica Roman and Italic; French Canon Roman and Italic; Three Lines Pica Roman. De Walpergen cut other types and letters for existing types to be harmonized with the larger bodies. Commented Morison: \"The design of these large Fell Types is difficult to characterize and impossible wholly to approve. It has some affinity with the Dutch work of the second half of the seventeenth century, especially with the bigger size of type shown in the Widow Elsevier\u2019s specimen-sheet of types attributed to Christoffel van Dyck; but De Walpergen went much further in the contrasting weight of thick and thin strokes and his design has crudities about it of which Van Dyck would not have been capable.\"In 1686 John Fell died. In his \u201cwill\u201d he bequeathed the entire collection of type to the University of Oxford. Remembers Morison: \"This entire collection of \u2018founding Materialls of Punchions Matrices Moulds\u2019 was \u2018got together\u2019 by John Fell \u2018and others at great expense\u2019. Fell\u2019s instructions that they \u2018be carefully kept together\u2019 by his executors were duly observed. The Chancellor, Masters, and Scholars of the University of Oxford honourably played their part in sustaining the interests of \u2018learning and printing\u2019 and thus the collection was not dissipated but manteined entire.\"", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "IM Fell French Canon SC": { + "name": "IM Fell French Canon SC", + "designer": [ + "Igino Marini" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "STANLEY MORISON, in his \u201cTHE ROMAN ITALIC & BLACK LETTER bequeathed to the University of Oxford by Dr. JOHN FELL\u201d (Oxford University Press, Oxford, 1951), began this way the description of the FELL TYPES: \"The Oxford Printing house holds the oldest punches and matrices surviving in England, material not only treasured but used; types cast therefrom being employed for the composition of books and other printed matter.\"It\u2019s essentially the inheritance of the will of John Fell, D.D. who died on 10 July 1686, aged 61, Bishop of Oxford and Dean of Christ Church. Since 1668 he spent his life creating a \u2018learned press\u2019 in Oxford, endowed with invaluable equipment, setting a high standard for the future of his publishing. He wrote: \"The foundation of all successe must be layd in doing things well, and I am sure that will not be don with English letters\" (to Jenkins, 2 Dec. 1672). So he collectected types available in the foreign market: mainly France, Holland and Germany. Fell decided to develop types in its own \u2018workhouse\u2019 too.Peter De Walpergen became his personal type-founder. Says Harry Carter in \u201cTHE FELL TYPES. What has been done in and about them\u201d (Oxford University Press, New York, 1968): \"He was born at Frankfurt am Main, descended from a Protestant refugee from Antwerp. He was engaged by the Dutch East India Company in 1671 to work as a type-founder and printer in Java. The comparative crudity of his letter design makes it seems unlikely that he had been trained to cut punches.\"John Fell entrusted him with the cut of the larger bodies: Great Primer Roman and Italic; Double Pica Roman and Italic; French Canon Roman and Italic; Three Lines Pica Roman. De Walpergen cut other types and letters for existing types to be harmonized with the larger bodies. Commented Morison: \"The design of these large Fell Types is difficult to characterize and impossible wholly to approve. It has some affinity with the Dutch work of the second half of the seventeenth century, especially with the bigger size of type shown in the Widow Elsevier\u2019s specimen-sheet of types attributed to Christoffel van Dyck; but De Walpergen went much further in the contrasting weight of thick and thin strokes and his design has crudities about it of which Van Dyck would not have been capable.\"In 1686 John Fell died. In his \u201cwill\u201d he bequeathed the entire collection of type to the University of Oxford. Remembers Morison: \"This entire collection of \u2018founding Materialls of Punchions Matrices Moulds\u2019 was \u2018got together\u2019 by John Fell \u2018and others at great expense\u2019. Fell\u2019s instructions that they \u2018be carefully kept together\u2019 by his executors were duly observed. The Chancellor, Masters, and Scholars of the University of Oxford honourably played their part in sustaining the interests of \u2018learning and printing\u2019 and thus the collection was not dissipated but manteined entire.\"", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "IM Fell Great Primer": { + "name": "IM Fell Great Primer", + "designer": [ + "Igino Marini" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "STANLEY MORISON, in his \u201cTHE ROMAN ITALIC & BLACK LETTER bequeathed to the University of Oxford by Dr. JOHN FELL\u201d (Oxford University Press, Oxford, 1951), began this way the description of the FELL TYPES: \"The Oxford Printing house holds the oldest punches and matrices surviving in England, material not only treasured but used; types cast therefrom being employed for the composition of books and other printed matter.\"It\u2019s essentially the inheritance of the will of John Fell, D.D. who died on 10 July 1686, aged 61, Bishop of Oxford and Dean of Christ Church. Since 1668 he spent his life creating a \u2018learned press\u2019 in Oxford, endowed with invaluable equipment, setting a high standard for the future of his publishing. He wrote: \"The foundation of all successe must be layd in doing things well, and I am sure that will not be don with English letters\" (to Jenkins, 2 Dec. 1672). So he collectected types available in the foreign market: mainly France, Holland and Germany. Fell decided to develop types in its own \u2018workhouse\u2019 too.Peter De Walpergen became his personal type-founder. Says Harry Carter in \u201cTHE FELL TYPES. What has been done in and about them\u201d (Oxford University Press, New York, 1968): \"He was born at Frankfurt am Main, descended from a Protestant refugee from Antwerp. He was engaged by the Dutch East India Company in 1671 to work as a type-founder and printer in Java. The comparative crudity of his letter design makes it seems unlikely that he had been trained to cut punches.\"John Fell entrusted him with the cut of the larger bodies: Great Primer Roman and Italic; Double Pica Roman and Italic; French Canon Roman and Italic; Three Lines Pica Roman. De Walpergen cut other types and letters for existing types to be harmonized with the larger bodies. Commented Morison: \"The design of these large Fell Types is difficult to characterize and impossible wholly to approve. It has some affinity with the Dutch work of the second half of the seventeenth century, especially with the bigger size of type shown in the Widow Elsevier\u2019s specimen-sheet of types attributed to Christoffel van Dyck; but De Walpergen went much further in the contrasting weight of thick and thin strokes and his design has crudities about it of which Van Dyck would not have been capable.\"In 1686 John Fell died. In his \u201cwill\u201d he bequeathed the entire collection of type to the University of Oxford. Remembers Morison: \"This entire collection of \u2018founding Materialls of Punchions Matrices Moulds\u2019 was \u2018got together\u2019 by John Fell \u2018and others at great expense\u2019. Fell\u2019s instructions that they \u2018be carefully kept together\u2019 by his executors were duly observed. The Chancellor, Masters, and Scholars of the University of Oxford honourably played their part in sustaining the interests of \u2018learning and printing\u2019 and thus the collection was not dissipated but manteined entire.\"", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "IM Fell Great Primer SC": { + "name": "IM Fell Great Primer SC", + "designer": [ + "Igino Marini" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "STANLEY MORISON, in his \u201cTHE ROMAN ITALIC & BLACK LETTER bequeathed to the University of Oxford by Dr. JOHN FELL\u201d (Oxford University Press, Oxford, 1951), began this way the description of the FELL TYPES: \"The Oxford Printing house holds the oldest punches and matrices surviving in England, material not only treasured but used; types cast therefrom being employed for the composition of books and other printed matter.\"It\u2019s essentially the inheritance of the will of John Fell, D.D. who died on 10 July 1686, aged 61, Bishop of Oxford and Dean of Christ Church. Since 1668 he spent his life creating a \u2018learned press\u2019 in Oxford, endowed with invaluable equipment, setting a high standard for the future of his publishing. He wrote: \"The foundation of all successe must be layd in doing things well, and I am sure that will not be don with English letters\" (to Jenkins, 2 Dec. 1672). So he collectected types available in the foreign market: mainly France, Holland and Germany. Fell decided to develop types in its own \u2018workhouse\u2019 too.Peter De Walpergen became his personal type-founder. Says Harry Carter in \u201cTHE FELL TYPES. What has been done in and about them\u201d (Oxford University Press, New York, 1968): \"He was born at Frankfurt am Main, descended from a Protestant refugee from Antwerp. He was engaged by the Dutch East India Company in 1671 to work as a type-founder and printer in Java. The comparative crudity of his letter design makes it seems unlikely that he had been trained to cut punches.\"John Fell entrusted him with the cut of the larger bodies: Great Primer Roman and Italic; Double Pica Roman and Italic; French Canon Roman and Italic; Three Lines Pica Roman. De Walpergen cut other types and letters for existing types to be harmonized with the larger bodies. Commented Morison: \"The design of these large Fell Types is difficult to characterize and impossible wholly to approve. It has some affinity with the Dutch work of the second half of the seventeenth century, especially with the bigger size of type shown in the Widow Elsevier\u2019s specimen-sheet of types attributed to Christoffel van Dyck; but De Walpergen went much further in the contrasting weight of thick and thin strokes and his design has crudities about it of which Van Dyck would not have been capable.\"In 1686 John Fell died. In his \u201cwill\u201d he bequeathed the entire collection of type to the University of Oxford. Remembers Morison: \"This entire collection of \u2018founding Materialls of Punchions Matrices Moulds\u2019 was \u2018got together\u2019 by John Fell \u2018and others at great expense\u2019. Fell\u2019s instructions that they \u2018be carefully kept together\u2019 by his executors were duly observed. The Chancellor, Masters, and Scholars of the University of Oxford honourably played their part in sustaining the interests of \u2018learning and printing\u2019 and thus the collection was not dissipated but manteined entire.\"", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Iansui": { + "name": "Iansui", + "designer": [ + "But Ko" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "chinese-traditional", + "latin", + "latin-ext", + "symbols2" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": "Hant", + "article": "Iansui is based on Fontworks' Klee Semibold font, which is a script font handwritten by pencil or pen. Its quiet design has an elegant and slightly feminine look that sets itself apart from traditional script and textbook fonts. Ideal for body text. Iansui further modifies the existing design to meet the Ministry of Education's requirements for Taiwanese use. To contribute, see https://github.com/ButTaiwan/iansui", + "minisite_url": null + }, + "Ibarra Real Nova": { + "name": "Ibarra Real Nova", + "designer": [ + "Jos\u00e9 Mar\u00eda Ribagorda", + "Octavio Pardo" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "In 2007, The Calcograf\u00eda Nacional Espa\u00f1ola organized a project directed by Jos\u00e9 Mar\u00eda Ribagorda with the objective of divulging the invaluable typographic heritage produced in Spain in the 18th century through the \"Imprenta Real\". This project included the recovery of the types designed by Geronimo Gil for the edition of the most beautiful \"Quixote\" never edited, printed by Joaqu\u00edn Ibarra for the \u201cReal Academia de la Lengua\u201d in 1780. This font was called \u201cIbarra Real\u201d. Jos\u00e9 Mar\u00eda Ribagorda decided in 2015 that Octavio Pardo would be the first collaborator to play the design. Octavio was the first student of the University of Reading MA Typeface Design program to study this project. The Ornaments made by celebrated Latin American and Spanish designers would not be included until their authors allow them to be distributed under the SIL Open Source License. To contribute, see Ibarra Real GitHub", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Iceberg": { + "name": "Iceberg", + "designer": [ + "Cyreal" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Iceberg is a slim condensed decorative webfont by Victor Kharyk suitable for medium to large sizes. It is monolinear and mostly monospaced, has long ascenders and descenders, and a modular construction that builds a rhythm. These features improve overall readability. Its monolinear strokes and 45 degree cuts echo letters made from folded tape.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Iceland": { + "name": "Iceland", + "designer": [ + "Cyreal" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "The idea of geometric typefaces with a look reminiscent of the machinery, technology, and interior design of the 1950s originated in Eurostile family by Aldo Novarese and Alessandro Butti (1952). Iceland is a modular square-shaped webfont by Victor Kharyk with a cold brutal character designed with the intention to perform well on screen starting from low resolutions. For this purpose the strokes are deliberatly kept vertical and diagonal cuts have a 45\u00b0 angle, outlines are rounded. Features like wide proportions and generous x-height are introduced for better legibility. Unconventional and simplified letterforms like k, f, r aid readability at small sizes. While at display sizes they add a crisp and sharp impression. Uppercase letters are decently heavier compared to lowercase as a tribute to the old typographic tradition. This way uppercase is easily distinguished from lowercase, and allows scaling down to be used as Small Caps. Because of its ascetic modular character and squarish proportions Iceland webfont is easily integrated in modular grids and logotypes.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Imbue": { + "name": "Imbue", + "designer": [ + "Tyler Finck", + "ETC" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Imbue is a variable condensed didone made for your special occasion. The result is something crisp and curvy with two variable axes: weight and optical size. Imbue was designed by Tyler Finck. To contribute, see github.com/Etcetera-Type-Co/Imbue", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Imperial Script": { + "name": "Imperial Script", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Imperial Script is a formal script font with clean connections and an elegant look. The thin connectors combined with the heavier shade strokes makes Imperial perfect for invitations, formal events and seasonal settings. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/imperial-script.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Imprima": { + "name": "Imprima", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Imprima looks excellent even on cheap home printers because it has broad counters, strong joins between stems and inktraps that enable it to perform well in very small sizes. Professionally printed documents will make it look even better, especially in large sizes, because there the details of its design that are distinctive become clearly visible. The design of this typeface family is cared for as one cares for your own family. Each component has been treated humanely, by hand. The February 2023 update features a bigger glyphset, fractions and some minor aesthetic modifications. To contribute, see github.com/etunni/imprima.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Inclusive Sans": { + "name": "Inclusive Sans", + "designer": [ + "Olivia King" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Inclusive Sans is a text font designed for accessibility and readability. It is inspired by the friendly personality of contemporary neo-grotesques while incorporating key features to make it highly legible in all uses. To contribute, see github.com/LivKing/Inclusive-Sans.", + "primary_script": "Zinh", + "article": null, + "minisite_url": null + }, + "Inconsolata": { + "name": "Inconsolata", + "designer": [ + "Raph Levien" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "monospace" + ], + "description": "Inconsolata was Raph Levien's first serious original font release. It is a monospace font, designed for printed code listings and the like. There are a great many \u201cprogrammer fonts,\u201d designed primarily for use on the screen, but in most cases do not have the attention to detail for high resolution rendering. Inconsolata draws from many inspirations and sources. I was particularly struck by the beauty of Luc(as) de Groot's Consolas, which is his monospaced design for Microsoft's Vista release. This font, similar to his earlier TheSansMono, demonstrated clearly to me that monospaced fonts do not have to suck. The development of the Regular style by Raph Levien was started in 2006 using his own Spiro-based tools and FontForge. The Bold style was designed by Kirill Tkachev and the Cyreal foundry in 2012. Updated September 2015: Internal metadata corrected. Updated April 2020: Family has been upgraded to a variable font family. To contribute, see github.com/googlefonts/inconsolata.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Inder": { + "name": "Inder", + "designer": [ + "Sorkin Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Foundry: Sorkin Type Co Inder is a low contrast workhorse sans serif text face design. It was inspired by German art noveau style lettering and the Amsterdam School of architecture. Inder has been carefully adjusted to the restrictions of the screen. Inder can be used in a wide range of sizes. Source files are available from Google Code. To contribute to the project contact Eben Sorkin.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Indie Flower": { + "name": "Indie Flower", + "designer": [ + "Kimberly Geswein" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "This handwriting font feels carefree and open to me with the bubbly, rounded edges. It is easy to read and a bit bolder than some of my other fonts.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ingrid Darling": { + "name": "Ingrid Darling", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Ingrid Darling is a cute script font originally created for greeting cards. It is based on a cursive hand writing style that has a playful, whimsical appeal. It would be best served as a display font and should be used sparingly rather than in larger bodies of type. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/ingrid-darling.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Inika": { + "name": "Inika", + "designer": [ + "Constanza Artigas" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Inspired by Easter Island and its Rapa Nui language and culture, this typeface captures the essence of an island located in Chile, South America, full of mystery, sacred places and stories of the past. \u201cInika\u201d means \u201cink\u201d in the Rapa Nui language, and it represents the tradition of the rongo-rongo writing, used by people on the island thousands of years ago. The tiki style was worked into the characters with a light touch while developing the upper and lowercase letters forms to evoke the spirit of the island. Inika is useful for both long text setting, document titles, and even large display sizes.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Inknut Antiqua": { + "name": "Inknut Antiqua", + "designer": [ + "Claus Eggers S\u00f8rensen" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "\u00bbInknut Antiqua\u00ab is an Antiqua typeface for literature and long-form text. Approaching the idea of web-publishing as a modern day private press, it is designed to evoke Venetian incunabula and humanist manuscripts, but with the quirks and idiosyncrasies of the kinds of typefaces you find in this artisanal tradition. It comes with a complement of typographical sorts and OpenType features for the purpose. The proportions of Inknut Antiqua make it well suited for low-resolution screens. The Inknut (Terminalia Chebula), called \u00bbharad\u00ab in Hindi, is a nut-like fruit that can be used for ink making and is purported to cure blindness. The tree it grows from is native to the Indian sub-continent and south-east Asia. The Inknut Antiqua project is led by Claus Eggers S\u00f8rensen, a type designer based in Amsterdam. To contribute, see github.com/clauseggers/Inknut-Antiqua", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Inria Sans": { + "name": "Inria Sans", + "designer": [ + "Gr\u00e9gori Vincens", + "J\u00e9r\u00e9mie Hornus" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Inria Sans and Inria Serif are the two members of a type family design for the communication of Inria, a national institute dedicated to numeric research. The Institute needed a font showing its values at the crossroad of humanity, technology, excellence and creativity. Black[Foundry] created a humanist typeface with a unapologetically contemporary design as the Sans-Serif part and a more rational drawing for the Serif. Both members come in 3 weights with matching Italics. To contribute, see github.com/BlackFoundryCom/InriaFonts.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Inria Serif": { + "name": "Inria Serif", + "designer": [ + "Gr\u00e9gori Vincens", + "J\u00e9r\u00e9mie Hornus" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Inria Sans and Inria Serif are the two members of a type family design for the communication of Inria, a national institute dedicated to numeric research. The Institute needed a font showing its values at the crossroad of humanity, technology, excellence and creativity. Black[Foundry] created a humanist typeface with a unapologetically contemporary design as the Sans-Serif part and a more rational drawing for the Serif. Both members come in 3 weights with matching Italics. To contribute, see github.com/BlackFoundryCom/InriaFonts.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Inspiration": { + "name": "Inspiration", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Have a party with Inspiration. A fun, script font with a less-than-serious bounce. You may have seen the use of Inspiration in the logo for Michaels craft stores. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/inspiration.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Instrument Sans": { + "name": "Instrument Sans", + "designer": [ + "Rodrigo Fuenzalida", + "Jordan Egstad" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Instrument Sans is a font designed for the Instrument brand. It's a variable sans-serif which balances an abundance of precision with subtle notes of playfulness. Inspiration was drawn from our enduring interest in neo-grotesques. In a way, this family of weights, widths, and italics represent an orchestration of all of our favorite qualities in a sans-serif while featuring contemporary characteristics that make this typeface distinctly our own. Featuring 12 unique stylistic sets, commonly-used characters can be replaced with alternate glyphs in a variety of combinations to tailor the appearance and legibility of messaging. This flexibility allows for a wide range of expressive styles, making it easy to mold it to perfectly suit whatever style of expression is needed. To contribute, see github.com/Instrument/instrument-sans.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Instrument Serif": { + "name": "Instrument Serif", + "designer": [ + "Rodrigo Fuenzalida", + "Jordan Egstad" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Instrument Serif is a condensed display font designed for the Instrument brand. It is intended for use at large sizes and offers a contemporary take on some of the time-tested characteristics found in old-style serifs. To contribute, please see github.com/Instrument/instrument-serif.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Intel One Mono": { + "name": "Intel One Mono", + "designer": [ + "Intel Corporation", + "Frere-Jones Type" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "latin", + "latin-ext", + "symbols2", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "monospace" + ], + "description": null, + "primary_script": null, + "article": "Introducing Intel One Mono, an expressive monospaced font family that\u2019s built with clarity, legibility, and the needs of developers in mind. Identifying the typographically underserved low-vision developer audience, Frere-Jones Type designed the Intel One Mono typeface in partnership with the Intel Brand Team and VMLY&R, for maximum legibility to address developers' fatigue and eyestrain and reduce coding errors. A panel of low-vision and legally blind developers provided feedback at each stage of design. Intel One Mono also covers a wide range of over 200 languages using the Latin script. The Intel One Mono fonts are provided in four weights \u2014 Light, Regular, Medium, and Bold \u2014 with matching italics, and we are happy to share both an official release of fonts ready to use as well as editable sources. To contribute, please see github.com/intel/intel-one-mono", + "minisite_url": null + }, + "Inter": { + "name": "Inter", + "designer": [ + "Rasmus Andersson" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Inter is a variable font family carefully crafted & designed for computer screens. Inter features a tall x-height to aid in readability of mixed-case and lower-case text. Several OpenType features are provided as well, like contextual alternates that adjusts punctuation depending on the shape of surrounding glyphs, slashed zero for when you need to disambiguate \"0\" from \"o\", tabular numbers, etc. The Inter project is led by Rasmus Andersson, a Swedish maker\u2013of\u2013software living in San Francisco. To contribute, see github.com/rsms/inter", + "primary_script": null, + "article": null, + "minisite_url": "https://rsms.me/inter" + }, + "Inter Tight": { + "name": "Inter Tight", + "designer": [ + "Rasmus Andersson" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "This is a specialized version of Inter with tighter spacing, for display usage. This version also has Roman and Italic styles. To contribute, see github.com/rsms/inter-gf-tight.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Irish Grover": { + "name": "Irish Grover", + "designer": [ + "Sideshow" + ], + "license": "apache2", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Presenting Irish Grover! No, it's not a coveted new AKC breed. No, it's not a tasty seasonal pilsner. It's a fun, flamboyant, new display font by Squid that's way better than any of those possibilities. Sure and it's free for Pete's sake! And you can't say that about dogs or beer.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Island Moments": { + "name": "Island Moments", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Take a trip to a tropical paradise. This brush style font has an exotic appeal with alternate uppercase characters borrowed from the font, Babylonica. This OpenType Pro version offers extra alternate characters. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/island-moments.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Istok Web": { + "name": "Istok Web", + "designer": [ + "Andrey V. Panov" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Istok Web is an original typeface, in development since 2008. At first some basic letters were based on specially modified METAFONT sources from the CM Bright font family from the TeX community. (METAFONT is very flexible technology.) But in fact Istok fonts are now very far from this origin. Contours of the font are designed in the freely distributable font editor, FontForge. Most glyphs are manually hinted with the aim to be rendered on LCD displays. I used xgridfit as a tool for programming truetype instructions. Less frequently utilized symbols have automatic instructions produced by FontForge autohinting, until manual hinting can be done. Manual and automatic instructions are intended to look homogeneous. The original sources and truetype fonts are available at code.google.com/p/istok and this 'Web' version has modified vertical metrics. Updated: June 2014 to version 1.0.2g", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Italiana": { + "name": "Italiana", + "designer": [ + "Santiago Orozco" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Italiana was designed for use in the headlines of newspapers and magazines. Italiana is inspired by the calligraphy of the Italian masters. It is suitable for design solutions that require elegance and sophistication. It was conceived with modern proportions that make it great for economical typesetting both on paper and on screen. The Italiana family is in progress and is being regularly improved. If you have a request, wish to contribute improvements or even fund specific features, simply contact Santiago Orozco. You can follow Santiago on Twitter, @Typemade.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Italianno": { + "name": "Italianno", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Italianno is an elegant, calligraphic script. It's clean connecting strokes distinguish itself from other classic forms which makes it perfect for invitations, scrap-booking, and packaging. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/italianno.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Itim": { + "name": "Itim", + "designer": [ + "Cadson Demak" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "thai", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Itim is a new Thai + Latin handwriting typeface, with an informal looped + semiserif design. It has 2 stylistic set alternate glyph designs and intelligent OpenType features to recreate the impression of handwriting. Thanks to Pablo Impallari for the initial OpenType handwriting feature development. The Itim project is led by Cadson Demak, a type foundry in Thailand. To contribute, see github.com/cadsondemak/itim", + "primary_script": "Thai", + "article": null, + "minisite_url": null + }, + "Jacquard 12": { + "name": "Jacquard 12", + "designer": [ + "Sarah Cadigan-Fried" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Jacquard is an expanded revival typeface from a Victorian needlepoint alphabet designed in Berlin by Heinrich Kuehn circa 1880. The Soft Type is a collection of typefaces designed for knitting color-work. Designing typefaces for knitting is essentially the same as creating pixel types. However, in practice, the pixel size is determined by the properties of the yarn in use. Scale is determined by the weight of the yarn as well as the number of pixels that make up the height of each letter. In this collection, the number following the typeface's name indicates the height of the capital letters for that typeface. These typefaces were designed with machine knitting in mind, but could be used for hand knitting, needlework, bedazzling, or many other textile crafts. Note: For Fair Isle knitting, you need to beware of floats and plan accordingly, as always. Each typeface has a \u201cRegular\u201d and \u201cCharted\u201d version, and some include multiple scales so you can fit type on your knits, no matter the project's size. Check out the charted version Jacquard 12 Charted. To contribute, please see github.com/scfried/soft-type-jacquard.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Jacquard 12 Charted": { + "name": "Jacquard 12 Charted", + "designer": [ + "Sarah Cadigan-Fried" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Jacquard is an expanded revival typeface from a Victorian needlepoint alphabet designed in Berlin by Heinrich Kuehn circa 1880. Designing typefaces for knitting is essentially the same as creating pixel types. However, in practice, the pixel size is determined by the properties of the yarn in use. Scale is determined by the weight of the yarn as well as the number of pixels that make up the height of each letter. In this collection, the number following the typeface's name indicates the height of the capital letters for that typeface. These typefaces were designed with machine knitting in mind, but could be used for hand knitting, needlework, bedazzling, or many other textile crafts. Note: For Fair Isle knitting, you need to beware of floats and plan accordingly, as always. Each typeface has a \u201cRegular\u201d and \u201cCharted\u201d version, and some include multiple scales so you can fit type on your knits, no matter the project's size. Check out the non-charted version Jacquard 12. To contribute, please see github.com/scfried/soft-type-jacquard.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Jacquard 24": { + "name": "Jacquard 24", + "designer": [ + "Sarah Cadigan-Fried" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Jacquard is an expanded revival typeface from a Victorian needlepoint alphabet designed in Berlin by Heinrich Kuehn circa 1880. Designing typefaces for knitting is essentially the same as creating pixel types. However, in practice, the pixel size is determined by the properties of the yarn in use. Scale is determined by the weight of the yarn as well as the number of pixels that make up the height of each letter. In this collection, the number following the typeface's name indicates the height of the capital letters for that typeface. These typefaces were designed with machine knitting in mind, but could be used for hand knitting, needlework, bedazzling, or many other textile crafts. Note: For Fair Isle knitting, you need to beware of floats and plan accordingly, as always. Each typeface has a \u201cRegular\u201d and \u201cCharted\u201d version, and some include multiple scales so you can fit type on your knits, no matter the project's size. Check out the charted version Jacquard 24 Charted. To contribute, please see github.com/scfried/soft-type-jacquard.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Jacquard 24 Charted": { + "name": "Jacquard 24 Charted", + "designer": [ + "Sarah Cadigan-Fried" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Jacquard is an expanded revival typeface from a Victorian needlepoint alphabet designed in Berlin by Heinrich Kuehn circa 1880. Designing typefaces for knitting is essentially the same as creating pixel types. However, in practice, the pixel size is determined by the properties of the yarn in use. Scale is determined by the weight of the yarn as well as the number of pixels that make up the height of each letter. In this collection, the number following the typeface's name indicates the height of the capital letters for that typeface. These typefaces were designed with machine knitting in mind, but could be used for hand knitting, needlework, bedazzling, or many other textile crafts. Note: For Fair Isle knitting, you need to beware of floats and plan accordingly, as always. Each typeface has a \u201cRegular\u201d and \u201cCharted\u201d version, and some include multiple scales so you can fit type on your knits, no matter the project's size. Check out the non-charted version Jacquard 24 . To contribute, please see github.com/scfried/soft-type-jacquard .", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Jacquarda Bastarda 9": { + "name": "Jacquarda Bastarda 9", + "designer": [ + "Sarah Cadigan-Fried" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "The Soft Type Collection is designed for knitters to chart out their typographic projects. Jacquarda Bastarda is an expanded revival typeface from a bastarda-esque Victorian needlepoint alphabet designed in Berlin by Heinrich Kuehn circa 1880. Each typeface has a \u201cRegular\u201d and \u201cCharted\u201d version, and some include multiple scales so you can fit type on your knits, no matter the project's size. Check out the charted version Jacquarda Bastarda 9 Charted. In this collection, the number following the typeface's name indicates the height of the capital letters for that typeface. To contribute, see github.com/scfried/soft-type-jacquarda-bastarda.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Jacquarda Bastarda 9 Charted": { + "name": "Jacquarda Bastarda 9 Charted", + "designer": [ + "Sarah Cadigan-Fried" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "The Soft Type Collection is designed for knitters to chart out their typographic projects. Jacquarda Bastarda is an expanded revival typeface from a bastarda-esque Victorian needlepoint alphabet designed in Berlin by Heinrich Kuehn circa 1880. Each typeface has a \u201cRegular\u201d and \u201cCharted\u201d version, and some include multiple scales so you can fit type on your knits, no matter the project's size. Check out the non-charted version Jacquarda Bastarda 9. In this collection, the number following the typeface's name indicates the height of the capital letters for that typeface. To contribute, see github.com/scfried/soft-type-jacquarda-bastarda.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Jacques Francois": { + "name": "Jacques Francois", + "designer": [ + "Cyreal" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Jacques Francois revives the c. 1760 Ensched\u00e9 no. 811 type specimen by Jacques Fran\u00e7ois Rosart (1714-1774), made for Ensched\u00e9 Printing House. The concept was to create a contemporary webfont with an even typographic color while preserving the essential historic peculiarities and expanding the character set. Compared to the historic specimen the x-height is generously increased and contrast lowered. Jacques Francois is designed for medium to small sizes. For this purpose its features were altered: contrast was lowered and x-height significantly increased. Designed by Manvel Shmavonyan, Alexei Vanyashin. Jacques Francois includes old style figures. There is also Jacques Francois Shadow, an incised variant of the Jacques Francois font. To contribute to the project contact Alexei Vanyashin.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Jacques Francois Shadow": { + "name": "Jacques Francois Shadow", + "designer": [ + "Cyreal" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Jacques Francois Shadow is an incised variant of the Jacques Francois font. Jacques Francois revives the c. 1760 Ensched\u00e9 no. 811 type specimen by Jacques Fran\u00e7ois Rosart (1714-1774), made for Ensched\u00e9 Printing House. The concept was to create a contemporary webfont with an even typographic color while preserving the essential historic peculiarities and expanding the character set. Compared to the historic specimen the x-height is generously increased and contrast lowered. Jacques Francois Shadow is designed for large sizes and manually instructed for better screen performance starting from 24 ppem. This means that on Window machines it will work best from 18pt (at 96ppi) or 15pt (at 120ppi) and from 24pt on Mac (at 72ppi.) To contribute to the project contact Alexei Vanyashin.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Jaini": { + "name": "Jaini", + "designer": [ + "Ek Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Jaini and Jaini Purva (both Devanagari) are typefaces based on the calligraphic style of the Jain Kalpasutra manuscripts, particularly referencing a manuscript from 1503 CE. The manuscript style has several unique features not seen in the commonly observed Balbodh style. These include a disconnected shirorekha with triangular wedges, short upper matras, squarish letters with large kana height, heavy knots, and the integration of lower matras within the kana height. It also contains some letter-shapes that have evolved over time and are not familiar to current readers. In an attempt to revive the distinct calligraphic style for contemporary use, Jaini adapts visual features of the manuscript style to contemporary letter-structures. Jaini and Jaini Purva differ in their treatment of conjuncts; Jaini adheres to contemporary conventions of horizontal conjuncts, whereas Jaini Purva stays true to vertically stacked conjuncts as seen in manuscripts. While Jaini Devanagari references past manuscripts, its Latin companion draws inspiration from a hand-lettering style seen in present-day India. In regions where Devanagari is predominantly used, it is not uncommon to see Latin letterforms drawn with a Devanagari pen angle (which is almost perpendicular to the Latin pen angle) with a subtle hint of a shirorekha. Jaini (Latin) draws inspiration from this street style while visually matching it with the wavy stems and squarish counters of Jaini Devanagari. Jaini Devanagari was designed in 2016 by Girish Dalvi and Maithili Shingre. Jaini Latin was designed in 2023 by Taresh Vohra. This project is led by Ek Type, a collective of type designers based in Mumbai focused on designing contemporary Indian typefaces. To contribute to the project, see github.com/EkType/Jaini", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Jaini Purva": { + "name": "Jaini Purva", + "designer": [ + "Ek Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Jaini Purva and Jaini (both Devanagari) are typefaces based on the calligraphic style of the Jain Kalpasutra manuscripts, particularly referencing a manuscript from 1503 CE. The manuscript style has several unique features not seen in the commonly observed Balbodh style. These include a disconnected shirorekha with triangular wedges, short upper matras, squarish letters with large kana height, heavy knots, and the integration of lower matras within the kana height. It also contains some letter-shapes that have evolved over time and are not familiar to current readers. In an attempt to revive the distinct calligraphic style for contemporary use, Jaini adapts visual features of the manuscript style to contemporary letter-structures. Jaini and Jaini Purva differ in their treatment of conjuncts; Jaini adheres to contemporary conventions of horizontal conjuncts, whereas Jaini Purva stays true to vertically stacked conjuncts as seen in manuscripts. While Jaini Devanagari references past manuscripts, its Latin companion draws inspiration from a hand-lettering style seen in present-day India. In regions where Devanagari is predominantly used, it is not uncommon to see Latin letterforms drawn with a Devanagari pen angle (which is almost perpendicular to the Latin pen angle) with a subtle hint of a shirorekha. Jaini (Latin) draws inspiration from this street style while visually matching it with the wavy stems and squarish counters of Jaini Devanagari. Jaini Devanagari was designed in 2016 by Girish Dalvi and Maithili Shingre. Jaini Latin was designed in 2023 by Taresh Vohra. This project is led by Ek Type, a collective of type designers based in Mumbai focused on designing contemporary Indian typefaces. To contribute to the project, see github.com/EkType/Jaini", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Jaldi": { + "name": "Jaldi", + "designer": [ + "Omnibus-Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Jaldi is the Hindi word for soon, and the typeface family is a contemporary sans-serif Devanagari with subtle rounded corners. Designed by Nicolas Silva and Pablo Cosgaya, Jaldi is developed to match with the Latin design of the Asap family, named after the acronym \"As Soon As Possible.\" This family is specially developed for screen reading and use as a webfont, and like Asap is has a special twist: Jaldi offers a standardised character width on all styles, which means that lines of text always remain the same length. This useful feature allows users to change type styles on-the-go without reflowing text bodies. Asap is based on Ancha, designed by Pablo Cosgaya and Hector Gatti in collaboration with Andres Torresi. This project is led by Omnibus Type, a type foundry based in Argentina. To contribute, visit github.com/Omnibus-Type/Jaldi.", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Jaro": { + "name": "Jaro", + "designer": [ + "Agyei Archer", + "C\u00e9line Hurka", + "Mirko Velimirovi\u0107" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "Jaro, a global display typeface crafted by Agyei Archer, draws its inspiration from the artistic legacy of Jaroslav Benda. With a nod to Benda's renowned work, this font stands as a testament to his influence on modern design. Distinctive in its versatility, Jaro boasts a variable style, offering a spectrum of possibilities for creative expression. Its optical size axis ensures legibility across a range of scales, from grand displays to fine print. In the realm of typography, Jaro emerges as a bridge between tradition and innovation, embodying the timeless elegance of Benda's craftsmanship while embracing the technological advancements of today. With each stroke, Jaro invites users to explore the intersection of artistry and functionality, making it a cherished asset for designers worldwide. To contribute, please see github.com/agyeiarcher/Jaro.", + "minisite_url": null + }, + "Jersey 10": { + "name": "Jersey 10", + "designer": [ + "Sarah Cadigan-Fried" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "The Soft Type Collection is designed for knitters to chart out their typographic projects. Jersey is a sporty, versitile sans-serif typeface, knittable at various sizes. Each typeface has a \u201cRegular\u201d and \u201cCharted\u201d version, and some include multiple scales so you can fit type on your knits, no matter the project's size. Check out the charted version Jersey 10 Charted. In this collection, the number following the typeface's name indicates the height of the capital letters for that typeface. To contribute, please see github.com/scfried/soft-type-jersey.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Jersey 10 Charted": { + "name": "Jersey 10 Charted", + "designer": [ + "Sarah Cadigan-Fried" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "The Soft Type Collection is designed for knitters to chart out their typographic projects. Jersey is a sporty, versitile sans-serif typeface, knittable at various sizes. Each typeface has a \u201cRegular\u201d and \u201cCharted\u201d version, and some include multiple scales so you can fit type on your knits, no matter the project's size. Check out the non-charted version Jersey 10. In this collection, the number following the typeface's name indicates the height of the capital letters for that typeface. To contribute, please see github.com/scfried/soft-type-jersey.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Jersey 15": { + "name": "Jersey 15", + "designer": [ + "Sarah Cadigan-Fried" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "The Soft Type Collection is designed for knitters to chart out their typographic projects. Jersey is a sporty, versitile sans-serif typeface, knittable at various sizes. Each typeface has a \u201cRegular\u201d and \u201cCharted\u201d version, and some include multiple scales so you can fit type on your knits, no matter the project's size. Check out the charted version Jersey 15 Charted. In this collection, the number following the typeface's name indicates the height of the capital letters for that typeface. To contribute, please see github.com/scfried/soft-type-jersey.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Jersey 15 Charted": { + "name": "Jersey 15 Charted", + "designer": [ + "Sarah Cadigan-Fried" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "The Soft Type Collection is designed for knitters to chart out their typographic projects. Jersey is a sporty, versitile sans-serif typeface, knittable at various sizes. Each typeface has a \u201cRegular\u201d and \u201cCharted\u201d version, and some include multiple scales so you can fit type on your knits, no matter the project's size. Check out the non-charted version Jersey 15. In this collection, the number following the typeface's name indicates the height of the capital letters for that typeface. To contribute, please see github.com/scfried/soft-type-jersey.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Jersey 20": { + "name": "Jersey 20", + "designer": [ + "Sarah Cadigan-Fried" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "The Soft Type Collection is designed for knitters to chart out their typographic projects. Jersey is a sporty, versitile sans-serif typeface, knittable at various sizes. Each typeface has a \u201cRegular\u201d and \u201cCharted\u201d version, and some include multiple scales so you can fit type on your knits, no matter the project's size. Check out the charted version Jersey 20 Charted. In this collection, the number following the typeface's name indicates the height of the capital letters for that typeface. To contribute, please see github.com/scfried/soft-type-jersey.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Jersey 20 Charted": { + "name": "Jersey 20 Charted", + "designer": [ + "Sarah Cadigan-Fried" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "The Soft Type Collection is designed for knitters to chart out their typographic projects. Jersey is a sporty, versitile sans-serif typeface, knittable at various sizes. Each typeface has a \u201cRegular\u201d and \u201cCharted\u201d version, and some include multiple scales so you can fit type on your knits, no matter the project's size. Check out the non-charted version Jersey 20. In this collection, the number following the typeface's name indicates the height of the capital letters for that typeface. To contribute, please see github.com/scfried/soft-type-jersey.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Jersey 25": { + "name": "Jersey 25", + "designer": [ + "Sarah Cadigan-Fried" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "The Soft Type Collection is designed for knitters to chart out their typographic projects. Jersey is a sporty, versitile sans-serif typeface, knittable at various sizes. Each typeface has a \u201cRegular\u201d and \u201cCharted\u201d version, and some include multiple scales so you can fit type on your knits, no matter the project's size. Check out the charted version Jersey 25 Charted. In this collection, the number following the typeface's name indicates the height of the capital letters for that typeface. To contribute, please see github.com/scfried/soft-type-jersey.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Jersey 25 Charted": { + "name": "Jersey 25 Charted", + "designer": [ + "Sarah Cadigan-Fried" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "The Soft Type Collection is designed for knitters to chart out their typographic projects. Jersey is a sporty, versatile sans-serif typeface, knittable in various sizes. Each typeface has a \u201cRegular\u201d and \u201cCharted\u201d version, and some include multiple scales so you can fit type on your knits, no matter the project's size. Check out the non-charted version Jersey 25. In this collection, the number following the typeface's name indicates the height of the capital letters for that typeface. For this particular style, it's best to use a minimum of 30pt font size to ensure that it's clear, legible, and visually appealing across different platforms and mediums. To contribute, please see github.com/scfried/soft-type-jersey.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "JetBrains Mono": { + "name": "JetBrains Mono", + "designer": [ + "JetBrains", + "Philipp Nurullin", + "Konstantin Bulenkov" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "monospace" + ], + "description": "JetBrains Mono is a typeface made for the specific needs of developers. Find more informations about font features, design and language support on www.jetbrains.com/. JetBrains Mono is designed by Philipp Nurullin and Konstantin Bulenkov. To contribute, see github.com/JetBrains/JetBrainsMono", + "primary_script": null, + "article": null, + "minisite_url": "https://www.jetbrains.com/lp/mono/" + }, + "Jim Nightshade": { + "name": "Jim Nightshade", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Certain calligraphic pen styles have always had a mysterious and almost dark vibe to them from my viewpoint. Jim Nightshade is one of those styles. Named after a character from the story, \"Something Wicked This Way Comes\", Jim Nightshade is a flat nib calligraphic typestyle with charisma and a dark flair. Letterforms follow that of a traditional italic hand but with more angular strokes to accentuate the look.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Joan": { + "name": "Joan", + "designer": [ + "Paolo Biagini" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Inspired by the roman cut by Francesco Griffo, it is a tribute to the Italian style, a model to follow even in the 15th century. Joan is characterized by neat serifs as well as sharp terminals and is intended for books and magazines. At the moment, only the roman is available. The italic variant is under development. To contribute, see github.com/PaoloBiagini/Joan.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Jockey One": { + "name": "Jockey One", + "designer": [ + "TypeTogether" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Jockey One is a new sans serif, designed by TypeTogether - Veronika Burian and Jos\u00e9 Scaglione.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Jolly Lodger": { + "name": "Jolly Lodger", + "designer": [ + "Font Diner" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Wherever your travels may take you, you'll always find a confortable host off the interstate at the Jolly Lodger! Air conditioning, cable television and the freshest assortment of baked goods delivered fresh to your room each morning! So grab a roll of quarters and enjoy a relaxing Magic Fingers massage as you head into the mid-century with this nifty typeface! Designed by Stuart Sandler of Font Diner, Inc. To contribute to the project contact the Font Diner.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Jomhuria": { + "name": "Jomhuria", + "designer": [ + "KB Studio" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Jomhuria is a dark Persian/Arabic and Latin display typeface, suitable for headline and other display usage. The name means 'republic,' and the spark of inspiration for the design was a stencil of \u201cShablon\u201d showing just a limited character set just for the Persian language without any marks, vowels or Latin glyphs. Shablon was designed 30 years ago in Iran, and is reinterpreted by Kourosh to incorporate contemporary techniques, aesthetics and of course some personal taste. While inspired by the spirit of Shablon, Jomhuria is a new typeface that stands on its own. The typeface designer Kourosh created an additional original Latin design that is tailored to harmonize with the aesthetics of the Persian/Arabic design. Being made for big sizes means details matter. The positions of the dots remains faithful to their locations in Persian/Arabic calligraphy; this is an important factor of beauty in the writing system and is key to readability. The Arabic script was designed by Kourosh Beigpour, and the Latin was designed by Eben Sorkin. The font is engineered by Lasse Fister, and the technicalities build upon those developed by Khaled Hosny for his \u201cAmiri.\u201d The Latin is scaled to work best with the Arabic component. The Jomhuria project is led by KB Studio, a type design foundry based in Los Angelese, USA. To contribute, see github.com/Tarobish/Jomhuria", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Jomolhari": { + "name": "Jomolhari", + "designer": [ + "Christopher J. Fynn" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "tibetan" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Jomolhari is a free, Unicode compatible, Tibetan script font named after Mt Jomolhari on the border of Bhutan and Tibet. This font can be used for Tibetan and Dzongkha text. It was inspired by Bhutanese manuscript examples and was originally designed for use in publishing traditional Buddhist texts.", + "primary_script": "Tibt", + "article": null, + "minisite_url": null + }, + "Josefin Sans": { + "name": "Josefin Sans", + "designer": [ + "Santiago Orozco" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "The idea of this typeface is to be geometric, elegant, with a vintage feeling, for use at larger sizes. It is inspired by geometric sans serif designs from the 1920s. The x-height is half way from baseline to cap height, an unusual proportion. There is a sister family, Josefin Slab In December 2019, it was updated with a Variable Font \"Weight\" axis. To contribute, see github.com/googlefonts/josefinsans.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Josefin Slab": { + "name": "Josefin Slab", + "designer": [ + "Santiago Orozco" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SLAB_SERIF", + "classifications": [ + "display" + ], + "description": "Josefin Slab was the first typeface\u2013at least in my mind\u2013I designed! But I decided to start simple with Josefin Sans. Following the 1930s trend for geometric typefaces, it just came to me that something between Kabel and Memphis with modern details will look great. I wanted to stick to the idea of Scandinavian style, so I put a lot of attention to the diacritics, especially to \"\u00e6\" which has loops connecting in a continuous way, so the \"e\" slope was determined by this character. It also has some typewriter style attributes, because I've liked the Letter Gothic typeface since I was in high school, and that's why I decided to make a Slab version of Josefin Sans.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Jost": { + "name": "Jost", + "designer": [ + "Owen Earl" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Jost is an original font created by indestructible type*. It is inspired by 1920s German sans-serifs. This is version 3.7. Jost is designed and maintained by Owen Earl, who is the creator of the font foundry indestructible type*. in 2020 Owen Earl, and Mirko Velimirovic worked together to make Jost a variable font. If you have questions or want to help out, please contribute at github.com/indestructible-type/Jost.", + "primary_script": null, + "article": null, + "minisite_url": "https://indestructibletype.com/Jost.html" + }, + "Joti One": { + "name": "Joti One", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "I enjoyed designing this typeface because it was inspired by my little son \"Jonah,\" who is called by his friends \"Joti.\" The type has the informality and style of the cartoons which children watch. Its primary concept is top-heavy stems with a slight sense of movement to further enhance the style. Joti is ideal for composing headlines and short texts in sizes larger than 14 points. The March 2023 update features a bigger glyphset, fractions and some minor aesthetic modifications. To contribute, see github.com/etunni/joti.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Jua": { + "name": "Jua", + "designer": [ + "Woowahan Brothers" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "korean", + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Jua is a Korean and Latin font", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "Judson": { + "name": "Judson", + "designer": [ + "Daniel Johnson" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Judson is a serif font designed for African literacy. It contains as many glyphs and precomposed combinations that I know of for all African languages written in Latin-derived alphabets. It uses OpenType tables for correct placement of diacritical marks, including stacked marks. Care has been taken so that all characters are easily distinguished, even in the italic face. The medium roman face has support for the International Phonetic Alphabet (IPA.) Currently Judson is only available in medium roman, italic and bold roman faces; at this time there is no bold italic.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Julee": { + "name": "Julee", + "designer": [ + "Juli\u00e1n Tunni" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "The peculiarity of this typography lies in its curved structures and strokes, which are developed on it by getting thinner and sharper as if they were being typed using a metallic and bevel-edged point. The visual mark characteristic of Julee is a casual cursive-like type, yet balanced due to the tidy proportions of its signs. The March 2023 update features a bigger glyphset, fractions and some minor aesthetic modifications. More documentation can be found at www.tipo.net.ar To contribute, see github.com/etunni/julee.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Julius Sans One": { + "name": "Julius Sans One", + "designer": [ + "Luciano Vergara" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Julius Sans One is a sans serif typeface family from Chilean type foundry LatinoType. Updated, April 2015: hinting was applied (with ttfautohint) and the non-breaking space glyph was adjusted to be the same width as space.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Junge": { + "name": "Junge", + "designer": [ + "Cyreal" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [ + "handwriting" + ], + "description": "Junge is an elegant and slim text typeface inspired by the calligraphy of G\u00fcnther Junge. Thanks to a combination of features it performs equally well in most ranges. At small sizes it builds the impression of flittering strokes. In large headlines its refined detailing become visible. It is not as strictly structured as a text typeface, and has subtle irregularities reminiscent of its calligraphic origin. Junge is designed by Alexei Vanyashin (@avanyashin)", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Jura": { + "name": "Jura", + "designer": [ + "Daniel Johnson", + "Cyreal" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "kayah-li", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Jura is a family of sans-serif fonts in the Eurostile vein. It was originally inspired by some work I was doing for the FreeFont project in designing a Kayah Li range for FreeMono. The Latin alphabet is using the same kinds of strokes and curves as the Kayah Li glyphs, and thus Jura was born. It has been expanded to include glyphs for the Cyrillic and Greek alphabets as well. The original Kayah Li glyphs have been included in this font. Note that glyphs for writing mainstream Burmese are not and never have been a part of this font. The Jura family has an unfortunate name clash with Ed Merritt\u2019s Jura serif font. To contribute, see github.com/ossobuffo/jura.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Just Another Hand": { + "name": "Just Another Hand", + "designer": [ + "Astigmatic" + ], + "license": "apache2", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "My personal handwriting has changed a number of times over the years. Just Another Hand is a narrow brush drawn handwriting font, inspired by the handwriting of my high school days. There's a little artistic license taken with Just Another Hand in the sense that while I never really wrote with a brush in high school, I wanted a cleaner stroke for this interpretation. A little personality, a little restraint... a style that works for all sorts of projects across the board.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Just Me Again Down Here": { + "name": "Just Me Again Down Here", + "designer": [ + "Kimberly Geswein" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Just Me Again Down Here was created a few weeks after my family and I moved to China, using a Wacom Tablet and Adobe Illustrator. This is my \u201cmessy\u201d handwriting with mixed capitals and irregularities. After moving to China and finding myself without the ability to communicate in my new home country\u2019s language, creating a font was something that reminded me that I did know how to do something and I would survive those first confusing weeks abroad.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "K2D": { + "name": "K2D", + "designer": [ + "Cadson Demak" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "thai", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "K2D is a Thai and Latin family which has a modern appearance but features Thai's traditional looped letterforms.", + "primary_script": "Thai", + "article": null, + "minisite_url": null + }, + "Kablammo": { + "name": "Kablammo", + "designer": [ + "Vectro Type Foundry", + "Travis Kochel", + "Lizy Gershenzon", + "Daria Cohen", + "Ethan Cohen" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "emoji", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Kablammo is an experimental variable font, taking inspiration from maximalist curly doodad designs from the \u201990s, the Memphis Design movement, as well as cartoons and toys from those eras. Kablammo has one variable axis, Morph(MORF), which makes the glyphs dance. The decorative elements fly all over the place, along with shifting weight and contrast. This lends itself particularly well to animations. Each glyph has four primary states that be morphed between, and can be considered the most stable and considered forms. Each of these are accessible as instances (styles) in font menus that properly support variable fonts. This offers a quick alternative for accessing the alternate forms, and can be handy if you don\u2019t need all the variety, and in-between states of the full variable font. Kablammo was designed by Vectro Type Foundry and released in 2023. To contribute, please see github.com/Vectro-Type-Foundry/kablammo.", + "primary_script": null, + "article": null, + "minisite_url": "https://fonts.withgoogle.com/kablammo" + }, + "Kadwa": { + "name": "Kadwa", + "designer": [ + "Sol Matas" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "devanagari", + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Kadwa is a Devanagari typeface family designed by Sol Matas. It is based on the original Latin typeface Bitter, a slab serif typeface for text. People read and interact with text on screens more and more each day. What happens on screen ends up being more important than what comes out of the printer. With the accelerating popularity of electronic books, type designers are working hard to seek out the ideal designs for reading on screen. Motivated by Sol's love for the pixel she designed Bitter, and later Kadwa. A \"contemporary\" slab serif typeface for text, it is specially designed for comfortably reading on any computer or device. The robust design started from the austerity of the pixel grid, based on rational rather than emotional principles. It combines the large x-heights and legibility of the humanistic tradition with subtle characteristics in the characters that inject a certain rhythm to flowing texts. It has little variation in stroke weight and the Regular is darker than a typical typeface intended for use in print. This generates an intense color in paragraphs, accentuated by the serifs that are as thick as strokes, with square terminals. Each glyph is carefully designed with an excellent curve quality added to the first stage of the design, that was entirely made in a pixel grid. The typeface is balanced and manually spaced to use very few kerning pairs, especially important for web font use since most browsers do not currently support this feature. The Kadwa project is led by Sol Matas, a type designer based in Berlin, Germany. To contribute, see github.com/solmatas/Kadwa", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Kaisei Decol": { + "name": "Kaisei Decol", + "designer": [ + "Font-Kai" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Kaisei Decol is designed with the same element in Kanji, the little dot at the end of the stroke. When typesetted, because of this dot elements, it makes less stimulus to eyes and also gives a cute and fun impression. Best suited for a short sentence, preferably title. Good to use together with Kaisei Opti. To contribute to the project, visit https://github.com/FontKai-Kaisei/Kaisei", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "Kaisei HarunoUmi": { + "name": "Kaisei HarunoUmi", + "designer": [ + "Font-Kai" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Kaisei Haru No Umi's Kana is an organic wavy design that gives natural and friendly look. Katakana is designed slightly smaller to give more old-style typesetting impression. Better when set in text size. To contribute to the project, visit https://github.com/FontKai-Kaisei/Kaisei", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "Kaisei Opti": { + "name": "Kaisei Opti", + "designer": [ + "Font-Kai" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Kaisei Opti is a modern style Japanese typeface. When typesetted, it gives a cheerful and breezy impression. To contribute to the project, visit https://github.com/FontKai-Kaisei/Kaisei", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "Kaisei Tokumin": { + "name": "Kaisei Tokumin", + "designer": [ + "Font-Kai" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Kaisei Tokumin is a shorten word for Tokudai Mincho Kana, meaning \"Extra Bold Serif Kana,\" intended for the strong title usage. Extra bold typefaces sometimes become unbalanced when having heavier density in the glyph, and loses the breathe of words. Kaisei Tokumin is designed to keep the legibility and still have power as an extra bold typeface. To contribute to the project, visit https://github.com/FontKai-Kaisei/Kaisei", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "Kalam": { + "name": "Kalam", + "designer": [ + "Indian Type Foundry" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Kalam is a handwriting-style typeface supporting the Devanagari and Latin scripts. This is an Open Source font family first published by the Indian Type Foundry in 2014. Even though Kalam's letterforms derive from handwriting, the fonts have each been optimised for text on screen. All in all, the typeface is a design that feels very personal. Like many informal handwriting-style fonts, it appears rather fresh and new when seen on screen or printed on the page. Kalam's letterforms feature a very steep slant from the top right to the bottom left. They are similar to letters used in everyday handwriting, and look like they might have been written with either a thin felt-tip pen, or a ball-point pen. In the Devanagari letterforms, the knotted-terminals are open, but some other counter forms are closed. Features like these strengthen the feeling that text set in this typeface has been written very quickly, in a rapid manner. Kalam is available in three weights: Light, Regular and Bold. Each font contains 1,025 glyphs, which includes many unique Devanagari conjuncts. These ensure full support for the major languages written with the Devanagari script. The Latin component's character set is a basic western one, which enables typesetting in English and the other Western European languages. Lipi Raval and Jonny Pinhorn developed the family for ITF; Raval designed the Devanagari component while she and Pinhorn worked together on the Latin. The Kalam project is led by Indian Type Foundry, a type design foundry based in Ahmedabad, India. To contribute, see github.com/itfoundry/kalam Updated July 2015: Updated to v2.001 with improved OpenType features.", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Kalnia": { + "name": "Kalnia", + "designer": [ + "Frida Medrano" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "math" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "Kalnia is a variable font with weight and width axes designed with high contrast and refined terminals, drawing inspiration from the Victorian era. This historical period marked a transition from manual to machine production, and the 'fat face' style emerged\u2014a bold and attention-grabbing typography used for poster headlines to stand out from traditional typefaces. Kalnia embodies the delicate and the boldness, bridging the gap between the old and the new. This display font family comprises a total of eight styles, making it a versatile choice for poster headlines and expressive design projects. To contribute, see github.com/fridamedrano/Kalnia-Typeface", + "minisite_url": null + }, + "Kalnia Glaze": { + "name": "Kalnia Glaze", + "designer": [ + "Frida Medrano" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "Kalnia Glaze is the color font version of Kalnia Typeface also available at Google Fonts. Inspired by the Victorian era, Kalnia Glaze features high contrast and refined terminals. Much like the Victorian Sash windows that were meticulously glazed to capture a timeless charm, Kalnia Glaze takes the essence of this historical craftsmanship into its letterforms. It incorporate their structural elegance, volume, and lighting nuances, to enhance the original structure of Kalnia typeface with added complexity and decoration. To contribute, see github.com/fridamedrano/Kalnia-Glaze. Step into the World of Color. A new gradient variable font to take the most out of the COLRv1 format Kalnia Glaze is a new typeface commissioned by Google Fonts, that experiments with the new color font technology in variable fonts, inviting you to step into a world of color and add vibrancy and depth to your projects. Kalnia Glaze is the result of an broad exploration of the latest COLRv1 format and it's integration with the variable font technology. The objective was not only to create a complex layered design to explore the possibilities of the format but also to streamline and expedite the process, minimizing the need for manual adjustments through software and emphasizing the automation of processes using paintcompiler, a program by Simon Cozens. COLRv1 is the latest version of the color font format combining transparency, gradients, and variable font technology. As one of the advantages of the format, it's possible to change the color palettes in code. Kalnia Glaze is designed for both light and dark modes color palettes, with easily accessible palettes through CSS. CSS also offers easy and powerful customization options using the \"override-colors\" property This font uses the COLRv1 and CPAL tables. Please visit the gf-guide color page to learn more about Color Fonts technology. Kalnia Glaze also has four main icons with the option of using them solo or with a frame.", + "minisite_url": "https://www.fridamedrano.com/kalniaglaze" + }, + "Kameron": { + "name": "Kameron", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SLAB_SERIF", + "classifications": [], + "description": "Kameron is a reworking and fusing of several classic Slab Serif and Egyptian type forms from the early to mid Twentieth Century. The September 2023 update features a bigger glyphset, some minor aesthetic modifications and a variable replacement. To contribute, see github.com/googlefonts/kameronFont.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Kanchenjunga": { + "name": "Kanchenjunga", + "designer": [ + "Becca Hirsbrunner Spalinger" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "kirat-rai", + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Krai", + "article": "The Kirat Rai script is used to write the Bantawa language in the Sikkim state of India. Kanchenjunga is the first Unicode font family for this script of South Asia and The Kirat Rai script was officially encoded in the Unicode Standard version 16.0. The font is named after the third highest mountain in the world, located on the border between Sikkim state in northeast India and eastern Nepal. This peak represents the geographical distribution of the Bantawa language. The design of the font is loosely based on the handwriting style of Kirat Rai which was used in some of the early reading primers for Kirat Rai. Kirat Rai script is also called \u201cKhambu Rai Lipi\u201d in West Bengal. This font was developed by SIL, and you can learn more about it at software.sil.org/kanchenjunga. To contribute, see github.com/silnrsi/font-kanchenjunga.", + "minisite_url": null + }, + "Kanit": { + "name": "Kanit", + "designer": [ + "Cadson Demak" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "thai", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Kanit means mathematics in Thai, and the Kanit typeface family is a formal Loopless Thai and Sans Latin design. It is a combination of concepts, mixing a Humanist Sans Serif motif with the curves of Capsulated Geometric styles that makes it suitable for various uses, contemporary and futuristic. A notable detail is that the stroke terminals have flat angles, which allows the design to enjoy decreased spacing between letters while preserving readability and legibility at smaller point sizes. In Thai typeface design the formal loopless Thai typefaces have more simple forms than the conservative looped Thai designs, and this simplification has to be done properly in order to preserve the essential character of each letter. Sizes and positions of vowels and tone marks need to be managed carefully because they are all relevant to readability, legibility, and overall textures. When designing Kanit, special care was taken with some groups of letters such as \u0e01 \u0e16 \u0e20 \u0e24 \u0e26, \u0e0e \u0e0f, \u0e1a \u0e1b, and \u0e02 \u0e0a to ensure they are distinct and legible, because it might lead to confusion if each glyph is not clear enough. Kanit is the first Thai font family to be hinted with TTFAutohint, an easy-to-use hinting tool that is highly recommended. The Kanit project is led by Cadson Demak, a type foundry in Thailand. To contribute, see github.com/cadsondemak/kanit", + "primary_script": "Thai", + "article": null, + "minisite_url": null + }, + "Kantumruy": { + "name": "Kantumruy", + "designer": [ + "Tep Sovichet" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "khmer" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "The Kantumruy fonts are designed in three styles (Light, Regular and Bold) and are made for the Khmer script, the national language of Cambodia. It works well for both text and posters, on websites and in print. Kantumruy is designed by Tep Sovichet.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Kantumruy Pro": { + "name": "Kantumruy Pro", + "designer": [ + "Tep Sovichet", + "Wei Huang" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "khmer", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Kantumruy Pro is a newly redrawn design of the first Kantumruy (published in 2013) which is a modern display Khmer typeface that is being used by small and big brands in Cambodia, as well as many non-profit organizations for their visual identities. In the new version, the design direction mostly remains the same, however, there are major changes in vertical metrics and proportions, some letterforms, and the Italic set is also included. The Latin set in Kantumruy Pro is from Work Sans, with modified width and weight. To contribute, see github.com/sovichet/kantumruy-pro", + "primary_script": "Khmr", + "article": null, + "minisite_url": null + }, + "Kapakana": { + "name": "Kapakana", + "designer": [ + "Kousuke Nagai" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "japanese", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Kapakana is a Kana typeface designed with the concept of a copperplate script, including Hiragana, Katakana, and Latin glyphs (for pinyin use). It is a two weight font and available both as static instances and as a variable font. To contribute to the project, visit github.com/nagamaki008/kapakana", + "primary_script": "Hira", + "article": null, + "minisite_url": null + }, + "Karantina": { + "name": "Karantina", + "designer": [ + "Rony Koch" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "hebrew", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Karantina is a Hebrew and Latin typeface family. It was created by Rony Koch during the long days of COVID-19 quarantine. Karantina is a three weight family that includes - Light, Regular and Bold. To contribute, see github.com/ronykoch/Karantina", + "primary_script": "Hebr", + "article": null, + "minisite_url": null + }, + "Karla": { + "name": "Karla", + "designer": [ + "Jonny Pinhorn" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Karla is a grotesque sans serif family which has been expanded now to a variable font with a weight axis ranging from ExtraLight to ExtraBold plus full support of Western, Central, and South-Eastern European languages. To contribute, see github.com/googlefonts/karla.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Karla Tamil Inclined": { + "name": "Karla Tamil Inclined", + "designer": [ + "Jonathan Pinhorn" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "tamil" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Karla is a grotesque sans serif typeface family that supports languages that use the Latin script and the Tamil script. This is the Tamil script part of the family, with Inclined styles in two weights, Regular and Bold. The Latin part is available from the Karla specimen page. Karla Tamil does not currently work on iPhones and iPads, because iOS doesn't render OpenType Layout shaping, only AAT shaping. Mac OS X, Windows and GNU+Linux all render OpenType Layout shaping. These Tamil fonts do not have AAT shaping, so they won't render correctly, but the iOS system font does. To contribute to the project contact Jonathan Pinhorn.", + "primary_script": "Taml", + "article": null, + "minisite_url": null + }, + "Karla Tamil Upright": { + "name": "Karla Tamil Upright", + "designer": [ + "Jonathan Pinhorn" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "tamil" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Karla is a grotesque sans serif typeface family that supports languages that use the Latin script and the Tamil script. This is the Tamil script part of the family, with Upright styles in two weights, Regular and Bold. The Latin part is available from the Karla specimen page. Karla Tamil does not currently work on iPhones and iPads, because iOS doesn't render OpenType Layout shaping, only AAT shaping. Mac OS X, Windows and GNU+Linux all render OpenType Layout shaping. These Tamil fonts do not have AAT shaping, so they won't render correctly, but the iOS system font does. To contribute to the project contact Jonathan Pinhorn.", + "primary_script": "Taml", + "article": null, + "minisite_url": null + }, + "Karma": { + "name": "Karma", + "designer": [ + "Indian Type Foundry" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Karma is an Open Source multi-script typeface supporting both the Devanagari and the Latin script. The family was developed for use in body text on screen, and five fonts are available. The characters for both scripts feature a construction style that tends toward the monolinear. The Latin script component has serif letters. Both these, and the stroke terminals in the Devanagari letterforms are generally rounded in Karma\u2019s design. Karma\u2019s characters are economic in width, and the Latin sports a tall x-height. Although the knotted terminals in the Devanagari letterforms are closed, the general feeling of the Devanagari character set is open and airy. See the design of the \u0916 (kha), \u091b (cha) and \u0927 (dha), for example. Joana Correia designed Karma for the Indian Type Foundry, who first published the fonts in 2014.", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Katibeh": { + "name": "Katibeh", + "designer": [ + "KB Studio" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "arabic", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Katibeh is a headline font based on the Naskh script, infused with some qualities of the Thuluth script. The small serif-like outstrokes make Katibeh remind us of archaic designs, but other aspects of the design are very contemporary touches. The result is something between tradition and today. Katibeh has ligatures that Arabic and Persian readers are familiar with, to make it comfortable for reading longer texts. Unlike many other Arabic fonts, Katibeh includes a Latin typeface designed for harmony with the Arabic to make it useful for multilingual texts. The Latin is scaled to work best with the Arabic component. The Katibeh project is led by KB Studio, a design studio in Los Angeles. To contribute, see github.com/Tarobish/Katibeh", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Kaushan Script": { + "name": "Kaushan Script", + "designer": [ + "Impallari Type" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "When making digital typefaces, the more you refine the shapes of the letters, the more energy you take away from them. Because of that, Kaushan Script is unrefined - and carries a lot of energy. By avoiding typographical perfection, it stays more natural. The angles of the vertical strokes vary a little, and the positioning along the baseline jumps around, giving it a more rustic and natural feeling. Most script fonts have long ascenders and descenders, and this means they look too small when used at normal sizes on the web. This font is optimized in such details to be very readable as a web font, even when used as small as 16 px. It was funded by people like you, via Kickstarter. Special thanks to the project backers! The name \"Kaushan\" was suggested by Vyacheslav Kaushan, one of the project backers.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Kavivanar": { + "name": "Kavivanar", + "designer": [ + "Tharique Azeez" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "tamil" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Kavivanar is a unique handwriting font that supports the Tamil and Latin scripts. It is somewhat bold, and slightly slanted, a typical Tamil handwriting style where an incline is popular. The letterforms show a calligraphic pen stress that brings an aliveliness to the letters, and provides texture in body text settings. It works well with both body text and display text because of the intriguing rhythm. The slanted letterforms for Tamil are inspired from a manuscript by Kavivanar M. A. Azeez (1948-2002), a Tamil poet and educator who lived in the east coast of Sri Lanka. The Kavivanar project is led by Tharique Azeez, a type designer based in Sri Lanka. To contribute, see github.com/enathu/kavivanar", + "primary_script": "Taml", + "article": null, + "minisite_url": null + }, + "Kavoon": { + "name": "Kavoon", + "designer": [ + "Viktoriya Grabowska" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Foundry: Sorkin Type Co Kavoon is a display face based on experiments with brush and ink. Kavoon's expressive features make words vivid and powerfully draw the reader in. Kavoon may be used from medium to large sizes. To contribute to the project, visit github.com/EbenSorkin/Kavoon Updated: February 2016, to v1.004 with additional language support, improved hinting, and other minor fixes.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Kay Pho Du": { + "name": "Kay Pho Du", + "designer": [ + "SIL International" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "kayah-li", + "latin", + "latin-ext" + ], + "stroke": "SLAB_SERIF", + "classifications": [], + "description": "Kay Pho Du is a font family for the Kayah Li script, based initially on the design of Karenni, although the glyphs have been redrawn and a new Latin set has been added. It supports the full Kayah Li range of Unicode characters. To contribute, please see github.com/silnrsi/font-kayphodu.", + "primary_script": "Kali", + "article": null, + "minisite_url": null + }, + "Kdam Thmor": { + "name": "Kdam Thmor", + "designer": [ + "Tep Sovichet" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "khmer" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Kdam Thmor is a display face based on the writing style of a brush used on a wall. It is designed for Khmer Unicode text. Kdam Thmor has an edgy style, a medium size and is suitable for headings and large typography. Kdam Thmor is designed by Tep Sovichet.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Kdam Thmor Pro": { + "name": "Kdam Thmor Pro", + "designer": [ + "Tep Sovichet", + "Hak Longdey" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "khmer", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Kdam Thmor Pro is a revised design of \"Kdam Thmor\" which is one of Sovichet Tep's typefaces designed and published back in 2013 on Google Fonts. Kdam Thmor Pro is a modern display Khmer typeface based on the writing style of a brush used on a wall. It has an edgy style, a medium size and is suitable for headings and large typography. Gemunu Libre's Latin is used as the Latin counterpart in the project. To contribute, see github.com/sovichet/kdam-thmor-pro", + "primary_script": "Khmr", + "article": null, + "minisite_url": null + }, + "Keania One": { + "name": "Keania One", + "designer": [ + "Julia Petretta" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Keania is a re-development of Kenia. As a stencil font its idea stems from experiences of travel and life in Kenya, especially from the large lettering seen on shop fronts and market stands. The shapes play with sharp and soft corners and create a rhythmic pattern of black and white. This font is great for magazine headings, adverts and sporty content. To contribute to the project contact Julia Petretta.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Kelly Slab": { + "name": "Kelly Slab", + "designer": [ + "Denis Masharov" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Kelly Slab is a new geometric, modern-looking slab-serif font. Created under the influence of popular geometric fonts from the 1930s with square slabserifs, such as \"City\" by Georg Trump. It is designed for attention and impact in advertising, headings, major labels and logotypes. It can also work well in larger point size text blocks. Its unusual shapes provide an interesting rhythm to the textline, a distinctive, rectangular design that can give a sporty, urban feeling.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Kenia": { + "name": "Kenia", + "designer": [ + "Julia Petretta" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Inspired by travel and my stay in Kenya, I would fill my days with sketches and lettering. From there Kenia evolved as a stencil display font. With its text appearance in small point sizes resembling an old German gothic sort of font, modern-feel Kenia works for headlines, introductory paragraphs, and in small text setting. Its playful and friendly character makes it suitable for happy typography in magazines, blogs, online games and other on-screen and print-based text.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Khand": { + "name": "Khand", + "designer": [ + "Indian Type Foundry" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Khand is a family of compact mono-linear fonts with very open counter forms. Developed for display typography, the family is primarily intended for headline usage. Its letterforms are dynamic, and everything is designed according to a modular system. All of its shapes bear a strong commonality to one another, but the typeface strikes a good balancing act and avoids too much repetitiveness. The lighter styles are suitable for short paragraphs of running text, while the heavier styles have been optimized for headlines or single word settings. The base character height in the Khand fonts is \u2018big on the body.\u2019 Across a line of text, the consonantal forms take up the majority of vertical space. Vowel marks above and below have been shortened \u2013 keeping these to a minimum allows for lines of text to be set more closely together vertically. The reduction of interlinear space is paramount for successful headline typesetting, and Khand performs much better in display applications than similar fonts with more elongated vowel marks. Because of their reduced height, the typeface\u2019s vowel mark forms have been simplified somewhat out of necessity, but this stylistic reduction is in-keeping with the modular feeling of the typeface\u2019s overall design. Dot-shaped marks appear rounded in order to help maintain their differentiation from other marks. Khand\u2019s Devanagari component was designed by Sanchit Sawaria and Jyotish Sonowal. The Latin component was designed by Satya Rajpurohit. To contribute, see github.com/itfoundry/khand", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Khmer": { + "name": "Khmer", + "designer": [ + "Danh Hong" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "khmer" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "The Khmer fonts are designed for readable and beautiful rendering of text in the Khmer script, the national language of Cambodia. The designer, Danh Hong, has many years of experience creating fonts for Khmer and other Southeast Asian languages, and is actively involved in the KhmerOS project, dedicated to a vision where Cambodians can learn and use computers in their own language.", + "primary_script": "Khmr", + "article": null, + "minisite_url": null + }, + "Khula": { + "name": "Khula", + "designer": [ + "Erin McLaughlin" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Khula (\u0916\u0941\u0932\u093e) is a contemporary text Devanagari typeface family designed by Erin McLaughlin as a compliment to Open Sans, a Latin family designed by Steve Matteson. Currently it has 5 weights and supports Hindi. Thank you to Dave Crossland, Liang Hai, Vaishnavi Murthy, Sarang Kulkarni, Pablo Impallari, and all of the other Google Web Fonts contributors for your help with this project. Continued thanks to Fiona Ross and Tobias Frere-Jones for your guidance and training. Thanks to Miguel Sousa, Tal Leming, the RoboFont team, and the other font tool-makers who made this possible. Thank you to AM, Cailin, and my family for their support. This project is led by Erin McLaughlin, a type designed based in Wichita, USA. To contribute, see Khula on GitHub.", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Kings": { + "name": "Kings", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Imagine a damsel in distress. The only hope is for the Kings Knights to rescue her from certain death. Kings Family is based on the three set font family (Kings Honor, Kings Quest and Kings Dominion). Combined to make a pro font, use this blackletter font with enchantment. To contribute, see github.com/googlefonts/kings.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Kirang Haerang": { + "name": "Kirang Haerang", + "designer": [ + "Woowahan Brothers" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "korean", + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Kirang Haerang is a Korean and Latin font", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "Kite One": { + "name": "Kite One", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Kite One is a rounded, monoline, humanist sans serif typeface. With an inclination of 7 degrees, it gives a fluid reading experience. Long ascenders and descenders, soft shapes, open counterforms and soft terminals, make Kite One a typeface that is very suitable for long texts, especially those associated with the natural world or children\u2019s tales. The February 2023 update features a bigger glyphset, fractions and some minor aesthetic modifications. To contribute, see github.com/etunni/Kite-One.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Kiwi Maru": { + "name": "Kiwi Maru", + "designer": [ + "Hiroki-Chan" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Kiwi Maru was created mainly for use in digital devices, and I hope you will use it experimentally in your papers and reports. The basic vocabulary of the Japanese language is divided into three categories: \"everyday words\", which are used freely in everyday conversation, articles and novels, \"written words\", which are used in official situations and sentences, and \"slang\", which is more informal in style. Kiwi Maru Regular is a typeface for visualization and sharing of everyday and slang expressions in the digital age. Nowadays, in 2020, Mincho and Gothic typefaces are exclusively used in smart phones, tablets and PC environment. We hope that the introduction of a round font will change the way people express their emotions and feelings, which have been missing from the analog and digital worlds, and the painful feeling of having too many Chinese characters in a font. There are three weights, L, R and M. These vary only slightly in weight as we wanted to provide you with the ability to account for the difference in weight between different OS, browsers, and devices. To contribute to the project, visit github.com/Kiwi-KawagotoKajiru/Kiwi-Maru", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "Klee One": { + "name": "Klee One", + "designer": [ + "Fontworks Inc." + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "cyrillic", + "greek-ext", + "japanese", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Klee is a script font handwritten by pencil or pen. Its quiet design has an elegant look that sets itself apart from traditional script and textbook fonts. Ideal for body text. To contribute to the project, visit github.com/fontworks-fonts/Klee", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "Knewave": { + "name": "Knewave", + "designer": [ + "Tyler Finck" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Knewave is a new font by Tyler Finck.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "KoHo": { + "name": "KoHo", + "designer": [ + "Cadson Demak" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "thai", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "KoHo is a Thai and Latin family inspired by geometric and humanist san serifs. The letterforms appear neither too mechanical or too calligraphic. Such a juxtaposition has resulted in a unique family which works well for both text and display purposes.", + "primary_script": "Thai", + "article": null, + "minisite_url": null + }, + "Kodchasan": { + "name": "Kodchasan", + "designer": [ + "Cadson Demak" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "thai", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Kodchasan is a Thai and Latin family inspired by teenage handwriting. It has a casual appearance which works well for content aimed at adolescents.", + "primary_script": "Thai", + "article": null, + "minisite_url": null + }, + "Kode Mono": { + "name": "Kode Mono", + "designer": [ + "Isa Ozler" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "monospace" + ], + "description": "A custom-designed typeface explicitly created for the developer community. This typeface is designed to enhance the user experience and reflect our principles of functionality and timelessness. To contribute, see github.com/isaozler/kode-mono.", + "primary_script": null, + "article": null, + "minisite_url": "https://kodemono.com" + }, + "Koh Santepheap": { + "name": "Koh Santepheap", + "designer": [ + "Danh Hong" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "khmer", + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Koh Santepheap is a Khmer font for body text, that pairs well with Latin serif fonts and for bilingual (English - Khmer) text. To contribute, see github.com/danhhong/KohSantepheap.", + "primary_script": "Khmr", + "article": null, + "minisite_url": null + }, + "Kolker Brush": { + "name": "Kolker Brush", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Kolker Brush is a weighty hand lettered brush script. As with any script, it is never recommended to use all caps when editing copy. Use Kolker Brush for situations that require a bit of punch. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/kolker-brush.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Konkhmer Sleokchher": { + "name": "Konkhmer Sleokchher", + "designer": [ + "Suon May Sophanith" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "khmer", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Konkhmer Sleokchher is created and released in 2015 by Suon May Sophanith. It is a modern display Khmer font, inspired by the brush strokes used for writing on walls, but expressed as leaves. With a medium size, it is ideal for use as headings or in large typography. To contribute, see github.com/suonmaysophanith7/KonKhmer_SleokChher.", + "primary_script": "Khmr", + "article": null, + "minisite_url": null + }, + "Kosugi": { + "name": "Kosugi", + "designer": [ + "MOTOYA" + ], + "license": "apache2", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Kosugi is a Gothic design, with low stroke contrast and monospaced metrics. Initially developed by MOTOYA and released for the Android platform under the Apache license, the typeface is based on a design from the 1950s. It aims for beauty and readability, and evokes the Japanese cedar trees that have straight and thick trunks and branches. Originally available as \"MotoyaLCedar W3 mono\", it is now available under the name Kosugi. A Rounded version is available as Kosugi Maru.", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "Kosugi Maru": { + "name": "Kosugi Maru", + "designer": [ + "MOTOYA" + ], + "license": "apache2", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Kosugi Maru is a Gothic Rounded design, with low stroke contrast and monospaced metrics, and rounded terminals. Initially developed by MOTOYA and released for the Android platform under the Apache license, the typeface is based on a design from the 1950s. It aims for beauty and readability, and evokes the Japanese cedar trees that have straight and thick trunks and branches. Originally available as \"MotoyaLMaru W3 mono\", it is now available under the name Kosugi Maru. A regular gothic version is available as Kosugi.", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "Kotta One": { + "name": "Kotta One", + "designer": [ + "Ania Kruk" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Kotta One is a new and unusual text typeface that mixes the characteristics of an italic with legibility of a roman. Kotta uses a true calligraphic construction, with a structure based on a real italic hand, not simple mechanical slanted forms. Like Renaissance typefaces it is an independent style, not merely an accompaniment for a roman. Kotta One is also a modern style, angular and geometric, exploring the ideas of American typographer Williams Addison Dwiggins and his M-Formula. Sharp lines and strong horizontal strokes give it a rhythm that reads well in long texts.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Koulen": { + "name": "Koulen", + "designer": [ + "Danh Hong" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "khmer", + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Koulen is a Khmer font for headlines, titles and subtitles, and even banner designs. To contribute, see github.com/danhhong/Koulen.", + "primary_script": "Khmr", + "article": null, + "minisite_url": null + }, + "Kranky": { + "name": "Kranky", + "designer": [ + "Sideshow" + ], + "license": "apache2", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Kranky is a hand-crafted, fun-filled font.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Kreon": { + "name": "Kreon", + "designer": [ + "Julia Petretta" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Kreon targets text typesetting for magazines and news sites. With a slight slab-serif look and the low contrast design, it is a sturdy typeface for your website, blog or online magazine. Its friendly feel will soon be accompanied by a sans serif as well as italics. Enjoy.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Kristi": { + "name": "Kristi", + "designer": [ + "Birgit Pulk" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Kristi is a calligraphy font inspired by old chancery typefaces. It is made with a basic felt-pen by using bold and quick moves while writing. The name of the font is a common Estonian girls name. The most distinctive characteristics of this type are tall ascenders and descenders, slim vertical lines and little twists like the letter \"g\" in the text. Kristi can be used large size, for example as in logotype or headlines.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Krona One": { + "name": "Krona One", + "designer": [ + "Yvonne Sch\u00fcttler" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Foundry: Sorkin Type Co Krona is a low contrast semi-extended style sans serif. Krona is both readable and full of personality. Krona can be used from small sizes to larger display settings. Krona was inspired by hand lettering on early 20th century Swedish posters. Source files are available from Google Code. To contribute to the project contact Eben Sorkin.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Krub": { + "name": "Krub", + "designer": [ + "Cadson Demak" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "thai", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Krub is a Thai and Latin text face with a twist. It uses the modern structure of Thai's traditional looped letterforms and blends it seamlessly with elements taken from the metal type era. It's one of the most popular choices among graphic designers who are looking for a less dusty traditional Thai typeface.", + "primary_script": "Thai", + "article": null, + "minisite_url": null + }, + "Kufam": { + "name": "Kufam", + "designer": [ + "Original Type", + "Wael Morcos", + "Artur Schmal" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "arabic", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Kufam is an Arabic-Latin bilingual typeface intended for contemporary information design such as signage and wayfinding systems. Kufam Arabic is inspired by 7th-century Kufi inscriptions. The dark, condensed shapes of this early Kufi script also served as an inspiration for Kufam's Latin lowercase, as where the Latin capitals find their roots in lettering as frequently seen in signage and shop lettering in Amsterdam at the beginning of the twentieth century. All these inspirations from sources in different periods in history of the Arabic and Latin world cumulate in a contemporary, legible and aesthetically rich design for use across different media. Kufam Arabic is designed by Wael Morcos and Kufam Latin by Artur Schmal and originally conceived within the framework of The Khatt Foundations\u2019 Typographic Matchmaking in the City project. To contribute or to read more about the design and history of Kufam, see github.com/originaltype/kufam.", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Kulim Park": { + "name": "Kulim Park", + "designer": [ + "Dale Sattler" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Kulim Park is a sans serif typeface, with high x-height, open counter 'a', minimal degrees of contrast in stem width, inviting bowls and a design language aimed at encapsulating openness. This typeface is the result of an exploration of how a local park redevelopment can inform a typographic design. The Kulim Park project is led by Dale Sattler, a type designer based in New Zealand. To contribute, see github.com/noponies/Kulim-Park", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Kumar One": { + "name": "Kumar One", + "designer": [ + "Indian Type Foundry" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "gujarati", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Kumar is a series of matching Open Source display fonts. They each support the Gujarati and Latin scripts. The two Kumar fonts may be used together, or entirely on their own. Kumar One Outline is a vertical-contrast design, in which both the downstrokes as well as the left and right-hand sides of each letterform are built up out of two parallel lines and the whites space in-between them. The upstrokes and typeface\u2019s horizontals are just thin, single lines. Kumar One itself fills in all of the thicker empty spaces in the downstrokes/horizontals, offering letterforms that are very dark and full of contrast. The Kumar design is made entirely out of straight lines; all elements that would usually be drawn with soft curves are faceted, built up out of several shorter straightened-out elements. Text in either Kumar font shimmers like a jewel; the effect of both fonts is quite decorative. The Gujarati and Latin script components are scaled in relation to each other so that the Gujarati base characters are 85% as tall as the Latin uppercase. Text set in the Gujarati script sits nicely alongside the Latin lowercase, too. Kumar\u2019s Gujarati vowel marks are all single-line, rather than double-line. Indeed, Kumar\u2019s Gujarati is a very unique design; there are simply no other options like it currently available! Each of the Kumar fonts has 870 glyphs, including hundreds of unique Gujarati conjuncts. The Latin component\u2019s character set is an extended one, which enables typesetting in English and the other Western, Central, and Eastern European languages. Parimal Parmar designed Kumar for Indian Type Foundry in 2016. The Kumar project is led by Indian Type Foundry, a type design foundry based in Ahmedabad, India. To contribute, see github.com/itfoundry/kumar", + "primary_script": "Gujr", + "article": null, + "minisite_url": null + }, + "Kumar One Outline": { + "name": "Kumar One Outline", + "designer": [ + "Indian Type Foundry" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "gujarati", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Kumbh Sans": { + "name": "Kumbh Sans", + "designer": [ + "Saurabh Sharma" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Kumbh Sans is a Geometric Sans Serif font envisioned to serve as a multi-purpose and workhorse font in modern web and mobile applications. The anatomy is geometric with slight contrast. The font's cap-height vs x-height ratio is kept as 3:2 for optimum legibility at any point size. After initial release in three weights, the typeface has been converted into a variable font in June 2021 with a weight axis (100 to 900). To contribute, see github.com/xconsau/KumbhSans", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Kurale": { + "name": "Kurale", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Kurale is a Latin, Cyrillic and Devanagari typeface derived from Gabriela. The Latin and Cyrillic serif typeface with soft shapes, and special terminal forms which are shaped like curls. They connect each letter to create attractive word shapes and text blocks with a fine texture. The Devanagari is a modulated design that harmonises with the Latin original. In small bodies of text it works well for reading, and in headlines provides interesting details to catch the eye. This project is led by Eduardo Tunni, a type designer based in Buenos Aires. To contribute, see github.com/etunni/kurale", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "LXGW Marker Gothic": { + "name": "LXGW Marker Gothic", + "designer": [ + "LXGW" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "chinese-traditional", + "cyrillic", + "cyrillic-ext", + "greek", + "latin", + "latin-ext", + "symbols2", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Hant", + "article": "Marker Gothic is a Chinese adaptation of the Japanese font \"Tanugo\". The design is intended to be easy to use and easy to read, with a fun, cute character. It contains over 13,000 characters intended to cover the display needs of daily use for traditional and simplified Chinese applications. To contribute, see github.com/lxgw/LxgwMarkerGothic.", + "minisite_url": null + }, + "LXGW WenKai Mono TC": { + "name": "LXGW WenKai Mono TC", + "designer": [ + "LXGW" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "chinese-traditional", + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext", + "lisu", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "monospace" + ], + "description": null, + "primary_script": "Hant", + "article": "This project is the Traditional Chinese version of \"\u971e\u9da9\u6587\u6977\". Initially, it utilized AFDKO in conjunction with the legacy glyph shapes provided by the Zonz community to convert the characters contained in Klee One into old character forms, and supplemented the old version of \"\u971e\u9da9\u6587\u6977\" with modifications. Some components and characters were further manually modified. Subsequently, reference was made to the \"Inherited Glyph Standardization Documents\" from Yidianzifang to modify most components, making it more suitable for Traditional Chinese users and enthusiasts of legacy glyph forms. To contribute, see github.com/lxgw/LxgwWenkaiTC.", + "minisite_url": null + }, + "LXGW WenKai TC": { + "name": "LXGW WenKai TC", + "designer": [ + "LXGW" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "chinese-traditional", + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext", + "lisu", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": "Hant", + "article": "This project is the Traditional Chinese version of \"\u971e\u9da9\u6587\u6977\". Initially, it utilized AFDKO in conjunction with the legacy glyph shapes provided by the Zonz community to convert the characters contained in Klee One into old character forms, and supplemented the old version of \"\u971e\u9da9\u6587\u6977\" with modifications. Some components and characters were further manually modified. Subsequently, reference was made to the \"Inherited Glyph Standardization Documents\" from Yidianzifang to modify most components, making it more suitable for Traditional Chinese users and enthusiasts of legacy glyph forms. To contribute, see github.com/lxgw/LxgwWenkaiTC.", + "minisite_url": null + }, + "La Belle Aurore": { + "name": "La Belle Aurore", + "designer": [ + "Kimberly Geswein" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "This whimsical, romantic handwriting is inspired by the romance of Casablanca. It is not a true script, but has many curls and tendrils similar to a script font.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Labrada": { + "name": "Labrada", + "designer": [ + "Mercedes J\u00e1uregui", + "Omnibus-Type" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Labrada is a typeface family designed by Mercedes J\u00e1uregui that expresses the communicative richness of the conversations and discourses of the indigenous cultures of oral tradition, at the same time that it dialogues with the classic forms to function in immersive reading texts. This project began in the Master of Typeface Design, MT-UBA, at the Universidad of Buenos Aires, Argentina. To contribute, see github.com/Omnibus-Type/Labrada.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Lacquer": { + "name": "Lacquer", + "designer": [ + "Niki Polyocan", + "Eli Block" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Lacquer is an expressive display font featuring heavy drips and dozens of alternate glyphs. Lacquer was hand drawn using a paint pen by Niki Polyocan and was extrapolated and finished by Eli Block at Google Creative Lab. You can see all of Lacquer\u2019s glyphs on the font\u2019s web specimen. To contribute, see github.com/Lacquer-Font/Lacquer.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Laila": { + "name": "Laila", + "designer": [ + "Indian Type Foundry" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Laila is an informal sans serif design with brush terminals. It has a very contemporary, 21st century appearance. Text set in Laila appears friendly, or even cute! Laila looks especially good in headlines. It is a display typeface, but it may also be used to set shorter passages of text, too. Laila\u2019s Latin component has a high x-height and open counter forms. In terms of the thickness of its strokes, everything is mostly monolinear. The Devanagari component is even more fluid, appearing lively and graceful. The height is between the Latin x-height and capital height. The strokes thickness is a little lighter than in the Latin; in text blocks, texts set in each script will have similar color. Hitesh Malaviya designed the Devanagari, and the Latin is by Jonny Pinhorn. To contribute, see github.com/itfoundry/laila", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Lakki Reddy": { + "name": "Lakki Reddy", + "designer": [ + "Appaji Ambarisha Darbha" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "telugu" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Lakki Reddy is a Telugu display typeface, mainly suitable for headings, posters and decorative invitations. Use it anywhere you want to use a handwriting style to add informality and personality to your text. The Telugu is designed by Appaji Ambarisha Darbha in 2013 and made available by Silicon Andhra under the SIL Open Font License v1.1. The Latin is designed by Font Diner, a type foundry in the USA, and originally published as Irish Grover. The Lakki Reddy project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India. To contribute, see github.com/appajid/lakkireddy", + "primary_script": "Telu", + "article": null, + "minisite_url": null + }, + "Lalezar": { + "name": "Lalezar", + "designer": [ + "Borna Izadpanah" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "arabic", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Lalezar is an Arabic and Latin display typeface for popular culture. During the 1960s and 1970s a genre of filmmaking emerged in Iran which was commonly known as Film-Farsi. The main focus of the films produced in this period was on popular subjects such as romances, musicals and unrealistic heroic characters. The movie posters designed to represent these films were also intended to exaggerate these elements by the use of provocative imagery and a particular type of display lettering. These bold and dynamic letterforms were so popular and widely used that perhaps one can consider them the most significant component of film posters in that period. Lalezar is an attempt to revive the appealing qualities in this genre of lettering and transform them into a modern Arabic display typeface and a suitable Latin companion. Although the main inspiration comes from a style of lettering that was used to represent the Persian language, here the objective is to design a typeface that can be used for most of the languages that use the Arabic script for their written communication. The Lalezar project is led by Borna Izadpanah, a type designer based in London, UK. To contribute, see github.com/BornaIz/Lalezar", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Lancelot": { + "name": "Lancelot", + "designer": [ + "Marion Kadi" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Lancelot is a new ornate serif type based on French traditions. It has two sets of capitals, swash and classical.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Langar": { + "name": "Langar", + "designer": [ + "Typeland", + "Alessia Mazzarella" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "gurmukhi", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Langar is a one-weight Latin/Gurmukhi display font based on informal, playful letterforms. It broadly follows the \u2018upright-italic\u2019 style of Latin fonts, experimenting with and introducing a similar style for the Gurmukhi script. Langar\u2019s harmonised Latin/Gurmukhi design aims to expand the possibilities for both the general user and the specialised designer working with bilingual texts by providing a good quality display option. The design specifically caters to characterful display at larger sizes, providing a contrasting secondary style to most text typefaces generally available for Latin/Gurmukhi texts. To contribute, please see github.com/typeland/Langar.", + "primary_script": "Guru", + "article": null, + "minisite_url": null + }, + "Lateef": { + "name": "Lateef", + "designer": [ + "SIL International" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "arabic", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Lateef, an extended Arabic font, is named after Shah Abdul Lateef Bhitai, the famous Sindhi mystic and poet. It is intended to be an appropriate style for use in Sindhi and other languages of the South Asian region. The July 2022 update brings to the font six new styles: ExtraLight, Light, Medium, SemiBold, Bold, and ExtraBold. This font was developed by SIL, and you can learn more about it at scripts.sil.org/Lateef", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Lato": { + "name": "Lato", + "designer": [ + "\u0141ukasz Dziedzic" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Lato means \u201cSummer\u201d in Polish, and it is a sans serif typeface family started in the summer of 2010 by Warsaw-based designer \u0141ukasz Dziedzic. Originally conceived as part of a corporate identity for a large client, the family became available for a public release when they decided to go in different stylistic direction. \u0141ukasz tried to carefully balance some potentially conflicting priorities in the design; to create a typeface that seems \u201ctransparent\u201d when used in body text but also displays original traits in larger size use. Classical proportions, particularly in the uppercase, give the letterforms familiar harmony and elegance, and combine with a sleek treatement that feels contemporary without being trendy. Semi-rounded details feel warm, while the underlying structure provides stability and seriousness. \u201cSerious but friendly, with the feeling of the Summer,\u201d said \u0141ukasz. Learn more at latofonts.com", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Lavishly Yours": { + "name": "Lavishly Yours", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "One of the first fonts to use ornately embellished capital forms, Lavishly Yours is a charming calligraphic script. Its nearly upright style along with looped lowercase miniscules gives this font a fairly tale look. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/lavishly-yours.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "League Gothic": { + "name": "League Gothic", + "designer": [ + "Tyler Finck", + "Caroline Hadilaksono", + "Micah Rich" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "League Gothic is a revival of an old classic: Alternate Gothic. It was originally designed by Morris Fuller Bentonfor the American Type Founders Company in 1903. The League Of Moveable Type decided to make their own version, and contribute it to the Open Source Type Movement. Thanks to a commission from the fine & patient folks over at WND.com, it\u2019s been revised and updated with contributions from Micah Rich, Tyler Finck, Dannci and Mirko Velimirovic. To contribute, see github.com/sursly/league-gothic.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "League Script": { + "name": "League Script", + "designer": [ + "Haley Fiege" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "This ain\u2019t no Lucida. League Script is a modern, coquettish script font that sits somewhere between your high school girlfriend\u2019s love notes and handwritten letters from the \u201920s. Designed for the League of Moveable Type, it includes ligatures and will act as the framework for future script designs.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "League Spartan": { + "name": "League Spartan", + "designer": [ + "Matt Bailey", + "Tyler Finck" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "League Spartan is The League Of Moveable Type's interpretation of Matt Bailey's Spartan, a typeface based on early 20th century American geometric sans serifs. To contribute, see github.com/theleagueof/league-spartan.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Leckerli One": { + "name": "Leckerli One", + "designer": [ + "Gesine Todt" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Leckerli is your new fat friend for any display-fun! Its irregular brush shapes indulge you with their sweet character and cheering loops. It is also useful for shorter texts.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ledger": { + "name": "Ledger", + "designer": [ + "Denis Masharov" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "The austere and concise personality and flexibility make it a real multiple-purpose typeface. The letter forms are distinguished by a large x-height, sufficient stroke contrast, robust but elegant wedge-like serifs and terminals. These features have been specially designed to reach maximum of quality and readability when used in unfavorable print and display processes - such as in newspapers, laser printed documents and on low resolution screens. The typeface can be qualified as matched to modern trends of type design and of enhanced legibility. These characteristics provide an undeniable distinction to the typeface, making it suitable for editorial use in newspapers and magazines, corporate ID, advertising and display typography.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Lekton": { + "name": "Lekton", + "designer": [ + "ISIA Urbino" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "monospace" + ], + "description": "Lekton has been designed at ISIA Urbino, Italy, and is inspired by some of the typefaces used on the Olivetti typewriters. It was designed by: Paolo Mazzetti, Luciano Perondi, Raffaele Fla\u00f9to, Elena Papassissa, Emilio Macchia, Michela Povoleri, Tobias Seemiller, Riccardo Lorusso, Sabrina Campagna, Elisa Ansuini, Mariangela Di Pinto, Antonio Cavedoni, Marco Comastri, Luna Castroni, Stefano Faoro, Daniele Capo, and Jan Henrik Arnold. The typeface has been initially designed at ISIA Urbino by the students Luna Castroni, Stefano Faoro, Emilio Macchia, Elena Papassissa, Michela Povoleri, Tobias Seemiller, and the teacher Luciano Perondi (aka galacticus ineffabilis). This typeface has been designed in 8 hours, and was inspired by some of the typefaces used on the Olivetti typewriters. The glyphs are 'trispaced.' It means that the space are modular, 250, 500, 750, this allow a better spacing between characters, but allow also a vertical alignment similar to the one possible with a monospaced font. We were thinking it was a bright new idea, but we discovered that was usual for Olivetti typewriters working with 'Margherita.' Find out more at lektongroups.blogspot.co.uk. Updated in November 2012: As one of the earlier families published in Google Web Fonts, Lekton lacked proper subsetting, so this update introduces a default 'latin' subset that contains less characters but loads faster. To use the full character set, update your API link to include the latin-ext subset.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Lemon": { + "name": "Lemon", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Lemon is a display typeface with soft and fluid shapes that come from painted street shop signage. The dark weight is ideal for headlines and short texts, and a future release of a lighter weight could be useful for longer text. The uppercase letters are very carefully drawn, making an attractive and unique design for text in all caps, compound words in capital letters, and acronyms. The same dynamic is inherent in the lowercase and numbers! The March 2023 update features a bigger glyphset, fractions and some minor aesthetic modifications. To contribute, see github.com/etunni/lemon.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Lemonada": { + "name": "Lemonada", + "designer": [ + "Mohamed Gaber", + "Eduardo Tunni" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "arabic", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "handwriting" + ], + "description": "Lemonada is a modern Arabic and Latin typeface family designed by Mohamed Gaber and Eduardo Tunni. It started with the Latin design Lemon, which Eduardo Tunni expanded to four weights. The Arabic was designed by Mohamed Gaber. The Arabic design is contemporary, starting with Naskh and introducing influences of Diwani. It has wide and open counters that improve readability at smaller text sizes, while its more subtle details make it a great display face at larger sizes. Lemonada is currently available as a variable font with a weight axis, four static fonts (Light, Regular, SemiBold, Bold), and a wide character set that supports the Arabic, Farsi, and Urdu languages. The Lemonada project is led by Mohamed Gaber, a type designer based in Cairo, Egypt. To contribute, see github.com/Gue3bara/Lemonada", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Lexend": { + "name": "Lexend", + "designer": [ + "Bonnie Shaver-Troup", + "Thomas Jockin", + "Santiago Orozco", + "H\u00e9ctor G\u00f3mez", + "Superunion" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Lexend fonts are intended to reduce visual stress and so improve reading performance. Initially they were designed with dyslexia and struggling readers in mind, but Bonnie Shaver-Troup, creator of the Lexend project, soon found out that these fonts are also great for everyone else. The first set of Lexend fonts by Thomas Jockin ( Deca, Exa, Giga, Mega, Peta, Tera, Zetta) becomes wider and more openly spaced (also known as \"tracked out\"). This new version of Lexend is a variable font with a weight axis. Please note that the initial release of this font had a lighter Regular weight. It has been decided for the update of July 2021 to align the Regular weight with the one of Lexend Deca which is slightly bolder. Lexend and Lexend Deca are therefore the same (for now\u2026). Ultimately this version will offer a HyperExpansion axis which will allow variation of inner and outer space of letterforms. True to Bonnie\u2019s vision, Lexend fonts are freely available for all since 2019 in Google Fonts. To contribute, see github.com/googlefonts/lexend. For more information, see lexend.com. Clean and clear: making reading easier with Lexend A key factor in reading problems might be hiding in plain sight. Learn how changing fonts can change comprehension. A child struggles to read and understand their homework assignment. An adult re-reads a news article and still doesn\u2019t understand what it\u2019s about. Both readers end up frustrated and feeling like there is something wrong with them. Thankfully there might be a simple answer. Dr. Bonnie Shaver-Troup thinks fonts are part of the problem and the solution to many reading problems. \u201cWe have a global reading crisis and we can change much of it by delivering fonts that are optimized for the visual field and for the individual. The answer is hidden in plain sight. It\u2019s the font,\u201d said Shaver-Troup. Change the font, change the outcome While working as an educational therapist in Silicon Valley, Shaver-Troup helped students with dyslexia and other reading problems to learn to read. She experimented by changing the spacing between certain letters in their reading assignments, and found that it improved their reading and comprehension. According to Shaver-Troup, the issue wasn\u2019t in her students\u2019 minds, it was with the letterforms they saw on the screen or paper. \u201cThe majority of the reading problems, including dyslexia, are not cognitive or phonological. They are visual or perceptual. Our testing has a built-in design flaw. We use fonts to deliver text for reading that are too tight for efficient or successful visual processing. Then we get poor results, suggesting the reading issue is phonological or cognitive. If we change the font to the tested optimized font fit, then we change the outcome,\u201d she explained. To learn more, read: Clean and clear: making reading easier with Lexend (English) Partnering to change how the world reads (English) Eine Partnerschaft mit dem Ziel, das Leseerlebnis weltweit zu ver\u00e4ndern: Erweiterung von Lexend um verschiedene Schriftst\u00e4rken (German)", + "minisite_url": "https://www.lexend.com/" + }, + "Lexend Deca": { + "name": "Lexend Deca", + "designer": [ + "Bonnie Shaver-Troup", + "Thomas Jockin", + "Santiago Orozco", + "H\u00e9ctor G\u00f3mez", + "Superunion" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Lexend is a collection of seven font families intended to improve reading proficiency. As prescription eyeglasses achieve proficiency for persons with short-sightedness, Lexend's families were developed using Shaver-Troup Formulations. All the Lexend fonts have been upgraded to variable fonts with a weight axis (from Thin to Black) in June 2021, thanks to the efforts of Font Bureau. To contribute, see github.com/googlefonts/lexend. For more information, see lexend.com. Clean and clear: making reading easier with Lexend A key factor in reading problems might be hiding in plain sight. Learn how changing fonts can change comprehension. A child struggles to read and understand their homework assignment. An adult re-reads a news article and still doesn\u2019t understand what it\u2019s about. Both readers end up frustrated and feeling like there is something wrong with them. Thankfully there might be a simple answer. Dr. Bonnie Shaver-Troup thinks fonts are part of the problem and the solution to many reading problems. \u201cWe have a global reading crisis and we can change much of it by delivering fonts that are optimized for the visual field and for the individual. The answer is hidden in plain sight. It\u2019s the font,\u201d said Shaver-Troup. Change the font, change the outcome While working as an educational therapist in Silicon Valley, Shaver-Troup helped students with dyslexia and other reading problems to learn to read. She experimented by changing the spacing between certain letters in their reading assignments, and found that it improved their reading and comprehension. According to Shaver-Troup, the issue wasn\u2019t in her students\u2019 minds, it was with the letterforms they saw on the screen or paper. \u201cThe majority of the reading problems, including dyslexia, are not cognitive or phonological. They are visual or perceptual. Our testing has a built-in design flaw. We use fonts to deliver text for reading that are too tight for efficient or successful visual processing. Then we get poor results, suggesting the reading issue is phonological or cognitive. If we change the font to the tested optimized font fit, then we change the outcome,\u201d she explained. To learn more, read: Clean and clear: making reading easier with Lexend (English) Partnering to change how the world reads (English) Eine Partnerschaft mit dem Ziel, das Leseerlebnis weltweit zu ver\u00e4ndern: Erweiterung von Lexend um verschiedene Schriftst\u00e4rken (German)", + "minisite_url": null + }, + "Lexend Exa": { + "name": "Lexend Exa", + "designer": [ + "Bonnie Shaver-Troup", + "Thomas Jockin", + "Santiago Orozco", + "H\u00e9ctor G\u00f3mez", + "Superunion" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Lexend is a collection of seven font families intended to improve reading proficiency. As prescription eyeglasses achieve proficiency for persons with short-sightedness, Lexend's families were developed using Shaver-Troup Formulations. All the Lexend fonts have been upgraded to variable fonts with a weight axis (from Thin to Black) in June 2021, thanks to the efforts of Font Bureau. To contribute, see github.com/googlefonts/lexend. For more information, see lexend.com. Clean and clear: making reading easier with Lexend A key factor in reading problems might be hiding in plain sight. Learn how changing fonts can change comprehension. A child struggles to read and understand their homework assignment. An adult re-reads a news article and still doesn\u2019t understand what it\u2019s about. Both readers end up frustrated and feeling like there is something wrong with them. Thankfully there might be a simple answer. Dr. Bonnie Shaver-Troup thinks fonts are part of the problem and the solution to many reading problems. \u201cWe have a global reading crisis and we can change much of it by delivering fonts that are optimized for the visual field and for the individual. The answer is hidden in plain sight. It\u2019s the font,\u201d said Shaver-Troup. Change the font, change the outcome While working as an educational therapist in Silicon Valley, Shaver-Troup helped students with dyslexia and other reading problems to learn to read. She experimented by changing the spacing between certain letters in their reading assignments, and found that it improved their reading and comprehension. According to Shaver-Troup, the issue wasn\u2019t in her students\u2019 minds, it was with the letterforms they saw on the screen or paper. \u201cThe majority of the reading problems, including dyslexia, are not cognitive or phonological. They are visual or perceptual. Our testing has a built-in design flaw. We use fonts to deliver text for reading that are too tight for efficient or successful visual processing. Then we get poor results, suggesting the reading issue is phonological or cognitive. If we change the font to the tested optimized font fit, then we change the outcome,\u201d she explained. To learn more, read: Clean and clear: making reading easier with Lexend (English) Partnering to change how the world reads (English) Eine Partnerschaft mit dem Ziel, das Leseerlebnis weltweit zu ver\u00e4ndern: Erweiterung von Lexend um verschiedene Schriftst\u00e4rken (German)", + "minisite_url": null + }, + "Lexend Giga": { + "name": "Lexend Giga", + "designer": [ + "Bonnie Shaver-Troup", + "Thomas Jockin", + "Santiago Orozco", + "H\u00e9ctor G\u00f3mez", + "Superunion" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Lexend is a collection of seven font families intended to improve reading proficiency. As prescription eyeglasses achieve proficiency for persons with short-sightedness, Lexend's families were developed using Shaver-Troup Formulations. All the Lexend fonts have been upgraded to variable fonts with a weight axis (from Thin to Black) in June 2021, thanks to the efforts of Font Bureau. To contribute, see github.com/googlefonts/lexend. For more information, see lexend.com. Clean and clear: making reading easier with Lexend A key factor in reading problems might be hiding in plain sight. Learn how changing fonts can change comprehension. A child struggles to read and understand their homework assignment. An adult re-reads a news article and still doesn\u2019t understand what it\u2019s about. Both readers end up frustrated and feeling like there is something wrong with them. Thankfully there might be a simple answer. Dr. Bonnie Shaver-Troup thinks fonts are part of the problem and the solution to many reading problems. \u201cWe have a global reading crisis and we can change much of it by delivering fonts that are optimized for the visual field and for the individual. The answer is hidden in plain sight. It\u2019s the font,\u201d said Shaver-Troup. Change the font, change the outcome While working as an educational therapist in Silicon Valley, Shaver-Troup helped students with dyslexia and other reading problems to learn to read. She experimented by changing the spacing between certain letters in their reading assignments, and found that it improved their reading and comprehension. According to Shaver-Troup, the issue wasn\u2019t in her students\u2019 minds, it was with the letterforms they saw on the screen or paper. \u201cThe majority of the reading problems, including dyslexia, are not cognitive or phonological. They are visual or perceptual. Our testing has a built-in design flaw. We use fonts to deliver text for reading that are too tight for efficient or successful visual processing. Then we get poor results, suggesting the reading issue is phonological or cognitive. If we change the font to the tested optimized font fit, then we change the outcome,\u201d she explained. To learn more, read: Clean and clear: making reading easier with Lexend (English) Partnering to change how the world reads (English) Eine Partnerschaft mit dem Ziel, das Leseerlebnis weltweit zu ver\u00e4ndern: Erweiterung von Lexend um verschiedene Schriftst\u00e4rken (German)", + "minisite_url": null + }, + "Lexend Mega": { + "name": "Lexend Mega", + "designer": [ + "Bonnie Shaver-Troup", + "Thomas Jockin", + "Santiago Orozco", + "H\u00e9ctor G\u00f3mez", + "Superunion" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Lexend is a collection of seven font families intended to improve reading proficiency. As prescription eyeglasses achieve proficiency for persons with short-sightedness, Lexend's families were developed using Shaver-Troup Formulations. All the Lexend fonts have been upgraded to variable fonts with a weight axis (from Thin to Black) in June 2021, thanks to the efforts of Font Bureau. To contribute, see github.com/googlefonts/lexend. For more information, see lexend.com. Clean and clear: making reading easier with Lexend A key factor in reading problems might be hiding in plain sight. Learn how changing fonts can change comprehension. A child struggles to read and understand their homework assignment. An adult re-reads a news article and still doesn\u2019t understand what it\u2019s about. Both readers end up frustrated and feeling like there is something wrong with them. Thankfully there might be a simple answer. Dr. Bonnie Shaver-Troup thinks fonts are part of the problem and the solution to many reading problems. \u201cWe have a global reading crisis and we can change much of it by delivering fonts that are optimized for the visual field and for the individual. The answer is hidden in plain sight. It\u2019s the font,\u201d said Shaver-Troup. Change the font, change the outcome While working as an educational therapist in Silicon Valley, Shaver-Troup helped students with dyslexia and other reading problems to learn to read. She experimented by changing the spacing between certain letters in their reading assignments, and found that it improved their reading and comprehension. According to Shaver-Troup, the issue wasn\u2019t in her students\u2019 minds, it was with the letterforms they saw on the screen or paper. \u201cThe majority of the reading problems, including dyslexia, are not cognitive or phonological. They are visual or perceptual. Our testing has a built-in design flaw. We use fonts to deliver text for reading that are too tight for efficient or successful visual processing. Then we get poor results, suggesting the reading issue is phonological or cognitive. If we change the font to the tested optimized font fit, then we change the outcome,\u201d she explained. To learn more, read: Clean and clear: making reading easier with Lexend (English) Partnering to change how the world reads (English) Eine Partnerschaft mit dem Ziel, das Leseerlebnis weltweit zu ver\u00e4ndern: Erweiterung von Lexend um verschiedene Schriftst\u00e4rken (German)", + "minisite_url": null + }, + "Lexend Peta": { + "name": "Lexend Peta", + "designer": [ + "Bonnie Shaver-Troup", + "Thomas Jockin", + "Santiago Orozco", + "H\u00e9ctor G\u00f3mez", + "Superunion" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Lexend is a collection of seven font families intended to improve reading proficiency. As prescription eyeglasses achieve proficiency for persons with short-sightedness, Lexend's families were developed using Shaver-Troup Formulations. All the Lexend fonts have been upgraded to variable fonts with a weight axis (from Thin to Black) in June 2021, thanks to the efforts of Font Bureau. To contribute, see github.com/googlefonts/lexend. For more information, see lexend.com. Clean and clear: making reading easier with Lexend A key factor in reading problems might be hiding in plain sight. Learn how changing fonts can change comprehension. A child struggles to read and understand their homework assignment. An adult re-reads a news article and still doesn\u2019t understand what it\u2019s about. Both readers end up frustrated and feeling like there is something wrong with them. Thankfully there might be a simple answer. Dr. Bonnie Shaver-Troup thinks fonts are part of the problem and the solution to many reading problems. \u201cWe have a global reading crisis and we can change much of it by delivering fonts that are optimized for the visual field and for the individual. The answer is hidden in plain sight. It\u2019s the font,\u201d said Shaver-Troup. Change the font, change the outcome While working as an educational therapist in Silicon Valley, Shaver-Troup helped students with dyslexia and other reading problems to learn to read. She experimented by changing the spacing between certain letters in their reading assignments, and found that it improved their reading and comprehension. According to Shaver-Troup, the issue wasn\u2019t in her students\u2019 minds, it was with the letterforms they saw on the screen or paper. \u201cThe majority of the reading problems, including dyslexia, are not cognitive or phonological. They are visual or perceptual. Our testing has a built-in design flaw. We use fonts to deliver text for reading that are too tight for efficient or successful visual processing. Then we get poor results, suggesting the reading issue is phonological or cognitive. If we change the font to the tested optimized font fit, then we change the outcome,\u201d she explained. To learn more, read: Clean and clear: making reading easier with Lexend (English) Partnering to change how the world reads (English) Eine Partnerschaft mit dem Ziel, das Leseerlebnis weltweit zu ver\u00e4ndern: Erweiterung von Lexend um verschiedene Schriftst\u00e4rken (German)", + "minisite_url": null + }, + "Lexend Tera": { + "name": "Lexend Tera", + "designer": [ + "Bonnie Shaver-Troup", + "Thomas Jockin", + "Santiago Orozco", + "H\u00e9ctor G\u00f3mez", + "Superunion" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Lexend is a collection of seven font families intended to improve reading proficiency. As prescription eyeglasses achieve proficiency for persons with short-sightedness, Lexend's families were developed using Shaver-Troup Formulations. All the Lexend fonts have been upgraded to variable fonts with a weight axis (from Thin to Black) in June 2021, thanks to the efforts of Font Bureau. To contribute, see github.com/googlefonts/lexend. For more information, see lexend.com. Clean and clear: making reading easier with Lexend A key factor in reading problems might be hiding in plain sight. Learn how changing fonts can change comprehension. A child struggles to read and understand their homework assignment. An adult re-reads a news article and still doesn\u2019t understand what it\u2019s about. Both readers end up frustrated and feeling like there is something wrong with them. Thankfully there might be a simple answer. Dr. Bonnie Shaver-Troup thinks fonts are part of the problem and the solution to many reading problems. \u201cWe have a global reading crisis and we can change much of it by delivering fonts that are optimized for the visual field and for the individual. The answer is hidden in plain sight. It\u2019s the font,\u201d said Shaver-Troup. Change the font, change the outcome While working as an educational therapist in Silicon Valley, Shaver-Troup helped students with dyslexia and other reading problems to learn to read. She experimented by changing the spacing between certain letters in their reading assignments, and found that it improved their reading and comprehension. According to Shaver-Troup, the issue wasn\u2019t in her students\u2019 minds, it was with the letterforms they saw on the screen or paper. \u201cThe majority of the reading problems, including dyslexia, are not cognitive or phonological. They are visual or perceptual. Our testing has a built-in design flaw. We use fonts to deliver text for reading that are too tight for efficient or successful visual processing. Then we get poor results, suggesting the reading issue is phonological or cognitive. If we change the font to the tested optimized font fit, then we change the outcome,\u201d she explained. To learn more, read: Clean and clear: making reading easier with Lexend (English) Partnering to change how the world reads (English) Eine Partnerschaft mit dem Ziel, das Leseerlebnis weltweit zu ver\u00e4ndern: Erweiterung von Lexend um verschiedene Schriftst\u00e4rken (German)", + "minisite_url": null + }, + "Lexend Zetta": { + "name": "Lexend Zetta", + "designer": [ + "Bonnie Shaver-Troup", + "Thomas Jockin", + "Santiago Orozco", + "H\u00e9ctor G\u00f3mez", + "Superunion" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Lexend is a collection of seven font families intended to improve reading proficiency. As prescription eyeglasses achieve proficiency for persons with short-sightedness, Lexend's families were developed using Shaver-Troup Formulations. All the Lexend fonts have been upgraded to variable fonts with a weight axis (from Thin to Black) in June 2021, thanks to the efforts of Font Bureau. To contribute, see github.com/googlefonts/lexend. For more information, see lexend.com. Clean and clear: making reading easier with Lexend A key factor in reading problems might be hiding in plain sight. Learn how changing fonts can change comprehension. A child struggles to read and understand their homework assignment. An adult re-reads a news article and still doesn\u2019t understand what it\u2019s about. Both readers end up frustrated and feeling like there is something wrong with them. Thankfully there might be a simple answer. Dr. Bonnie Shaver-Troup thinks fonts are part of the problem and the solution to many reading problems. \u201cWe have a global reading crisis and we can change much of it by delivering fonts that are optimized for the visual field and for the individual. The answer is hidden in plain sight. It\u2019s the font,\u201d said Shaver-Troup. Change the font, change the outcome While working as an educational therapist in Silicon Valley, Shaver-Troup helped students with dyslexia and other reading problems to learn to read. She experimented by changing the spacing between certain letters in their reading assignments, and found that it improved their reading and comprehension. According to Shaver-Troup, the issue wasn\u2019t in her students\u2019 minds, it was with the letterforms they saw on the screen or paper. \u201cThe majority of the reading problems, including dyslexia, are not cognitive or phonological. They are visual or perceptual. Our testing has a built-in design flaw. We use fonts to deliver text for reading that are too tight for efficient or successful visual processing. Then we get poor results, suggesting the reading issue is phonological or cognitive. If we change the font to the tested optimized font fit, then we change the outcome,\u201d she explained. To learn more, read: Clean and clear: making reading easier with Lexend (English) Partnering to change how the world reads (English) Eine Partnerschaft mit dem Ziel, das Leseerlebnis weltweit zu ver\u00e4ndern: Erweiterung von Lexend um verschiedene Schriftst\u00e4rken (German)", + "minisite_url": null + }, + "Libertinus Math": { + "name": "Libertinus Math", + "designer": [ + "Philipp H. Poll" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext", + "math", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "Linux Libertinus is a sophisticated and versatile font family that serves as a fork of the well-known Linux Libertine and Linux Biolinum fonts. Designed to provide an improved and more polished alternative, Libertinus refines the typographic details and enhances compatibility with modern typesetting systems. It includes a comprehensive range of styles, from serif to sans-serif and monospaced variations, making it suitable for a wide variety of professional and academic applications. Additionally, it features extensive Unicode coverage, including support for mathematical symbols, Greek, Cyrillic, and other scripts, making it a popular choice for scholarly publishing and technical documentation. One of the key advantages of the Libertinus font family is its emphasis on quality and open-source accessibility. Developed using modern font development tools such as FontForge and maintained by an active community, it benefits from continuous improvements in spacing, kerning, and hinting. Libertinus Serif, the most prominent style, offers a classic yet refined appearance reminiscent of traditional book typefaces, while Libertinus Sans provides a clean, contemporary counterpart. Meanwhile, Libertinus Mono serves as an elegant monospaced option for coding and terminal applications. With its broad character support and careful attention to typographic precision, Linux Libertinus remains a highly regarded choice for users seeking a free and open-source font with professional-grade quality. Find all of the Libertinus sub-families in this overview. To contribute, see github.com/googlefonts/libertinus.", + "minisite_url": null + }, + "Libertinus Mono": { + "name": "Libertinus Mono", + "designer": [ + "Philipp H. Poll" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "monospace" + ], + "description": null, + "primary_script": null, + "article": "Linux Libertinus is a sophisticated and versatile font family that serves as a fork of the well-known Linux Libertine and Linux Biolinum fonts. Designed to provide an improved and more polished alternative, Libertinus refines the typographic details and enhances compatibility with modern typesetting systems. It includes a comprehensive range of styles, from serif to sans-serif and monospaced variations, making it suitable for a wide variety of professional and academic applications. Additionally, it features extensive Unicode coverage, including support for mathematical symbols, Greek, Cyrillic, and other scripts, making it a popular choice for scholarly publishing and technical documentation. One of the key advantages of the Libertinus font family is its emphasis on quality and open-source accessibility. Developed using modern font development tools such as FontForge and maintained by an active community, it benefits from continuous improvements in spacing, kerning, and hinting. Libertinus Serif, the most prominent style, offers a classic yet refined appearance reminiscent of traditional book typefaces, while Libertinus Sans provides a clean, contemporary counterpart. Meanwhile, Libertinus Mono serves as an elegant monospaced option for coding and terminal applications. With its broad character support and careful attention to typographic precision, Linux Libertinus remains a highly regarded choice for users seeking a free and open-source font with professional-grade quality. Find all of the Libertinus sub-families in this overview. To contribute, see github.com/googlefonts/libertinus.", + "minisite_url": null + }, + "Libre Barcode 128": { + "name": "Libre Barcode 128", + "designer": [ + "Lasse Fister" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "symbols", + "display" + ], + "description": "Libre Barcode fonts enable you to write barcodes in the Code 39, Code 128 and EAN-13/UPC-12 formats, with or without text below the code. A number of fonts are available. For usage instructions and further information vist the documentation of the Code 128 format. The Libre Barcode project is led by Lasse Fister, a font and web developer based in Nuremberg, Germany. To contribute, see github.com/graphicore/librebarcode.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Libre Barcode 128 Text": { + "name": "Libre Barcode 128 Text", + "designer": [ + "Lasse Fister" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "symbols", + "display" + ], + "description": "Libre Barcode fonts enable you to write barcodes in the Code 39, Code 128 and EAN-13/UPC-12 formats, with or without text below the code. A number of fonts are available. For usage instructions and further information vist the documentation of the Code 128 format. The Libre Barcode project is led by Lasse Fister, a font and web developer based in Nuremberg, Germany. To contribute, see github.com/graphicore/librebarcode.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Libre Barcode 39": { + "name": "Libre Barcode 39", + "designer": [ + "Lasse Fister" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "symbols", + "display" + ], + "description": "Libre Barcode fonts enable you to write barcodes in the Code 39, Code 128 and EAN-13/UPC-12 formats, with or without text below the code. A number of fonts are available. For usage instructions and further information vist the documentation of the Code 39 format. The Libre Barcode project is led by Lasse Fister, a font and web developer based in Nuremberg, Germany. To contribute, see github.com/graphicore/librebarcode.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Libre Barcode 39 Extended": { + "name": "Libre Barcode 39 Extended", + "designer": [ + "Lasse Fister" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "symbols", + "display" + ], + "description": "Libre Barcode fonts enable you to write barcodes in the Code 39, Code 128 and EAN-13/UPC-12 formats, with or without text below the code. A number of fonts are available. For usage instructions and further information vist the documentation of the Code 39 format. The Libre Barcode project is led by Lasse Fister, a font and web developer based in Nuremberg, Germany. To contribute, see github.com/graphicore/librebarcode.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Libre Barcode 39 Extended Text": { + "name": "Libre Barcode 39 Extended Text", + "designer": [ + "Lasse Fister" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "symbols", + "display" + ], + "description": "Libre Barcode fonts enable you to write barcodes in the Code 39, Code 128 and EAN-13/UPC-12 formats, with or without text below the code. A number of fonts are available. For usage instructions and further information vist the documentation of the Code 39 format. The Libre Barcode project is led by Lasse Fister, a font and web developer based in Nuremberg, Germany. To contribute, see github.com/graphicore/librebarcode.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Libre Barcode 39 Text": { + "name": "Libre Barcode 39 Text", + "designer": [ + "Lasse Fister" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "symbols", + "display" + ], + "description": "Libre Barcode fonts enable you to write barcodes in the Code 39, Code 128 and EAN-13/UPC-12 formats, with or without text below the code. A number of fonts are available. For usage instructions and further information vist the documentation of the Code 39 format. The Libre Barcode project is led by Lasse Fister, a font and web developer based in Nuremberg, Germany. To contribute, see github.com/graphicore/librebarcode.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Libre Barcode EAN13 Text": { + "name": "Libre Barcode EAN13 Text", + "designer": [ + "Lasse Fister" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "symbols", + "display" + ], + "description": "Libre Barcode fonts enable you to write barcodes in the Code 39, Code 128 and EAN-13/UPC-12 formats, with or without text below the code. A number of fonts are available. For usage instructions and further information vist the documentation of the EAN-13 format. The Libre Barcode project is led by Lasse Fister, a font and web developer based in Nuremberg, Germany. To contribute, see github.com/graphicore/librebarcode.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Libre Baskerville": { + "name": "Libre Baskerville", + "designer": [ + "Impallari Type" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Libre Baskerville is a web font optimized for body text (typically 16px.) It is based on the American Type Founder's Baskerville from 1941, but it has a taller x-height, wider counters and a little less contrast, that allow it to work well for reading on-screen. Join the project at github.com/impallari/Libre-Baskerville", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Libre Bodoni": { + "name": "Libre Bodoni", + "designer": [ + "Pablo Impallari", + "Rodrigo Fuenzalida" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "The Libre Bodoni fonts are based on the 19th century Morris Fuller Benton's ATF design, but specifically adapted for today's web requirements. They are a perfect choice for everything related to elegance, style, luxury and fashion. Libre Bodoni currently features four styles: Regular, Italic, Bold and Bold Italic. To contribute, see github.com/googlefonts/Libre-Bodoni.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Libre Caslon Display": { + "name": "Libre Caslon Display", + "designer": [ + "Impallari Type" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Libre Caslon Display is the display version of Libre Caslon Text. The family is optimized for web headlines. There are already lots of digital Caslon's revivals, and lots of Caslon-esque fonts. Some are very good. But none of them was truly made for the web. While they look very good when printed on paper, they render very small when used for web body text on the screen. Another big difference is that pretty much all other digital Caslons revivals are based on 18th Century specimens by William Caslon I and William Caslon II. Libre Caslon, instead, is based on hand lettering artist Caslon interpretations typical of 1950s advertising. Kerning by Igino Marini with iKern. Libre Caslon Display also include some nice, extra Open Type features (available in the downloadable files), and a big Pro character-set covering 103 Latin languages: Afar, Afrikaans, Albanian, Azerbaijani, Basque, Belarusian, Bislama, Bosnian, Breton, Catalan, Chamorro, Chichewa, Comorian, Czech, Danish, Dutch, English, Esperanto, Estonian, Faroese, Fijian, Filipino/Tagalog, Finnish, Flemish, French, Gaelic (Irish/Manx/Scottish), Gagauz, German, Gikuyu, Gilbertese/Kiribati, Greenlandic, Guarani, Haitian_Creole, Hawaiian, Hungarian, Icelandic, Igo/Igbo, Indonesian, Irish, Italian, Javanese, Kashubian, Kinyarwanda, Kirundi, Latin, Latvian, Lithuanian, Luba/Ciluba/Kasai, Luxembourgish, Malagasy, Malay, Maltese, Maori, Marquesan, Marshallese, Moldovan/Moldovian/Romanian, Montenegrin, Nauruan, Ndebele, Norwegian, Oromo, Palauan/Belauan, Polish, Portuguese, Quechua, Romanian, Romansh, Sami, Samoan, Sango, Serbian, Sesotho, Setswana/Sitswana/Tswana, Seychellois_Creole, SiSwati/Swati/Swazi, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swedish, Tahitian, Tetum, Tok_Pisin, Tongan, Tsonga, Tswana, Tuareg/Berber, Turkish, Turkmen, Tuvaluan, Uzbek/Usbek, Wallisian, Walloon, Welsh, Xhosa, Yoruba, Zulu.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Libre Caslon Text": { + "name": "Libre Caslon Text", + "designer": [ + "Pablo Impallari" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Libre Caslon Text is optimized for web body text (typically set at 16px), whilst the companion family Libre Caslon Display is optimized for web headlines. Libre Caslon Text was specifically tailored to be used for web body text (typically set at 16px). It can be used at very small sizes and will still be readable on your website. Another big difference is that pretty much all other digital Caslons revivals are based on 18th Century specimens by William Caslon I and William Caslon II. Libre Caslon, instead, is based on hand lettering artist Caslon interpretations typical of 1950s advertising. This font was upgraded in early 2020 and is now available as a variable font. To contribute, see github.com/thundernixon/Libre-Caslon", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Libre Franklin": { + "name": "Libre Franklin", + "designer": [ + "Impallari Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Libre Franklin is an interpretation and expansion of the 1912 Morris Fuller Benton classic. The Libre Franklin project is led by Impallari Type, a type design foundry based in Rosario, Argentina. To contribute, see github.com/googlefonts/Libre-Franklin", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Licorice": { + "name": "Licorice", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Licorice is a playful handwritten font that is perfect scrapbooking, cards, invitations and fun events. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/licorice.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Life Savers": { + "name": "Life Savers", + "designer": [ + "Impallari Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Do you remember the \"Life Savers\" candies adds from the 50s? That was a time when Ad Agencies actually hired Lettering Artist for they advertising text. Before the advent of Photo Typesetting, all the text was beautifully drawn by hand. We are going to put some love to work and bring back the Life Savers hand-lettered Typewriter/Stymie mix. Probably drawn originally by Frazier Purdy for the Sam Marsh Studio. Updated June 2019 to v3.001. The Bold weight was drawn in 2012 and added in December, and the ExtraBold weight was drawn in August 2013, and finally added to Google Fonts in June 2019 with minor technical adjustments. To contribute, see github.com/googlefonts/life-savers.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Lilita One": { + "name": "Lilita One", + "designer": [ + "Juan Montoreano" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Lilita One is a display typeface with a fat look, ideal for headlines and short texts. With a slightly condensed structure and some eye-catching details, it adds personal and soft looks to any page.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Lily Script One": { + "name": "Lily Script One", + "designer": [ + "Julia Petretta" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Lily script is a sturdy display script with a playful, bold texture. It's soft, but clear shapes come with romantic connotations. Still its bold personality make it well-suited for charming looking headlines and texts. To contribute to the project contact Julia Petretta.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Limelight": { + "name": "Limelight", + "designer": [ + "Nicole Fally", + "Sorkin Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Limelight is a sensitive rendition of the classic high contrast art deco style geometric sans serif. This style is often used to suggest the 1920's time period as well as the theatre generally and hollywood filmmaking in particular. Because of the extreme contrast of the design it will perform most reliably on web pages at medium and large font sizes.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Linden Hill": { + "name": "Linden Hill", + "designer": [ + "Barry Schwartz" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Linden Hill is a revival of Frederic Goudy\u2019s Deepdene with roman and italic styles. To learn more, see bitbucket.org/sortsmill/sortsmill-fonts and theleagueofmoveabletype.com/linden-hill", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Linefont": { + "name": "Linefont", + "designer": [ + "Dmitry Ivanov" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [], + "stroke": null, + "classifications": [ + "symbols", + "display" + ], + "description": "Linefont is a variable font with Weight and Width axes for rendering small to medium-scale line charts. Linefont values span from 0 to 100, assigned to different characters: 0-9 chars are for simplified manual input with step 10 (bar height = number). a-z/A-Z for manual input with step 2, softened at edges a and Z (bar height = number of letter). U+0100-017F for 0..127 values with step 1. The axis range values are compatible with Wavefont by the same author, so the families can be used together with visual coherency. To contribute, see github.com/dy/linefont.", + "primary_script": null, + "article": null, + "minisite_url": "https://dy.github.io/linefont/scripts/" + }, + "Lisu Bosa": { + "name": "Lisu Bosa", + "designer": [ + "SIL International" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "lisu" + ], + "stroke": "SERIF", + "classifications": [], + "description": "This project is intended to provide a libre and open font family for all current languages and writing systems that use the Lisu (Fraser) script. The design is based on LisuTzimu, designed by David Morse. To contribute, please see github.com/silnrsi/font-lisu-bosa.", + "primary_script": "Lisu", + "article": null, + "minisite_url": null + }, + "Liter": { + "name": "Liter", + "designer": [ + "Anton Skugarov", + "Alexandr Ivanin" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Liter is a modern Neo-grotesque typeface designed for digital screens and inspired by the principles of the Swiss design school. The font is optimized for use at 13, 16, and 19 point sizes. It features low contrast, minimal differences in the heights of uppercase and lowercase letters, and balanced proportions, making it versatile for interfaces, text, and navigation. The typeface supports multiple languages using Latin and Cyrillic scripts. To contribute, see github.com/skugiz/liter.", + "minisite_url": null + }, + "Literata": { + "name": "Literata", + "designer": [ + "TypeTogether" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Now in its third version, Literata is a distinct variable font family for digital text. Originally created as the brand typeface for Google Play Books, it exceeds the strict needs of a comfortable reading experience on any device, screen resolution, or font size. The family has matured into a full-fledged digital publishing toolbox \u2014 headline, paragraph, and caption text. Type Together redesigned it from the ground up as a variable font. Its tiny file size and infinite adjustability make it perfect for developers, mobile apps, and every screen imaginable. It\u2019s the \u201cevery-device font\u201d. Get the entire type family for FREE! Literata was designed by TypeTogether: Veronika Burian & Jos\u00e9 Scaglione (Latin), Irene Vlachou (Greek), Vera Evstafieva (Cyrillic) and Elena Novoselova (Cyrillic). The family won the GOLD Indigo Awards in 2021 and is the Modern Cyrillic 2021 winner. Two versions of the family exist, one for print and the other for Ebooks. This is the print version of the family. To contribute, see github.com/googlefonts/literata", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Liu Jian Mao Cao": { + "name": "Liu Jian Mao Cao", + "designer": [ + "Liu Zhengjiang", + "Kimberly Geswein", + "ZhongQi" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "chinese-simplified", + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Liu Jian Mao Cao is a grass script font based on the work of calligrapher Liu Zhengjiang. Like most grass scripts, LiuJian is boundless and expressive, but is also tempered with mellow approachability. Like water, its flow is full and gentle, restoring a still image to movement. The latin script included in the font was designed by Kimberly Geswein. To contribute, see github.com/googlefonts/liujianmaocao.", + "primary_script": "Hans", + "article": null, + "minisite_url": null + }, + "Livvic": { + "name": "Livvic", + "designer": [ + "LV=", + "Jacques Le Bailly" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Livvic is a custom corporate typeface designed by Jacques Le Bailly for LV=, an insurance company based in the UK. The typeface is part of a brand redesign. Livvic was designed to capture LV=\u2019s brand values and uniqueness. It is an open, friendly and somewhat quirky design. Corporate, yet still fresh and personal. The Roman is an upright Italic, with some inspirations from handwriting. This gives livvic a strong, yet accessible character. The Italic has matching metrics to the Roman. Although the Italic and Roman share a lot of similarities, the construction is different. It is gives the Italic some more panache. To contribute, see github.com/Fonthausen/Livvic.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Lobster": { + "name": "Lobster", + "designer": [ + "Impallari Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "The Lobster font took a different approach. The new OpenType format gives us the possibility to have multiple versions of each letter, and that's exactly what we are doing: Instead of compromising the design of our letters to force connections, we do what lettering artist do. We draw many versions of each letter and a lot of different letter-pairs (aka \"ligatures\") so we always use the best possible variation of each letter depending of the context of the letter inside each word. All this happens automatically in any browser that supports ligatures.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Lobster Two": { + "name": "Lobster Two", + "designer": [ + "Impallari Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Lobster Two is a family version of the original Lobster.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Lohit Bengali": { + "name": "Lohit Bengali", + "designer": [ + "Multiple Designers" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "bengali" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "The Lohit Bengali font is from the Fedora Project.", + "primary_script": "Beng", + "article": null, + "minisite_url": null + }, + "Lohit Tamil": { + "name": "Lohit Tamil", + "designer": [ + "Multiple Designers" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "tamil" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "The Lohit Tamil font is from the Fedora Project.", + "primary_script": "Taml", + "article": null, + "minisite_url": null + }, + "Londrina Outline": { + "name": "Londrina Outline", + "designer": [ + "Marcelo Magalh\u00e3es" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "The Londrina super family is composed of 4 family styles: Londrina Solid, Londrina Shadow, Londrina Outline, and Londrina Sketch. You can combine the main style, Solid, with the others to create different effects. The origins of the Londrina typeface project is in the streets of Sao Paulo, Brazil: Urban confusion. Initially I designed the \"New Folk\" for use in a poster, with only uppercase letters. I saw at the start some potential for a typeface that could recall the feelings of the writing used day-to-day in my city's informal communication, and developed it into a typeface family with lowercases too. This is the Londrina Outline member of the Londrina family. To contribute to the project contact Marcelo Magalh\u00e3es", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Londrina Shadow": { + "name": "Londrina Shadow", + "designer": [ + "Marcelo Magalh\u00e3es" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "The Londrina super family is composed of 4 family styles: Londrina Solid, Londrina Shadow, Londrina Outline, and Londrina Sketch. You can combine the main style, Solid, with the others to create different effects. The origins of the Londrina typeface project is in the streets of Sao Paulo, Brazil: Urban confusion. Initially I designed the \"New Folk\" for use in a poster, with only uppercase letters. I saw at the start some potential for a typeface that could recall the feelings of the writing used day-to-day in my city's informal communication, and developed it into a typeface family with lowercases too. This is the Londrina Outline member of the Londrina family. To contribute to the project contact Marcelo Magalh\u00e3es", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Londrina Sketch": { + "name": "Londrina Sketch", + "designer": [ + "Marcelo Magalh\u00e3es" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "The Londrina super family is composed of 4 family styles: Londrina Solid, Londrina Shadow, Londrina Outline, and Londrina Sketch. You can combine the main style, Solid, with the others to create different effects. The origins of the Londrina typeface project is in the streets of Sao Paulo, Brazil: Urban confusion. Initially I designed the \"New Folk\" for use in a poster, with only uppercase letters. I saw at the start some potential for a typeface that could recall the feelings of the writing used day-to-day in my city's informal communication, and developed it into a typeface family with lowercases too. This is the Londrina Outline member of the Londrina family. To contribute to the project contact Marcelo Magalh\u00e3es", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Londrina Solid": { + "name": "Londrina Solid", + "designer": [ + "Marcelo Magalh\u00e3es" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "The Londrina super family is composed of 4 family styles: Londrina Solid, Londrina Shadow, Londrina Outline, and Londrina Sketch. You can combine the main style, Solid, with the others to create different effects. The origins of the Londrina typeface project is in the streets of Sao Paulo, Brazil: Urban confusion. Initially I designed the \"New Folk\" for use in a poster, with only uppercase letters. I saw at the start some potential for a typeface that could recall the feelings of the writing used day-to-day in my city's informal communication, and developed it into a typeface family with lowercases too. This is the Londrina Outline member of the Londrina family. To contribute to the project contact Marcelo Magalh\u00e3es", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Long Cang": { + "name": "Long Cang", + "designer": [ + "Chen Xiaomin" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "chinese-simplified", + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Based on modern calligrapher Chen Xiaomin's handwritten script. LongCang features textured strokes of middling thickness that are raw and primal, yet refined.", + "primary_script": "Hans", + "article": null, + "minisite_url": null + }, + "Lora": { + "name": "Lora", + "designer": [ + "Cyreal" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "math", + "symbols", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Lora is a well-balanced contemporary serif with roots in calligraphy. It is a text typeface with moderate contrast well suited for body text. A paragraph set in Lora will make a memorable appearance because of its brushed curves in contrast with driving serifs. The overall typographic voice of Lora perfectly conveys the mood of a modern-day story, or an art essay. Technically Lora is optimised for screen appearance, and works equally well in print. In March 2019, the family has been updated to a variable font family. To contribute, see github.com/cyrealtype/Lora-Cyrillic.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Love Light": { + "name": "Love Light", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Adopted from an original hand lettered work, Love Light is an adaptation of another font. Its heart embellishments add a bit of romantic fantasy to this beautiful calligraphic script. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/love-light.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Love Ya Like A Sister": { + "name": "Love Ya Like A Sister", + "designer": [ + "Kimberly Geswein" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "My older sister Emily and I have been inseparable best friends for years. As children, we signed notes to each other with 'Love Ya Like a Sister' and then giggled at the irony of writing that when we were, in actuality, sisters. This nerdy habit has continued for years. I created this font to honor my friendship with Emily and the many ways she has inspired me and taught me in life.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Loved by the King": { + "name": "Loved by the King", + "designer": [ + "Kimberly Geswein" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "A skinny font that fits in little places. This is one of my first fonts I released online.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Lovers Quarrel": { + "name": "Lovers Quarrel", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "A playful calligraphic style, Lovers Quarrel is great for scrapbooking, cards, invitations and other fun things. Lovers Quarrel has exceptionally clean lowercase forms and beautifully ornate capital letters. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/lovers-quarrel.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Luckiest Guy": { + "name": "Luckiest Guy", + "designer": [ + "Astigmatic" + ], + "license": "apache2", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Luckiest Guy is a friendly heavyweight sans serif typeface inspired by 1950s advertisements with custom hand lettering.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Lugrasimo": { + "name": "Lugrasimo", + "designer": [ + "The DocRepair Project", + "Astigmatic" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "handwriting" + ], + "description": "Lugrasimo is a DocRepair font, intended to improve compliance with the ISO/IEC 29500 standard by providing fallback for Lucida Calligraphy that minimizes text reflow in Office Open XML documents. Lugrasimo is based on Fondamento, a typeface in calligraphic lettering style based on the traditional Foundational Hand, a basic teaching style created by Edward Johnston in the early 20th century. The letterforms are clear and cleanly legible, basic and formal. To contribute, please visit github.com/docrepair-fonts/lugrasimo-fonts.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Lumanosimo": { + "name": "Lumanosimo", + "designer": [ + "The DocRepair Project", + "Eduardo Tunni" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "handwriting" + ], + "description": "Lumanosimo is a DocRepair font, intended to improve compliance with the ISO/IEC 29500 standard by providing fallback for Lucida Handwriting that minimizes text reflow in Office Open XML documents. Lumanosimo is based on Paprika, which is an expressive typeface. To contribute, please visit github.com/docrepair-fonts/lumanosimo-fonts.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Lunasima": { + "name": "Lunasima", + "designer": [ + "The DocRepair Project", + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "hebrew", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Lunasima is a DocRepair font, intended to improve compliance with the ISO/IEC 29500 standard by providing fallback for Lucida Grande that minimizes text reflow in Office Open XML documents. Lunasima is based on Noto Sans, which is an unmodulated (\u201csans serif\u201d) design. To contribute, please visit github.com/docrepair-fonts/lunasima-fonts.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Lusitana": { + "name": "Lusitana", + "designer": [ + "Ana Paula Megda" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Lusitana is inspired by the type found in the 1572 first edition of \"The Lusiads\", a Portuguese epic poem by Lu\u00eds Vaz de Cam\u00f5es. This typeface is made for long texts at small sizes.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Lustria": { + "name": "Lustria", + "designer": [ + "MADType" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Lustria is a rounded-serif text typeface with details that make it interesting to use at larger display sizes as well. Started in 1999, this typeface has been aged to perfection and is finally ready for public consumption.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Luxurious Roman": { + "name": "Luxurious Roman", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Luxurious Roman is a semi-hand lettered font with inconsistent serifs and a subtle bouncy look to create that 'imperfect' hand calligraphed feel. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/luxurious-roman.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Luxurious Script": { + "name": "Luxurious Script", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Luxurious \u2014 the perfect description for this stunning formal script. It has cursive forms, with highly slanted and condensed characters, giving continuity to the over all feel of bodies of text. The added flourishing available enhances the beauty of the forms, making display images exude the richness of royalty. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/luxurious.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "M PLUS 1": { + "name": "M PLUS 1", + "designer": [ + "Coji Morishita" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "japanese", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "M+ FONTS is a little nifty font family for everyday usage. Mplus 1 is a Sans Serif font with nine weights from Thin to Black, supporting 5,700+ Kanjis for Japanese with GF Latin Plus. With the harmony of comfortable curves and straight lines, this font gives modern and generous impression, suiting for any occasions including small texts to big titles. To contribute to the project, visit https://github.com/coz-m/MPLUS_FONTS", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "M PLUS 1 Code": { + "name": "M PLUS 1 Code", + "designer": [ + "Coji Morishita" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "japanese", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "monospace" + ], + "description": "M+ FONTS is a little nifty font family for everyday usage. Mplus 1 Code is a Sans Serif font with seven weights from Thin to Bold, supporting 5,700+ Kanjis for Japanese with GF Latin Plus. Because this font is for programming usage, it has high readability even in small sizes, and letterforms are designed to avoid misreadings as much as possible. This font is a combination of Mplus 1 full-width Japanese with new half-width monospaced Latin alphabet and figures. To contribute to the project, visit https://github.com/coz-m/MPLUS_FONTS", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "M PLUS 1p": { + "name": "M PLUS 1p", + "designer": [ + "Coji Morishita", + "M+ Fonts Project" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "hebrew", + "japanese", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "The M+ Outline Fonts Project develops a superfamily set of several families: 4 families with proportional Latin, 3 with fixed-halfwidth Latin, and 2 with fixed-fullwidth Japanese Kana variations. The Rounded M+ Project develops versions of the M+ Fonts with rounded terminals. This set, M+ 1p, are fonts with proportional Latin and fixed-fullwidth Japanese, and 7 weights from Thin to Black. The Kana have contrasting straight lines and hand-drawn curves. The Latin is aimed to be a sophisticated and relaxed design. 8,676 glyphs. This is Version 1.061g, released upstream on 2016-04-12, and slightly modified by Google Fonts. Now released under the SIL Open Font License.", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "M PLUS 2": { + "name": "M PLUS 2", + "designer": [ + "Coji Morishita" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "japanese", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "M+ FONTS is a little nifty font family for everyday usage. Mplus 2 is a Sans Serif font with nine weights from Thin to Black, supporting 5,700+ Kanjis for Japanese with GF Latin Plus. With the somewhat classic letterforms, this font pursues new standard of classic modern. To contribute to the project, visit https://github.com/coz-m/MPLUS_FONTS", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "M PLUS Code Latin": { + "name": "M PLUS Code Latin", + "designer": [ + "Coji Morishita" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "monospace" + ], + "description": "M+ FONTS is a little nifty font family for everyday usage. Mplus Code Latin is a Sans Serif font with seven weights from Thin to Bold, supporting GF Latin Plus. Because this font is for programming usage, it has high readability even in small sizes, and letterforms are designed to avoid misreadings as much as possible. There are two styles\u2014Mplus Code Latin 50 and Mplus Code Latin 60, each having 50% and 60% character width. To contribute to the project, visit https://github.com/coz-m/MPLUS_FONTS", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "M PLUS Rounded 1c": { + "name": "M PLUS Rounded 1c", + "designer": [ + "Coji Morishita", + "M+ Fonts Project" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "hebrew", + "japanese", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ma Shan Zheng": { + "name": "Ma Shan Zheng", + "designer": [ + "Ma ShanZheng" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "chinese-simplified", + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "This script is reminiscent of fonts used to display \"yinglian,\" the short poems and blessings traditionally posted on either side of the entryway to a home or temple. MaShanZheng is heavy and majestic, vital and expansive.", + "primary_script": "Hans", + "article": null, + "minisite_url": null + }, + "Macondo": { + "name": "Macondo", + "designer": [ + "John Vargas Beltr\u00e1n" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Macondo. The first purpose of this typeface was to provide an original and systematized style of calligraphy adapted into a modern digital font. The forms are inspired by some illustrations created for a tarot card game, itself inspired by the work of Colombian literature Nobel prize winning author, Gabriel Garc\u00eda M\u00e1rquez, \u00abCien A\u00f1os de Soledad\u00bb. Early versions of this font were made in 1997, but recently in 2009 it was substantially improved. Macondo includes several cap swashes and other stylish alternates, and a sister family Macondo Swash Caps is also available.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Macondo Swash Caps": { + "name": "Macondo Swash Caps", + "designer": [ + "John Vargas Beltr\u00e1n" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Macondo. The first purpose of this typeface was to provide an original and systematized style of calligraphy adapted into a modern digital font. The forms are inspired by some illustrations created for a tarot card game, itself inspired by the work of Colombian literature Nobel prize winning author, Gabriel Garc\u00eda M\u00e1rquez, \u00abCien A\u00f1os de Soledad\u00bb. Early versions of this font were made in 1997, but recently in 2009 it was substantially improved. Macondo includes several cap swashes and other stylish alternates, and this is a sister family, Macondo Swash Caps.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Mada": { + "name": "Mada", + "designer": [ + "Khaled Hosny", + "Paul D. Hunt" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "arabic", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Mada is a modernist, unmodulted Arabic typeface inspired by road signage seen around Cairo, Egypt, by Khaled Hosny. The Arabic component is characterized by low descenders, open contours, and low contrast forms, making it suitable for signage, small point sizes, and user interfaces. However Mada can work also as a display typeface, with a modernist and simplistic feeling. The Latin component is a slightly modified version of Source Sans Pro, led by Paul Hunt at Adobe Type. To contribute, see github.com/aliftype/mada", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Madimi One": { + "name": "Madimi One", + "designer": [ + "Taurai Valerie Mtake", + "Mirko Velimirovi\u0107" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Madimi is a rounded sans with a mixed geometric and organic design. The design covers all of Google Latin Core. Madimi takes inspiration from the gentle curved geometry of certain Southern Afrikan graphic symbols. Circles are a main feature, the circle being a shape that represents the womb of a woman in KiNtu symbologies. The idea behind Madimi is to enact the subtle visual subtext of Afrikan visual traditions. Madimi is simple, clean and round edged but still remains clear and easy to read. To contribute, see github.com/TaVaTake/madimi.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Magra": { + "name": "Magra", + "designer": [ + "FontFuror" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Magra is a sans serif typeface designed for contexts in which both spatial economy and multiple composition styles are required. Its neutral personality and humanist features makes it a perfect candidate for corporate uses too. Its large x-height and robust stems provide good legibility and economy, plus great behavior in smaller sizes. Magra was selected to be part of the German editorial project Typodarium 2012.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Maiden Orange": { + "name": "Maiden Orange", + "designer": [ + "Astigmatic" + ], + "license": "apache2", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SLAB_SERIF", + "classifications": [ + "display" + ], + "description": "Maiden Orange is a light and festive slab serif font inspired by custom hand lettered 1950s advertisements. Clean and legible, while also being offbeat and friendly, this font lends itself to a wide variety of uses. From children's stories to the retro inspired, take Maiden Orange for a spin.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Maitree": { + "name": "Maitree", + "designer": [ + "Cadson Demak" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "thai", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Maitree means \u201cfriendliness\u201d in Thai. Maitree is a serif Latin and looped Thai typeface with wide proportions. It is characterized by its bigger-than-usual looped terminal in Thai, and long serifs in Latin, that balance out the whole structure. Maitree offers 6 weights, and its asymmetrically curved terminals are well-suited for both formal and casual usage, especially for works that require an antique and historical manner. A similarity between some glyphs such as \u0e01 \u0e16 \u0e20 \u0e24 \u0e26, \u0e0e \u0e0f, \u0e1a \u0e1b, or \u0e02 \u0e0a is something to take into consideration because it might lead to confusion when typesetting very short texts. Sizes and positions of Thai vowels and tone marks have been managed carefully, because they are all relevant to readability, legibility, and overall texture. The Maitree project is led by Cadson Demak, a type foundry in Thailand. To contribute, see github.com/cadsondemak/maitree", + "primary_script": "Thai", + "article": null, + "minisite_url": null + }, + "Major Mono Display": { + "name": "Major Mono Display", + "designer": [ + "Emre Parlak" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "monospace", + "display" + ], + "description": "Maj\u00f6r Mono Display is a monospaced geometric sans serif all-uppercase typeface which also has a complete set of constructivist display characters with a playful attitude. It has many OpenType features, but the basic stylistic sets, serious sans serif, and playful display designs, are encoded as lowercase and uppercase characters. This makes it a great choice for playful web typography, especially at large point-sizes. To contribute, see github.com/googlefonts/majormono", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Mako": { + "name": "Mako", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Mako is a minimal sans serif designed to be used freely across the internet by web browsers on desktop computers, laptops and mobile devices. The July 2023 update features a bigger glyphset and some minor aesthetic modifications. To contribute, see github.com/googlefonts/MakoFont.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Mali": { + "name": "Mali", + "designer": [ + "Cadson Demak" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "thai", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Mali is a Thai and Latin family which was inspired by a 6th graders' handwriting. It exudes a carefree and naive appearance.", + "primary_script": "Thai", + "article": null, + "minisite_url": null + }, + "Mallanna": { + "name": "Mallanna", + "designer": [ + "Purushoth Kumar Guttula" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "telugu" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Mallanna is a Telugu font with round letterforms and a uniform thickness that reminds us of the round pearls Hyderabad is famous for. It looks very crisp even at small point sizes, which helps publishers make beautiful designs, and includes complex Telugu conjunct letters. Mallanna is named after the Telugu poet from the court of the king Krishnadevaraya, and was one of the Astadiggajalu (literally eight legends) there. The Telugu is designed and developed by Purushoth Kumar Guttula in 2013 and made available by Silicon Andhra under the SIL Open Font License v1.1. The Latin is designed by Vernon Adams and originally published as Nunito. The Mallanna project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India. To contribute, see github.com/appajid/mallanna", + "primary_script": "Telu", + "article": null, + "minisite_url": null + }, + "Maname": { + "name": "Maname", + "designer": [ + "Pathum Egodawatta", + "Mooniak" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "sinhala", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Sinh", + "article": "Maname is a text typeface made for Sinhala script with quirky stroke modulation. Maname Latin is informed by the modulation of Sinhala companion and takes a versatile lively form. This project was orignally conceptualised and prototyped by Pathum Egodawatta as a superfamily with many styles and scripts in partial fulfilment for the requirements for the Master of Arts in Typeface Design (MATD) at the University of Reading, Department of Typography and Graphic Communication in 2016. Since then selected Latin and Sinhala components from the academic project were extended to include support for wider Latin character set and full Sinhala support under the name Maname. To contribute, please see github.com/mooniak/maname-font.", + "minisite_url": null + }, + "Mandali": { + "name": "Mandali", + "designer": [ + "Purushoth Kumar Guttula" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "telugu" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Mandali is a Telugu font developed for use in news publications and has many unique Telugu conjunct letters. It is named after Mandali Venkata Krishna Rao, who successfully organised the first World Telugu Conference in 1975. He and his family have worked for the well being of Telugu people. The Telugu is designed and developed by Purushoth Kumar Guttula in 2013 and made available by Silicon Andhra under the SIL Open Font License v1.1. The Latin is designed by Vernon Adams and originally published as Nunito. The Mandali project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India. To contribute, see github.com/appajid/mandali", + "primary_script": "Telu", + "article": null, + "minisite_url": null + }, + "Manjari": { + "name": "Manjari", + "designer": [ + "Santhosh Thottingal" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "malayalam" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Manjari is a Malayalam and Latin family whose name means pearl in Malayalam. It's also the name of a poetic metre. This family is suitable for body text and titles. To contribute, see github.com/smc/manjari", + "primary_script": "Mlym", + "article": null, + "minisite_url": null + }, + "Manrope": { + "name": "Manrope", + "designer": [ + "Mikhail Sharanda" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Manrope is an open-source modern sans-serif font family, designed by Mikhail Sharanda in 2018. In 2019, Mirko Velimirovic worked with Mikhail Sharanda to convert Manrope into a variable font. To contribute, see github.com/sharanda/manrope.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Mansalva": { + "name": "Mansalva", + "designer": [ + "Carolina Short" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "greek", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Mansalva is a script font that works well for notes and informal text passages. It presents two alternates for each letter and number to provide a natural, handwritten, less mechanical look. It also features good legibility for a handwriting typeface and is perfect for a casual-looking annotation. Latest upgrade from October 2022 includes a Latin Plus language coverage currently supporting most Latin-based languages. The vertical metrics have been harmonised for a better cross-platform experience; as a result existing users may notice a visible increase of the line spacing in webpages and documents on Mac. To contribute, see github.com/carolinashort/mansalva.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Manuale": { + "name": "Manuale", + "designer": [ + "Omnibus-Type" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Manuale is part of the Omnibus-Type Press Series, designed by Pablo Cosgaya and Eduardo Tunni for editorial typography (books, newspapers and magazines) in print and online. In September 2019, the family has been converted into a variable font family. To contribute to the project, visit github.com/omnibus-Type/Manuale.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Manufacturing Consent": { + "name": "Manufacturing Consent", + "designer": [ + "Fredrick Brennan" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "Ah, Manufacturing Consent\u2014the font that doesn\u2019t just scream \u201cserious journalism,\u201d it calmly editorializes it in 144-point Fraktur while subtly nudging your worldview. A glorious typographic wolf in Pulitzer-winning sheep\u2019s clothing, this typeface borrows its gravitas from the New York Times masthead and then cheekily slaps a Noam Chomsky title on it, because irony is the last frontier of design. Perfect for your zine, blog, or rogue press release about how pigeons are government surveillance drones. Forked from the esteemed \u201cChomsky\u201d font, Manufacturing Consent is for those who want their typography to look like it went to an Ivy League school but dropped out to start a podcast. Whether you're toppling empires or just mocking brunch culture, this free and open-source beauty lets you do it in blackletter style. Because nothing says \u201cI read the footnotes\u201d like vintage typographic propaganda dressed as objective truth. To contribute, please see github.com/googlefonts/manufacturing-consent-font.", + "minisite_url": null + }, + "Marcellus": { + "name": "Marcellus", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Marcellus and Marcellus SC (small caps) are a set of flared serif typeface families, inspired by classic Roman inscription letterforms. While the SC family leans more towards the titling style of Trajan, the Regular version lends itself to a wider range of usage. These elegant typefaces, when combined in use, exude clarity and beauty for both on screen and printed materials. Marcellus is a Unicode typeface family that supports languages that use the Latin script and its variants, and could be expanded to support other scripts. More specifically, this release supports the following Unicode ranges: Latin-1, Latin-2, Turkish, and Windows Baltic. To contribute to the project contact Brian J. Bonislawsky.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Marcellus SC": { + "name": "Marcellus SC", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Marcellus and Marcellus SC (small caps) are a set of flared serif typeface families, inspired by classic Roman inscription letterforms. While the SC family leans more towards the titling style of Trajan, the Regular version lends itself to a wider range of usage. These elegant typefaces, when combined in use, exude clarity and beauty for both on screen and printed materials. Marcellus is a Unicode typeface family that supports languages that use the Latin script and its variants, and could be expanded to support other scripts. More specifically, this release supports the following Unicode ranges: Latin-1, Latin-2, Turkish, and Windows Baltic. To contribute to the project contact Brian J. Bonislawsky.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Marck Script": { + "name": "Marck Script", + "designer": [ + "Denis Masharov" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "cyrillic", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Marck Script is based on freehand lettering with felt-tip pen by Marck Fogel. The main advantage over other similar fonts is the lack of connections between characters, that allows wide variety of spacing between letters. It can be used for logotypes, headlines and for short pieces of text, wherever you want to create an informal, confident relationship - it is readable, comfortable and welcoming.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Margarine": { + "name": "Margarine", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Margarine draws its roots loosely from various inspirations, with a thick marker weight and deliberate carrying of rounds into regularly straightened lowercase characters, this typeface has that warm and fuzzy feeling to it. To contribute to the project contact Brian J. Bonislawsky.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Marhey": { + "name": "Marhey", + "designer": [ + "Nur Syamsi", + "Bustanul Arifin" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "arabic", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Marhey is a playful Display typeface, custom hand lettering with contrast strokes that makes dynamic and expressive impression. It comes with Latin Character sets including Western, Central, and Arabic language support (Kurdish, Persian, Urdu and Jawi). To contribute, see github.com/namelatype/Marhey.", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Markazi Text": { + "name": "Markazi Text", + "designer": [ + "Borna Izadpanah", + "Florian Runge", + "Fiona Ross" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "arabic", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "This typeface design was inspired by Tim Holloway's Markazi typeface, with his encouragement, and initiated by Gerry Leonidas as a joint University of Reading and Google project. The Arabic glyphs were designed by Borna Izadpanah and design directed by Fiona Ross, they feature a moderate contrast. It takes its cues from the award-winning Markazi typeface, affording a contemporary and highly readable typeface. The complementary Latin glyphs were designed by Florian Runge. It keeps in spirit with its Arabic counterpart, echoing key design characteristics while being rooted in established Latin traditions. It is an open and clear design with a compact stance and an evenly flowing rhythm. The family is available in four weights with extended language support suited for print and screen. To contribute, see github.com/BornaIz/markazitext.", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Marko One": { + "name": "Marko One", + "designer": [ + "Cyreal" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Marko One is a typeface designed for children's literature. The initial idea was to create a typeface-companion for Marko the Sparrow - a cartoon character by illustrator and type designer Zhenya Spizhovyi. Marko One is simple and smooth, has special inner tension and eye-catchy detailing. The letterforms are based on calligraphy and sketches - this is what makes Marko lively, enchanting, and amiable. Marko One typeface will work best in medium to large sizes and captivating headlines. It is technically optimized for better performance on screen, while carefully adjusted outlines promise good quality in print too.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Marmelad": { + "name": "Marmelad", + "designer": [ + "Cyreal", + "Manvel Shmavonyan" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Marmelad is designed specifically for medium to large-size headlines and remains well-balanced for long text setting because of its regular proportions and medium contrast. Ascenders and descenders are elegant and details refined. The name and overall feel refers to marmalade sweets - soft and ductile. All vertical strokes are rounded towards the baseline, which is why technically there is no sense for overshoots in rounded letters like O. Marmelad performs well on screen because of its soft rounded features and generous x-height. The font supports Latin and Cyrillic. In 2022, the kerning is improved and the Latin language coverage expanded. To contribute, see github.com/cyrealtype/Marmelad-Cyrillic.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Martel": { + "name": "Martel", + "designer": [ + "Dan Reynolds" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Martel is a libre font development project. Begun in 2008 in the Department of Typography & Graphic Communication at the University of Reading, the first weights of the font family (Martel UltraLight, Light, Regular, DemiBold, Bold, ExtraBold and Heavy) were released in 2014. The Devanagari glyphs to-date have all been designed by Dan Reynolds, whereas the Latin script\u2019s glyphs are based on the Merriweather fonts. Check out the Martel Sans project, too. The Martel Devanagari typeface is designed for typesetting immersive-style documents. It may be be used to set long passages of text in languages that are written in the Devanagari script, including Hindi, Marathi, Nepali, Sanskrit, etc. Martel Devanagari is a readable typeface whose glyph proportions are inspired by traditional writing and calligraphic styles. Its high-contrast strokes have a diagonal axis, in keeping with the pen-angle most often used for the Devanagari writing system. The Martel project is led by Dan Reynolds, a type designer in Berlin. To contribute, visit github.com/typeoff/martel", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Martel Sans": { + "name": "Martel Sans", + "designer": [ + "Dan Reynolds", + "Mathieu R\u00e9guer" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "The Martel Sans typeface is designed for typesetting immersive documents. It may be be used to set long passages of text in languages that are written in the Devanagari script, including Hindi, Marathi, Nepali, Sanskrit, and others. The Martel Devanagari design is a readable typeface whose glyph proportions are inspired by traditional writing and calligraphic styles. Its high-contrast strokes have a diagonal axis, in keeping with the pen-angle most often used for the Devanagari writing system. This Sans design is a low contrast design based on the initial Martel Devanagari. The Latin character set is an original design. Both character sets are the work of Dan Reynolds and Mathieu R\u00e9guer. The Martel Sans project is led by Dan Reynolds, a type designer based in Berlin, Germany. To contribute, see github.com/typeoff/martel_sans Updated November 2015: Internal metadata corrected.", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Martian Mono": { + "name": "Martian Mono", + "designer": [ + "Roman Shamin", + "Evil Martians" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "monospace" + ], + "description": "Martian Mono is a monospaced version of the Martian Grotesk font for code style design. It inherits Grotesk's brutal and eye-catching aesthetics as well as all of its benefits-metrics equilibrium, readability and intelligibility, and convenience for web developers and designers who believe in a systematic approach to design. Martian Mono consists of a variable font with a width (Condensed to SemiExpanded) and weight axes (Thin to ExtraBold). In January 2023, the basic Cyrillic script is added and the font supports now Ukrainian, Belarusian, and Russian languages. To contribute, see github.com/evilmartians/mono.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Marvel": { + "name": "Marvel", + "designer": [ + "Carolina Trebol" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Marvel is a contemporary and multipurpose sans serif typeface family. It can be used in headlines as well as text settings in websites, books and magazines. It was designed to look sharp, modern and even technical while keeping a unique personality. Typography has always been very important in my graphic design work, and some time ago I started working on experimental type, designing typefaces for use in my own projects so that I could give more personality to them.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Matangi": { + "name": "Matangi", + "designer": [ + "The Graphic Ant" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Deva", + "article": "Matangi is a semi-condensed sans-serif variable typeface that supports both Latin and Devanagari scripts. It includes seven static weights \u2014 Light, Regular, Medium, Bold, SemiBold, ExtraBold, and Black \u2014 offering a flexible range suitable for titles, headings, logos, and small body text. Started as a personal challenge and a love for typography, this project was a journey of exploration and self-learning, designed to offer a flexible, functional tool for multilingual design. It is also the first variable font project from Nepal, with the hope of benefiting users worldwide. The design is based on simple geometric shapes, primarily squares and circles, giving the letterforms a structured, rational character. Subtle inktraps are applied at stroke joints for aesthetic purposes, ensuring even typographic color across various sizes and weights. The x-height of the Latin script and the base character height of the Devanagari script are carefully aligned to create visual harmony when typesetting both scripts together. Matangi includes over 1,700 glyphs and provides extensive language support, covering more than 150 (Devanagari & Latin Based) languages, primarily including Nepali, Sanskrit, Hindi, Marathi, Awadhi, Dotyali and Latin-based languages. It seamlessly renders extended Sanskrit ligatures and complex Devanagari matras. To contribute, please see github.com/thegraphicant/Matangi", + "minisite_url": null + }, + "Mate": { + "name": "Mate", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Simple in its structure; sharp and generous counter-shapes which create a medium texture that calls for good page color, in addition to offering a more relaxed reading experience for each line of text: Mate. The italics that accompany the regular style show their quality in the shading of strokes, in the counters and the unusual shapes for this style as well as the calligraphic reminiscences that give this style a different and pleasant visual rhythm. The Small Caps (SC) style, featuring traditional proportions, completes this initial release with its medium height numbers in all styles. The primary use for the family is in text, yet due to the constructive details of letterforms, this family can be used in larger sizes for display typography. The February 2023 update features a bigger glyphset, fractions and some minor aesthetic modifications. To contribute, see github.com/etunni/mate.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Mate SC": { + "name": "Mate SC", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Simple in its structure; sharp and generous counter-shapes which create a medium texture that calls for good page color, in addition to offering a more relaxed reading experience for each line of text: Mate. The italics that accompany the regular style show their quality in the shading of strokes, in the counters and the unusual shapes for this style as well as the calligraphic reminiscences that give this style a different and pleasant visual rhythm. This is the Small Caps (SC) style, featuring traditional proportions, completes this initial release with its medium height numbers in all styles. The primary use for the family is in text, yet due to the constructive details of letterforms, this family can be used in larger sizes for display typography. The February 2023 update features a bigger glyphset, fractions and some minor aesthetic modifications. To contribute, see github.com/etunni/mate.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Matemasie": { + "name": "Matemasie", + "designer": [ + "Adam Yeo" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "MATEMASIE Matemasie is an ultra-bold display typeface distinguished by rounded edges and top-weighted letterforms. It is inspired by the Adinkra symbol \"Mate Masie,\" meaning \"what I hear, I keep\" \u2014 embodying the importance of listening and communication in oral traditions. The typeface symbolizes the principles of communication, wisdom, knowledge, prudence, and connection. The goal of the typeface is a celebration of African heritage while meeting contemporary design standards. Adinkra symbols express themes connected to the history, beliefs, and philosophy of the Asante people, often with proverbial meanings that signify wisdom. These symbols also describe historical events, human and animal behavior, plant forms, and object shapes. Drawing on this Adinkra symbol, the design connects with Africa's rich graphical heritage. The creation of Matemasie was a journey to craft a typeface that resonates with the spirit of Africa, drawing deeply from its roots. The design process involved connecting the past and present, preserving the essence of African heritage for future generations. Matemasie celebrates the harmony between tradition and innovation, reflecting the balance embodied by the \"Mate Masie\" symbol. Traditionally, the Mate Masie symbol is represented by four linked ears\u2014two on top and two on the bottom. This 2-by-2 arrangement is a fundamental aspect of the symbol, signifying balance and rhythm, when it is presented in traditional designs. This rhythmic balance played a crucial role in developing the letterforms of the Matemasie font. By integrating this cultural structure into the digital design, Matemasie stays deeply connected to its cultural roots, preserving the essence of the symbol while adapting it for contemporary use. The design process aimed to respect and reflect the traditional symbolism, allowing the modern typeface to serve as both a functional tool and a cultural tribute. The typeface captures both the artistic and spiritual essence of \"Mate Masie\" through its unique typographic features. Matemasie is more than a collection of letters; it is a testament to the rich mosaic of African culture and tradition. Like the symbol that inspired it, Matemasie whispers stories of ancient wisdom and caution through its elegant curves. It is hoped that Matemasie's story will continue to evolve with various styles, inspiring typographers to explore the depths of African culture and wisdom.", + "minisite_url": "https://yadamss.github.io/Matemasie-miniwebsite" + }, + "Maven Pro": { + "name": "Maven Pro", + "designer": [ + "Joe Prince" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Maven Pro is a sans-serif typeface with unique curvature and flowing rhythm. Its forms make it very distinguishable and legible when in context. It blends styles of many great typefaces and is suitable for any design medium. Maven Pro\u2019s modern design is great for the web and fits in any environment. Updated in January 2019 with a Variable Font \"Weight\" axis. The Maven Pro project was initiated by Joe Price, a type designer based in the USA. To contribute, see github.com/googlefonts/mavenproFont", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "McLaren": { + "name": "McLaren", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "The McLaren typeface was created to act as a generic go-to comic style lettering. It has simple clean letterforms with a mild bounce and offbeat quality to it without going too far. It is cleanly legible for small bursts of copy to larger bodies of text, perfect for books for children, comics, and anything requiring a mildly playful yet clearly readable font.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Mea Culpa": { + "name": "Mea Culpa", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Mea Culpa is a beautiful formal script with flourished capitals. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/mea-culpa.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Meddon": { + "name": "Meddon", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Meddon is a handwriting font created from the handwritten script of an Eighteenth century legal document. A further version is being developed with many alternate characters and swashes to work with new web browsers that support Opentype font shaping.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "MedievalSharp": { + "name": "MedievalSharp", + "designer": [ + "Wojciech Kalinowski" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "This is another of my old fonts used to make inscriptions on stone. I created the MedievalSharp font in around 1995 like my other fonts - when I started doing the inscriptions on stone professionally. It's based on gothic letters. Initially the font contained only capitals and digits, and later I made missing small fonts and some basical signs. In 2010 I started convert my typeface designs into digital fonts. The first was NovaCut and all the Nova family, and here's another...", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Medula One": { + "name": "Medula One", + "designer": [ + "LatinoType" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Medula One is a friendly rhythmic sans serif with brush-like end strokes. Economical and capable of straightforward display work, Medula One remixes the old and the new, the organic and the modern into a fresh and versatile condensed typeface.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Meera Inimai": { + "name": "Meera Inimai", + "designer": [ + "SMC" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "tamil" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Meera Inimai is a san-serif typeface. It is best used as a screen font for body text. It is also useful for body text of printed pamphlets or single page designs. Usage of Meera Inimai can be thought of similar to Latin grotesque sans serif typefaces. The Tamil characters are inherently vertically-elliptical and the Latin is naturally based on this characteristic to smoothly sit with the Tamil component. Meera Inimai is a free licensed unicode font for Tamil Script. This is designed by Anilan N. G. with typography guidance from Hussain K. H. and linguistic guidance from A. K. M. Kutty. The OpenType features of the font is compiled by Santhosh Thottingal. The Meera Inimai project is led by Swathanthra Malayalam Computing, a free software community in Kerala, India. To contribute, see gitlab.com/smc/meera-tamil", + "primary_script": "Taml", + "article": null, + "minisite_url": null + }, + "Megrim": { + "name": "Megrim", + "designer": [ + "Daniel Johnson" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Megrim is an experimental font covering most of the basic Western Latin character set. It has stylistic alternates.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Meie Script": { + "name": "Meie Script", + "designer": [ + "Johan Kallas", + "Mihkel Virkus" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Meie Script is a typeface, which is based on the original 1910 Estonian handwriting standard. It is less flamboyant then its Western European contemporaries. Estonian handwriting has been influenced greatly by German and Russian handwriting styles and Meie Script embodies a mixture of those two styles. Designed by Johan Kallas and Mihkel Virkus.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Menbere": { + "name": "Menbere", + "designer": [ + "Aleme Tadesse", + "Sorkin Type", + "Eben Sorkin" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "ethiopic", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Ethi", + "article": "Menbere is an Ethiopic font with a Latin matched to it. Aleme Tadesse designed Menbere with assistance from Eben Sorkin for the Latin. It is publishing by Sorkin Type Co. While contemporary in feeling, Menbere avoids being influenced by the Latin script. In the design of Menbere, Aleme judiciously modernizes traditional Ethiopic using low-contrast strokes that retain traditional gestures. Due to its multiple weights, and formal style, Menbere is an excellent choice for use in corporate design, both in print and on screen as well as UI and wayfinding. Menbere is also well suited to mixed script typesetting. Menbere is named after Alame\u2019s mother. \u201cMenbere\u201d means \u201cseat of honor\u201d. Menbere uses different word spaces for texts set in Ge\u2019ez derived languages vs those in Latin for additional ease in reading with the Ethiopic script benefiting from a more expansive word space. All Ge\u2019ez script derived languages are covered including Amharic, Tigrinya, Tigre, Bilen, and Harari. To contribute, see github.com/SorkinType/Menbere.", + "minisite_url": null + }, + "Meow Script": { + "name": "Meow Script", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Meow Script is a monoline font with a number of alternate forms in six stylistic sets. It works eclectically and harmoniously to add a fun, whimsy look to your posters, ads, invitations and similar designs. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/meow-script.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Merge One": { + "name": "Merge One", + "designer": [ + "Kosal Sen" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Merge One is a single light weight from a soft, rounded sans-serif typeface family, Merge. Readable at small sizes, text set with Merge One is open and wide. At display sizes, the softness makes for a friendlier, more casual feeling than other rounded sans-serif typefaces. To contribute to the project contact PhilaType.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Merienda": { + "name": "Merienda", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "'Merienda' is a Spanish term for \"afternoon snack\", and this pleasant time of the day was worth its own typography. Merienda has soft shapes, is slightly condensed, and has a rhythm which is an invitation to read short pieces of text. It is ideal for headlines which call for height, as its strokes resemble those of a brush and deliver freshness and a dynamic touch in the development of words. Merienda One is the initial publication of this typeface family in a single boldstyle. In september 2022, the font is updated as a variable and now offers 7 styles, ranging from light to black. The glyphset has also been extended, offering a larger number of supported languages. To contribute, see github.com/etunni/merienda.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Merienda One": { + "name": "Merienda One", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "'Merienda' is a Spanish term for \"afternoon snack\", and this pleasant time of the day was worth its own typography. Merienda has soft shapes, is slightly condensed, and has a rhythm which is an invitation to read short pieces of text. It is ideal for headlines which call for height, as its strokes resemble those of a brush and deliver freshness and a dynamic touch in the development of words. Merienda is a second edition of this typeface family, with Regular and Bold styles.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Merriweather": { + "name": "Merriweather", + "designer": [ + "Sorkin Type" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Merriweather was designed to be a text face that is pleasant to read on screens. It features a very large x height, slightly condensed letterforms, a mild diagonal stress, sturdy serifs and open forms. There is also Merriweather Sans, a sans-serif version which closely harmonizes with the weights and styles of this serif family. The Merriweather project is led by Sorkin Type, a type design foundry based in Western Massachaussets, USA. To contribute, see github.com/SorkinType/Merriweather", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Merriweather Sans": { + "name": "Merriweather Sans", + "designer": [ + "Sorkin Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Merriweather Sans is a low-contrast semi-condensed sans-serif text typeface family designed to be pleasant to read at very small sizes. Merriweather Sans is traditional in feeling despite the modern shapes it has adopted for screens. Merriweather Sans is an evolving project and will be updated. As of now there are 8 styles: Light, Regular, Bold, and ExtraBold weights in Roman and Italic styles. There is also Merriweather, a serif version which closely harmonizes with the weights and styles of this sans-serif family. Designed by Eben Sorkin, Merriweather Sans features a large x height, slightly condensed letterforms, a mild diagonal stress and open forms. Merriweather Sans is a work in progress and will be improved regularly. This means you can request improvements and even fund specific features if if they are outside of the current scope of work. For more information and to stay updated see Eben Sorkin's blog and Flickr stream, and the MerriweatherFnt Twitter microblog. Updated in June 2013 with italic styles. Updated in January 2016: This revision improves on-screen rendering especially at text sizes with ttfautohint hinting. Merriweather Sans will work better when installed on desktops. Some OpenType features were added and improved. Since the vertical and horizontal metrics changed, this may cause some text to reflow in some browsers. A second update (v1.006) was made on 1/25 to fix ligatures and other digraphs. To contribute, see github.com/SorkinType/Merriweather-Sans.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Mervale Script": { + "name": "Mervale Script", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Mervale Script finds its inspiration from the 1940's Fawcett Publications Mary Marvel comic. This unusual brush lettered script blends script and serif capitals and a mix of unusual brush strokes to create a lively font that draws attention. To contribute to the project contact Brian J. Bonislawsky.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Metal": { + "name": "Metal", + "designer": [ + "Danh Hong" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "khmer", + "latin" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Metal is a Khmer font with a design similar to the Khmer Italic metal types published in Cambodia before 1970. To contribute, see github.com/danhhong/Metal.", + "primary_script": "Khmr", + "article": null, + "minisite_url": null + }, + "Metal Mania": { + "name": "Metal Mania", + "designer": [ + "Open Window" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Metal Mania was inspired by lots of Heavy Metal album covers and posters. Only the most 'Metal' elements were combined to make the quintessential Heavy Metal font. Looks good on concert posters and guitar picks! Long live Metal Mania. First drawn were the inline forms and then they were traced, utilizing a playful 'cutout' effect. Designed by Dathan Boardman of Open Window.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Metamorphous": { + "name": "Metamorphous", + "designer": [ + "James Grieshaber" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Foundry: Sorkin Type Co Metamorphous is a medium contrast design taking style cues from a wide variety of sources. It draws on and mixes together Romanesque, Gothic and the more familiar Renaissance letter shapes. Originally inspired by display fonts including the free font Morpheous designed by Kiwi Media as well as the work of Jonathan Barnbrook; Metamorphous is designed to be useful in a broad range of applications and sizes. Metamorphous also covers most languages that use Latin letters. Source files are available from Google Code. To contribute to the project contact Eben Sorkin.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Metrophobic": { + "name": "Metrophobic", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Metrophobic is a sans serif face with a semi geometric feel. It is designed to be legible at small text sizes but also have enough character to be used as an interesting display face for headers and headlines. It can also be used for text bodies. Updated June 2019 to v3.100: Redrawn and respaced to improve the design quality. Updated January 2023 to v3.200: The glyphset has been expanded and now support Vietnamese language. The overhall horizontal space has been adjusted for a better readability. The Metrophobic project was commissioned by Google from Vernon Adams, an English type designer who lived in San Clemente, Los Angeles, USA. To contribute, see github.com/googlefonts/MetrophobicFont", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Miama": { + "name": "Miama", + "designer": [ + "Linus Romer" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "greek", + "greek-ext", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Miama is based on the many handwritten letters of my girlfriend. Among them are also some ligatures and ornamental glyphs.Every single glyph has been drawn by myself using the free font editor FontForge. Do not use any condensed nor extended spacing! Miama lives from connected strokes, which are killed as soon as you change spacing. Use Miama for main titles, short poems, greeting cards, wedding stuff et cetera. But please do not consider using it for longer texts, especially not for scientific texts.Miama is a very small typeface compared to other fonts. This is due to the very large ascenders and descenders. So if you want to look Miama as a font of 10pt, choose 15-20pt. Also keep in mind, that Miama then still looks quite light, so you want probably resize it even more for titles.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Michroma": { + "name": "Michroma", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Michroma is a reworking and remodelling of the rounded-square sans genre that is closely associated with a 1960s feeling of the future. This is due to the popularity of Microgramma, designed by Aldo Novarese and Alessandro Buttiin in 1952, which pioneered the style; and the most famous typeface family of the genre that came 10 years later in Novarese\u2019s Eurostile. Michroma has character widths and stem weights perfectly formed to fit today's digital screens; Vernon Adams has pioneered a design process with this font that produces excellent results on screen with no manual hinting involved. The Mai 2023 update features a bigger glyphset and some minor aesthetic modifications. To contribute, see github.com/googlefonts/Michroma-font", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Micro 5": { + "name": "Micro 5", + "designer": [ + "Sarah Cadigan-Fried" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "The Soft Type Collection is designed for knitters to chart out their typographic projects. Micro 5 is a teeny-tiny typeface that can fit anywhere on your project. Each typeface has a \u201cRegular\u201d and \u201cCharted\u201d version, and some include multiple scales so you can fit type on your knits, no matter the project's size. In this collection, the number following the typeface's name indicates the height of the capital letters for that typeface. Check out the charted version Micro 5 Charted. To contribute, please see github.com/scfried/soft-type-micro.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Micro 5 Charted": { + "name": "Micro 5 Charted", + "designer": [ + "Sarah Cadigan-Fried" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "The Soft Type Collection is designed for knitters to chart out their typographic projects. Micro 5 is a teeny-tiny typeface that can fit anywhere on your project. Each typeface has a \u201cRegular\u201d and \u201cCharted\u201d version, and some include multiple scales so you can fit type on your knits, no matter the project's size. In this collection, the number following the typeface's name indicates the height of the capital letters for that typeface. Check out the non-charted version Micro 5. To contribute, please see github.com/scfried/soft-type-micro.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Milonga": { + "name": "Milonga", + "designer": [ + "Impallari Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Milonga is a Font inspired on \u201ctangueros\u201d art. This is a tribute to the \u201crioplatense\u201d culture, so colored, full of love and hate, family, friends and enemies stories told in countless Tangos and Milongas (folk music genre from Argentina). This graceful, flowing and rhythmic font is formed by graphic elements found in a kind of classic painting from this area called \u201cfileteado porte\u00f1o\u201d; with terminations involving petals, round and pointy details. Milonga is useful for headlines, where the characteristics of the font are highlighted.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Miltonian": { + "name": "Miltonian", + "designer": [ + "Impallari Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Miltonian is a fun 'tattoo' font. There is also the Miltonian Tattoo variant with filled-in forms. For nice effects, the two fonts can be combined by overlaying them. Also included are a few dingbats that can be used for decoration. Updated: January 2016 to version 1.008", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Miltonian Tattoo": { + "name": "Miltonian Tattoo", + "designer": [ + "Impallari Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Miltonian is a fun 'tattoo' font; this is the Tattoo variant with filled-in forms. For nice effects, the two fonts can be combined by overlaying them. Also included are a few dingbats that can be used for decoration. Updated: January 2016 to version 1.008", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Mina": { + "name": "Mina", + "designer": [ + "Suman Bhandary", + "Natanael Gama", + "Mooniak" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "bengali", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Mina is a contemporary geometric Bangla (Bengali) and Latin family. The family comes in two weights, Regular and Bold. It started by extending the Latin font Exo, initially designed by Natanael Gama. It works well as a display typeface, but is also designed to perform at small to intermediate text sizes. To learn more, visit github.com/suman51284/Mina", + "primary_script": "Beng", + "article": null, + "minisite_url": null + }, + "Mingzat": { + "name": "Mingzat", + "designer": [ + "SIL International" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "lepcha" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Lepc", + "article": "Mingzat is a Unicode font based on Jason Glavy's JG Lepcha custom-encoded font. With his generous permission, SIL International used his design and released the font under the SIL Open Font License (OFL). The name \"Mingzat\" means \"treasure of letters\" in the Lepcha language. Learn more at software.sil.org/mingzat. To contribute, see github.com/silnrsi/font-mingzat. SIL International recently released three typefaces for lesser-served writing systems (Tai Viet, Yi, Lepcha) used in Asia. SIL has also created Andika, which is specially designed to maximize legibility for new readers. SIL and lesser-served languages SIL International has a team of type designers who specialize in creating typefaces for lesser-served or non-dominant language communities. These are communities that exist alongside larger, more prominent language communities such as Chinese, English, or Arabic. These relatively smaller communities may have their own script, or they may have sounds in their language that are not represented in the script used by the majority language. Some non-dominant languages are endangered. According to UNESCO, about 40% of the estimated 7,000 languages are at risk of extinction. Without typefaces, these language communities can't survive online. To learn more, read New SIL Typefaces: Expanding type for legibility and lesser-served languages", + "minisite_url": null + }, + "Miniver": { + "name": "Miniver", + "designer": [ + "Open Window" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Miniver was inspired by a trip made to the library, looking for new ideas. Immediately gravitating towards the DVD for the 1942 film Mrs. Miniver, the hand-lettered title on the cover had a very contemporary look and feel so, there was the 'springboard' into a new font. First drawn were the inline forms and then they were traced, utilizing a playful 'cutout' effect.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Miriam Libre": { + "name": "Miriam Libre", + "designer": [ + "Michal Sahar" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "hebrew", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Miriam Libre is a mono-linear Hebrew and Latin sans serif font family with two weights, Regular and Bold. The Hebrew design is a revival of the original Miriam typeface published in 1908 by Raphael Frank. Miriam Libre brings this design into the 21st century: proportions are redesigned; unnnecessary elements were removed for a more clean appearance, while keeping the original unique personality; more soft curves replace some of the \u201csquare\u201d mechanical ones. The Latin design is original and made to fit the Hebrew and meet the contemporary needs of a bi-lingual font family. This updated version expands Miriam Libre to be a variable font. The Miriam Libre project is led by Michal Sahar, a type designer based in Tel Aviv, Israel. To contribute, see github.com/simoncozens/Miriam-Libre", + "primary_script": "Hebr", + "article": null, + "minisite_url": null + }, + "Mirza": { + "name": "Mirza", + "designer": [ + "KB Studio" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "arabic", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Mirza is a body text typeface based on the Naskh script, with 4 different weights. The design aims to observe the rules of Arabic and Persian aesthetics with the help of ligatures. Mirza includes a Latin typeface designed in harmony with the Arabic, to make it useful for multilingual texts. The Mirza project is led by KB Studio, a design studio in Los Angeles. To contribute, see github.com/Tarobish/Mirza", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Miss Fajardose": { + "name": "Miss Fajardose", + "designer": [ + "Sudtipos" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "The Charles Bluemlein Script Collection is an intriguing reminder of the heady days of hand lettering and calligraphy in the United States. From the early 1930s through World War II, there were about 200 professional hand letterers working in New York City alone. This occupation saw its demise with the advent of photo lettering, and after digital typography it became virtually extinct. The odd way in which the Bluemlein scripts were assembled and created - by collecting different signatures and then building complete alphabets from them - is a fascinating calligraphic adventure. Because the set of constructed designs looked nothing like the original signatures, fictitious names were assigned to the new script typefaces. The typeface styles were then showcased in Higgins Ink catalogs. Alejandro Paul and Sudtipos bring the Bluemlein scripts back to life in a set of expanded digital versions, reflecting the demands of today\u2019s designer. Extreme care has been taken to render the original scripts authentically, keeping the fictitious names originally assigned to them by Bluemlein.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Mitr": { + "name": "Mitr", + "designer": [ + "Cadson Demak" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "thai", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Mitr is a Thai word that means \u201cfriend\u201d in Thai. Mitr is a sans serif Latin and loopless Thai typeface that combines senses of organic and humanist sans serif designs with rounded terminals. It has a wide structure and airy negative space that preserves legibility and readability. Mitr is a novel and friendly typeface that is suitable for casual usage such as celebration cards, magazines, and posters. A similarity between some glyphs such as \u0e01 \u0e16 \u0e20 \u0e24 \u0e26, \u0e0e \u0e0f, \u0e1a \u0e1b, or \u0e02 \u0e0a is something to take into consideration because it might lead to confusion when typesetting very short texts. Mitr has a specific approach to the thick and thin strokes of Thai glyphs. Other type designers may consider this font as an example when developing new fonts. Informal looped Thai typefaces have slightly simplified details, as compared to formal ones, and this allows type designers to extend them to heavier weights. The size and position of Thai vowel and tone marks have been managed carefully because they are all relevant to readability, legibility, and overall texture. The Mitr project is led by Cadson Demak, a type foundry in Thailand. To contribute, see github.com/cadsondemak/mitr", + "primary_script": "Thai", + "article": null, + "minisite_url": null + }, + "Mochiy Pop One": { + "name": "Mochiy Pop One", + "designer": [ + "FONTDASU" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "japanese", + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Mochiy Pop is a casual Gothic font created based on characters written by girls in their 20s in Japan. A cute display font, you can use it widely, such as for manga, magazines, movies, and signs. The included Kanji are modified versions of Noto Sans JP. Mochiy Pop includes full-width kana. Mochiy Pop P (https://fonts.google.com/specimen/Mochiy+Pop+P) includes proportional-width kana. To contribute to the project, visit github.com/fontdasu/Mochiypop", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "Mochiy Pop P One": { + "name": "Mochiy Pop P One", + "designer": [ + "FONTDASU" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "japanese", + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Mochiy Pop is a casual Gothic font created based on characters written by girls in their 20s in Japan. A cute display font, you can use it widely, such as for manga, magazines, movies, and signs. The included Kanji are modified versions of Noto Sans JP. Mochiy Pop P includes proportional-wdith kana. Mochiy Pop (https://fonts.google.com/specimen/Mochiy+Pop) includes full-width kana. To contribute to the project, visit github.com/fontdasu/Mochiypop", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "Modak": { + "name": "Modak", + "designer": [ + "Ek Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Modak is a sweet plump Devanagari+Latin display typeface with portly curves and thin counters. It is Unicode compliant and is open sourced under the SIL Open Font License v1.1. Modak began as a heavy hand-sketched letterform exploration in Devanagari with cute, adorable characters whose curves merged into each other, forming distinct counter shapes. As we translated these into a functional font, each character was fine-tuned and multiple matras designed to match precisely with every character. Unlike the conventional approach the post-base matras in Modak overlap the consonants. Likewise overlapping ukars were also designed leaving thin counters in between. Rather than being a mere composite of 2 separate glyphs, every conjunct was redrawn as a single entity. The challenge was to maintain legibility and consistency in the thin white counter spaces across all characters irrespective of their structural complexity. The resulting typeface is one of its kind and most likely the chubbiest Devanagari typeface to be designed so far. Modak Devanagari is designed by Sarang Kulkarni and Maithili Shingre and Modak Latin by Noopur Datye with support from Girish Dalvi. We are immensely thankful to Santosh Kshirsagar, Pradnya Naik and Yashodeep Gholap for their suggestions and feedback during the font design process. We are also grateful to our friends from the Industrial Design Centre, IIT Bombay and Sir J J Institute of Applied Art for their support and encouragement. This project is led by Ek Type, a collective of type designers based in Mumbai focused on designing contemporary Indian typefaces. To contribute, see github.com/girish-dalvi/Modak", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Modern Antiqua": { + "name": "Modern Antiqua", + "designer": [ + "Wojciech Kalinowski" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "This is another of my old fonts used for inscriptions on stone. I created the ModernAntiqua font around 1995 like my other fonts - when I started doing the inscriptions on stone professionally. The font is based on Roman square capitals. Initially the font contained only capitals and digits and later I made the missing lowercase and symbols. Last year I started converting my typeface designs into fonts. The first was NovaCut and all the Nova family, next MedievalSharp, and here's another...", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Moderustic": { + "name": "Moderustic", + "designer": [ + "Tural Alisoy" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Moderustic is a versatile typeface meticulously designed for user interfaces, crafted with the aim of enhancing the user experience. This font maintains a consistent width across different styles, ensuring that your UI elements always occupy the same space on the page. It supports a variety of languages, including Greek, Latin, and Cyrillic, making it an ideal choice for designing user-friendly digital applications. Moderustic offers exceptional readability and adaptability, allowing you to create sleek and modern user interfaces that cater to a global audience. To contribute, see github.com/Tural/Moderustic.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Mogra": { + "name": "Mogra", + "designer": [ + "Lipi Raval" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "gujarati", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Mogra (\u0aae\u0acb\u0a97\u0ab0\u0abe) is a display typeface that supports the Gujarati and Latin scripts. With dense letterforms that borrow heavily from a broad-nibbed marker, Mogra emphasises the definitive Gujarati out-stroke with mass, weight, and flair. The implied bloating of the marker pen creates an interesting roundness that contrasts against the relatively fixed angle the pen holds. The Mogra project is led by Lipi Raval, a type designer based in Ahmedabad, India. To contribute, see github.com/lipiraval/mogra", + "primary_script": "Gujr", + "article": null, + "minisite_url": null + }, + "Mohave": { + "name": "Mohave", + "designer": [ + "Gumpita Rahayu" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Mohave is a titling display typeface, initially designed by Gumpita Rahayu as an all-caps display font. In 2013, it was expanded into a 4 weight family including matching italic in 2018. In 2020 Mirko Velimirovic expanded it into a Variable Font with a weight axis. To contribute, see github.com/tokotype/mohave-typefaces.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Moirai One": { + "name": "Moirai One", + "designer": [ + "Jiyeon Park", + "JAMO" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "korean", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Moirai is a font that experiments with stroke movement with visibility and legibility. It is designed to draw, arrange, and delete strokes of letters to have the minimum strokes and slopes necessary for that letter to be recognized. The shapes surrounding the thick space with thin, round lines give a lovely impression, while also creating a light and lyrical atmosphere. To contribute, please visit github.com/JAMO-TYPEFACE/Moirai.", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "Molengo": { + "name": "Molengo", + "designer": [ + "Denis Jacquerye" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Molengo is a Latin typeface for documents. It is multilingual and has some features required by many minority languages such as non-spacing mark placement. The font is produced with FontForge. The glyphs are designed in a CFF file but the production file is a TTF file with hinting instructions made with Xgridfit.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Molle": { + "name": "Molle", + "designer": [ + "Elena Albertoni" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Foundry: Sorkin Type Co Molle is a distinctive looking bottom heavy display script inspired by lettering seen on an Italian poster. Molle is best used from medium to large sizes. To contribute to the project contact Eben Sorkin. Updated September 2015: Internal metadata corrected.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Mona Sans": { + "name": "Mona Sans", + "designer": [ + "Tobias Bjerrome Ahlin", + "GitHub", + "Degarism Studio", + "Sebastian Carewe" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "A strong and versatile typeface, designed together with Degarism and inspired by industrial-era grotesques. Mona Sans works well across product, web, and print. Made to work well together with Mona Sans's sidekick, Hubot Sans. Mona Sans is a variable font. Variable fonts enable different variations of a typeface to be incorporated into one single file, and are supported by all major browsers, allowing for performance benefits and granular design control of the typeface's weight, width, and slant. To contribute, see github.com/github/mona-sans.", + "minisite_url": "https://github.com/mona-sans" + }, + "Monda": { + "name": "Monda", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "The Monda font family is a libre font family. It has been designed to be used freely across the internet by web browsers on desktop computers, laptops and mobile devices. Monda language support includes now African Latin and full coverage of Vietnamese, additional to all Western, Central, and South-Eastern European languages. To contribute see github.com/googlefonts/mondaFont.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Monofett": { + "name": "Monofett", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "monospace" + ], + "description": "Monofett started as designs for custom mountain bike branding. As a font it is designed to be a bold, eye catching decal-like display face with a sense of an edgy but technical function. In 2023 the font have been updated, offering a better language support. To contribute, see github.com/googlefonts/monofett.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Monomakh": { + "name": "Monomakh", + "designer": [ + "Aleksandr Andreev", + "Nikita Simmons" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Monomakh is a Cyrillic font implemented in a mixed ustav/poluustav style and intended to cover needs of researches dealing with Slavic history and philology. It also provides Latin characters in a similar typeface, which is useful for working with multilingual academic editions. To contribute, please see github.com/slavonic/Monomakh.", + "primary_script": "Cyrl", + "article": null, + "minisite_url": null + }, + "Monomaniac One": { + "name": "Monomaniac One", + "designer": [ + "Maniackers Design" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Monomaniac is a bold Japanese Sans Serif font featuring rounded corners. The letterforms are condensed which work well for vertical typesetting. To contribute to the project, visit github.com/ManiackersDesign/monomaniac", + "primary_script": "Hira", + "article": null, + "minisite_url": null + }, + "Monoton": { + "name": "Monoton", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Monoton is a contemporary take on metalpress fonts like, for example, 'Prisma' (originally designed in 1931 by Rudolf Koch.) Monoton is a pure display webfont designed to be used at font sizes above 30 points. Monoton has been designed to be used freely across the internet by web browsers on desktop computers, laptops and mobile devices.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Monsieur La Doulaise": { + "name": "Monsieur La Doulaise", + "designer": [ + "Sudtipos" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "The Charles Bluemlein Script Collection is an intriguing reminder of the heady days of hand lettering and calligraphy in the United States. From the early 1930s through World War II, there were about 200 professional hand letterers working in New York City alone. This occupation saw its demise with the advent of photo lettering, and after digital typography it became virtually extinct. The odd way in which the Bluemlein scripts were assembled and created - by collecting different signatures and then building complete alphabets from them - is a fascinating calligraphic adventure. Because the set of constructed designs looked nothing like the original signatures, fictitious names were assigned to the new script typefaces. The typeface styles were then showcased in Higgins Ink catalogs. Alejandro Paul and Sudtipos bring the Bluemlein scripts back to life in a set of expanded digital versions, reflecting the demands of today\u2019s designer. Extreme care has been taken to render the original scripts authentically, keeping the fictitious names originally assigned to them by Bluemlein.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Montaga": { + "name": "Montaga", + "designer": [ + "Alejandra Rodriguez" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Montage is an Old Style font, inspired by Venetian calligraphy. Her main feature is the strong inclination in the modulation axis, that generates shapes with marked stress. This gives her a strong personality. The uppercases are slender and arrogant, and the narrowness of shapes provide optimum performance. Montaga is evolving and will be updated. As of now there is only Regular style. Montaga is a work in progress and will be improved regularly. This means you can request improvements and even fund specific features if they are outside of the current scope of work. For more information follow @ale_guez", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Montagu Slab": { + "name": "Montagu Slab", + "designer": [ + "Florian Karsten" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SLAB_SERIF", + "classifications": [ + "display" + ], + "description": "Montagu Slab is a slab-serif display typeface designed by Florian Karsten. The typeface draws inspiration from 19th-century classic designs and it is available as a variable font with weight and optical size axes. The optical size axis, which controls x-height, spacing, contrast and aperture, provides a wide range of variation \u2013 from low contrast and higher x-height version suitable for long texts, to a tight and high contrast display variant with prominent upturned tails. To contribute, see github.com/floriankarsten/montagu-slab.", + "primary_script": null, + "article": null, + "minisite_url": "https://fonts.floriankarsten.com/montagu-slab" + }, + "MonteCarlo": { + "name": "MonteCarlo", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "MonteCarlo is a beautiful formal script\u2014 both contemporary and traditional. This connecting script\u2019s italic is slight, making it an extremely legible design. Its additional flourishing options offer truly diverse possibilities for customization of display. MonteCarlo is perfect for those situations that require an ornate look, and a readable message, without compromising beautiful design. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/monte-carlo.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Montez": { + "name": "Montez", + "designer": [ + "Astigmatic" + ], + "license": "apache2", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Montezuma is a script font which draws inspiration from 1960s beauty product ads. Its sweeping strokes lend to a feel of joy and elegance, making it ideal for display uses that require a little drama, \"joie de vivre\" or Joy of Life. Best settings are at medium to large text sizes for optimal readability.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Montserrat": { + "name": "Montserrat", + "designer": [ + "Julieta Ulanovsky", + "Sol Matas", + "Juan Pablo del Peral", + "Jacques Le Bailly" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "The old posters and signs in the traditional Montserrat neighborhood of Buenos Aires inspired Julieta Ulanovsky to design this typeface and rescue the beauty of urban typography that emerged in the first half of the twentieth century. As urban development changes that place, it will never return to its original form and loses forever the designs that are so special and unique. The letters that inspired this project have work, dedication, care, color, contrast, light and life, day and night! These are the types that make the city look so beautiful. The Montserrat Project began with the idea to rescue what is in Montserrat and set it free under a libre license, the SIL Open Font License. This is the normal family, and it has two sister families so far, Alternates and Subrayada. Many of the letterforms are special in the Alternates family, while 'Subrayada' means 'Underlined' in Spanish and celebrates a special style of underline that is integrated into the letterforms found in the Montserrat neighborhood. Updated November 2017: The family was redrawn by Jacques Le Bailly at Baron von Fonthausen over the summer, and the full set of weights were adjusted to make the Regular lighter and better for use in longer texts. In fall, Julieta Ulanovsky, Sol Matas, and Juan Pablo del Peral, led the development of Cyrillic support, with consultation with Carolina Giovagnoli, Maria Doreuli, and Alexei Vanyashin. The Montserrat project is led by Julieta Ulanovsky, a type designer based in Buenos Aires, Argentina. To contribute, see github.com/JulietaUla/Montserrat", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Montserrat Alternates": { + "name": "Montserrat Alternates", + "designer": [ + "Julieta Ulanovsky", + "Sol Matas", + "Juan Pablo del Peral", + "Jacques Le Bailly" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "The old posters and signs in the traditional Montserrat neighborhood of Buenos Aires inspired Julieta to design this typeface and rescue the beauty of urban typography that emerged in the first half of the twentieth century. As urban development changes that place, it will never return to its original form and loses forever the designs that are so special and unique. The letters that inspired this project have work, dedication, care, color, contrast, light and life, day and night! These are the types that make the city look so beautiful. The Montserrat Project began with the idea to rescue what is in Montserrat and set it free under a libre license, the SIL Open Font License. This is the Alternates family, a sister to the normal and Subrayada families. Many of the letterforms are special in the Alternates family, while 'Subrayada' means 'Underlined' in Spanish and celebrates a special style of underline that is integrated into the letterforms found in the Montserrat neighborhood. Updated November 2017: The family was redrawn by Jacques Le Bailly at Baron von Fonthausen over the summer, and the full set of weights were adjusted to make the Regular lighter and better for use in longer texts. In fall, Julieta Ulanovsky, Sol Matas, and Juan Pablo del Peral, led the development of Cyrillic support, with consultation with Carolina Giovagnoli, Maria Doreuli, and Alexei Vanyashin. The Montserrat project is led by Julieta Ulanovsky, a type designer based in Buenos Aires, Argentina. To contribute, see github.com/JulietaUla/Montserrat", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Montserrat Subrayada": { + "name": "Montserrat Subrayada", + "designer": [ + "Julieta Ulanovsky" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "The old posters and signs in the traditional Montserrat neighborhood of Buenos Aires inspired Julieta to design this typeface and rescue the beauty of urban typography that emerged in the first half of the twentieth century. As urban development changes that place, it will never return to its original form and loses forever the designs that are so special and unique. The letters that inspired this project have work, dedication, care, color, contrast, light and life, day and night! These are the types that make the city look so beautiful. The Montserrat Project began with the idea to rescue what is in Montserrat and set it free under a libre license, the SIL Open Font License. This is the Subrayada family, a sister to the normal and Alternates families. Many of the letterforms are special in the Alternates family, while 'Subrayada' means 'Underlined' in Spanish and celebrates a special style of underline that is integrated into the letterforms found in the Montserrat neighborhood. Updated November 2017: The family was redrawn by Jacques Le Bailly at Baron von Fonthausen over the summer, and the full set of weights were adjusted to make the Regular lighter and better for use in longer texts. In fall, Julieta Ulanovsky, Sol Matas, and Juan Pablo del Peral, led the development of Cyrillic support, with consultation with Carolina Giovagnoli, Maria Doreuli, and Alexei Vanyashin. The Montserrat project is led by Julieta Ulanovsky, a type designer based in Buenos Aires, Argentina. To contribute, see github.com/JulietaUla/Montserrat", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Montserrat Underline": { + "name": "Montserrat Underline", + "designer": [ + "Julieta Ulanovsky", + "Sol Matas", + "Juan Pablo del Peral", + "Jacques Le Bailly" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "The old posters and signs in the traditional Montserrat neighborhood of Buenos Aires inspired Julieta Ulanovsky to design this typeface and rescue the beauty of urban typography that emerged in the first half of the twentieth century. As urban development changes that place, it will never return to its original form and loses forever the designs that are so special and unique. The letters that inspired this project have work, dedication, care, color, contrast, light and life, day and night! These are the types that make the city look so beautiful. The Montserrat Project began with the idea to rescue what is in Montserrat and set it free under a libre license, the SIL Open Font License. This is the Underline family, a sister to the normal and Alternates families. This family celebrates a special style of underline that is integrated into the letterforms found in the Montserrat neighborhood. The Montserrat project is led by Julieta Ulanovsky, a type designer based in Buenos Aires, Argentina. To contribute, see github.com/JulietaUla/Montserrat", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Moo Lah Lah": { + "name": "Moo Lah Lah", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Need a font with bovine fun? Moo Lah Lah has that look! It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/moolahlah.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Mooli": { + "name": "Mooli", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Mooli is a Sans Serif font designed for young readers. Mooli is derived from the Mulish font family. It has been designed to be used freely across the internet by web browsers on desktop computers, laptops and mobile devices. To contribute, please see github.com/googlefonts/mooliFont.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Moon Dance": { + "name": "Moon Dance", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "This calligraphic typeface comes with a Roman Version and a more flourished stylistic set. The main style has less ornate uppercase forms and the second has more flourished upper- and lowercase characters for a beautiful hand-lettered feel. Perfect for tubes, tags, invitations and other projects that need a personal touch. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/moondance.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Moul": { + "name": "Moul", + "designer": [ + "Danh Hong" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "khmer", + "latin" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Moul is a traditional Khmer typeface design, suitable for headlines, titles, subtitles, and even banner designs. To contribute, see github.com/danhhong/Moul.", + "primary_script": "Khmr", + "article": null, + "minisite_url": null + }, + "Moulpali": { + "name": "Moulpali", + "designer": [ + "Danh Hong" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "khmer", + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Moulpali is a typeface for Khmer body text, the design is similar to some Khmer metal types popular in the 1960s. To contribute, see github.com/danhhong/Moulpali.", + "primary_script": "Khmr", + "article": null, + "minisite_url": null + }, + "Mountains of Christmas": { + "name": "Mountains of Christmas", + "designer": [ + "Tart Workshop" + ], + "license": "apache2", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Ever wonder what font sugarplum fairies dream about? Mountains of Christmas by the talented lettering artist Crystal Kluge is the perfect casual and playful serif font when you want to give your words a warm personal touch.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Mouse Memoirs": { + "name": "Mouse Memoirs", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Mouse Memoirs finds its inspiration in the vintage Mickey Mouse, Beagle Boys, and Uncle Scrooge comic books put out by Walt Disney in the 1950's and 60's. This font comes alive with a truly animated look. Perfect for light-hearted designs, children's books, and the like\u2026 it is an all-around fun typeface. To contribute to the project contact Brian J. Bonislawsky.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Mr Bedfort": { + "name": "Mr Bedfort", + "designer": [ + "Sudtipos" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "The Charles Bluemlein Script Collection is an intriguing reminder of the heady days of hand lettering and calligraphy in the United States. From the early 1930s through World War II, there were about 200 professional hand letterers working in New York City alone. This occupation saw its demise with the advent of photo lettering, and after digital typography it became virtually extinct. The odd way in which the Bluemlein scripts were assembled and created - by collecting different signatures and then building complete alphabets from them - is a fascinating calligraphic adventure. Because the set of constructed designs looked nothing like the original signatures, fictitious names were assigned to the new script typefaces. The typeface styles were then showcased in Higgins Ink catalogs. Alejandro Paul and Sudtipos bring the Bluemlein scripts back to life in a set of expanded digital versions, reflecting the demands of today\u2019s designer. Extreme care has been taken to render the original scripts authentically, keeping the fictitious names originally assigned to them by Bluemlein.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Mr Dafoe": { + "name": "Mr Dafoe", + "designer": [ + "Sudtipos" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "The Charles Bluemlein Script Collection is an intriguing reminder of the heady days of hand lettering and calligraphy in the United States. From the early 1930s through World War II, there were about 200 professional hand letterers working in New York City alone. This occupation saw its demise with the advent of photo lettering, and after digital typography it became virtually extinct. The odd way in which the Bluemlein scripts were assembled and created - by collecting different signatures and then building complete alphabets from them - is a fascinating calligraphic adventure. Because the set of constructed designs looked nothing like the original signatures, fictitious names were assigned to the new script typefaces. The typeface styles were then showcased in Higgins Ink catalogs. Alejandro Paul and Sudtipos bring the Bluemlein scripts back to life in a set of expanded digital versions, reflecting the demands of today\u2019s designer. Extreme care has been taken to render the original scripts authentically, keeping the fictitious names originally assigned to them by Bluemlein.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Mr De Haviland": { + "name": "Mr De Haviland", + "designer": [ + "Sudtipos" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "The Charles Bluemlein Script Collection is an intriguing reminder of the heady days of hand lettering and calligraphy in the United States. From the early 1930s through World War II, there were about 200 professional hand letterers working in New York City alone. This occupation saw its demise with the advent of photo lettering, and after digital typography it became virtually extinct. The odd way in which the Bluemlein scripts were assembled and created - by collecting different signatures and then building complete alphabets from them - is a fascinating calligraphic adventure. Because the set of constructed designs looked nothing like the original signatures, fictitious names were assigned to the new script typefaces. The typeface styles were then showcased in Higgins Ink catalogs. Alejandro Paul and Sudtipos bring the Bluemlein scripts back to life in a set of expanded digital versions, reflecting the demands of today\u2019s designer. Extreme care has been taken to render the original scripts authentically, keeping the fictitious names originally assigned to them by Bluemlein.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Mrs Saint Delafield": { + "name": "Mrs Saint Delafield", + "designer": [ + "Sudtipos" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "The Charles Bluemlein Script Collection is an intriguing reminder of the heady days of hand lettering and calligraphy in the United States. From the early 1930s through World War II, there were about 200 professional hand letterers working in New York City alone. This occupation saw its demise with the advent of photo lettering, and after digital typography it became virtually extinct. The odd way in which the Bluemlein scripts were assembled and created - by collecting different signatures and then building complete alphabets from them - is a fascinating calligraphic adventure. Because the set of constructed designs looked nothing like the original signatures, fictitious names were assigned to the new script typefaces. The typeface styles were then showcased in Higgins Ink catalogs. Alejandro Paul and Sudtipos bring the Bluemlein scripts back to life in a set of expanded digital versions, reflecting the demands of today\u2019s designer. Extreme care has been taken to render the original scripts authentically, keeping the fictitious names originally assigned to them by Bluemlein.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Mrs Sheppards": { + "name": "Mrs Sheppards", + "designer": [ + "Sudtipos" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "The Charles Bluemlein Script Collection is an intriguing reminder of the heady days of hand lettering and calligraphy in the United States. From the early 1930s through World War II, there were about 200 professional hand letterers working in New York City alone. This occupation saw its demise with the advent of photo lettering, and after digital typography it became virtually extinct. The odd way in which the Bluemlein scripts were assembled and created - by collecting different signatures and then building complete alphabets from them - is a fascinating calligraphic adventure. Because the set of constructed designs looked nothing like the original signatures, fictitious names were assigned to the new script typefaces. The typeface styles were then showcased in Higgins Ink catalogs. Alejandro Paul and Sudtipos bring the Bluemlein scripts back to life in a set of expanded digital versions, reflecting the demands of today\u2019s designer. Extreme care has been taken to render the original scripts authentically, keeping the fictitious names originally assigned to them by Bluemlein.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ms Madi": { + "name": "Ms Madi", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Ms Madi is a monoline hand written script. It's clean connections and quite legible hand written cursive style works great in situations that require a relatively sophisticated casual look. As with any cursive script, it is never a good idea to use this font in all capital letters. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/ms-madi.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Mukta": { + "name": "Mukta", + "designer": [ + "Ek Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Mukta is a Unicode compliant, versatile, contemporary, humanist, mono-linear typeface family available in seven weights, supporting Devanagari, Gujarati, Gurumukhi, Tamil and Latin scripts. This type family is a libre licensed version of Ek's self-titled multi-script project, an ongoing effort to develop a unified type family for each Indian script. The goal is to build one harmonious family across all Indian scripts without letting the visual features of one script dominate over others. This ensures that the fonts can be used successfully for both single and multi-script purposes. Mukta was designed by Girish Dalvi and Yashodeep Gholap. Mukta Vaani was designed by Noopur Datye and Pallavi Karambelkar with support from Sarang Kulkarni and Maithili Shingre. Mukta Malar was designed by Aadarsh Rajan. Mukta Mahee was designed by Shuchita Grover and Noopur Datye. Ek would like to thank Vinay Saynekar, Santosh Kshirsagar, Shubhanand Jog, Yogesh Jahargirdar, Pradnya Naik, Snehal Patil, Omkar Shende and Dave Crossland for their suggestions and feedback during the font design process. Ek would also like to thank faculty and friends from the Industrial Design Centre, IIT Bombay, and from Sir J J Institute of Applied Art, for their support and encouragement. This project is led by Ek Type, a collective of type designers based in Mumbai focused on designing contemporary Indian typefaces. To contribute, see github.com/EkType/Mukta", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Mukta Mahee": { + "name": "Mukta Mahee", + "designer": [ + "Ek Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "gurmukhi", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Mukta is a Unicode compliant, versatile, contemporary, humanist, mono-linear typeface family available in seven weights, supporting Devanagari, Gujarati, Gurumukhi, Tamil and Latin scripts. This type family is a libre licensed version of Ek's self-titled multi-script project, an ongoing effort to develop a unified type family for each Indian script. The goal is to build one harmonious family across all Indian scripts without letting the visual features of one script dominate over others. This ensures that the fonts can be used successfully for both single and multi-script purposes. Mukta was designed by Girish Dalvi and Yashodeep Gholap. Mukta Vaani was designed by Noopur Datye and Pallavi Karambelkar with support from Sarang Kulkarni and Maithili Shingre. Mukta Malar was designed by Aadarsh Rajan. Mukta Mahee was designed by Shuchita Grover and Noopur Datye. Ek would like to thank Vinay Saynekar, Santosh Kshirsagar, Shubhanand Jog, Yogesh Jahargirdar, Pradnya Naik, Snehal Patil, Omkar Shende and Dave Crossland for their suggestions and feedback during the font design process. Ek would also like to thank faculty and friends from the Industrial Design Centre, IIT Bombay, and from Sir J J Institute of Applied Art, for their support and encouragement. This project is led by Ek Type, a collective of type designers based in Mumbai focused on designing contemporary Indian typefaces. To contribute, see github.com/EkType/Mukta", + "primary_script": "Guru", + "article": null, + "minisite_url": null + }, + "Mukta Malar": { + "name": "Mukta Malar", + "designer": [ + "Ek Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "tamil" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Mukta is a Unicode compliant, versatile, contemporary, humanist, mono-linear typeface family available in seven weights, supporting Devanagari, Gujarati, Gurumukhi, Tamil and Latin scripts. This type family is a libre licensed version of Ek's self-titled multi-script project, an ongoing effort to develop a unified type family for each Indian script. The goal is to build one harmonious family across all Indian scripts without letting the visual features of one script dominate over others. This ensures that the fonts can be used successfully for both single and multi-script purposes. Mukta was designed by Girish Dalvi and Yashodeep Gholap. Mukta Vaani was designed by Noopur Datye and Pallavi Karambelkar with support from Sarang Kulkarni and Maithili Shingre. Mukta Malar was designed by Aadarsh Rajan. Mukta Mahee was designed by Shuchita Grover and Noopur Datye. Ek would like to thank Vinay Saynekar, Santosh Kshirsagar, Shubhanand Jog, Yogesh Jahargirdar, Pradnya Naik, Snehal Patil, Omkar Shende and Dave Crossland for their suggestions and feedback during the font design process. Ek would also like to thank faculty and friends from the Industrial Design Centre, IIT Bombay, and from Sir J J Institute of Applied Art, for their support and encouragement. This project is led by Ek Type, a collective of type designers based in Mumbai focused on designing contemporary Indian typefaces. To contribute, see github.com/EkType/Mukta", + "primary_script": "Taml", + "article": null, + "minisite_url": null + }, + "Mukta Vaani": { + "name": "Mukta Vaani", + "designer": [ + "Ek Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "gujarati", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Mukta is a Unicode compliant, versatile, contemporary, humanist, mono-linear typeface family available in seven weights, supporting Devanagari, Gujarati, Gurumukhi, Tamil and Latin scripts. This type family is a libre licensed version of Ek's self-titled multi-script project, an ongoing effort to develop a unified type family for each Indian script. The goal is to build one harmonious family across all Indian scripts without letting the visual features of one script dominate over others. This ensures that the fonts can be used successfully for both single and multi-script purposes. Mukta was designed by Girish Dalvi and Yashodeep Gholap. Mukta Vaani was designed by Noopur Datye and Pallavi Karambelkar with support from Sarang Kulkarni and Maithili Shingre. Mukta Malar was designed by Aadarsh Rajan. Mukta Mahee was designed by Shuchita Grover and Noopur Datye. Ek would like to thank Vinay Saynekar, Santosh Kshirsagar, Shubhanand Jog, Yogesh Jahargirdar, Pradnya Naik, Snehal Patil, Omkar Shende and Dave Crossland for their suggestions and feedback during the font design process. Ek would also like to thank faculty and friends from the Industrial Design Centre, IIT Bombay, and from Sir J J Institute of Applied Art, for their support and encouragement. This project is led by Ek Type, a collective of type designers based in Mumbai focused on designing contemporary Indian typefaces. To contribute, see github.com/EkType/Mukta", + "primary_script": "Gujr", + "article": null, + "minisite_url": null + }, + "Muli": { + "name": "Muli", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Muli is a minimalist Sans Serif typeface, designed for both display and text typography. Since the initial launch in 2011, Muli was updated continually by Vernon Adams until 2014. Vernon added more weights, support for more Latin languages, tightened the spacing and kerning and made many glyph refinements throughout the family based on hundreds of users' feedback. In 2017 the family was updated by Jacques Le Bailly to complete the work started by Vernon after he passed away, in collaboration with his wife Allison, an arist who holds the trademark on the typeface family name. In August 2019, it was updated with a Variable Font \"Weight\" axis. To contribute, see github.com/googlefonts/MuliFont", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Mulish": { + "name": "Mulish", + "designer": [ + "Vernon Adams", + "Cyreal", + "Jacques Le Bailly" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Mulish is a minimalist Sans Serif typeface, designed for both display and text typography. It was initially drawn in 2011 by Vernon Adams and then refined until 2014, adding more weights, support for more Latin languages, tightened the spacing and kerning and made many glyph refinements throughout the family \u2013 all based on hundreds of users' feedback. In 2017 the family was updated by Jacques Le Bailly to complete the work started by Vernon after he passed away, in collaboration with his wife Allison, an arist who holds the trademark on the typeface family name. In August 2019, it was updated with a Variable Font \"Weight\" axis. To contribute, see github.com/googlefonts/mulish", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Murecho": { + "name": "Murecho", + "designer": [ + "Neil Summerour" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Murecho is a low-stroke contrast, flat terminal Gothic style (\u201csans serif\u201d) Japanese typeface designed for text settings in Japan. It covers Hiragana, Katakana, and Kanji (JOYO+). It also supports Latin, Cyrillic, and Greek. Murecho is available in 9 practical weights and as a variable font. To contribute to Murecho, please visit the github page.", + "primary_script": "Hira", + "article": null, + "minisite_url": null + }, + "MuseoModerno": { + "name": "MuseoModerno", + "designer": [ + "Omnibus-Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "MuseoModerno is a contemporary geometric typeface for the new Identity of the Museum of Modern Art of Buenos Aires (Museo Moderno, AR). Designed by Marcela Romero, H\u00e9ctor Gatti, Pablo Cosgaya and the Omnibus-Type Team. The June 2022 release completes the family with the italic. To contribute, see github.com/Omnibus-Type/MuseoModerno.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "My Soul": { + "name": "My Soul", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Inspired by the lettering popular in the northwest United States in the 1980s, My Soul is a flat pen calligraphic style with capital forms that have been subtly embellished. It's robust weight holds up well at reduced sizes, but be careful as the embellishments may cause a loss of legibility at such sizes. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/my-soul.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Mynerve": { + "name": "Mynerve", + "designer": [ + "Carolina Short" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "greek", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Mynerve is a handwriting typeface designed to annotate and comment on documents with a fresh style. In addition, two sets of alternates allow variations when letters are repeated to emulate realistic script, together with some ligatures for frequent combinations. It can be used for informal texts, notes, or any project that would benefit from a casual script looking font. With a Latin Plus language coverage currently supports 219 Latin based languages. To contribute, see github.com/carolinashort/MyNerve.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Mystery Quest": { + "name": "Mystery Quest", + "designer": [ + "Sideshow" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Grab your gear! Check your nerves! Get ready for Mystery Quest! This far-out funky font brings danger with every curve! You never know what this playful 1960s mod inspired typeface will bring and design adventure is just around the corner! Are you ready? Designed by Dave 'Squid' Cohen of Sideshow (a DBA of Font Diner, Inc.) To contribute to the project, contact the Font Diner.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "NATS": { + "name": "NATS", + "designer": [ + "Purushoth Kumar Guttula" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "telugu" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "NATS is a Telugu handwriting font, mainly suitable for headings, posters and decorative invitations, and anywhere if someone want to use handwriting style to add their mark. The Telugu is designed and developed by Purushoth Kumar Guttula in 2012 and made available under the SIL Open Font License v1.1 by Silicon Andhra. The Latin is designed by Julieta Ulanovsky, a type designer in Argentina, and originally published as Montserrat. The NATS project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India. To contribute, see github.com/appajid/nats", + "primary_script": "Telu", + "article": null, + "minisite_url": null + }, + "NTR": { + "name": "NTR", + "designer": [ + "Purushoth Kumar Guttula" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "telugu" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "NTR is a Telugu handwriting font inspired by the artist Bapu who is famous among Telugu people. Many artists followed him and created their own style and this font shows that influence. It is suitable for headings, posters, invitations and anywhere you want to use a handwriting font. NTR is named after Nandamuri Taraka Rama Rao, who worked tirelessly for the self-respect and well being of Telugu people around the world. The Telugu is designed and developed by Purushoth Kumar Guttula in 2013 and made available by Silicon Andhra under the SIL Open Font License v1.1. The Latin is designed by Joe Prince and originally published as Varela Round. The NTR project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India. To contribute, see github.com/appajid/ntr", + "primary_script": "Telu", + "article": null, + "minisite_url": null + }, + "Nabla": { + "name": "Nabla", + "designer": [ + "Arthur Reinders Folmer", + "Just van Rossum" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic-ext", + "latin", + "latin-ext", + "math", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Typearture's Nabla: an Isometric COLRv1 font Nabla is a color font inspired by isometric computer games, built using the COLRv1 format. This format allows for smooth gradients, sharp highlights and blended shadows, resulting in a bold and vibrant design. It includes two font variations axes, one for the depth of the letters, the other for the thickness of the highlight, and includes multiple color palettes. This font uses the COLRv1, CPAL and SVG tables. Please visit the gf-guide color page to learn more about Color Fonts technology. Designed by Arthur Reinders Folmer, created with the magic of Just van Rossum. To contribute, see github.com/justvanrossum/nabla.", + "primary_script": null, + "article": null, + "minisite_url": "https://nabla.typearture.com/" + }, + "Namdhinggo": { + "name": "Namdhinggo", + "designer": [ + "SIL International" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "limbu" + ], + "stroke": "SERIF", + "classifications": [], + "description": "This project provides a libre and open font family for the Limbu script of Nepal. According to traditional histories the Limbu script was developed by King Sirijonga in the 9th Century. It then fell out of use before being reintroduced in the 18th century by Teongsi Sirijonga (1704-1741) whom many felt to be the reincarnation of the first Sirijonga. The modern Sirijonga was apparently martyred in 1741 for the sake of this script by lamas in Sikkim. The script was named 'Sirijonga' in his honour by the Limbu scholar Iman Singh Chemjong. To contribute, please see github.com/silnrsi/font-namdhinggo.", + "primary_script": "Limb", + "article": null, + "minisite_url": null + }, + "Nanum Brush Script": { + "name": "Nanum Brush Script", + "designer": [ + "Sandoll Communication" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "korean", + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "The Nanum fonts (Korean : \ub098\ub214\uae00\uaf34) are unicode fonts designed especially for the Korean-language script, designed by Sandoll Communications (Korean : \uc0b0\ub3cc \ucee4\ubba4\ub2c8\ucf00\uc774\uc158) and Fontrix (Korean : \ud3f0\ud2b8\ub9ad\uc2a4). The publisher is Naver. Nanum Brush Script is a contemporary brush script with a warm touch and is expertly hinted for screen use.", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "Nanum Gothic": { + "name": "Nanum Gothic", + "designer": [ + "Sandoll Communication" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "korean", + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "The Nanum fonts (Korean : \ub098\ub214\uae00\uaf34) are unicode fonts designed especially for the Korean-language script, designed by Sandoll Communications (Korean : \uc0b0\ub3cc \ucee4\ubba4\ub2c8\ucf00\uc774\uc158) and Fontrix (Korean : \ud3f0\ud2b8\ub9ad\uc2a4). The publisher is Naver. Nanum Gothic is a contemporary sans-serif with a warm touch and is expertly hinted for screen use.", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "Nanum Gothic Coding": { + "name": "Nanum Gothic Coding", + "designer": [ + "Sandoll Communication" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "korean", + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "monospace" + ], + "description": "The Nanum fonts (Korean : \ub098\ub214\uae00\uaf34) are unicode fonts designed especially for the Korean-language script, designed by Sandoll Communications (Korean : \uc0b0\ub3cc \ucee4\ubba4\ub2c8\ucf00\uc774\uc158) and Fontrix (Korean : \ud3f0\ud2b8\ub9ad\uc2a4). The publisher is Naver. Nanum Gothic Coding is a contemporary monospaced sans-serif with a warm touch and is expertly hinted for screen use.", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "Nanum Myeongjo": { + "name": "Nanum Myeongjo", + "designer": [ + "Sandoll Communication" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "korean", + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "The Nanum fonts (Korean : \ub098\ub214\uae00\uaf34) are unicode fonts designed especially for the Korean-language script, designed by Sandoll Communications (Korean : \uc0b0\ub3cc \ucee4\ubba4\ub2c8\ucf00\uc774\uc158) and Fontrix (Korean : \ud3f0\ud2b8\ub9ad\uc2a4). The publisher is Naver. Nanum Myeongjo is a contemporary serif with a warm touch and is expertly hinted for screen use.", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "Nanum Pen Script": { + "name": "Nanum Pen Script", + "designer": [ + "Sandoll Communication" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "korean", + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "The Nanum fonts (Korean : \ub098\ub214\uae00\uaf34) are unicode fonts designed especially for the Korean-language script, designed by Sandoll Communications (Korean : \uc0b0\ub3cc \ucee4\ubba4\ub2c8\ucf00\uc774\uc158) and Fontrix (Korean : \ud3f0\ud2b8\ub9ad\uc2a4). The publisher is Naver. Nanum Pen Script is a contemporary pen script with a warm touch and is expertly hinted for screen use.", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "Narnoor": { + "name": "Narnoor", + "designer": [ + "SIL International" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "gunjala-gondi", + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Narnoor is a Unicode font based on typographer S. Sridhara Murthy's original font for the Gunjala script. The name \"Narnoor\" reflects the name of the mandal in Adilabad district of Telangana, where the Gunjala Gondi script is actively being revived. The November 2023 update brings more weights (Medium, SemiBold, Bold, ExtraBold) and the Latin characters are darker and smaller that the v2.000 release. To contribute, see github.com/silnrsi/font-narnoor.", + "primary_script": "Gong", + "article": null, + "minisite_url": null + }, + "National Park": { + "name": "National Park", + "designer": [ + "Andrea Herstowski", + "Ben Hoepner", + "Jeremy Shellhorn" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "National Park is a variable font offering 7 weights (Extra Light, Light, Regular, Medium, SemiBold, Bold and Extra Bold). To contribute, see github.com/benhoepner/National-Park. The letterforms found on the wooden signage at the Rocky Mountain National Park inspired the creation of the National Park. The letters on these wooden trail and directional signs are a system of paths, points, and curves that a router follows. The router\u2019s \"bit\" follows the path and gives the letters its stroke weight or thickness when engraving a sign. National Park Typeface walks along the path of both honoring the quirky nature of the forms being created by a router bit and optimizing the forms to work in a variety of sizes and languages for print, web, and mobile platforms. The design of each character begins with a vector skeleton, represented by a series of coordinates that a router would typically interpret and carve into a wooden sign. From there adjustments were made to each skeleton to ensure comfortable legibility at different weights, and we also incorporate optical adjustments where the capabilities of an analog router falls short. The result is a typeface that stays true to its unique inspiration, maintaining its inviting warmth and distinctive character. It can be effectively utilized across a wide range of applications while preserving the essence that makes it truly special.", + "minisite_url": null + }, + "Neonderthaw": { + "name": "Neonderthaw", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Neonderthaw is a single weight script that simulates neon. Throw it in an application that can use blurs, add some glow and viola, you have neon signage. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/neonderthaw.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Nerko One": { + "name": "Nerko One", + "designer": [ + "Nermin Kahrimanovic" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Nerko is a chunky \u2018marker\u2019 effect font. It gives a funky, exciting and modern look while staying smooth and sleek. Be as bold as the font while using a friendly style that makes users feel welcome in any circumstances. From paper to screen, this font was created using traditional Marker Pens on paper for guidance to give it a natural feeling. To contribute, please see github.com/nermink99/Nerko.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Neucha": { + "name": "Neucha", + "designer": [ + "Jovanny Lemonad" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "cyrillic", + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "You will throw tomatoes at me when I say that the font Neucha was invented for the sake of one and only one phrase: \u201cI love you\u201d. It was 2005 and I was in love. The first version of the font was done in 8 hours. I recently redid this fastfont from scratch, some glyphs have changed greatly but most of them I did not touch \u2013 just polished. Neucha very strong in terms of energy and I love it. Neucha translated from the Russian language means \u201cnot knowing how to create fonts right\u201d.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Neuton": { + "name": "Neuton", + "designer": [ + "Brian Zick" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Neuton is a clean, dark, somewhat Dutch-inspired serif font which reminds you a little of Times. It has a large height, short extenders, and a compact width for better screen use, and economy of space. The family will comprise a regular, italic, and cursive, each in five weights and with smallcaps. Two italics \u2014 one will be called \"italic\", and the other \"cursive\" \u2014 are uncommon, but very useful. Ever tried emphasizing something already emphasized? Beyond that obvious example, there are other uses. Sometimes a text needs a different flavor or feel. While one roman can work for a variety of texts, the companion italics don't always. In more classical or personal documents, a stiff, sober, modern and down-to-earth italic will never work. And in many essays, some of the fancier italics look ridiculous. Who said a roman needs only one companion?", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "New Amsterdam": { + "name": "New Amsterdam", + "designer": [ + "Vladimir Nikolic" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "New Amsterdam is a tall Sans Serif font inspired by posters and Pop Art. It combines straight geoometric lines with modern look. To contribute, see github.com/vladimirnikolic1/NewAmsterdam.", + "minisite_url": null + }, + "New Rocker": { + "name": "New Rocker", + "designer": [ + "Impallari Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "New Rocker is a loud, harsh, screaming font. With Blackletter, Tattoo and Heavy Metal logos as inspiration.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "New Tegomin": { + "name": "New Tegomin", + "designer": [ + "Kousuke Nagai" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "A Mincho (Japanese Serif) style font which has been drawn on a square grid. It takes inspiration from Mincho's clean and well organized appearance and the organic nature of handwritten letterforms. To contribute to the project, visit github.com/nagamaki008/NewTegomin", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "News Cycle": { + "name": "News Cycle", + "designer": [ + "Nathan Willis" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "News Cycle is a realist, sans-serif typeface based primarily on a revival of the 1908-era News Gothic, the stalwart newspaper face from American Type Founders (ATF). Like News Gothic, it is designed for clarity and readability in large blocks of copy, but to still look good in headline-sizes at the top of the page. It also extends News Gothic to better cover more of the world's orthographies, starting with Eastern European and African languages, and soon Greek and Cyrillic alphabets as well. This project is led by Nathan Wilis, a type designer based in Texas, USA. To contribute, visit launchpad.net/newscycle", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Newsreader": { + "name": "Newsreader", + "designer": [ + "Production Type" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "NewsReader is an original typeface designed by Production Type, primarily intended for continuous on-screen reading in content-rich environments. To contribute, please see github.com/productiontype/Newsreader.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Niconne": { + "name": "Niconne", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Nicone is based on the designs of the Stephenson Blake typeface, Madonna, first released in 1925. Madonna itself was based on an earlier face known as 'Bernhard Cursive'. Nicone has been redesigned and shaped to create a new version of the 1925 typeface that can now be used freely as a Libre webfont across the internet by web browsers on desktop computers, laptops and mobile devices.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Niramit": { + "name": "Niramit", + "designer": [ + "Cadson Demak" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "thai", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Niramit is a Thai and Latin family featuring decorative details. The Thai has a modern structure but also features the traditional looped letterforms.", + "primary_script": "Thai", + "article": null, + "minisite_url": null + }, + "Nixie One": { + "name": "Nixie One", + "designer": [ + "Jovanny Lemonad" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "It's like Chinese food. We take the chicken and mix it with pineapple. For one minute we think that the taste will at least strange, but it is so harmonious and beautiful, what do you know, why didn't you try this earlier? This font is a mixture of neon tubes signage and a typewriter: A thoroughbred mix of chicken and pineapple.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Nobile": { + "name": "Nobile", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "\"Nobile\" is designed to work with the technologies of digital screens and handheld devices without losing the distinctive look more usually found in fonts designed for printing. Going back to William Morris's baseline \"Have nothing in your house that you do not know to be useful, or believe to be beautiful\", the aim was to design a font that could function well, have good legibility on screen yet also be good looking, not only at larger display sizes but also right down to small text sizes.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Nokora": { + "name": "Nokora", + "designer": [ + "Danh Hong" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "khmer", + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Nokora is a Khmer font for body text, that pairs well with Latin sans serif fonts. To contribute, see github.com/danhhong/Nokora.", + "primary_script": "Khmr", + "article": null, + "minisite_url": null + }, + "Norican": { + "name": "Norican", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Norican is a script-like display font designed to be used freely across the internet by web browsers on desktop computers, laptops and mobile devices. Norican's design is based on the merging of a number of old script fonts, most notably Stephenson Blake's 'Glenmoy' from the 1920s. The August 2023 update features a bigger glyphset and some minor aesthetic modifications. To contribute, see github.com/googlefonts/NoricanFont.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Nosifer": { + "name": "Nosifer", + "designer": [ + "Typomondo" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Nobody knows where Nosifer comes from. It emanates a dark stench as it drips from the Internet.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Nosifer Caps": { + "name": "Nosifer Caps", + "designer": [ + "Typomondo" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Nobody knows where Nosifer Caps comes from. It emanates a dark stench as it drips from the internet.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Notable": { + "name": "Notable", + "designer": [ + "Eli Block", + "Hana Tanimura", + "Noemie Le Coz" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Notable is an uppercase sans serif display font; it\u2019s letterforms are based on those found on U.S. currency. Notable was designed by Eli Block, Hana Tanimura, and Noemie Le Coz for Notable Women, an initiative by former Treasurer of the United States, Rosie Rios. Notable Women is an augmented reality experiment that lets anyone see 100 historic American women where they\u2019ve historically been left out: U.S. currency.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Nothing You Could Do": { + "name": "Nothing You Could Do", + "designer": [ + "Kimberly Geswein" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Nothing You Could Do is based on the handwriting of a photographer friend. I chose the name because it echoes my love for my husband and children and how my love for them is unconditional and not based on anything they could do or say. I love this handwriting because it is human, it is imperfect, and it is natural. Real humans don\u2019t write perfectly neatly, and this font creates that feeling of authenticity.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Noticia Text": { + "name": "Noticia Text", + "designer": [ + "JM Sol\u00e9" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Noticia Text is a contemporary humanist slab serif typeface designed to be used for running text on digital newspapers (both on websites and mobile apps). It has a large x-height, ample proportions, big serifs and large apertures that allow the letters to be clear, even at small sizes on low resolution screens. The capitals are unusually small, allowing them to be used as substitutes for small caps. (It's recommended to add some tracking if used in this way.) One major feature is the break in the internal curves of round characters. While this break makes some interesting forms at large sizes, their true purpose is to help make the counterforms more open at small sizes by allowing straighter stems. This reasoning is famously known as W.A. Dwiggins' \u201cM-formula.\u201d The italics were designed to contrast with the roman styles while maintaining good legibility. The true italic forms also have big counterforms and simple curves. The fonts have been manually hinted to get the best possible rasterization in Windows. The Noticia font family project is envisioned as 18 different fonts styles, with text, condensed, display and sans variants, different weights and including italic versions, all designed and hinted to work well on computer and mobile devices screens.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Noto Color Emoji Compat Test": { + "name": "Noto Color Emoji Compat Test", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "emoji" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "symbols" + ], + "description": "Test of a font with many color tables for x-browser compatibility.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Noto Emoji": { + "name": "Noto Emoji", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "emoji" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Noto Emoji is an open source font that has you covered for all your emoji needs, including support for the latest Unicode emoji specification. It has multiple weights and features thousands of emoji.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Noto Kufi Arabic": { + "name": "Noto Kufi Arabic", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "arabic", + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Arab", + "article": "Noto Kufi Arabic is a Kufi design for texts in the Middle Eastern Arabic script. Noto Kufi Arabic has multiple weights, contains 1,706 glyphs, 16 OpenType features, and supports 1,558 characters from 14 Unicode blocks: Arabic Presentation Forms-A, Arabic, Arabic Presentation Forms-B, Latin Extended-A, Arabic Extended-A, Basic Latin, Latin-1 Supplement, Arabic Supplement, Arabic Extended-B, Combining Diacritical Marks, General Punctuation, Spacing Modifier Letters, Latin Extended Additional, Latin Extended-B. Supported writing systems Arabic Arabic (\u0627\u0644\u0639\u0631\u0628\u064a\u0629) is a Middle Eastern abjad, written right-to-left (660 million users). 2nd- or 3rd-most used script in the world. Used for the Arabic language since the 4th century, and for many other languages, often in Islamic countries or communities in Asia, Africa and the Middle East, like Persian, Uyghur, Kurdish, Punjabi, Sindhi, Balti, Balochi, Pashto, Lurish, Urdu, Kashmiri, Rohingya, Somali, Mandinka, Kazakh (in China), Kurdish, or Azeri (in Iran). Was used for Turkish until 1928. Includes 28 basic consonant letters for the Arabic language, plus additional letters for other languages. Some letters represent a consonant or a long vowel, while short vowels are optionally written with diacritics. Variants include Kufi with a very simplified structure, the widely-used Naskh calligraphic variant, and the highly cursive Nastaliq used mainly for Urdu. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Latin Latin (Roman) is a European bicameral alphabet, written left-to-right. The most popular writing system in the world. Used for over 3,000 languages including Latin and Romance languages (Italian, French, Portuguese, Spanish and Romanian), Germanic languages (English, Dutch, German, Nordic languages), Finnish, Malaysian, Indonesian, Filipino, Visayan languages, Turkish, Azerbaijani, Polish, Somali, Vietnamese, and many others. Derived from Western Greek, attested in Rome in the 7th century BCE. In the common era, numerous European languages adopted the Latin script along with Western Christian religion, the script disseminated further with European colonization of the Americas, Australia, parts of Asia, Africa and the Pacific. New letters, ligatures and diacritical marks were gradually added to represent the sounds of various languages. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Music": { + "name": "Noto Music", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "music" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "symbols" + ], + "description": null, + "primary_script": null, + "article": "Noto Music is a font that contains symbols for the modern, Byzantine and Greek musical notations. Noto Music contains 579 glyphs, 5 OpenType features, and supports 559 characters from 4 Unicode blocks: Byzantine Musical Symbols, Musical Symbols, Ancient Greek Musical Notation, Miscellaneous Symbols.", + "minisite_url": null + }, + "Noto Naskh Arabic": { + "name": "Noto Naskh Arabic", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "arabic", + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Arab", + "article": "Noto Naskh Arabic is a modulated (\u201cserif\u201d) Naskh design, suitable for texts in the Middle Eastern Arabic script and for use together with serif fonts. Noto Naskh Arabic has multiple weights, contains 1,598 glyphs, 12 OpenType features, and supports 1,122 characters from 6 Unicode blocks: Arabic Presentation Forms-A, Arabic, Arabic Presentation Forms-B, Arabic Supplement, Arabic Extended-A, Basic Latin. Supported writing systems Arabic Arabic ( \u0627\u0644\u0639\u0631\u0628\u064a\u0629 ) is a Middle Eastern abjad, written right-to-left (660 million users). 2nd- or 3rd-most used script in the world. Used for the Arabic language since the 4th century, and for many other languages, often in Islamic countries or communities in Asia, Africa and the Middle East, like Persian, Uyghur, Kurdish, Punjabi, Sindhi, Balti, Balochi, Pashto, Lurish, Urdu, Kashmiri, Rohingya, Somali, Mandinka, Kazakh (in China), Kurdish, or Azeri (in Iran). Was used for Turkish until 1928. Includes 28 basic consonant letters for the Arabic language, plus additional letters for other languages. Some letters represent a consonant or a long vowel, while short vowels are optionally written with diacritics. Variants include Kufi with a very simplified structure, the widely-used Naskh calligraphic variant, and the highly cursive Nastaliq used mainly for Urdu. Needs software support for complex text layout (shaping). Read more on ScriptSource , Unicode , Wikipedia , Wiktionary , r12a .", + "minisite_url": null + }, + "Noto Naskh Arabic UI": { + "name": "Noto Naskh Arabic UI", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "arabic" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Arab", + "article": "Noto Naskh Arabic UI is a modulated (\u201cserif\u201d) Naskh design for app and website user interfaces in the Middle Eastern Arabic script. Noto Naskh Arabic UI has multiple weights, contains 1,597 glyphs, 12 OpenType features, and supports 1,122 characters from 6 Unicode blocks: Arabic Presentation Forms-A, Arabic, Arabic Presentation Forms-B, Arabic Supplement, Arabic Extended-A, Basic Latin. Supported writing systems Arabic Arabic (\u0627\u0644\u0639\u0631\u0628\u064a\u0629) is a Middle Eastern abjad, written right-to-left (660 million users). 2nd- or 3rd-most used script in the world. Used for the Arabic language since the 4th century, and for many other languages, often in Islamic countries or communities in Asia, Africa and the Middle East, like Persian, Uyghur, Kurdish, Punjabi, Sindhi, Balti, Balochi, Pashto, Lurish, Urdu, Kashmiri, Rohingya, Somali, Mandinka, Kazakh (in China), Kurdish, or Azeri (in Iran). Was used for Turkish until 1928. Includes 28 basic consonant letters for the Arabic language, plus additional letters for other languages. Some letters represent a consonant or a long vowel, while short vowels are optionally written with diacritics. Variants include Kufi with a very simplified structure, the widely-used Naskh calligraphic variant, and the highly cursive Nastaliq used mainly for Urdu. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Nastaliq Urdu": { + "name": "Noto Nastaliq Urdu", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "arabic", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Arab", + "article": "Noto Nastaliq Urdu is a cursive, modulated (\u201cserif\u201d) Nastaliq design for texts in the Middle Eastern Arabic script, especially in the Urdu language. Noto Nastaliq Urdu contains 1,138 glyphs, 9 OpenType features, and supports 281 characters from 6 Unicode blocks: Arabic, Arabic Supplement, Arabic Presentation Forms-A, Basic Latin, General Punctuation, Latin-1 Supplement. Supported writing systems Arabic (Nastaliq) Arabic (Nastaliq) is a Middle Eastern abjad, written right-to-left (250 million users). Default Arabic script variant for the Urdu language, also used for Persian and other languages in Afghanistan, India, Iran, and Pakistan. The Nastaliq variant of Arabic was developed in Persia (now Iran) in the 15th century. Highly cursive, connects a sequence of letters into clusters at a sloping angle. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, r12a.", + "minisite_url": null + }, + "Noto Rashi Hebrew": { + "name": "Noto Rashi Hebrew", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "greek-ext", + "hebrew", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Hebr", + "article": "Noto Rashi Hebrew is modulated (\u201cserif\u201d) design for the Middle Eastern Hebrew script with a semi-cursive skeleton based on 15th-century Sephardic writing. It can be used for emphasis, complementing Noto Serif Hebrew. Similar designs were used for religious commentary. Noto Rashi Hebrew has multiple weights, contains 92 glyphs, 3 OpenType features, and supports 91 characters from the Unicode block Hebrew. Supported writing systems Hebrew Hebrew (\u05e2\u05d1\u05e8\u05d9\u05ea) is a Middle Eastern abjad, written right-to-left (14 million users). Used for the Hebrew, Samaritan and Yiddish languages. Also used for some varieties of Arabic and for the languages of Jewish communities across the world. Has 22 consonant letters, 5 have positional variants. Vowels in Hebrew language are normally omitted except for long vowels which are sometimes written with the consonant letters \u05d0\u05d4\u05d5\u05d9 (those were vowel-only letters until the 9th century). Children\u2019s and school books use niqqud diacritics for all vowels. Religious texts may use cantillation marks for indicating rhythm and stress. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans": { + "name": "Noto Sans", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "devanagari", + "greek", + "greek-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Noto Sans is an unmodulated (\u201csans serif\u201d) design for texts in the Latin, Cyrillic and Greek scripts, which is also suitable as the complementary choice for other script-specific Noto Sans fonts. Noto Sans has italic styles, multiple weights and widths, contains 3,741 glyphs, 28 OpenType features, and supports 2,840 characters from 30 Unicode blocks: Latin Extended Additional, Cyrillic, Greek Extended, Latin Extended-B, Latin Extended-D, Latin Extended-A, Phonetic Extensions, Greek and Coptic, Combining Diacritical Marks, IPA Extensions, Cyrillic Extended-B, Latin-1 Supplement, General Punctuation, Basic Latin, Supplemental Punctuation, Spacing Modifier Letters, Letterlike Symbols, Phonetic Extensions Supplement, Combining Diacritical Marks Supplement, Latin Extended-E, Cyrillic Supplement, Currency Symbols, Latin Extended-C, Cyrillic Extended-A, Modifier Tone Letters, Superscripts and Subscripts, Combining Diacritical Marks Extended, Combining Half Marks, Cyrillic Extended-C, Alphabetic Presentation Forms. Supported writing systems Latin Latin (Roman) is a European bicameral alphabet, written left-to-right. The most popular writing system in the world. Used for over 3,000 languages including Latin and Romance languages (Italian, French, Portuguese, Spanish and Romanian), Germanic languages (English, Dutch, German, Nordic languages), Finnish, Malaysian, Indonesian, Filipino, Visayan languages, Turkish, Azerbaijani, Polish, Somali, Vietnamese, and many others. Derived from Western Greek, attested in Rome in the 7th century BCE. In the common era, numerous European languages adopted the Latin script along with Western Christian religion, the script disseminated further with European colonization of the Americas, Australia, parts of Asia, Africa and the Pacific. New letters, ligatures and diacritical marks were gradually added to represent the sounds of various languages. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Cyrillic Cyrillic is a bicameral alphabet originating in Europe, written left-to-right (250 million users). Used for various languages across Eurasia and is used as the national script in various Slavic, Turkic, Mongolic and Iranic-speaking countries in Southeastern Europe, Eastern Europe, the Caucasus, Central Asia, North Asia and East Asia, including Russian, Bulgarian, Macedonian, Serbian, Ukrainian, Uzbek, Azerbaijani, Kazakh, Tajik, Kyrgyz, Bashkort, Chechen, Chuvash, Avar, Dargwa, Kabardian, Karakalpak, Kumyk, Lezgi, Ossetic, Pontic, Yakut, Buriat and many others. Created in the 9th century. Traditionally attributed to Saint Cyril, a monk from Thessaloniki working in Bulgaria, after earlier creation of the Glagolitic script. Sometimes attributed to Clement of Ohrid, a student of Saint Cyril\u2019s. Initially used for Old Church Slavonic. Reformed in 1708 by Russian tsar Peter the Great. Extended by the Soviet Union in the 20th century to write over 50 languages throughout Eastern Europe and Asia (some of those languages switched to Latin after 1991). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Greek Greek (\u0395\u03bb\u03bb\u03b7\u03bd\u03b9\u03ba\u03ac) is a European bicameral alphabet, written left-to-right (11 million users). Used to write the Greek language since the 8th century BCE. Also used to write other languages like Urum, Albanian Tosk, and Balkan Gagauz Turkish. Some symbols are also used in scientific notation. Derived from Phoenician. First \u201ctrue alphabet\u201d, with distinct letters for consonants and vowels. Standardized in the 4th century BCE by Eucleides. Has 24 letters. Some letter variants (sigma: \u03c3/\u03c2) have positional significance in the Greek language, other variants only differ in meaning in scientific notation (e.g. pi: \u03c0/\u03d6). The Greek language used to be written in polytonic spelling, with three accents on vowels. In 1982, Greece introduced monotonic spelling with a single diacritic. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Adlam": { + "name": "Noto Sans Adlam", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "adlam", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Adlm", + "article": "Noto Sans Adlam is a joining (cursive) unmodulated (\u201csans serif\u201d) design for texts in the African Adlam script. Noto Sans Adlam has multiple weights, contains 362 glyphs, 8 OpenType features, and supports 149 characters from 3 Unicode blocks: Adlam, Basic Latin, General Punctuation. Supported writing systems Adlam Adlam (\ud83a\udd00\ud83a\udd23\ud83a\udd24\ud83a\udd22\ud83a\udd25 \ud83a\udd06\ud83a\udd35\ud83a\udd24\ud83a\udd22\ud83a\udd2a) is an African bicameral alphabet, written right-to-left. Used for the Fulani (Fula, 65 million speakers) language in Guinea, which previously used Latin and Arabic. Created around 1989 by two teenage brothers, Ibrahima and Abdoulaye Barry. One of indigenous scripts for specific languages in West Africa, currently taught in Guinea, Nigeria, Liberia and other countries. Adlam has 28 letters, each in four forms. The unjoined variant is suitable for headlines and for educational content. The cursive variant, in which letters join the same way as in Arabic and N\u2019Ko, is suitable for most texts. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Adlam Unjoined": { + "name": "Noto Sans Adlam Unjoined", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "adlam", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Adlm", + "article": "Noto Sans Adlam Unjoined is an unjoined unmodulated (\u201csans serif\u201d) design suitable for headlines and for educational content in the African Adlam script. Noto Sans Adlam Unjoined has multiple weights, contains 155 glyphs, 7 OpenType features, and supports 149 characters from 3 Unicode blocks: Adlam, Basic Latin, General Punctuation. Supported writing systems Adlam Adlam ( \ud83a\udd00\ud83a\udd23\ud83a\udd24\ud83a\udd22\ud83a\udd25 \ud83a\udd06\ud83a\udd35\ud83a\udd24\ud83a\udd22\ud83a\udd2a ) is an African bicameral alphabet, written right-to-left. Used for the Fulani (Fula, 65 million speakers) language in Guinea, which previously used Latin and Arabic. Created around 1989 by two teenage brothers, Ibrahima and Abdoulaye Barry. One of indigenous scripts for specific languages in West Africa, currently taught in Guinea, Nigeria, Liberia and other countries. Adlam has 28 letters, each in four forms. The unjoined variant is suitable for headlines and for educational content. The cursive variant, in which letters join the same way as in Arabic and N\u2019Ko, is suitable for most texts. Needs software support for complex text layout (shaping). Read more on ScriptSource , Unicode , Wikipedia , Wiktionary , r12a .", + "minisite_url": null + }, + "Noto Sans Anatolian Hieroglyphs": { + "name": "Noto Sans Anatolian Hieroglyphs", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "anatolian-hieroglyphs", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Hluw", + "article": "Noto Sans Anatolian Hieroglyphs is an unmodulated (\u201csans serif\u201d) design for texts in the historical Middle Eastern Anatolian hieroglyphs script. Noto Sans Anatolian Hieroglyphs contains 589 glyphs, and supports 588 characters from the Unicode block Anatolian Hieroglyphs. Supported writing systems Anatolian hieroglyphs Anatolian (Luwian, Hittite) hieroglyphs is a historical Middle Eastern logo-syllabary, written boustrophedon. Were used c. 2000\u2013700 BCE for the Luwian language. The script has about 500 signs. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Arabic": { + "name": "Noto Sans Arabic", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "arabic", + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Arab", + "article": "Noto Sans Arabic is an unmodulated (\u201csans serif\u201d) design for texts in the Middle Eastern Arabic script. Noto Sans Arabic has multiple weights and widths, contains 1,642 glyphs, 12 OpenType features, and supports 1,161 characters from 6 Unicode blocks: Arabic Presentation Forms-A, Arabic, Arabic Presentation Forms-B, Arabic Extended-A, Arabic Supplement, Basic Latin. Supported writing systems Arabic Arabic (\u0627\u0644\u0639\u0631\u0628\u064a\u0629) is a Middle Eastern abjad, written right-to-left (660 million users). 2nd- or 3rd-most used script in the world. Used for the Arabic language since the 4th century, and for many other languages, often in Islamic countries or communities in Asia, Africa and the Middle East, like Persian, Uyghur, Kurdish, Punjabi, Sindhi, Balti, Balochi, Pashto, Lurish, Urdu, Kashmiri, Rohingya, Somali, Mandinka, Kazakh (in China), Kurdish, or Azeri (in Iran). Was used for Turkish until 1928. Includes 28 basic consonant letters for the Arabic language, plus additional letters for other languages. Some letters represent a consonant or a long vowel, while short vowels are optionally written with diacritics. Variants include Kufi with a very simplified structure, the widely-used Naskh calligraphic variant, and the highly cursive Nastaliq used mainly for Urdu. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Arabic UI": { + "name": "Noto Sans Arabic UI", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "arabic" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Arab", + "article": "Noto Sans Arabic UI is an unmodulated (\u201csans serif\u201d) design for app and website user interfaces in the Middle Eastern Arabic script. Noto Sans Arabic UI has multiple weights and widths, contains 1,563 glyphs, 12 OpenType features, and supports 1,161 characters from 6 Unicode blocks: Arabic Presentation Forms-A, Arabic, Arabic Presentation Forms-B, Arabic Extended-A, Arabic Supplement, Basic Latin. Supported writing systems Arabic Arabic (\u0627\u0644\u0639\u0631\u0628\u064a\u0629) is a Middle Eastern abjad, written right-to-left (660 million users). 2nd- or 3rd-most used script in the world. Used for the Arabic language since the 4th century, and for many other languages, often in Islamic countries or communities in Asia, Africa and the Middle East, like Persian, Uyghur, Kurdish, Punjabi, Sindhi, Balti, Balochi, Pashto, Lurish, Urdu, Kashmiri, Rohingya, Somali, Mandinka, Kazakh (in China), Kurdish, or Azeri (in Iran). Was used for Turkish until 1928. Includes 28 basic consonant letters for the Arabic language, plus additional letters for other languages. Some letters represent a consonant or a long vowel, while short vowels are optionally written with diacritics. Variants include Kufi with a very simplified structure, the widely-used Naskh calligraphic variant, and the highly cursive Nastaliq used mainly for Urdu. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Armenian": { + "name": "Noto Sans Armenian", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "armenian", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Armn", + "article": "Noto Sans Armenian is an unmodulated (\u201csans serif\u201d) design for texts in the European Armenian script. Noto Sans Armenian has multiple weights and widths, contains 107 glyphs, 3 OpenType features, and supports 104 characters from 2 Unicode blocks: Armenian, Alphabetic Presentation Forms. Supported writing systems Armenian Armenian (\u0540\u0561\u0575\u0578\u0581 \u0563\u0580\u0565\u0580) is a European bicameral alphabet, written left-to-right (12 million users). Created around 405 CE by Mesrop Mashtots. Used for the Armenian language to this day. Was widespread in the 18th\u201319th centuries CE in the Ottoman Empire. Armenia uses a reformed spelling introduced in the Soviet Union, the Armenian diaspora mostly uses the original Mesropian orthography. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Avestan": { + "name": "Noto Sans Avestan", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "avestan", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Avst", + "article": "Noto Sans Avestan is an unmodulated (\u201csans serif\u201d) design for texts in the historical Middle Eastern Avestan script. Noto Sans Avestan contains 76 glyphs, and supports 71 characters from the Unicode block Avestan. Supported writing systems Avestan Avestan is a historical Middle Eastern alphabet, written right-to-left. Was used in the 5th\u201313th century CE for Avestan, an Eastern Iranian language. Developed during Iran\u2019s Sassanid era. Was probably in everyday use, though the only surviving examples are religious texts called Avesta. Has 37 consonants and 16 vowels. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Balinese": { + "name": "Noto Sans Balinese", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "balinese", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Bali", + "article": "Noto Sans Balinese is an unmodulated (\u201csans serif\u201d) design for texts in the Southeast Asian Balinese script. Noto Sans Balinese has multiple weights, contains 361 glyphs, 6 OpenType features, and supports 130 characters from the Unicode block Balinese. Supported writing systems Balinese Balinese (\u1b05\u1b13\u1b44\u1b31\u1b2d\u1b29\u1b2e\u1b36) is a Southeast Asian abugida, written left-to-right (5 million users). Used for the Balinese language on the Indonesian islands of Java and Bali, mostly for signage, traditional literature, and, on a limited scale, for new literature. Also used for Old Javanese and Sanskrit. Derived from Old Kawi, similar to Javanese. Has 47 letters. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Bamum": { + "name": "Noto Sans Bamum", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "bamum", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Bamu", + "article": "Noto Sans Bamum is an unmodulated (\u201csans serif\u201d) design for texts in the African Bamum script. Noto Sans Bamum has multiple weights, contains 662 glyphs, and supports 661 characters from 2 Unicode blocks: Bamum Supplement, Bamum. Supported writing systems Bamum Bamum is an African syllabary, written left-to-right (0.4 million users). Used in Cameroon. Developed communally at the end of the 19th century at the instigation of the Bamum King Njoya. Initially was logographic, later evolved into a syllabary. Bamum is being revived after decline since the 1930s. Read more on ScriptSource, Unicode, Wikipedia, r12a.", + "minisite_url": null + }, + "Noto Sans Bassa Vah": { + "name": "Noto Sans Bassa Vah", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "bassa-vah", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Bass", + "article": "Noto Sans Bassa Vah is an unmodulated (\u201csans serif\u201d) design for texts in the African Bassa Vah script. Noto Sans Bassa Vah contains 45 glyphs, 3 OpenType features, and supports 41 characters from the Unicode block Bassa Vah. Supported writing systems Bassa Vah Bassa Vah is an African bicameral alphabet, written left-to-right. Used for the Bassa language spoken in Liberia, Sierra Leone, and by communities in Brazil and the Caribbean. Developed by Dr. Thomas Flo Lewis from a sign system used by the Bassa people to avoid slave traders, later suppressed by colonial powers, fell into disuse. Has 23 consonants, 7 vowels, and 5 tone diacritics. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Batak": { + "name": "Noto Sans Batak", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "batak", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Batk", + "article": "Noto Sans Batak is an unmodulated (\u201csans serif\u201d) design for texts in the Southeast Asian Batak script. Noto Sans Batak contains 66 glyphs, 3 OpenType features, and supports 64 characters from the Unicode block Batak. Supported writing systems Batak Batak (\u1bd8\u1bee\u1bd2\u1bd6\u1bf2 \u1bc5\u1bd6\u1bc2\u1bf2) is a Southeast Asian abugida, written vertically and horizontally left-to-right. Used for the Toba, Karo, Dairi, Mandailing, Simalungun, and Angkola languages used on the Indonesian island of Sumatra. Used since the 14th century, standardised in the 1850s. Revived recently after a decline since in the 20th century. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Bengali": { + "name": "Noto Sans Bengali", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "bengali", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Beng", + "article": "Noto Sans Bengali is an unmodulated (\u201csans serif\u201d) design for texts in the Indic Bangla (Bengali) script. Noto Sans Bengali has multiple weights and widths, contains 695 glyphs, 17 OpenType features, and supports 173 characters from 5 Unicode blocks: Bengali, Basic Latin, Vedic Extensions, General Punctuation, Devanagari. Supported writing systems Bangla (Bengali) Bangla (Bengali, Bengali-Assamese, \u09ac\u09be\u0982\u09b2\u09be \u09ac\u09b0\u09cd\u09a3\u09ae\u09be\u09b2\u09be) is an Indic abugida, written left-to-right (265 million users). Used in Bangladesh and India, for the Bengali language, and for other languages like Assamese, Kokborok, Bishnupriya Manipuri, Meitei Manipuri, Rabha, Maithili, Rangpuri, Sylheti, Santali and Sanskrit. Developed in the 11th century CE. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Bengali UI": { + "name": "Noto Sans Bengali UI", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "bengali" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Beng", + "article": "Noto Sans Bengali UI is an unmodulated (\u201csans serif\u201d) design for app and website user interfaces in the Indic Bangla (Bengali) script. Noto Sans Bengali UI has multiple weights and widths, contains 695 glyphs, 16 OpenType features, and supports 173 characters from 5 Unicode blocks: Bengali, Basic Latin, Vedic Extensions, General Punctuation, Devanagari. Supported writing systems Bangla (Bengali) Bangla (Bengali, Bengali-Assamese, \u09ac\u09be\u0982\u09b2\u09be \u09ac\u09b0\u09cd\u09a3\u09ae\u09be\u09b2\u09be) is an Indic abugida, written left-to-right (265 million users). Used in Bangladesh and India, for the Bengali language, and for other languages like Assamese, Kokborok, Bishnupriya Manipuri, Meitei Manipuri, Rabha, Maithili, Rangpuri, Sylheti, Santali and Sanskrit. Developed in the 11th century CE. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Bhaiksuki": { + "name": "Noto Sans Bhaiksuki", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "bhaiksuki", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Bhks", + "article": "Noto Sans Bhaiksuki is an unmodulated (\u201csans serif\u201d) design for texts in the historical Indic Bhaiksuki script. Noto Sans Bhaiksuki contains 863 glyphs, 9 OpenType features, and supports 103 characters from the Unicode block Bhaiksuki. Supported writing systems Bhaiksuki Bhaiksuki (\ud807\udc25\ud807\udc39\ud807\udc0e\ud807\udc3f\ud807\udc2c\ud807\udc32\ud807\udc0e\ud807\udc31) is a historical Indic abugida. Was used in 11th\u201312th century CE for Buddhist texts in Sanskrit in the Indian state of Bihar. Also called Arrow-Headed Script, Point-Headed Script, or Sindhura. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Brahmi": { + "name": "Noto Sans Brahmi", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "brahmi", + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Brah", + "article": "Noto Sans Brahmi is an unmodulated (\u201csans serif\u201d) design for texts in the historical Indic Brahmi script. Noto Sans Brahmi contains 257 glyphs, 5 OpenType features, and supports 117 characters from the Unicode block Brahmi. Supported writing systems Brahmi Brahmi is a historical Indic abugida, written left-to-right. Used in 3rd century BCE\u20135th century CE in South Asia for Prakrit, Sanskrit, Saka, Tamil, Kannada, Tocharian. Evolved into the many Brahmic scripts used today in South and Southeast Asia. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Buginese": { + "name": "Noto Sans Buginese", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "buginese", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Bugi", + "article": "Noto Sans Buginese is an unmodulated (\u201csans serif\u201d) design for texts in the Southeast Asian Buginese script. Noto Sans Buginese contains 41 glyphs, 2 OpenType features, and supports 39 characters from the Unicode block Buginese. Supported writing systems Buginese Buginese (Lontara, \u1a12\u1a1a\u1a08\u1a11) is a Southeast Asian abugida, written left-to-right. Was used since the 17th century for the Bugis, Makasar, and Mandar languages of Sulawesi in Indonesia (over 7 million speakers). Largely replaced by the Latin alphabet during the period of Dutch colonization, but still used for ceremonial, personal and traditional texts. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Buhid": { + "name": "Noto Sans Buhid", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "buhid", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Buhd", + "article": "Noto Sans Buhid is an unmodulated (\u201csans serif\u201d) design for texts in the Southeast Asian Buhid script. Noto Sans Buhid contains 44 glyphs, 2 OpenType features, and supports 30 characters from the Unicode block Buhid. Supported writing systems Buhid Buhid (Mangyan Baybayin, Surat Mangyan, \u174a\u1753\u1751\u1752) is a Southeast Asian abugida, written left-to-right (about 9,000 users). Used together with the Filipino Latin script for the Buhid language, spoken by Mangyan people in the Mindoro region of the Philippines. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Canadian Aboriginal": { + "name": "Noto Sans Canadian Aboriginal", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "canadian-aboriginal", + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Cans", + "article": "Noto Sans Canadian Aboriginal is an unmodulated (\u201csans serif\u201d) design for texts in the American Canadian Aboriginal syllabics script. Noto Sans Canadian Aboriginal has multiple weights, contains 746 glyphs, and supports 722 characters from 3 Unicode blocks: Unified Canadian Aboriginal Syllabics, Unified Canadian Aboriginal Syllabics Extended, Spacing Modifier Letters. Supported writing systems Canadian Aboriginal syllabics Canadian Aboriginal syllabics is a family of American abugidas, written left-to-right (0.5 million users). Used for Cree languages, for Inuktitut (co-official with the Latin script in the territory of Nunavut), for Ojibwe, Blackfoot. Were also used for Dakelh (Carrier), Chipewyan, Slavey, T\u0142\u0131\u0328ch\u01eb (Dogrib) and Dane-zaa (Beaver). Created in 1840 by James Evans to write several indigenous Canadian languages. Primarily used in Canada, occasionally in the United States. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Carian": { + "name": "Noto Sans Carian", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "carian", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Cari", + "article": "Noto Sans Carian is an unmodulated (\u201csans serif\u201d) design for texts in the historical Middle Eastern Carian script. Noto Sans Carian contains 54 glyphs, and supports 53 characters from the Unicode block Carian. Supported writing systems Carian Carian is a historical Middle Eastern alphabet, written left-to-right. Was used in 7th\u20131st centuries BCE in the Aegean region of today\u2019s Turkey for the Carian language. Was also used in the Nile delta. Had 45 letters. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Caucasian Albanian": { + "name": "Noto Sans Caucasian Albanian", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "caucasian-albanian", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Aghb", + "article": "Noto Sans Caucasian Albanian is an unmodulated (\u201csans serif\u201d) design for texts in the historical European Caucasian Albanian script. Noto Sans Caucasian Albanian contains 181 glyphs, 4 OpenType features, and supports 76 characters from 2 Unicode blocks: Caucasian Albanian, Combining Half Marks. Supported writing systems Caucasian Albanian Caucasian Albanian is a historical European bicameral alphabet, written left-to-right. Was used in the 5th\u201312th century CE for the Caucasian Albanian language, a dialect of Old Udi, in parts of present-day Azerbaijan and Dagestan. Probably based on Greek writing, supposedly devised by Mesrop Mashtots. Has 52 letters. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Chakma": { + "name": "Noto Sans Chakma", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "chakma", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Cakm", + "article": "Noto Sans Chakma is an unmodulated (\u201csans serif\u201d) design for texts in the Indic Chakma script. Noto Sans Chakma contains 212 glyphs, 12 OpenType features, and supports 97 characters from the Unicode block Chakma. Supported writing systems Chakma Chakma (Ojhapath, Ojhopath, Ajhapath, \ud804\udd0c\ud804\udd0b\ud804\udd34\ud804\udd1f\ud804\udd33\ud804\udd26 \ud804\udd03\ud804\udd27\ud804\udd0f\ud804\udd1b\ud804\udd16\ud804\udd34) is an Indic abugida, written left-to-right (170,000 users). Used in Bangladesh and India for the Chakma language, and for Tanchangya in Bangladesh. Brahmic script related to Mon Khmer and Myanmar. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Cham": { + "name": "Noto Sans Cham", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cham", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Cham", + "article": "Noto Sans Cham is an unmodulated (\u201csans serif\u201d) design for texts in the Southeast Asian Cham script. Noto Sans Cham has multiple weights, contains 131 glyphs, 11 OpenType features, and supports 104 characters from 2 Unicode blocks: Cham, Basic Latin. Supported writing systems Cham Cham (\uaa00\uaa07\uaa49 \uaa0c\uaa4c) is a Southeast Asian abugida, written left-to-right. Used in Vietnam and Cambodia for the Cham language (250,000 speakers). The majority of the Cambodian Cham people died during the Khmer Rouge regime in the 1970s or were forced to use the Cambodian language. Brahmic script. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Cherokee": { + "name": "Noto Sans Cherokee", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cherokee", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Cher", + "article": "Noto Sans Cherokee is an unmodulated (\u201csans serif\u201d) design for texts in the American Cherokee script. Noto Sans Cherokee has multiple weights, contains 273 glyphs, 6 OpenType features, and supports 186 characters from 3 Unicode blocks: Cherokee, Cherokee Supplement, Combining Diacritical Marks. Supported writing systems Cherokee Cherokee (\u13e3\u13b3\u13a9) is an American bicameral syllabary, written left-to-right. Used in the United States for the Cherokee language (12,000 speakers). Created in 1821 by Sequoyah (also known as George Guess), when it achieved instant popularity. By 1824 most Cherokee were literate in the script. Uses 85 letters. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Chorasmian": { + "name": "Noto Sans Chorasmian", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "chorasmian", + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Chrs", + "article": "Noto Sans Chorasmian is a design for the historical Middle Eastern Chorasmian script. Noto Sans Chorasmian contains 122 glyphs, 8 OpenType features, and supports 32 characters from the Unicode block Chorasmian. Supported writing systems Chorasmian Chorasmian is a historical Middle Eastern abjad, written right-to-left. Was used in the 2nd century BCE\u2013-9th century CE in the Khwarazm region of Central Asia for the now-extinct Chorasmian language, until the language switched to the Arabic script. Derived from Imperial Aramaic. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Coptic": { + "name": "Noto Sans Coptic", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "coptic", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Copt", + "article": "Noto Sans Coptic is an unmodulated (\u201csans serif\u201d) design for texts in the European Coptic script. Noto Sans Coptic contains 224 glyphs, 3 OpenType features, and supports 188 characters from 3 Unicode blocks: Coptic, Greek and Coptic, Combining Diacritical Marks. Supported writing systems Coptic Coptic is a European bicameral alphabet, written left-to-right (0.4 million users). Since the 2nd century CE was used for the Coptic language, now the liturgical language of the Coptic church. Als used for Andaandi, Nobiin, Old Nubian and Mattokki. Derived from the Greek alphabet. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Cuneiform": { + "name": "Noto Sans Cuneiform", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cuneiform", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Xsux", + "article": "Noto Sans Cuneiform is an unmodulated (\u201csans serif\u201d) design for texts in the historical Middle Eastern Sumero-Akkadian cuneiform script. Noto Sans Cuneiform contains 1,239 glyphs, and supports 1,238 characters from 3 Unicode blocks: Cuneiform, Early Dynastic Cuneiform, Cuneiform Numbers and Punctuation. Supported writing systems Sumero-Akkadian cuneiform Sumero-Akkadian cuneiform is a historical Middle Eastern logo-syllabary, written left-to-right. Was used at least since 3200 BCE in today\u2019s Iraq for the now-exinct Sumerian language. Was later used in today\u2019s Iran, Turkey, Syria, and Egypt, for languages like Akkadian, Elamite, Hittite, Luwian and Urartian. Widely believed to be the first writing system in the world. Combined logographic, consonantal alphabetic and syllabic signs. Since c. 900 BCE gradually replaced by the Aramaic script. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Cypriot": { + "name": "Noto Sans Cypriot", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cypriot", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Cprt", + "article": "Noto Sans Cypriot is an unmodulated (\u201csans serif\u201d) design for texts in the historical European Cypriot script. Noto Sans Cypriot contains 60 glyphs, and supports 59 characters from the Unicode block Cypriot Syllabary. Supported writing systems Cypriot Cypriot is a historical European syllabary, written right-to-left. Was used in the 11th\u20134th centuries BCE in Cyprus for the Greek language. Descended from the Linear A script, closely related to the Linear B script. Was primarily used for record keeping, not literature. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Cypro Minoan": { + "name": "Noto Sans Cypro Minoan", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cypro-minoan", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Cpmn", + "article": "Noto Sans Cypro Minoan is a design for the historical European Cypro-Minoan script. Noto Sans Cypro Minoan contains 104 glyphs, and supports 103 characters from the Unicode block Cypro-Minoan. Supported writing systems Cypro-Minoan Cypro-Minoan is a historical European logo-syllabary. Undeciphered syllabary used on the island of Cyprus during the late Bronze Age (1500-1200 BCE) for the Eteocretan language. Read more on ScriptSource, Unicode, Wikipedia, r12a.", + "minisite_url": null + }, + "Noto Sans Deseret": { + "name": "Noto Sans Deseret", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "deseret", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Dsrt", + "article": "Noto Sans Deseret is an unmodulated (\u201csans serif\u201d) design for texts in the historical American Deseret script. Noto Sans Deseret contains 85 glyphs, and supports 84 characters from the Unicode block Deseret. Supported writing systems Deseret Deseret (\ud801\udc14\ud801\udc2f\ud801\udc45\ud801\udc28\ud801\udc49\ud801\udc2f\ud801\udc3b) is a historical American bicameral alphabet, written left-to-right. Was used by members of the Church of Latter-Day Saints (Mormons) in Utah for writing the English language. Developed in 1854 by George D. Watt as part of a planned phonemic English-language spelling reform. Abandoned around 1877. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Devanagari": { + "name": "Noto Sans Devanagari", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Deva", + "article": "Noto Sans Devanagari is an unmodulated (\u201csans serif\u201d) design for texts in the Indic Devanagari script. Noto Sans Devanagari contains 954 glyphs, 17 OpenType features, and supports 272 characters from 6 Unicode blocks: Devanagari, Vedic Extensions, Devanagari Extended, Basic Latin, General Punctuation, Common Indic Number Forms. Supported writing systems Devanagari Devanagari (Negari, \u0926\u0947\u0935\u0928\u093e\u0917\u0930\u0940) is an Indic abugida, written left-to-right with a headstroke (over 600 million users). Used in India and Nepal for over 120 languages like Indo-Aryan languages, including Hindi, Nepali, Marathi, Maithili, Awadhi, Newari and Bhojpuri, and for Sanskrit. 4th most widely used script in the world. Brahmic script created in the 1st century CE, the modern form developed in the 7th century. Has 14 vowels and 33 consonants. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Devanagari UI": { + "name": "Noto Sans Devanagari UI", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "devanagari" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Deva", + "article": "Noto Sans Devanagari UI is an unmodulated (\u201csans serif\u201d) design for app and website user interfaces in the Indic Devanagari script. Noto Sans Devanagari UI contains 922 glyphs, 17 OpenType features, and supports 272 characters from 6 Unicode blocks: Devanagari, Vedic Extensions, Devanagari Extended, Basic Latin, General Punctuation, Common Indic Number Forms. Supported writing systems Devanagari Devanagari (Negari, \u0926\u0947\u0935\u0928\u093e\u0917\u0930\u0940) is an Indic abugida, written left-to-right with a headstroke (over 600 million users). Used in India and Nepal for over 120 languages like Indo-Aryan languages, including Hindi, Nepali, Marathi, Maithili, Awadhi, Newari and Bhojpuri, and for Sanskrit. 4th most widely used script in the world. Brahmic script created in the 1st century CE, the modern form developed in the 7th century. Has 14 vowels and 33 consonants. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Display": { + "name": "Noto Sans Display", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "Noto Sans Display is an unmodulated (\u201csans serif\u201d) design for texts in larger font sizes in the European Latin script and in Cyrillic, Greek. Noto Sans Display has italic styles, multiple weights and widths, contains 3,316 glyphs, 25 OpenType features, and supports 2,840 characters from 30 Unicode blocks: Latin Extended Additional, Cyrillic, Greek Extended, Latin Extended-B, Latin Extended-D, Latin Extended-A, Phonetic Extensions, Greek and Coptic, Combining Diacritical Marks, IPA Extensions, Cyrillic Extended-B, Latin-1 Supplement, General Punctuation, Basic Latin, Supplemental Punctuation, Spacing Modifier Letters, Letterlike Symbols, Phonetic Extensions Supplement, Combining Diacritical Marks Supplement, Latin Extended-E, Cyrillic Supplement, Currency Symbols, Latin Extended-C, Cyrillic Extended-A, Modifier Tone Letters, Superscripts and Subscripts, Combining Diacritical Marks Extended, Combining Half Marks, Cyrillic Extended-C, Alphabetic Presentation Forms. Supported writing systems Latin Latin (Roman) is a European bicameral alphabet, written left-to-right. The most popular writing system in the world. Used for over 3,000 languages including Latin and Romance languages (Italian, French, Portuguese, Spanish and Romanian), Germanic languages (English, Dutch, German, Nordic languages), Finnish, Malaysian, Indonesian, Filipino, Visayan languages, Turkish, Azerbaijani, Polish, Somali, Vietnamese, and many others. Derived from Western Greek, attested in Rome in the 7th century BCE. In the common era, numerous European languages adopted the Latin script along with Western Christian religion, the script disseminated further with European colonization of the Americas, Australia, parts of Asia, Africa and the Pacific. New letters, ligatures and diacritical marks were gradually added to represent the sounds of various languages. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Cyrillic Cyrillic is a bicameral alphabet originating in Europe, written left-to-right (250 million users). Used for various languages across Eurasia and is used as the national script in various Slavic, Turkic, Mongolic and Iranic-speaking countries in Southeastern Europe, Eastern Europe, the Caucasus, Central Asia, North Asia and East Asia, including Russian, Bulgarian, Macedonian, Serbian, Ukrainian, Uzbek, Azerbaijani, Kazakh, Tajik, Kyrgyz, Bashkort, Chechen, Chuvash, Avar, Dargwa, Kabardian, Karakalpak, Kumyk, Lezgi, Ossetic, Pontic, Yakut, Buriat and many others. Created in the 9th century. Traditionally attributed to Saint Cyril, a monk from Thessaloniki working in Bulgaria, after earlier creation of the Glagolitic script. Sometimes attributed to Clement of Ohrid, a student of Saint Cyril\u2019s. Initially used for Old Church Slavonic. Reformed in 1708 by Russian tsar Peter the Great. Extended by the Soviet Union in the 20th century to write over 50 languages throughout Eastern Europe and Asia (some of those languages switched to Latin after 1991). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Greek Greek (\u0395\u03bb\u03bb\u03b7\u03bd\u03b9\u03ba\u03ac) is a European bicameral alphabet, written left-to-right (11 million users). Used to write the Greek language since the 8th century BCE. Also used to write other languages like Urum, Albanian Tosk, and Balkan Gagauz Turkish. Some symbols are also used in scientific notation. Derived from Phoenician. First \u201ctrue alphabet\u201d, with distinct letters for consonants and vowels. Standardized in the 4th century BCE by Eucleides. Has 24 letters. Some letter variants (sigma: \u03c3/\u03c2) have positional significance in the Greek language, other variants only differ in meaning in scientific notation (e.g. pi: \u03c0/\u03d6). The Greek language used to be written in polytonic spelling, with three accents on vowels. In 1982, Greece introduced monotonic spelling with a single diacritic. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Duployan": { + "name": "Noto Sans Duployan", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "duployan", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Dupl", + "article": "Noto Sans Duployan is a design for the Duployan shorthand script. Noto Sans Duployan contains 10,255 glyphs, 11 OpenType features, and supports 210 characters from 5 Unicode blocks: Duployan, Basic Latin, Combining Diacritical Marks, General Punctuation, Latin-1 Supplement. Supported writing systems Duployan shorthand Duployan shorthand (Sloan-Duployan shorthand, Duployan stenography) is an shorthand alphabet, written left-to-right. Geometric stenography script created in 1860 by Father \u00c9mile Duploy\u00e9 for writing French, later expanded and adapted for writing many other languages. Heavily cursive (connected), allows words to be written in a single stroke. Praised for simplicity and speed of writing. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Egyptian Hieroglyphs": { + "name": "Noto Sans Egyptian Hieroglyphs", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "egyptian-hieroglyphs", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Egyp", + "article": "Noto Sans Egyptian Hieroglyphs is an unmodulated (\u201csans serif\u201d) design for texts in the historical African Egyptian hieroglyphs script. Noto Sans Egyptian Hieroglyphs contains 1,079 glyphs, and supports 1,078 characters from the Unicode block Egyptian Hieroglyphs. Supported writing systems Egyptian hieroglyphs Egyptian hieroglyphs is a historical African logo-syllabary, written left-to-right. Were used about 3000 BCE\u2013400 CE for writing the ancient Egyptian language. Combined logographic, syllabic and alphabetic elements, with a total of some 1,000 distinct characters. Cursive hieroglyphs were used for religious literature on papyrus and wood. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Elbasan": { + "name": "Noto Sans Elbasan", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "elbasan", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Elba", + "article": "Noto Sans Elbasan is an unmodulated (\u201csans serif\u201d) design for texts in the historical European Elbasan script and in Greek. Noto Sans Elbasan contains 79 glyphs, 2 OpenType features, and supports 74 characters from 2 Unicode blocks: Elbasan, Greek and Coptic. Supported writing systems Elbasan Elbasan is a historical European alphabet, written left-to-right. Was used by Albanian Christians in the mid-18th century. Known primarily from the Elbasan Gospel Manuscript. Since 1909 replaced by the Latin alphabet for Albanian. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Greek Greek (\u0395\u03bb\u03bb\u03b7\u03bd\u03b9\u03ba\u03ac) is a European bicameral alphabet, written left-to-right (11 million users). Used to write the Greek language since the 8th century BCE. Also used to write other languages like Urum, Albanian Tosk, and Balkan Gagauz Turkish. Some symbols are also used in scientific notation. Derived from Phoenician. First \u201ctrue alphabet\u201d, with distinct letters for consonants and vowels. Standardized in the 4th century BCE by Eucleides. Has 24 letters. Some letter variants (sigma: \u03c3/\u03c2) have positional significance in the Greek language, other variants only differ in meaning in scientific notation (e.g. pi: \u03c0/\u03d6). The Greek language used to be written in polytonic spelling, with three accents on vowels. In 1982, Greece introduced monotonic spelling with a single diacritic. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Elymaic": { + "name": "Noto Sans Elymaic", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "elymaic", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Elym", + "article": "Noto Sans Elymaic is an unmodulated (\u201csans serif\u201d) design for texts in the historical Middle Eastern Elymaic script. Noto Sans Elymaic contains 46 glyphs, 7 OpenType features, and supports 25 characters from the Unicode block Elymaic. Supported writing systems Elymaic Elymaic is a historical Middle Eastern abjad, written right-to-left. Was used around 250 BCE\u2013500 CE in the ancient state of Elymais in the region southeast of the Tigris River in today\u2019s Iran. Descended from Aramaic, poorly attested. Read more on ScriptSource, Unicode, Wikipedia, r12a.", + "minisite_url": null + }, + "Noto Sans Ethiopic": { + "name": "Noto Sans Ethiopic", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "ethiopic", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Ethi", + "article": "Noto Sans Ethiopic is an unmodulated (\u201csans serif\u201d) design for texts in the African Ethiopic script. Noto Sans Ethiopic has multiple weights and widths, contains 566 glyphs, 5 OpenType features, and supports 505 characters from 4 Unicode blocks: Ethiopic, Ethiopic Extended, Ethiopic Extended-A, Ethiopic Supplement. Supported writing systems Ethiopic Ethiopic (Ge\u02bdez, \u130d\u12d5\u12dd, \u134a\u12f0\u120d) is an African abugida, written left-to-right (18 million users). Used for Ethiosemitic languages like Tigr\u00e9, Amharic and Tigrinya and some Cushitic and Nilotic languages. Was used in the 1st\u201312th century CE in Ethiopia and Eritrea for the Ge\u02bdez language (now a liturgical language). Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Georgian": { + "name": "Noto Sans Georgian", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic-ext", + "georgian", + "greek-ext", + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Geor", + "article": "Noto Sans Georgian is an unmodulated (\u201csans serif\u201d) design for texts in the European Georgian script. Noto Sans Georgian has multiple weights and widths, contains 225 glyphs, 6 OpenType features, and supports 186 characters from 4 Unicode blocks: Georgian, Georgian Extended, Georgian Supplement, Combining Diacritical Marks. Supported writing systems Georgian Georgian (\u10e5\u10d0\u10e0\u10d7\u10e3\u10da\u10d8) is a European alphabet, written left-to-right (4.5 million users). Used for the Georgian language of Georgia, and other Kartvelian languages. Since 430 CE, the Georgian language used an inscriptional form (Asomtavruli), which evolved into a manuscript form (Nuskhuri). These are categorized as Khutsuri (ecclesiastical): Asomtavruli is uppercase, Nuskhuri is lowercase. Khutsuri is still used for liturgical purposes, but was replaced by a new case-less form (Mkhedruli) used for nearly all modern Georgian writing. In the 1950s, Akaki Shanidze attempted to add Asomtavruli as uppercase and use Mkhedruli for lowercase, but the effort did not succeed. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Glagolitic": { + "name": "Noto Sans Glagolitic", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic-ext", + "glagolitic", + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Glag", + "article": "Noto Sans Glagolitic is an unmodulated (\u201csans serif\u201d) design for texts in the historical European Glagolitic script. Noto Sans Glagolitic contains 142 glyphs, 2 OpenType features, and supports 141 characters from 2 Unicode blocks: Glagolitic, Glagolitic Supplement. Supported writing systems Glagolitic Glagolitic (Glagolitsa, \u2c03\u2c3e\u2c30\u2c33\u2c41\u2c3e\u2c39\u2c4c\u2c30) is a historical European bicameral alphabet, written left-to-right. Created around 863 CE, traditionally attributed to Saint Cyril, a monk from Thessaloniki working in Bulgaria. The oldest known Slavic alphabet. Was used throughout the Balkans in tandem with the later-created Cyrillic until the 13th century, after which time it was largely replaced by Cyrillic. In Croatia, Glagolitic continued to be used until the 19th century, particularly in the church. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Gothic": { + "name": "Noto Sans Gothic", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "gothic", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Goth", + "article": "Noto Sans Gothic is an unmodulated (\u201csans serif\u201d) design for texts in the historical European Gothic script. Noto Sans Gothic contains 40 glyphs, 2 OpenType features, and supports 35 characters from 2 Unicode blocks: Gothic, Combining Diacritical Marks. Supported writing systems Gothic Gothic is a historical European alphabet, written left-to-right. Was used in c. 350\u2013600 CE or writing the Gothic language. Created by the bishop Ulfilas for religious purposes. Uses uncial forms of the Greek alphabet, with a few additional letters to express Gothic phonology. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Grantha": { + "name": "Noto Sans Grantha", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "grantha", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Gran", + "article": "Noto Sans Grantha is an unmodulated (\u201csans serif\u201d) design for texts in the Indic Grantha script. Noto Sans Grantha contains 478 glyphs, 24 OpenType features, and supports 121 characters from 3 Unicode blocks: Grantha, Vedic Extensions, Devanagari. Supported writing systems Grantha Grantha (\ud804\udf17\ud804\udf4d\ud804\udf30\ud804\udf28\ud804\udf4d\ud804\udf25) is an Indic abugida, written left-to-right. Used since the 7th century CE for writing religious texts in Sanskrit and Dravidian languages. Related to Tamil. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Gujarati": { + "name": "Noto Sans Gujarati", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "gujarati", + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Gujr", + "article": "Noto Sans Gujarati is an unmodulated (\u201csans serif\u201d) design for texts in the Indic Gujarati script. Noto Sans Gujarati contains 798 glyphs, 16 OpenType features, and supports 164 characters from 5 Unicode blocks: Gujarati, Basic Latin, General Punctuation, Devanagari, Common Indic Number Forms. Supported writing systems Gujarati Gujarati (\u0a97\u0ac1\u0a9c\u0ab0\u0abe\u0aa4\u0ac0) is an Indic abugida, written left-to-right without a headstroke (48 million users). Used in India since the 16th century CE for the Gujarati and Chodri languages. Also used alongside Devanagari for languages used by the Bhil people. Related to Devanagari. Was used mainly for bookkeeping and correspondence until the mid-19th century. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Gujarati UI": { + "name": "Noto Sans Gujarati UI", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "gujarati" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Gujr", + "article": "Noto Sans Gujarati UI is an unmodulated (\u201csans serif\u201d) design for app and website user interfaces in the Indic Gujarati script. Noto Sans Gujarati UI contains 816 glyphs, 16 OpenType features, and supports 164 characters from 5 Unicode blocks: Gujarati, Basic Latin, General Punctuation, Devanagari, Common Indic Number Forms. Supported writing systems Gujarati Gujarati (\u0a97\u0ac1\u0a9c\u0ab0\u0abe\u0aa4\u0ac0) is an Indic abugida, written left-to-right without a headstroke (48 million users). Used in India since the 16th century CE for the Gujarati and Chodri languages. Also used alongside Devanagari for languages used by the Bhil people. Related to Devanagari. Was used mainly for bookkeeping and correspondence until the mid-19th century. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Gunjala Gondi": { + "name": "Noto Sans Gunjala Gondi", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "gunjala-gondi", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Gong", + "article": "Noto Sans Gunjala Gondi is a design for the Indic Gunjala Gondi script. Noto Sans Gunjala Gondi has multiple weights, contains 254 glyphs, 6 OpenType features, and supports 94 characters from 3 Unicode blocks: Gunjala Gondi, Basic Latin, General Punctuation. Supported writing systems Gunjala Gondi Gunjala Gondi (Koytura Gunjala Lipi, \ud807\udd76\ud807\udd8d\ud807\udd95\ud807\udd80\ud807\udd75\ud807\udd8a \ud807\udd76\ud807\udd93\ud807\udd95\ud807\udd82\ud807\udd8b \ud807\udd75\ud807\udd8b\ud807\udd85\ud807\udd8b) is an Indic abugida, written left-to-right. Used in India\u2019s northern Telangana, eastern Maharashtra, southeastern Madhya Pradesh, and Chhattisgarh regions for the Gondi language. Was used to write manuscripts dated ca. 1750 that were discovered 2006 in Gunjala, a Gond village in the Indian state of Telangana. Recently revived among the Gond population. Unrelated to the 1918-created Masaram Gondi. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Gurmukhi": { + "name": "Noto Sans Gurmukhi", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "gurmukhi", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Guru", + "article": "Noto Sans Gurmukhi is an unmodulated (\u201csans serif\u201d) design for texts in the Indic Gurmukhi script. Noto Sans Gurmukhi has multiple weights and widths, contains 344 glyphs, 11 OpenType features, and supports 154 characters from 5 Unicode blocks: Gurmukhi, Basic Latin, General Punctuation, Devanagari, Common Indic Number Forms. Supported writing systems Gurmukhi Gurmukhi (\u0a17\u0a41\u0a30\u0a2e\u0a41\u0a16\u0a40) is an Indic abugida, written left-to-right with a headstroke (22 million users). Used in India for the Punjabi language by followers of the Sikh religion. Brahmic script. Current form developed in the 16th century by Guru Angad. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Gurmukhi UI": { + "name": "Noto Sans Gurmukhi UI", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "gurmukhi" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Guru", + "article": "Noto Sans Gurmukhi UI is an unmodulated (\u201csans serif\u201d) design for app and website user interfaces in the Indic Gurmukhi script. Noto Sans Gurmukhi UI has multiple weights and widths, contains 344 glyphs, 11 OpenType features, and supports 154 characters from 5 Unicode blocks: Gurmukhi, Basic Latin, General Punctuation, Devanagari, Common Indic Number Forms. Supported writing systems Gurmukhi Gurmukhi (\u0a17\u0a41\u0a30\u0a2e\u0a41\u0a16\u0a40) is an Indic abugida, written left-to-right with a headstroke (22 million users). Used in India for the Punjabi language by followers of the Sikh religion. Brahmic script. Current form developed in the 16th century by Guru Angad. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans HK": { + "name": "Noto Sans HK", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "chinese-hongkong", + "cyrillic", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Hant", + "article": "Noto Sans HK is an unmodulated (\u201csans serif\u201d) design for languages in Hong Kong that use the Traditional Chinese variant of the Han ideograms. It also supports Latin, Cyrillic, Greek, Katakana, Hiragana and Hangul. Noto Sans CJK HK contains 65,535 glyphs, 23 OpenType features, and supports 44,806 characters from 55 Unicode blocks: CJK Unified Ideographs, Hangul Syllables, CJK Unified Ideographs Extension A, CJK Unified Ideographs Extension B, CJK Compatibility Ideographs, Hangul Jamo, CJK Compatibility, Halfwidth and Fullwidth Forms, Kangxi Radicals, Enclosed CJK Letters and Months, Enclosed Alphanumeric Supplement, Box Drawing, CJK Radicals Supplement, CJK Unified Ideographs Extension E, Katakana, Hangul Compatibility Jamo, Hiragana, Latin Extended Additional, Latin-1 Supplement, Basic Latin, Enclosed Alphanumerics, Mathematical Operators, Hangul Jamo Extended-B, Cyrillic, Enclosed Ideographic Supplement, CJK Compatibility Ideographs Supplement, CJK Symbols and Punctuation, Miscellaneous Symbols, Greek and Coptic, CJK Unified Ideographs Extension C, Bopomofo, Geometric Shapes, CJK Strokes, General Punctuation, CJK Unified Ideographs Extension D, Block Elements, CJK Compatibility Forms, Latin Extended-A, Hangul Jamo Extended-A, Bopomofo Extended, Miscellaneous Technical, Small Form Variants, Arrows, Latin Extended-B, Letterlike Symbols, Katakana Phonetic Extensions, Kanbun, Ideographic Description Characters, Vertical Forms, Spacing Modifier Letters, Dingbats, Combining Diacritical Marks, Miscellaneous Symbols and Arrows, Alphabetic Presentation Forms, CJK Unified Ideographs Extension F. Supported writing systems Traditional Han Traditional Han (\u6f22\u5b57) is an East Asian logo-syllabary, written vertically right-to-left and horizontally left-to-right (over 30 million users). Used in Taiwan, Hong Kong and Macau. ((TODO)) Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Hangul Hangul (Hangeul, \ud55c\uae00, Chos\u014fn'g\u016dl, \uc870\uc120\uae00) is an East Asian script, written vertically right-to-left and horizontally left-to-right (79 million users). Used for the Korean language. Created in 1446 by King Sejong the Great (Sejong of Joseon) as a simpler, phonetic alternative to using Chinese hanja for Korean. Not universally accepted for centuries, suppressed by Japanese colonial authorities. Since 1945 the standard script for Korean. The 51 basic letters (jamo) are grouped into syllable blocks depending on their position in the spoken syllable. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Latin Latin (Roman) is a European bicameral alphabet, written left-to-right. The most popular writing system in the world. Used for over 3,000 languages including Latin and Romance languages (Italian, French, Portuguese, Spanish and Romanian), Germanic languages (English, Dutch, German, Nordic languages), Finnish, Malaysian, Indonesian, Filipino, Visayan languages, Turkish, Azerbaijani, Polish, Somali, Vietnamese, and many others. Derived from Western Greek, attested in Rome in the 7th century BCE. In the common era, numerous European languages adopted the Latin script along with Western Christian religion, the script disseminated further with European colonization of the Americas, Australia, parts of Asia, Africa and the Pacific. New letters, ligatures and diacritical marks were gradually added to represent the sounds of various languages. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Katakana Katakana (\u7247\u4eee\u540d\u3001\u30ab\u30bf\u30ab\u30ca) is an East Asian syllabary, written vertically right-to-left and horizontally left-to-right (126 million users). Used in Japan for Japanese, Ryukyuan, Ainu and Palauan, and formerly for Taiwanese Hokkien. Katakana is used for transcription of foreign-language words into Japanese, for the writing of loan words, for emphasis, to represent onomatopoeia, for technical and scientific terms, for names of plants, animals and minerals, and often for names of Japanese companies. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Hiragana Hiragana (\u5e73\u4eee\u540d, \u3072\u3089\u304c\u306a) is an East Asian syllabary, written vertically right-to-left and horizontally left-to-right (120 million users). Used in Japan for Japanese and the Ryukyuan languages. Hiragana is used to write okurigana (kana suffixes following a kanji root, for example to inflect verbs and adjectives), various grammatical and function words including particles, as well as miscellaneous other native words for which there are no kanji or whose kanji form is obscure or too formal for the writing purpose. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Emoji symbols Emoji symbols are pictograms, logograms, ideograms and smileys used in electronic messages and web pages. Their primary function is to fill in emotional cues otherwise missing from typed conversation. They are typically rendered as multi-color characters. Read more on ScriptSource, Unicode, Wikipedia, r12a. Bopomofo Bopomofo (\u6ce8\u97f3\u7b26\u865f, \u6ce8\u97f3\u7b26\u53f7, \u3105\u3106\u3107\u3108) is an East Asian syllabary, written left-to-right. Developed in 1913 in China to be used for Mandarin Chinese transliteration alongside the Latin-based Wade\u2013Giles system. Also called Mandarin Phonetic Symbols or Zhuyin (\u6ce8\u97f3). Bopomofo is an official transliteration system in Taiwan, used in dictionaries, books, newspapers and journals to annotate the Taiwanese pronunciation of Chinese Han characters, and in electronic input methods. Largely replaced by Pinyin romanization in the People\u2019s Republic of China. Also used as the primary script for Taiwan\u2019s minority languages like Atayal, Taroko, Paiwan and Yami. Has 21 onset consonants, 16 rhymes, and 4 tone marks. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Cyrillic Cyrillic is a bicameral alphabet originating in Europe, written left-to-right (250 million users). Used for various languages across Eurasia and is used as the national script in various Slavic, Turkic, Mongolic and Iranic-speaking countries in Southeastern Europe, Eastern Europe, the Caucasus, Central Asia, North Asia and East Asia, including Russian, Bulgarian, Macedonian, Serbian, Ukrainian, Uzbek, Azerbaijani, Kazakh, Tajik, Kyrgyz, Bashkort, Chechen, Chuvash, Avar, Dargwa, Kabardian, Karakalpak, Kumyk, Lezgi, Ossetic, Pontic, Yakut, Buriat and many others. Created in the 9th century. Traditionally attributed to Saint Cyril, a monk from Thessaloniki working in Bulgaria, after earlier creation of the Glagolitic script. Sometimes attributed to Clement of Ohrid, a student of Saint Cyril\u2019s. Initially used for Old Church Slavonic. Reformed in 1708 by Russian tsar Peter the Great. Extended by the Soviet Union in the 20th century to write over 50 languages throughout Eastern Europe and Asia (some of those languages switched to Latin after 1991). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Greek Greek (\u0395\u03bb\u03bb\u03b7\u03bd\u03b9\u03ba\u03ac) is a European bicameral alphabet, written left-to-right (11 million users). Used to write the Greek language since the 8th century BCE. Also used to write other languages like Urum, Albanian Tosk, and Balkan Gagauz Turkish. Some symbols are also used in scientific notation. Derived from Phoenician. First \u201ctrue alphabet\u201d, with distinct letters for consonants and vowels. Standardized in the 4th century BCE by Eucleides. Has 24 letters. Some letter variants (sigma: \u03c3/\u03c2) have positional significance in the Greek language, other variants only differ in meaning in scientific notation (e.g. pi: \u03c0/\u03d6). The Greek language used to be written in polytonic spelling, with three accents on vowels. In 1982, Greece introduced monotonic spelling with a single diacritic. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Hanifi Rohingya": { + "name": "Noto Sans Hanifi Rohingya", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "hanifi-rohingya", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Rohg", + "article": "Noto Sans Hanifi Rohingya is an unmodulated (\u201csans serif\u201d) design for texts in the Southeast Asian Hanifi Rohingya script. Noto Sans Hanifi Rohingya has multiple weights, contains 179 glyphs, 8 OpenType features, and supports 65 characters from 2 Unicode blocks: Hanifi Rohingya, Arabic. Supported writing systems Hanifi Rohingya Hanifi Rohingya (\ud803\udd0c\ud803\udd1f\ud803\udd07\ud803\udd25\ud803\udd1d\ud803\udd1a\ud803\udd12\ud803\udd19\ud803\udd1d \ud803\udd07\ud803\udd1d\ud803\udd15\ud803\udd1e\ud803\udd09\ud803\udd1e \ud803\udd13\ud803\udd20\ud803\udd11\ud803\udd24\ud803\udd1d) is a Southeast Asian script, written right-to-left. Used in Myanmar since the 1980s for the Rohingya language (1.5 million speakers), which was previously witten in Arabic script. Created by Mohammad Hanif. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Hanunoo": { + "name": "Noto Sans Hanunoo", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "hanunoo", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Hano", + "article": "Noto Sans Hanunoo is an unmodulated (\u201csans serif\u201d) design for texts in the Southeast Asian Hanunoo script. Noto Sans Hanunoo contains 48 glyphs, 3 OpenType features, and supports 31 characters from the Unicode block Hanunoo. Supported writing systems Hanunoo Hanunoo (\u1731\u1728\u1733\u1728\u1733\u1722) is a Southeast Asian abugida, unusually written in upward vertical columns that are read left-to-right. Used in the mountains of Mindoro, South Philippines since c. 1300 for the Hanun\u00f3'o language (18,000 speakers). Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Hatran": { + "name": "Noto Sans Hatran", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "hatran", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Hatr", + "article": "Noto Sans Hatran is an unmodulated (\u201csans serif\u201d) design for texts in the historical Middle Eastern Hatran script. Noto Sans Hatran contains 32 glyphs, and supports 31 characters from the Unicode block Hatran. Supported writing systems Hatran Hatran is a historical Middle Eastern abjad, written right-to-left. Was used for Aramaic of Hatra, a dialect spoken by early inhabitants of today\u2019s northern Iraq in 98 BCE\u2013240 CE. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Hebrew": { + "name": "Noto Sans Hebrew", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic-ext", + "greek-ext", + "hebrew", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Hebr", + "article": "Noto Sans Hebrew is an unmodulated (\u201csans serif\u201d) design for texts in the Middle Eastern Hebrew script. Noto Sans Hebrew has multiple weights and widths, contains 149 glyphs, 4 OpenType features, and supports 145 characters from 2 Unicode blocks: Hebrew, Alphabetic Presentation Forms. Supported writing systems Hebrew Hebrew ( \u05e2\u05d1\u05e8\u05d9\u05ea ) is a Middle Eastern abjad, written right-to-left (14 million users). Used for the Hebrew, Samaritan and Yiddish languages. Also used for some varieties of Arabic and for the languages of Jewish communities across the world. Has 22 consonant letters, 5 have positional variants. Vowels in Hebrew language are normally omitted except for long vowels which are sometimes written with the consonant letters \u05d0\u05d4\u05d5\u05d9 (those were vowel-only letters until the 9th century). Children\u2019s and school books use niqqud diacritics for all vowels. Religious texts may use cantillation marks for indicating rhythm and stress. Needs software support for complex text layout (shaping). Read more on ScriptSource , Unicode , Wikipedia , Wiktionary , r12a .", + "minisite_url": null + }, + "Noto Sans Imperial Aramaic": { + "name": "Noto Sans Imperial Aramaic", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "imperial-aramaic", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Armi", + "article": "Noto Sans Imperial Aramaic is an unmodulated (\u201csans serif\u201d) design for texts in the historical Middle Eastern Imperial Aramaic script. Noto Sans Imperial Aramaic contains 36 glyphs, and supports 35 characters from the Unicode block Imperial Aramaic. Supported writing systems Imperial Aramaic Imperial Aramaic is a historical Middle Eastern abjad, written right-to-left. Was the script and language of the Persian Empire in 5th\u20133rd century BCE. Derived from the Phoenician script. Continued to be used until the 2nd century CE, and later evolved into Syriac, Nabataean, Palmyran and Hebrew (to which it is the closest). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Indic Siyaq Numbers": { + "name": "Noto Sans Indic Siyaq Numbers", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "indic-siyaq-numbers", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Arab", + "article": "Noto Sans Indic Siyaq Numbers is a modulated design that contains Arabic-script numerals that were used for accounting in India in the 17th\u201320th centuries. Noto Sans Indic Siyaq Numbers contains 95 glyphs, 2 OpenType features, and supports 93 characters .", + "minisite_url": null + }, + "Noto Sans Inscriptional Pahlavi": { + "name": "Noto Sans Inscriptional Pahlavi", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "inscriptional-pahlavi", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Phli", + "article": "Noto Sans Inscriptional Pahlavi is an unmodulated (\u201csans serif\u201d) design for texts in the historical Middle Eastern Inscriptional Pahlavi script. Noto Sans Inscriptional Pahlavi contains 35 glyphs, 2 OpenType features, and supports 31 characters from the Unicode block Inscriptional Pahlavi. Supported writing systems Inscriptional Pahlavi Inscriptional Pahlavi is a historical Middle Eastern abjad, written right-to-left. Was presumably used in the 2nd century BCE\u20135th century CE as a monumental script for Middle Iranian languages. The letters are disconnected. Later evolved into Psalter Pahlavi and Book Pahlavi. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Inscriptional Parthian": { + "name": "Noto Sans Inscriptional Parthian", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "inscriptional-parthian", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Prti", + "article": "Noto Sans Inscriptional Parthian is an unmodulated (\u201csans serif\u201d) design for texts in the historical Middle Eastern Inscriptional Parthian script. Noto Sans Inscriptional Parthian contains 46 glyphs, 2 OpenType features, and supports 34 characters from the Unicode block Inscriptional Parthian. Supported writing systems Inscriptional Parthian Inscriptional Parthian is a historical Middle Eastern abjad, written right-to-left. Was used around 250 BC in today\u2019s north-eastern Iran for the Parthian language, and, along with Inscriptional Pahlavi and Psalter Pahlavi, for other Iranian and Indo-European languages. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans JP": { + "name": "Noto Sans JP", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "japanese", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Jpan", + "article": "Noto Sans JP is an unmodulated (\u201csans serif\u201d) design for the Japanese language and other languages used in Japan. It covers Hiragana, Katakana and Kanji. It also supports Latin, Cyrillic, Greek and Hangul. Noto Sans CJK JP contains 65,535 glyphs, 27 OpenType features, and supports 44,806 characters from 55 Unicode blocks: CJK Unified Ideographs, Hangul Syllables, CJK Unified Ideographs Extension A, CJK Unified Ideographs Extension B, CJK Compatibility Ideographs, Hangul Jamo, CJK Compatibility, Halfwidth and Fullwidth Forms, Kangxi Radicals, Enclosed CJK Letters and Months, Enclosed Alphanumeric Supplement, Box Drawing, CJK Radicals Supplement, CJK Unified Ideographs Extension E, Katakana, Hangul Compatibility Jamo, Hiragana, Latin Extended Additional, Latin-1 Supplement, Basic Latin, Enclosed Alphanumerics, Mathematical Operators, Hangul Jamo Extended-B, Cyrillic, Enclosed Ideographic Supplement, CJK Compatibility Ideographs Supplement, CJK Symbols and Punctuation, Miscellaneous Symbols, Greek and Coptic, CJK Unified Ideographs Extension C, Bopomofo, Geometric Shapes, CJK Strokes, General Punctuation, CJK Unified Ideographs Extension D, Block Elements, CJK Compatibility Forms, Latin Extended-A, Hangul Jamo Extended-A, Bopomofo Extended, Miscellaneous Technical, Small Form Variants, Arrows, Latin Extended-B, Letterlike Symbols, Katakana Phonetic Extensions, Kanbun, Ideographic Description Characters, Vertical Forms, Spacing Modifier Letters, Dingbats, Combining Diacritical Marks, Miscellaneous Symbols and Arrows, Alphabetic Presentation Forms, CJK Unified Ideographs Extension F. Supported writing systems Japanese Kanji Japanese Kanji (\u6f22\u5b57) is an East Asian logo-syllabary, written left-to-right (126 million users). Used together with the Hiragana and Katakana syllabaries in Japan for the Japanese language. Noun, verb, adjective and some adverb stems use kanji (the most basic set is 2,136). Grammatical elements use Hiragana, loan words and emphasis use Katakana. Kanji is primarily derived from the traditional Chinese Han characters. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Hangul Hangul (Hangeul, \ud55c\uae00, Chos\u014fn'g\u016dl, \uc870\uc120\uae00) is an East Asian script, written vertically right-to-left and horizontally left-to-right (79 million users). Used for the Korean language. Created in 1446 by King Sejong the Great (Sejong of Joseon) as a simpler, phonetic alternative to using Chinese hanja for Korean. Not universally accepted for centuries, suppressed by Japanese colonial authorities. Since 1945 the standard script for Korean. The 51 basic letters (jamo) are grouped into syllable blocks depending on their position in the spoken syllable. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Latin Latin (Roman) is a European bicameral alphabet, written left-to-right. The most popular writing system in the world. Used for over 3,000 languages including Latin and Romance languages (Italian, French, Portuguese, Spanish and Romanian), Germanic languages (English, Dutch, German, Nordic languages), Finnish, Malaysian, Indonesian, Filipino, Visayan languages, Turkish, Azerbaijani, Polish, Somali, Vietnamese, and many others. Derived from Western Greek, attested in Rome in the 7th century BCE. In the common era, numerous European languages adopted the Latin script along with Western Christian religion, the script disseminated further with European colonization of the Americas, Australia, parts of Asia, Africa and the Pacific. New letters, ligatures and diacritical marks were gradually added to represent the sounds of various languages. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Katakana Katakana (\u7247\u4eee\u540d\u3001\u30ab\u30bf\u30ab\u30ca) is an East Asian syllabary, written vertically right-to-left and horizontally left-to-right (126 million users). Used in Japan for Japanese, Ryukyuan, Ainu and Palauan, and formerly for Taiwanese Hokkien. Katakana is used for transcription of foreign-language words into Japanese, for the writing of loan words, for emphasis, to represent onomatopoeia, for technical and scientific terms, for names of plants, animals and minerals, and often for names of Japanese companies. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Hiragana Hiragana (\u5e73\u4eee\u540d, \u3072\u3089\u304c\u306a) is an East Asian syllabary, written vertically right-to-left and horizontally left-to-right (120 million users). Used in Japan for Japanese and the Ryukyuan languages. Hiragana is used to write okurigana (kana suffixes following a kanji root, for example to inflect verbs and adjectives), various grammatical and function words including particles, as well as miscellaneous other native words for which there are no kanji or whose kanji form is obscure or too formal for the writing purpose. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Emoji symbols Emoji symbols are pictograms, logograms, ideograms and smileys used in electronic messages and web pages. Their primary function is to fill in emotional cues otherwise missing from typed conversation. They are typically rendered as multi-color characters. Read more on ScriptSource, Unicode, Wikipedia, r12a. Bopomofo Bopomofo (\u6ce8\u97f3\u7b26\u865f, \u6ce8\u97f3\u7b26\u53f7, \u3105\u3106\u3107\u3108) is an East Asian syllabary, written left-to-right. Developed in 1913 in China to be used for Mandarin Chinese transliteration alongside the Latin-based Wade\u2013Giles system. Also called Mandarin Phonetic Symbols or Zhuyin (\u6ce8\u97f3). Bopomofo is an official transliteration system in Taiwan, used in dictionaries, books, newspapers and journals to annotate the Taiwanese pronunciation of Chinese Han characters, and in electronic input methods. Largely replaced by Pinyin romanization in the People\u2019s Republic of China. Also used as the primary script for Taiwan\u2019s minority languages like Atayal, Taroko, Paiwan and Yami. Has 21 onset consonants, 16 rhymes, and 4 tone marks. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Cyrillic Cyrillic is a bicameral alphabet originating in Europe, written left-to-right (250 million users). Used for various languages across Eurasia and is used as the national script in various Slavic, Turkic, Mongolic and Iranic-speaking countries in Southeastern Europe, Eastern Europe, the Caucasus, Central Asia, North Asia and East Asia, including Russian, Bulgarian, Macedonian, Serbian, Ukrainian, Uzbek, Azerbaijani, Kazakh, Tajik, Kyrgyz, Bashkort, Chechen, Chuvash, Avar, Dargwa, Kabardian, Karakalpak, Kumyk, Lezgi, Ossetic, Pontic, Yakut, Buriat and many others. Created in the 9th century. Traditionally attributed to Saint Cyril, a monk from Thessaloniki working in Bulgaria, after earlier creation of the Glagolitic script. Sometimes attributed to Clement of Ohrid, a student of Saint Cyril\u2019s. Initially used for Old Church Slavonic. Reformed in 1708 by Russian tsar Peter the Great. Extended by the Soviet Union in the 20th century to write over 50 languages throughout Eastern Europe and Asia (some of those languages switched to Latin after 1991). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Greek Greek (\u0395\u03bb\u03bb\u03b7\u03bd\u03b9\u03ba\u03ac) is a European bicameral alphabet, written left-to-right (11 million users). Used to write the Greek language since the 8th century BCE. Also used to write other languages like Urum, Albanian Tosk, and Balkan Gagauz Turkish. Some symbols are also used in scientific notation. Derived from Phoenician. First \u201ctrue alphabet\u201d, with distinct letters for consonants and vowels. Standardized in the 4th century BCE by Eucleides. Has 24 letters. Some letter variants (sigma: \u03c3/\u03c2) have positional significance in the Greek language, other variants only differ in meaning in scientific notation (e.g. pi: \u03c0/\u03d6). The Greek language used to be written in polytonic spelling, with three accents on vowels. In 1982, Greece introduced monotonic spelling with a single diacritic. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Javanese": { + "name": "Noto Sans Javanese", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "javanese", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Java", + "article": "Noto Sans Javanese is an unmodulated (\u201csans serif\u201d) design for texts in the Southeast Asian Javanese script. Noto Sans Javanese contains 405 glyphs, 7 OpenType features, and supports 99 characters from the Unicode block Javanese. Supported writing systems Javanese Javanese (Aksara Jawa, \ua984\ua98f\ua9c0\ua9b1\ua9ab\ua997\ua9ae) is a Southeast Asian abugida, written left-to-right. Used since the 15h century for the Javanese language on the Indonesian island of Java. Also used for Sundanese, Madurese, Sasak, Indonesian, Kawi, Sanskrit. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans KR": { + "name": "Noto Sans KR", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "korean", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Kore", + "article": "Noto Sans KR is an unmodulated (\u201csans serif\u201d) design for the Korean language using Hangul and the Korean Hanja scripts. It also supports Hiragana, Katakana, Latin, Cyrillic and Greek. Noto Sans CJK KR contains 65,535 glyphs, 23 OpenType features, and supports 44,806 characters from 55 Unicode blocks: CJK Unified Ideographs, Hangul Syllables, CJK Unified Ideographs Extension A, CJK Unified Ideographs Extension B, CJK Compatibility Ideographs, Hangul Jamo, CJK Compatibility, Halfwidth and Fullwidth Forms, Kangxi Radicals, Enclosed CJK Letters and Months, Enclosed Alphanumeric Supplement, Box Drawing, CJK Radicals Supplement, CJK Unified Ideographs Extension E, Katakana, Hangul Compatibility Jamo, Hiragana, Latin Extended Additional, Latin-1 Supplement, Basic Latin, Enclosed Alphanumerics, Mathematical Operators, Hangul Jamo Extended-B, Cyrillic, Enclosed Ideographic Supplement, CJK Compatibility Ideographs Supplement, CJK Symbols and Punctuation, Miscellaneous Symbols, Greek and Coptic, CJK Unified Ideographs Extension C, Bopomofo, Geometric Shapes, CJK Strokes, General Punctuation, CJK Unified Ideographs Extension D, Block Elements, CJK Compatibility Forms, Latin Extended-A, Hangul Jamo Extended-A, Bopomofo Extended, Miscellaneous Technical, Small Form Variants, Arrows, Latin Extended-B, Letterlike Symbols, Katakana Phonetic Extensions, Kanbun, Ideographic Description Characters, Vertical Forms, Spacing Modifier Letters, Dingbats, Combining Diacritical Marks, Miscellaneous Symbols and Arrows, Alphabetic Presentation Forms, CJK Unified Ideographs Extension F. Supported writing systems Korean Hanja Korean Hanja (\ud55c\uc790, \u6f22\u5b57) is an East Asian logo-syllabary, written left-to-right. Based on traditional Chinese Han characters, Hanja was used for the Korean language until 1446, when King Sejong introduced Hangul. Until the mid-20th century Hanja and Hangul were used in parallel or mixed. Today, the vast majority of Korean text uses Hangul but Hanja is still used in some context, and schools teach some 1,000-3,000 Hanja symbols. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Hangul Hangul (Hangeul, \ud55c\uae00, Chos\u014fn'g\u016dl, \uc870\uc120\uae00) is an East Asian script, written vertically right-to-left and horizontally left-to-right (79 million users). Used for the Korean language. Created in 1446 by King Sejong the Great (Sejong of Joseon) as a simpler, phonetic alternative to using Chinese hanja for Korean. Not universally accepted for centuries, suppressed by Japanese colonial authorities. Since 1945 the standard script for Korean. The 51 basic letters (jamo) are grouped into syllable blocks depending on their position in the spoken syllable. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Latin Latin (Roman) is a European bicameral alphabet, written left-to-right. The most popular writing system in the world. Used for over 3,000 languages including Latin and Romance languages (Italian, French, Portuguese, Spanish and Romanian), Germanic languages (English, Dutch, German, Nordic languages), Finnish, Malaysian, Indonesian, Filipino, Visayan languages, Turkish, Azerbaijani, Polish, Somali, Vietnamese, and many others. Derived from Western Greek, attested in Rome in the 7th century BCE. In the common era, numerous European languages adopted the Latin script along with Western Christian religion, the script disseminated further with European colonization of the Americas, Australia, parts of Asia, Africa and the Pacific. New letters, ligatures and diacritical marks were gradually added to represent the sounds of various languages. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Katakana Katakana (\u7247\u4eee\u540d\u3001\u30ab\u30bf\u30ab\u30ca) is an East Asian syllabary, written vertically right-to-left and horizontally left-to-right (126 million users). Used in Japan for Japanese, Ryukyuan, Ainu and Palauan, and formerly for Taiwanese Hokkien. Katakana is used for transcription of foreign-language words into Japanese, for the writing of loan words, for emphasis, to represent onomatopoeia, for technical and scientific terms, for names of plants, animals and minerals, and often for names of Japanese companies. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Hiragana Hiragana (\u5e73\u4eee\u540d, \u3072\u3089\u304c\u306a) is an East Asian syllabary, written vertically right-to-left and horizontally left-to-right (120 million users). Used in Japan for Japanese and the Ryukyuan languages. Hiragana is used to write okurigana (kana suffixes following a kanji root, for example to inflect verbs and adjectives), various grammatical and function words including particles, as well as miscellaneous other native words for which there are no kanji or whose kanji form is obscure or too formal for the writing purpose. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Emoji symbols Emoji symbols are pictograms, logograms, ideograms and smileys used in electronic messages and web pages. Their primary function is to fill in emotional cues otherwise missing from typed conversation. They are typically rendered as multi-color characters. Read more on ScriptSource, Unicode, Wikipedia, r12a. Bopomofo Bopomofo (\u6ce8\u97f3\u7b26\u865f, \u6ce8\u97f3\u7b26\u53f7, \u3105\u3106\u3107\u3108) is an East Asian syllabary, written left-to-right. Developed in 1913 in China to be used for Mandarin Chinese transliteration alongside the Latin-based Wade\u2013Giles system. Also called Mandarin Phonetic Symbols or Zhuyin (\u6ce8\u97f3). Bopomofo is an official transliteration system in Taiwan, used in dictionaries, books, newspapers and journals to annotate the Taiwanese pronunciation of Chinese Han characters, and in electronic input methods. Largely replaced by Pinyin romanization in the People\u2019s Republic of China. Also used as the primary script for Taiwan\u2019s minority languages like Atayal, Taroko, Paiwan and Yami. Has 21 onset consonants, 16 rhymes, and 4 tone marks. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Cyrillic Cyrillic is a bicameral alphabet originating in Europe, written left-to-right (250 million users). Used for various languages across Eurasia and is used as the national script in various Slavic, Turkic, Mongolic and Iranic-speaking countries in Southeastern Europe, Eastern Europe, the Caucasus, Central Asia, North Asia and East Asia, including Russian, Bulgarian, Macedonian, Serbian, Ukrainian, Uzbek, Azerbaijani, Kazakh, Tajik, Kyrgyz, Bashkort, Chechen, Chuvash, Avar, Dargwa, Kabardian, Karakalpak, Kumyk, Lezgi, Ossetic, Pontic, Yakut, Buriat and many others. Created in the 9th century. Traditionally attributed to Saint Cyril, a monk from Thessaloniki working in Bulgaria, after earlier creation of the Glagolitic script. Sometimes attributed to Clement of Ohrid, a student of Saint Cyril\u2019s. Initially used for Old Church Slavonic. Reformed in 1708 by Russian tsar Peter the Great. Extended by the Soviet Union in the 20th century to write over 50 languages throughout Eastern Europe and Asia (some of those languages switched to Latin after 1991). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Greek Greek (\u0395\u03bb\u03bb\u03b7\u03bd\u03b9\u03ba\u03ac) is a European bicameral alphabet, written left-to-right (11 million users). Used to write the Greek language since the 8th century BCE. Also used to write other languages like Urum, Albanian Tosk, and Balkan Gagauz Turkish. Some symbols are also used in scientific notation. Derived from Phoenician. First \u201ctrue alphabet\u201d, with distinct letters for consonants and vowels. Standardized in the 4th century BCE by Eucleides. Has 24 letters. Some letter variants (sigma: \u03c3/\u03c2) have positional significance in the Greek language, other variants only differ in meaning in scientific notation (e.g. pi: \u03c0/\u03d6). The Greek language used to be written in polytonic spelling, with three accents on vowels. In 1982, Greece introduced monotonic spelling with a single diacritic. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Kaithi": { + "name": "Noto Sans Kaithi", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "kaithi", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Kthi", + "article": "Noto Sans Kaithi is an unmodulated (\u201csans serif\u201d) design for texts in the Indic Kaithi script. Noto Sans Kaithi contains 322 glyphs, 13 OpenType features, and supports 97 characters from 2 Unicode blocks: Kaithi, Common Indic Number Forms. Supported writing systems Kaithi Kaithi (\ud804\udc8d\ud804\udcb6\ud804\udc9f\ud804\udcb2) is a historical Indic abugida, written left-to-right without a headstroke. Was used in the 16th\u201320th century in Northern and Eastern India for Indo-Aryan languages like Angika, Awadhi, Bhojpuri, Hindustani, Magahi, Maithili, Nagpuri. Except in the state of Bihar, was discouraged under British rule in India. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Kannada": { + "name": "Noto Sans Kannada", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "kannada", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Knda", + "article": "Noto Sans Kannada is an unmodulated (\u201csans serif\u201d) design for texts in the Indic Kannada script. Noto Sans Kannada has multiple weights and widths, contains 655 glyphs, 11 OpenType features, and supports 164 characters from 5 Unicode blocks: Kannada, Basic Latin, General Punctuation, Vedic Extensions, Devanagari. Supported writing systems Kannada Kannada (\u0c95\u0ca8\u0ccd\u0ca8\u0ca1 \u0cb2\u0cbf\u0caa\u0cbf) is an Indic abugida, written left-to-right, partially with a headstroke (45 million users). Used in southern India for the Kannada language as well as Konkani, Tulu, Badaga, Kudiya, Paniya. Related to Telugu. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Kannada UI": { + "name": "Noto Sans Kannada UI", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "kannada" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Knda", + "article": "Noto Sans Kannada UI is an unmodulated (\u201csans serif\u201d) design for app and website user interfaces in the Indic Kannada script. Noto Sans Kannada UI has multiple weights and widths, contains 655 glyphs, 11 OpenType features, and supports 164 characters from 5 Unicode blocks: Kannada, Basic Latin, General Punctuation, Vedic Extensions, Devanagari. Supported writing systems Kannada Kannada (\u0c95\u0ca8\u0ccd\u0ca8\u0ca1 \u0cb2\u0cbf\u0caa\u0cbf) is an Indic abugida, written left-to-right, partially with a headstroke (45 million users). Used in southern India for the Kannada language as well as Konkani, Tulu, Badaga, Kudiya, Paniya. Related to Telugu. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Kawi": { + "name": "Noto Sans Kawi", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "kawi", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Kawi", + "article": "Noto Sans Kawi is a design for the historical Southeast Asian Kawi script. Noto Sans Kawi has multiple weights, contains 110 glyphs, 2 OpenType features, and supports 88 characters from the Unicode block Kawi. Supported writing systems Kawi Kawi is a historical Southeast Asian abugida, written left-to-right. Read more on ScriptSource, Unicode, Wikipedia, r12a.", + "minisite_url": null + }, + "Noto Sans Kayah Li": { + "name": "Noto Sans Kayah Li", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "kayah-li", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Kali", + "article": "Noto Sans Kayah Li is an unmodulated (\u201csans serif\u201d) design for texts in the Southeast Asian Kayah Li script. Noto Sans Kayah Li has multiple weights, contains 60 glyphs, 3 OpenType features, and supports 57 characters from the Unicode block Kayah Li. Supported writing systems Kayah Li Kayah Li (\ua90a\ua922\ua91b\ua922\ua91f \ua91c\ua924) is a Southeast Asian alphabet, written left-to-right. Used in Myanmar and Thailand for Kayah languages (150,000 users). Created in 1962 by Htae Bu Phae. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Kharoshthi": { + "name": "Noto Sans Kharoshthi", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "kharoshthi", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Khar", + "article": "Noto Sans Kharoshthi is an unmodulated (\u201csans serif\u201d) design for texts in the historical Indic Kharoshthi script. Noto Sans Kharoshthi contains 154 glyphs, 10 OpenType features, and supports 78 characters from the Unicode block Kharoshthi. Supported writing systems Kharoshthi Kharoshthi (\ud802\ude11\ud802\ude2a\ud802\ude06\ud802\ude2f\ud802\ude20\ud802\ude01) is a historical Indic abugida, written right-to-left. Was used in the 4th century BCE\u20133rd century CE in Gandhara (now Pakistan and north-eastern Afghanistan) for Gandhari Prakrit and Sanskrit. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Khmer": { + "name": "Noto Sans Khmer", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "khmer", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Khmr", + "article": "Noto Sans Khmer is an unmodulated (\u201csans serif\u201d) design for texts in the Southeast Asian Khmer script. Noto Sans Khmer has multiple weights and widths, contains 363 glyphs, 13 OpenType features, and supports 175 characters from 4 Unicode blocks: Khmer, Khmer Symbols, Basic Latin, General Punctuation. Supported writing systems Khmer Khmer (\u17a2\u1780\u17d2\u179f\u179a\u1781\u17d2\u1798\u17c2\u179a) is a Southeast Asian abugida, written left-to-right (12 million users). Used since the 7th century in Cambodia for the Khmer language. Also used for Brao, Mnong, Pali. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Khmer UI": { + "name": "Noto Sans Khmer UI", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "khmer" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Khmr", + "article": "Noto Sans Khmer UI is an unmodulated (\u201csans serif\u201d) design for app and website user interfaces in the Southeast Asian Khmer script. Noto Sans Khmer UI has multiple weights and widths, contains 381 glyphs, 13 OpenType features, and supports 175 characters from 4 Unicode blocks: Khmer, Khmer Symbols, Basic Latin, General Punctuation. Supported writing systems Khmer Khmer (\u17a2\u1780\u17d2\u179f\u179a\u1781\u17d2\u1798\u17c2\u179a) is a Southeast Asian abugida, written left-to-right (12 million users). Used since the 7th century in Cambodia for the Khmer language. Also used for Brao, Mnong, Pali. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Khojki": { + "name": "Noto Sans Khojki", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "khojki", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Khoj", + "article": "Noto Sans Khojki is an unmodulated (\u201csans serif\u201d) design for texts in the Indic Khojki script. Noto Sans Khojki contains 177 glyphs, 8 OpenType features, and supports 89 characters from 2 Unicode blocks: Khojki, Common Indic Number Forms. Supported writing systems Khojki Khojki (\ud804\ude09\ud804\ude32\ud804\ude10\ud804\ude08\ud804\ude2e) is an Indic abugida, written left-to-right. Used since the 16th century in today\u2019s Pakistan and India by the Khoja people for religious texts in the Sindhi language. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Khudawadi": { + "name": "Noto Sans Khudawadi", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "khudawadi", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Sind", + "article": "Noto Sans Khudawadi is an unmodulated (\u201csans serif\u201d) design for texts in the historical Indic Khudawadi script. Noto Sans Khudawadi contains 110 glyphs, 5 OpenType features, and supports 90 characters from 2 Unicode blocks: Khudawadi, Common Indic Number Forms. Supported writing systems Khudawadi Khudawadi (Sindhi, \ud804\udebb\ud804\udee9\ud804\udee3\ud804\udecf\ud804\udee0\ud804\uded4\ud804\udee0\ud804\udecf\ud804\udee2 ) is a historical Indic abugida, written left-to-right. Was used in the Sindh province of Pakistan and in India for the Sindhi language (20 million speakers). Now replaced by Nastaliq in Pakistan, and by Devanagari in India. Needs software support for complex text layout (shaping). Read more on ScriptSource , Unicode , Wikipedia , Wiktionary , r12a .", + "minisite_url": null + }, + "Noto Sans Lao": { + "name": "Noto Sans Lao", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "lao", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Laoo", + "article": "Noto Sans Lao is an unmodulated (\u201csans serif\u201d) design in the more modern, loopless variant of the Southeast Asian Lao script, mainly suitable for headlines, packaging and advertising. Noto Sans Lao has multiple weights and widths, contains 116 glyphs, 4 OpenType features, and supports 76 characters from the Unicode block Lao. Supported writing systems Lao Lao (\u0ea5\u0eb2\u0ea7) is a Southeast Asian abugida, written left-to-right (7 million users). Used since the 14th century in Laos the Lao language, and also for Isan, Thai. Derived from the Khmer script. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Lao Looped": { + "name": "Noto Sans Lao Looped", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "lao", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Laoo", + "article": "Noto Sans Lao Looped is an unmodulated design in the more traditional, looped variant of the Southeast Asian Lao script, suitable for all texts. Noto Sans Lao Looped has multiple weights and widths, contains 181 glyphs, 11 OpenType features, and supports 126 characters from 4 Unicode blocks: Lao, Basic Latin, General Punctuation, Latin-1 Supplement. Supported writing systems Lao Lao (\u0ea5\u0eb2\u0ea7) is a Southeast Asian abugida, written left-to-right (7 million users). Used since the 14th century in Laos the Lao language, and also for Isan, Thai. Derived from the Khmer script. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Lao UI": { + "name": "Noto Sans Lao UI", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "lao" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Laoo", + "article": "Noto Sans Lao UI is an unmodulated (\u201csans serif\u201d) design in the more modern, loopless variant of the Southeast Asian Lao script, suitable for app and website user interfaces in the Lao script. Noto Sans Lao UI has multiple weights and widths, contains 118 glyphs, 4 OpenType features, and supports 76 characters from the Unicode block Lao. Supported writing systems Lao Lao (\u0ea5\u0eb2\u0ea7) is a Southeast Asian abugida, written left-to-right (7 million users). Used since the 14th century in Laos the Lao language, and also for Isan, Thai. Derived from the Khmer script. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Lepcha": { + "name": "Noto Sans Lepcha", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "lepcha" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Lepc", + "article": "Noto Sans Lepcha is an unmodulated (\u201csans serif\u201d) design for texts in the Central Asian Lepcha script. Noto Sans Lepcha contains 141 glyphs, 6 OpenType features, and supports 82 characters from the Unicode block Lepcha. Supported writing systems Lepcha Lepcha (R\u00f3ng, \u1c1b\u1c29\u1c34\u200e) is a Central Asian abugida, written left-to-right (50,000 users). Used since the 18th century in India, Nepal and Bhutan for the Tibeto-Burman Lepcha language. Derived from Tibetan writing. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Limbu": { + "name": "Noto Sans Limbu", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "limbu" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Limb", + "article": "Noto Sans Limbu is an unmodulated (\u201csans serif\u201d) design for texts in the Indic Limbu script. Noto Sans Limbu contains 79 glyphs, 3 OpenType features, and supports 77 characters from the Unicode block Limbu. Supported writing systems Limbu Limbu (Kiranti, Sirijonga, \u1915\u1930\u190c\u1922\u1931 \u1910\u1920\u1934) is an Indic abugida, written left-to-right. Used in Nepal and northern India for the Limbu language (0.4 million speakers), which is also written in Devanagari. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Linear A": { + "name": "Noto Sans Linear A", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "linear-a" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Lina", + "article": "Noto Sans Linear A is an unmodulated (\u201csans serif\u201d) design for texts in the historical European Linear A script. Noto Sans Linear A contains 346 glyphs, and supports 345 characters from the Unicode block Linear A. Supported writing systems Linear A Linear A is a historical undeciphered European logo-syllabary, written left-to-right. Was used 1800-1450 BCE in ancient Crete, alongside Cretan Hieroglyphs, for the hypothesized Minoan language. Succeeded by Linear B. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Linear B": { + "name": "Noto Sans Linear B", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "linear-b" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Linb", + "article": "Noto Sans Linear B is an unmodulated (\u201csans serif\u201d) design for texts in the historical European Linear B script. Noto Sans Linear B contains 273 glyphs, and supports 272 characters from 3 Unicode blocks: Linear B Ideograms, Linear B Syllabary, Aegean Numbers. Supported writing systems Linear B Linear B is a historical European logo-syllabary, written boustrophedon. Used for ancient Greek. Was used 1375-1100 BCE for writing Mycenaean Greek, the earliest attested Greek language form. Was deciphered in 1953. Has 87 syllabic signs and over 100 ideographic signs. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Lisu": { + "name": "Noto Sans Lisu", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "lisu" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Lisu", + "article": "Noto Sans Lisu is an unmodulated (\u201csans serif\u201d) design for texts in the East Asian Fraser script. Noto Sans Lisu has multiple weights, contains 59 glyphs, and supports 58 characters from the Unicode block Lisu. Supported writing systems Fraser Fraser (Old Lisu) is an East Asian alphabet, written left-to-right (1 million users). Used in China, Myanmar, India and Thailand for the Lisu language. Also used for Lipo, Naxi, Zaiwa, Lakkia. Created 1915 by Sara Ba Thaw and improved by James O. Fraser. Based on the Latin script. Official Lisu language script in China since 1992. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Lycian": { + "name": "Noto Sans Lycian", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "lycian" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Lyci", + "article": "Noto Sans Lycian is an unmodulated (\u201csans serif\u201d) design for texts in the historical European Lycian script. Noto Sans Lycian contains 34 glyphs, and supports 33 characters from the Unicode block Lycian. Supported writing systems Lycian Lycian is a historical European alphabet, written left-to-right. Was used 500-330 BCE in today\u2019s southern Turkey for the Lycian language. Has 29 letters, visually similar to archaic Greek. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Lydian": { + "name": "Noto Sans Lydian", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "lydian" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Lydi", + "article": "Noto Sans Lydian is an unmodulated (\u201csans serif\u201d) design for texts in the historical European Lydian script. Noto Sans Lydian contains 32 glyphs, and supports 31 characters from the Unicode block Lydian. Supported writing systems Lydian Lydian is a historical European alphabet, written right-to-left. Was used 700\u2013200 BCE in today\u2019s Turkish Manisa and \u0130zmir for the Lydian language. Visually similar to archaic Greek. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Mahajani": { + "name": "Noto Sans Mahajani", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "mahajani" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Mahj", + "article": "Noto Sans Mahajani is an unmodulated (\u201csans serif\u201d) design for texts in the historical Indic Mahajani script. Noto Sans Mahajani contains 69 glyphs, 2 OpenType features, and supports 68 characters from 2 Unicode blocks: Mahajani, Common Indic Number Forms. Supported writing systems Mahajani Mahajani (\ud804\udd6c\ud804\udd71\ud804\udd5b\ud804\udd67\ud804\udd51\u200e) is a historical Indic alphabet, written left-to-right. Was used until the mid-20th century in today\u2019s northwest India and eastern Pakistan as a trade and accounting script done in Hindi, Marwari and Punjabi. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Malayalam": { + "name": "Noto Sans Malayalam", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "malayalam" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Mlym", + "article": "Noto Sans Malayalam is an unmodulated (\u201csans serif\u201d) design for texts in the Indic Malayalam script. Noto Sans Malayalam has multiple weights and widths, contains 364 glyphs, 10 OpenType features, and supports 187 characters from 4 Unicode blocks: Malayalam, Basic Latin, General Punctuation, Devanagari. Supported writing systems Malayalam Malayalam (\u0d2e\u0d32\u0d2f\u0d3e\u0d33\u0d02) is an Indic abugida, written left-to-right (38 million users). Used since c. 830 CE in India for Malayalam (official language of the Kerala state), Irula, Paniya and some other languages. Derived from the a Vatteluttu alphabet. Has 15 vowel letters, 42 consonant letters, and a few other symbols. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Malayalam UI": { + "name": "Noto Sans Malayalam UI", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "malayalam" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Mlym", + "article": "Noto Sans Malayalam UI is an unmodulated (\u201csans serif\u201d) design for app and website user interfaces in the Indic Malayalam script. Noto Sans Malayalam UI has multiple weights and widths, contains 364 glyphs, 10 OpenType features, and supports 187 characters from 4 Unicode blocks: Malayalam, Basic Latin, General Punctuation, Devanagari. Supported writing systems Malayalam Malayalam (\u0d2e\u0d32\u0d2f\u0d3e\u0d33\u0d02) is an Indic abugida, written left-to-right (38 million users). Used since c. 830 CE in India for Malayalam (official language of the Kerala state), Irula, Paniya and some other languages. Derived from the a Vatteluttu alphabet. Has 15 vowel letters, 42 consonant letters, and a few other symbols. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Mandaic": { + "name": "Noto Sans Mandaic", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "mandaic" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Mand", + "article": "Noto Sans Mandaic is an unmodulated (\u201csans serif\u201d) design for texts in the historical Middle Eastern Mandaean (Mandaic) script. Noto Sans Mandaic contains 132 glyphs, 7 OpenType features, and supports 37 characters from the Unicode block Mandaic. Supported writing systems Mandaean (Mandaic) Mandaean (Mandaic) is a Middle Eastern alphabet, written right-to-left. is Used in Iraq and Iran for Mandaic, a liturgical language of the Mandaean religion (5,000 speakers). Evolved from the Aramaic script. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Manichaean": { + "name": "Noto Sans Manichaean", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "manichaean" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Mani", + "article": "Noto Sans Manichaean is an unmodulated (\u201csans serif\u201d) design for texts in the historical Middle Eastern Manichaean script. Noto Sans Manichaean contains 153 glyphs, 6 OpenType features, and supports 60 characters from the Unicode block Manichaean. Supported writing systems Manichaean Manichaean is a historical Middle Eastern abjad, written right-to-left. Was used in the 3rd\u201310th century CE by the followers of Manichaeanism, an Iranian Gnostic religion, for Middle Iranian languages and for Old Uyghur. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Marchen": { + "name": "Noto Sans Marchen", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "marchen" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Marc", + "article": "Noto Sans Marchen is an unmodulated (\u201csans serif\u201d) design for texts in the historical Indic Marchen script. Noto Sans Marchen contains 748 glyphs, 6 OpenType features, and supports 73 characters from the Unicode block Marchen. Supported writing systems Marchen Marchen is a historical Indic abugida, written left-to-right. Marchen (Greater Mar) was used by followers of the Tibetan Bo\u0308n religion for writing the Zhang-zhung language. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Masaram Gondi": { + "name": "Noto Sans Masaram Gondi", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "masaram-gondi" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Gonm", + "article": "Noto Sans Masaram Gondi is an unmodulated (\u201csans serif\u201d) design for texts in the Indic Masaram Gondi script. Noto Sans Masaram Gondi contains 187 glyphs, 6 OpenType features, and supports 108 characters from 3 Unicode blocks: Masaram Gondi, Basic Latin, General Punctuation. Supported writing systems Masaram Gondi Masaram Gondi is an Indic abugida, written left-to-right. Created 1918 by Munshi Mangal Singh Masaram. Brahmic script, not widely used. Unrelated to the historic Gunjala Gondi. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Math": { + "name": "Noto Sans Math", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "latin", + "math" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Noto Sans Math is a font that contains symbols for mathematical notation . Noto Sans Math contains 2,655 glyphs, 5 OpenType features, and supports 2,472 characters from 19 Unicode blocks: Mathematical Alphanumeric Symbols, Mathematical Operators, Supplemental Mathematical Operators, Arabic Mathematical Alphabetic Symbols, Supplemental Arrows-B, Miscellaneous Mathematical Symbols-B, Miscellaneous Technical, Arrows, Basic Latin, Greek and Coptic, Miscellaneous Mathematical Symbols-A, Letterlike Symbols, Miscellaneous Symbols and Arrows, Combining Diacritical Marks for Symbols, Supplemental Arrows-A, Geometric Shapes, General Punctuation, Latin-1 Supplement, Combining Diacritical Marks. Supported writing systems Mathematical notation Mathematical notation is used for recording mathematical concepts. Includes digits, as well as symbols (both original and borrowed from Latin, Greek and other scripts) for operations, variables, functions, and other concepts. Developed in the mid-1700s by Leonhard Euler. Read more on ScriptSource , Unicode , Wikipedia , r12a .", + "minisite_url": null + }, + "Noto Sans Mayan Numerals": { + "name": "Noto Sans Mayan Numerals", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "mayan-numerals" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Noto Sans Mayan Numerals is an unmodulated (\u201csans serif\u201d) that contains numerals that were used by the ancient Maya civilization. Noto Sans Mayan Numerals contains 25 glyphs, and supports 24 characters .", + "minisite_url": null + }, + "Noto Sans Medefaidrin": { + "name": "Noto Sans Medefaidrin", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "medefaidrin" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Medf", + "article": "Noto Sans Medefaidrin is an unmodulated (\u201csans serif\u201d) design for texts in the African Medefaidrin (Oberi Okaime) script. Noto Sans Medefaidrin has multiple weights, contains 97 glyphs, and supports 95 characters from the Unicode block Medefaidrin. Supported writing systems Medefaidrin (Oberi Okaime) Medefaidrin (Oberi Okaime, \ud81b\ude5d\ud81b\ude70\ud81b\ude6f\ud81b\ude7c\ud81b\ude6b \ud81b\ude5a\ud81b\ude6c\ud81b\ude7e\ud81b\ude60\ud81b\ude6f) is an African bicameral alphabet, written left-to-right. Used for the Medefaidrin artificial language used for religious purposes by members of the Oberi Okaime church in the Cross River State of Nigeria. Created in the 1930s by Michael Ukpong and Akpan Akpan Udofia. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, r12a.", + "minisite_url": null + }, + "Noto Sans Meetei Mayek": { + "name": "Noto Sans Meetei Mayek", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "meetei-mayek" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Mtei", + "article": "Noto Sans MeeteiMayek is an unmodulated (\u201csans serif\u201d) design for texts in the Indic Meetei Mayek (Meitei) script. Noto Sans MeeteiMayek has multiple weights, contains 92 glyphs, 2 OpenType features, and supports 87 characters from 2 Unicode blocks: Meetei Mayek, Meetei Mayek Extensions. Supported writing systems Meetei Mayek (Meitei) Meetei Mayek (Meitei, \uabc3\uabe4\uabc7\uabe9 \uabc3\uabcc\uabe6\uabdb) is an Indic abugida, written left-to-right. Used in India, Bangladesh, and Myanmar for the Meitei language (1.4 million users). Was used until the 18th century, then replaced by the Bengali script. Revived since the 1930s. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans MeeteiMayek": { + "name": "Noto Sans MeeteiMayek", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "meetei-mayek" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Noto Sans MeeteiMayek is an unmodulated (\u201csans serif\u201d) design for texts in the Indic Meetei Mayek (Meitei) script. Noto Sans MeeteiMayek has multiple weights, contains 92 glyphs, 2 OpenType features, and supports 87 characters from 2 Unicode blocks: Meetei Mayek, Meetei Mayek Extensions. Supported writing systems Meetei Mayek (Meitei) Meetei Mayek (Meitei, \uabc3\uabe4\uabc7\uabe9 \uabc3\uabcc\uabe6\uabdb) is an Indic abugida, written left-to-right. Used in India, Bangladesh, and Myanmar for the Meitei language (1.4 million users). Was used until the 18th century, then replaced by the Bengali script. Revived since the 1930s. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Mende Kikakui": { + "name": "Noto Sans Mende Kikakui", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "mende-kikakui" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Mend", + "article": "Noto Sans Mende Kikakui is an unmodulated (\u201csans serif\u201d) design for texts in the African Mende script. Noto Sans Mende Kikakui contains 228 glyphs, 3 OpenType features, and supports 218 characters from the Unicode block Mende Kikakui. Supported writing systems Mende Mende (Mende Kikakui) is an African abugida, written right-to-left. Used in Sierra Leone for the Mende language (2 million speakers). Created by Mohammed Turay. Was widely used in the early 20th century, later largely replaced by the Latin script. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Meroitic": { + "name": "Noto Sans Meroitic", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "meroitic", + "meroitic-cursive", + "meroitic-hieroglyphs" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Mero", + "article": "Noto Sans Meroitic is an unmodulated (\u201csans serif\u201d) design for texts in the historical Middle Eastern Meroitic Hieroglyphs and Cursive scripts. Noto Sans Meroitic contains 133 glyphs, 2 OpenType features, and supports 129 characters from 2 Unicode blocks: Meroitic Hieroglyphs, Meroitic Cursive. Supported writing systems Meroitic Hieroglyphs Meroitic Hieroglyphs is a historical Middle Eastern logo-syllabary, written vertically right-to-left. Was used in 300 BCE\u2013600 CE in today\u2019s Sudan by the Kush (Mero\u00eb) people for the Meroitic language. Derived from Egyptian Hieroglyphs, used alongside Meroitic Cursive, and later Coptic. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Meroitic Cursive Meroitic Cursive is a historical Middle Eastern abugida, written right-to-left. Was used in 300 BCE\u2013600 CE in today\u2019s Sudan by the Kush (Mero\u00eb) people for the Meroitic language. Derived from Demotic Egyptian, used alongside Meroitic Hieroglyphs, and later Coptic. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Miao": { + "name": "Noto Sans Miao", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "miao" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Plrd", + "article": "Noto Sans Miao is an unmodulated (\u201csans serif\u201d) design for texts in the East Asian Pollard Phonetic script. Noto Sans Miao contains 365 glyphs, 4 OpenType features, and supports 154 characters from the Unicode block Miao. Supported writing systems Pollard Phonetic Pollard Phonetic (Pollard Miao) is an East Asian abugida, written left-to-right. Used in southern China and Southeast Asia for the A-Hmao, Lipo, Szechuan Miao, Nasu languages. Created 1936 by Samuel Pollard, inspired by Canadian Aboriginal syllabics. Revised in 1988, remains popular among the Hmong people in China. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Modi": { + "name": "Noto Sans Modi", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "modi" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Modi", + "article": "Noto Sans Modi is an unmodulated (\u201csans serif\u201d) design for texts in the Indic Modi script. Noto Sans Modi contains 209 glyphs, 7 OpenType features, and supports 96 characters from 2 Unicode blocks: Modi, Common Indic Number Forms. Supported writing systems Modi Modi (\ud805\ude26\ud805\ude3b\ud805\ude1a\ud805\ude32) is an Indic abugida, written left-to-right. Was used in 1800s\u20131950s in India for Marathi (the state language of Maharashtra). Largely replaced by Devanagari. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Mongolian": { + "name": "Noto Sans Mongolian", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "math", + "mongolian", + "symbols" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Mong", + "article": "Noto Sans Mongolian is an unmodulated (\u201csans serif\u201d) design for texts in the Central Asian Mongolian script. Noto Sans Mongolian contains 1,563 glyphs, 7 OpenType features, and supports 224 characters from 6 Unicode blocks: Mongolian, Mongolian Supplement, CJK Symbols and Punctuation, Basic Latin, General Punctuation, CJK Compatibility Forms. Supported writing systems Mongolian Mongolian (\u182e\u1823\u1829\u182d\u1823\u182f \u182a\u1822\u1834\u1822\u182d) is a Central Asian alphabet, written left-to-right in vertical columns or rotated horizontal lines. Used for the Mongolian language in Mongolia and Inner Mongolia (2 million speakers). Also used for Daur, Xibe and Manchu in China, for Southern Altai and Kalmyk-Oirat in Russia, and for Buriat in Mongolia. Derived in the 13th century from Old Uyghur, related to Galik, Todo, Manchu and Sibe. Has 8 vowel and 27 consonant letters. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, r12a.", + "minisite_url": null + }, + "Noto Sans Mono": { + "name": "Noto Sans Mono", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "monospace" + ], + "description": null, + "primary_script": null, + "article": "Noto Sans Mono is a monospaced, unmodulated (\u201csans serif\u201d) design suitable for programming code and other uses where a fixed-width font is needed. It supports the Latin, Cyrillic and Greek scripts, and various symbols. Noto Sans Mono has multiple weights and widths, contains 3,787 glyphs, 17 OpenType features, and supports 3,367 characters from 39 Unicode blocks: Latin Extended Additional, Cyrillic, Greek Extended, Latin Extended-B, Latin Extended-D, Latin Extended-A, Phonetic Extensions, Box Drawing, Greek and Coptic, Miscellaneous Technical, Combining Diacritical Marks, Mathematical Operators, IPA Extensions, Geometric Shapes, Cyrillic Extended-B, Latin-1 Supplement, General Punctuation, Basic Latin, Supplemental Punctuation, Spacing Modifier Letters, Letterlike Symbols, Phonetic Extensions Supplement, Combining Diacritical Marks Supplement, Latin Extended-E, Cyrillic Supplement, Currency Symbols, Block Elements, Latin Extended-C, Cyrillic Extended-A, Modifier Tone Letters, Superscripts and Subscripts, Arrows, Combining Diacritical Marks Extended, Combining Half Marks, Miscellaneous Mathematical Symbols-A, Cyrillic Extended-C, Dingbats, Miscellaneous Mathematical Symbols-B, Ornamental Dingbats. Supported writing systems Latin Latin (Roman) is a European bicameral alphabet, written left-to-right. The most popular writing system in the world. Used for over 3,000 languages including Latin and Romance languages (Italian, French, Portuguese, Spanish and Romanian), Germanic languages (English, Dutch, German, Nordic languages), Finnish, Malaysian, Indonesian, Filipino, Visayan languages, Turkish, Azerbaijani, Polish, Somali, Vietnamese, and many others. Derived from Western Greek, attested in Rome in the 7th century BCE. In the common era, numerous European languages adopted the Latin script along with Western Christian religion, the script disseminated further with European colonization of the Americas, Australia, parts of Asia, Africa and the Pacific. New letters, ligatures and diacritical marks were gradually added to represent the sounds of various languages. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Cyrillic Cyrillic is a bicameral alphabet originating in Europe, written left-to-right (250 million users). Used for various languages across Eurasia and is used as the national script in various Slavic, Turkic, Mongolic and Iranic-speaking countries in Southeastern Europe, Eastern Europe, the Caucasus, Central Asia, North Asia and East Asia, including Russian, Bulgarian, Macedonian, Serbian, Ukrainian, Uzbek, Azerbaijani, Kazakh, Tajik, Kyrgyz, Bashkort, Chechen, Chuvash, Avar, Dargwa, Kabardian, Karakalpak, Kumyk, Lezgi, Ossetic, Pontic, Yakut, Buriat and many others. Created in the 9th century. Traditionally attributed to Saint Cyril, a monk from Thessaloniki working in Bulgaria, after earlier creation of the Glagolitic script. Sometimes attributed to Clement of Ohrid, a student of Saint Cyril\u2019s. Initially used for Old Church Slavonic. Reformed in 1708 by Russian tsar Peter the Great. Extended by the Soviet Union in the 20th century to write over 50 languages throughout Eastern Europe and Asia (some of those languages switched to Latin after 1991). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Greek Greek (\u0395\u03bb\u03bb\u03b7\u03bd\u03b9\u03ba\u03ac) is a European bicameral alphabet, written left-to-right (11 million users). Used to write the Greek language since the 8th century BCE. Also used to write other languages like Urum, Albanian Tosk, and Balkan Gagauz Turkish. Some symbols are also used in scientific notation. Derived from Phoenician. First \u201ctrue alphabet\u201d, with distinct letters for consonants and vowels. Standardized in the 4th century BCE by Eucleides. Has 24 letters. Some letter variants (sigma: \u03c3/\u03c2) have positional significance in the Greek language, other variants only differ in meaning in scientific notation (e.g. pi: \u03c0/\u03d6). The Greek language used to be written in polytonic spelling, with three accents on vowels. In 1982, Greece introduced monotonic spelling with a single diacritic. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Mro": { + "name": "Noto Sans Mro", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "mro" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Noto is a global font collection for writing in all modern and ancient languages. Noto Sans Mro is an unmodulated (\u201csans serif\u201d) design for texts in the Indic Mro script. It has 48 glyphs.", + "primary_script": "Mroo", + "article": null, + "minisite_url": null + }, + "Noto Sans Multani": { + "name": "Noto Sans Multani", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "multani" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Mult", + "article": "Noto Sans Multani is an unmodulated (\u201csans serif\u201d) design for texts in the historical Indic Multani script. Noto Sans Multani contains 53 glyphs, and supports 52 characters from the Unicode block Multani. Supported writing systems Multani Multani (\ud804\udea0\ud804\udea3\ud804\ude96\ud804\ude9a) is a historical Indic abjad. Was used in the 18th\u201320th century in today\u2019s India and Pakistan for the Saraiki language, mainly by merchants. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Myanmar": { + "name": "Noto Sans Myanmar", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "myanmar" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Mymr", + "article": "Noto Sans Myanmar is an unmodulated (\u201csans serif\u201d) design for texts in the Southeast Asian Myanmar script. Noto Sans Myanmar contains 610 glyphs, 7 OpenType features, and supports 239 characters from 4 Unicode blocks: Myanmar, Myanmar Extended-A, Myanmar Extended-B, General Punctuation. Supported writing systems Myanmar Myanmar (Burmese, \u1019\u103c\u1014\u103a\u1019\u102c) is a Southeast Asian abugida, written left-to-right (40 million users). Used since c. 1000 CE in Myanmar for the Burmese and Mon languages. Also used for some Karen languages. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Myanmar UI": { + "name": "Noto Sans Myanmar UI", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "myanmar" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Mymr", + "article": "Noto Sans Myanmar UI is an unmodulated (\u201csans serif\u201d) design for app and website user interfaces in the Southeast Asian Myanmar script. Noto Sans Myanmar UI contains 610 glyphs, 7 OpenType features, and supports 239 characters from 4 Unicode blocks: Myanmar, Myanmar Extended-A, Myanmar Extended-B, General Punctuation. Supported writing systems Myanmar Myanmar (Burmese, \u1019\u103c\u1014\u103a\u1019\u102c) is a Southeast Asian abugida, written left-to-right (40 million users). Used since c. 1000 CE in Myanmar for the Burmese and Mon languages. Also used for some Karen languages. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans N Ko": { + "name": "Noto Sans N Ko", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "nko" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Nkoo", + "article": "Noto Sans NKo is an unmodulated (\u201csans serif\u201d) design for texts in the African N\u2019Ko script. Noto Sans NKo contains 184 glyphs, 5 OpenType features, and supports 79 characters from 2 Unicode blocks: NKo, Arabic. Supported writing systems N\u2019Ko N\u2019Ko (\u07d2\u07de\u07cf) is an African alphabet, written right-to-left. Used in West Africa for the Manding languages. Created in 1949 by Solomana Kante. The name of the script means \u201cI say\u201d. Has 19 consonants, 7 vowels and 8 diacritics. Influenced by the Arabic script. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans NKo": { + "name": "Noto Sans NKo", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "nko" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Nkoo", + "article": "Noto Sans N\u2019Ko is an unmodulated (\u201csans serif\u201d) design for texts in the African N\u2019Ko script. Noto Sans N\u2019Ko contains 184 glyphs, 5 OpenType features, and supports 79 characters from 2 Unicode blocks: N\u2019Ko, Arabic. Supported writing systems N\u2019Ko N\u2019Ko (\u07d2\u07de\u07cf) is an African alphabet, written right-to-left. Used in West Africa for the Manding languages. Created in 1949 by Solomana Kante. The name of the script means \u201cI say\u201d. Has 19 consonants, 7 vowels and 8 diacritics. Influenced by the Arabic script. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans NKo Unjoined": { + "name": "Noto Sans NKo Unjoined", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "nko" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Nkoo", + "article": "Noto Sans N\u2019Ko Unjoined is an unmodulated (\u201csans serif\u201d) design for display texts in the African N\u2019Ko script. Noto Sans N\u2019Ko Unjoined contains 184 glyphs, 5 OpenType features, and supports 79 characters from 2 Unicode blocks: N\u2019Ko, Arabic. Supported writing systems N\u2019Ko N\u2019Ko (\u07d2\u07de\u07cf) is an African alphabet, written right-to-left. Used in West Africa for the Manding languages. Created in 1949 by Solomana Kante. The name of the script means \u201cI say\u201d. Has 19 consonants, 7 vowels and 8 diacritics. Influenced by the Arabic script. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Nabataean": { + "name": "Noto Sans Nabataean", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "nabataean" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Nbat", + "article": "Noto Sans Nabataean is an unmodulated (\u201csans serif\u201d) design for texts in the historical Middle Eastern Nabataean script. Noto Sans Nabataean contains 45 glyphs, and supports 44 characters from the Unicode block Nabataean. Supported writing systems Nabataean Nabataean is a historical Middle Eastern abjad, written right-to-left. Was used in northern Arabia and the southern Levant in the 2nd century BCE\u20134th century CE for the Nabataean language. Derived from Aramaic, evolved into the Arabic script. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Nag Mundari": { + "name": "Noto Sans Nag Mundari", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "nag-mundari" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Nagm", + "article": "Noto Sans Nag Mundari is a design for the Indic Nag Mundari script. Noto Sans Nag Mundari has multiple weights, contains 66 glyphs, and supports 63 characters from 2 Unicode blocks: Nag Mundari, Basic Latin. Supported writing systems Nag Mundari Nag Mundari is an Indic alphabet, written left-to-right. Read more on ScriptSource, Unicode, Wikipedia, r12a.", + "minisite_url": null + }, + "Noto Sans Nandinagari": { + "name": "Noto Sans Nandinagari", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "nandinagari" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Nand", + "article": "Noto Sans Nandinagari is a design for the historical Indic Nandinagari script. Noto Sans Nandinagari contains 676 glyphs, 20 OpenType features, and supports 92 characters from the Unicode block Nandinagari. Supported writing systems Nandinagari Nandinagari (\ud806\uddc1\ud806\uddde\ud806\udde4\ud806\uddbf\ud806\uddc1\ud806\uddd1\ud806\uddb0\ud806\uddc8\ud806\uddd3) is a historical Indic abugida, written left-to-right, with unconnected headstrokes. Was used in the 8th\u201319th centuries in South India for Sanskrit texts about philosophy, science and the arts. Closely related to Devanagari. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans New Tai Lue": { + "name": "Noto Sans New Tai Lue", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "new-tai-lue" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Talu", + "article": "Noto Sans New Tai Lue is an unmodulated (\u201csans serif\u201d) design for texts in the Southeast Asian New Tai Lue script. Noto Sans New Tai Lue contains 95 glyphs, and supports 90 characters from the Unicode block New Tai Lue. Supported writing systems New Tai Lue New Tai Lue (Xishuangbanna Dai) is a Southeast Asian alphabet, written left-to-right. Development in China since the 1950s for the Tai L\u00fc language as a replacement for the Tai Tham script, which is also still used. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Newa": { + "name": "Noto Sans Newa", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "newa" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Newa", + "article": "Noto Sans Newa is an unmodulated (\u201csans serif\u201d) design for texts in the Indic Newa (Newari) script. Noto Sans Newa contains 614 glyphs, 13 OpenType features, and supports 106 characters from the Unicode block Newa. Supported writing systems Newa (Newari) Newa (Pracalit) is an Indic abugida, written left-to-right. Used in Nepal mainly for Newari (Nepal Bhasa), also for Sanskrit, Pali. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Nushu": { + "name": "Noto Sans Nushu", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "nushu" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Nshu", + "article": "Noto Sans Nushu is an unmodulated (\u201csans serif\u201d) design for the East Asian N\u00fcshu script with a simplified skeleton and large counters. It is suitable for shorter texts, especially in smaller font sizes and user interface contexts. Noto Sans Nushu contains 402 glyphs, and supports 401 characters from the Unicode block Nushu. Supported writing systems N\u00fcshu N\u00fcshu (\ud82c\udd81\ud82c\ude2c\u200e) is an East Asian logo-syllabary, written vertically left-to-right. Was used in the 13th\u201320th centuries by women in Jiangyong County in Hunan province of southern China, mainly for the Chinese dialect Xiangnan Tuhua. Recently revived. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Ogham": { + "name": "Noto Sans Ogham", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "ogham" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Ogam", + "article": "Noto Sans Ogham is an unmodulated (\u201csans serif\u201d) design for texts in the historical European Ogham script. Noto Sans Ogham contains 34 glyphs, and supports 33 characters from the Unicode block Ogham. Supported writing systems Ogham Ogham (\u169b\u1691\u168c\u1690\u168b\u169c) is a historical European alphabet. Was written bottom-to-top, left-to-right or boustrophedon. Was used in the 5th\u201310th centuries CE in Ireland, Wales, Devon, Cornwall, and on the Isle of Man, for the Primitive Irish, Old Irish, Pictish, and Old Norse languages. Uses 20 symbols. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Ol Chiki": { + "name": "Noto Sans Ol Chiki", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "ol-chiki" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Olck", + "article": "Noto Sans Ol Chiki is an unmodulated (\u201csans serif\u201d) design for texts in the Indic Ol Chiki script. Noto Sans Ol Chiki has multiple weights, contains 55 glyphs, and supports 53 characters from the Unicode block Ol Chiki. Supported writing systems Ol Chiki Ol Chiki (Ol Cemet\u2019, Ol, Santali, \u1c5a\u1c5e \u1c6a\u1c64\u1c60\u1c64) is an Indic alphabet, written left-to-right. Used in India, Bangladesh and Nepal for Santhali (6 million speakers), alongside Devanagari, Bengali, Oriya and Latin. Created in the 1920s by Pandit Raghunath Murmu. Has 6 vowel and 24 consonant letters. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Old Hungarian": { + "name": "Noto Sans Old Hungarian", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "old-hungarian" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Hung", + "article": "Noto Sans Old Hungarian is an unmodulated (\u201csans serif\u201d) design for texts in the historical European Old Hungarian (Hungarian runic) script. Noto Sans Old Hungarian contains 360 glyphs, 4 OpenType features, and supports 113 characters from the Unicode block Old Hungarian. Supported writing systems Old Hungarian (Hungarian runic) Old Hungarian (Hungarian runic, rov\u00e1s, \ud803\udca5\ud803\udccb\ud803\udcd3\ud803\udcc9\ud803\udcd7-\ud803\udc98\ud803\udcc0\ud803\udcce\ud803\udcc0\ud803\udce2 \ud803\udca2\ud803\udcdb\ud803\udcee\ud803\udcc0\ud803\udce4\u200e) is a European abjad. Used in 9th\u201311th century CE (possibly earlier) for the Hungarian language, later replaced with the Latin alphabet except for some religious texts. Used in some circles since the 15th century to this day. Written left-to-right or right-to-left. Uses ligatures. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Old Italic": { + "name": "Noto Sans Old Italic", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "old-italic" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Ital", + "article": "Noto Sans Old Italic is an unmodulated (\u201csans serif\u201d) design for texts in the historical European Old Italic script. Noto Sans Old Italic contains 65 glyphs, and supports 43 characters from the Unicode block Old Italic. Supported writing systems Old Italic Old Italic is a group of historical European bicameral alphabets, written left-to-right. Used in 700\u2013100 BCE in today\u2019s Italy for Etruscan, Oscan, Umbrian, Venetic and other languages. Based on Greek, evolved into the Runic and Latin scripts. Read more on ScriptSource , Unicode , Wikipedia , Wiktionary , r12a .", + "minisite_url": null + }, + "Noto Sans Old North Arabian": { + "name": "Noto Sans Old North Arabian", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "old-north-arabian" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Narb", + "article": "Noto Sans Old North Arabian is an unmodulated (\u201csans serif\u201d) design for texts in the historical Middle Eastern Old North Arabian script. Noto Sans Old North Arabian contains 37 glyphs, and supports 36 characters from the Unicode block Old North Arabian. Supported writing systems Old North Arabian Old North Arabian (Ancient North Arabian) is a group of historical Middle Eastern abjads. They were used in north and central Arabia and south Syria in the 8th century BCE\u20134th century CE, presumably for Old Arabic, Dadanitic, Taymanitic. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Old Permic": { + "name": "Noto Sans Old Permic", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic-ext", + "latin", + "latin-ext", + "old-permic" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Perm", + "article": "Noto Sans Old Permic is an unmodulated (\u201csans serif\u201d) design for texts in the historical European Old Permic script. Noto Sans Old Permic contains 56 glyphs, 3 OpenType features, and supports 55 characters from 2 Unicode blocks: Old Permic, Combining Diacritical Marks. Supported writing systems Old Permic Old Permic (Abur) is a historical European alphabet, written left-to-right. Was used in the 14th-17th centuries in the West of the Ural mountains for the Komi language (0.3 million speakers). Created by St. Stephen of Perm. Was gradually replaced by Cyrillic. Visually similar to Cyrillic and Greek. Had 34 letters. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Old Persian": { + "name": "Noto Sans Old Persian", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "old-persian" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Xpeo", + "article": "Noto Sans Old Persian is an unmodulated (\u201csans serif\u201d) design for texts in the historical Middle Eastern Old Persian script. Noto Sans Old Persian contains 55 glyphs, and supports 54 characters from the Unicode block Old Persian. Supported writing systems Old Persian Old Persian is a historical Middle Eastern semisyllabary, written left-to-right. Was used around 525 BCE\u2013330 BCE for Old Persian. Resembles Sumero-Akkadian cuneiform. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Old Sogdian": { + "name": "Noto Sans Old Sogdian", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "old-sogdian" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Sogo", + "article": "Noto Sans Old Sogdian is an unmodulated (\u201csans serif\u201d) design for texts in the historical Middle Eastern Old Sogdian script. Noto Sans Old Sogdian contains 60 glyphs, 4 OpenType features, and supports 44 characters from the Unicode block Old Sogdian. Supported writing systems Old Sogdian Old Sogdian (\ud803\udf11\u200e\ud803\udf07\ud803\udf04\ud803\udf0c\ud803\udf0a\ud803\udf0b\u200e) is a group of historical Middle Eastern abjads, written right-to-left. These precursors to the Sogdian script were used in the 3rd\u20135th centuries CE for the historic Sogdian language. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Old South Arabian": { + "name": "Noto Sans Old South Arabian", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "old-south-arabian" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Sarb", + "article": "Noto Sans Old South Arabian is an unmodulated (\u201csans serif\u201d) design for texts in the historical Middle Eastern Old South Arabian script. Noto Sans Old South Arabian contains 37 glyphs, and supports 36 characters from the Unicode block Old South Arabian. Supported writing systems Old South Arabian Old South Arabian (Musnad, Epigraphic South Arabian, Sayhadic) is a historical Middle Eastern abjad, written right-to-left. Was used in the 6th\u20138th centuries CE in today\u2019s Yemen and throughout the Arabian peninsula for a group of related now-extinct Semitic languages. Evolved into Ethiopic script, was replaced by Arabic script. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Old Turkic": { + "name": "Noto Sans Old Turkic", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "old-turkic" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Orkh", + "article": "Noto Sans Old Turkic is an unmodulated (\u201csans serif\u201d) design for texts in the historical Central Asian Orkhon runic (Old Turkic) script. Noto Sans Old Turkic contains 78 glyphs, and supports 77 characters from the Unicode block Old Turkic. Supported writing systems Orkhon runic (Old Turkic) Orkhon runic (Old Turkic) is a historical Central Asian alphabet, written right-to-left or boustrophedon. Was used in the 8th\u201313th centuries in Mongolia and Siberia for Turkic languages. Earliest examples discovered in 1889 on the banks of the Orkhon river. Superficially similar to Germanic runes and to Old Hungarian. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Oriya": { + "name": "Noto Sans Oriya", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "oriya" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Orya", + "article": "Noto Sans Oriya is an unmodulated (\u201csans serif\u201d) design for texts in the Indic Odia (Oriya) script. Noto Sans Oriya contains 513 glyphs, 19 OpenType features, and supports 150 characters from 3 Unicode blocks: Oriya, Basic Latin, General Punctuation. Supported writing systems Odia (Oriya) Odia (Oriya, \u0b09\u0b24\u0b4d\u0b15\u0b33 ) is an Indic abugida, written left-to-right (21 million users). Used since the c. 14th century in India for the Odia language (state language of Orissa). Also used for Dravidian and Munda languages. Needs software support for complex text layout (shaping). Read more on ScriptSource , Unicode , Wikipedia , Wiktionary , r12a .", + "minisite_url": null + }, + "Noto Sans Oriya UI": { + "name": "Noto Sans Oriya UI", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "oriya" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Orya", + "article": "Noto Sans Oriya UI is an unmodulated (\u201csans serif\u201d) design for app and website user interfaces in the Indic Odia (Oriya) script. Noto Sans Oriya UI contains 513 glyphs, 19 OpenType features, and supports 150 characters from 3 Unicode blocks: Oriya, Basic Latin, General Punctuation. Supported writing systems Odia (Oriya) Odia (Oriya, \u0b09\u0b24\u0b4d\u0b15\u0b33) is an Indic abugida, written left-to-right (21 million users). Used since the c. 14th century in India for the Odia language (state language of Orissa). Also used for Dravidian and Munda languages. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Osage": { + "name": "Noto Sans Osage", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "osage" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Osge", + "article": "Noto Sans Osage is an unmodulated (\u201csans serif\u201d) design for texts in the American Osage script. Noto Sans Osage contains 82 glyphs, 2 OpenType features, and supports 81 characters from 2 Unicode blocks: Osage, Combining Diacritical Marks. Supported writing systems Osage Osage is an American bicameral alphabet, written left-to-right. Used in the USA for the revitalized native Osage language. Derived from Latin 2006\u20132014 by Herman Mongrain Lookout. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Osmanya": { + "name": "Noto Sans Osmanya", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "osmanya" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Osma", + "article": "Noto Sans Osmanya is an unmodulated (\u201csans serif\u201d) design for texts in the historical African Osmanya script. Noto Sans Osmanya contains 45 glyphs, and supports 44 characters from the Unicode block Osmanya. Supported writing systems Osmanya Osmanya (Far Soomaali, Farta Cismaanya, \ud801\udc8d\ud801\udc96\ud801\udc87\ud801\udc82\ud801\udc96 \ud801\udc8b\ud801\udc98\ud801\udc88\ud801\udc91\ud801\udc9b\ud801\udc92\ud801\udc95\ud801\udc96) is a historical African alphabet, written left-to-right. Was sporadically used 1922-1973 for writing the Somali language. Created by Cusmaan Yuusuf Keenadiid. Almost fully replaced by the Latin script in 1973. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Pahawh Hmong": { + "name": "Noto Sans Pahawh Hmong", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "pahawh-hmong" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Hmng", + "article": "Noto Sans Pahawh Hmong is an unmodulated (\u201csans serif\u201d) design for texts in the East Asian Pahawh Hmong script. Noto Sans Pahawh Hmong contains 135 glyphs, 2 OpenType features, and supports 134 characters from the Unicode block Pahawh Hmong. Supported writing systems Pahawh Hmong Pahawh Hmong (\ud81a\udf16\ud81a\udf30\ud81a\udf1d\ud81a\udf35 \ud81a\udf04\ud81a\udf36\ud81a\udf1f \ud81a\udf0c\ud81a\udf23\ud81a\udf35) is an East Asian syllabary. Used in China, Vietnam, Laos and Thailand for the Hmong language (over 0.2 million speakers). The script as a whole is read left-to-right but each syllable is written right-to-left. Created in 1959 by Shong Lue. Hmong is also written in the Romanized Popular Alphabet by William Smalley. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Palmyrene": { + "name": "Noto Sans Palmyrene", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "palmyrene" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Palm", + "article": "Noto Sans Palmyrene is an unmodulated (\u201csans serif\u201d) design for texts in the historical Middle Eastern Palmyrene script. Noto Sans Palmyrene contains 57 glyphs, and supports 36 characters from the Unicode block Palmyrene. Supported writing systems Palmyrene Palmyrene is a historical Middle Eastern abjad, written right-to-left. Was used in c. 100 BCE\u2013300 CE between Damascus and the Euphrates river for the Palmyrenean dialect of West Aramaic. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Pau Cin Hau": { + "name": "Noto Sans Pau Cin Hau", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "pau-cin-hau" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Pauc", + "article": "Noto Sans Pau Cin Hau is an unmodulated (\u201csans serif\u201d) design for texts in the Southeast Asian Pau Cin Hau script. Noto Sans Pau Cin Hau contains 62 glyphs, and supports 61 characters from the Unicode block Pau Cin Hau. Supported writing systems Pau Cin Hau Pau Cin Hau is a Southeast Asian alphabet, written left-to-right. Used in Myanmar for the Zomi language by the followers of the Laipian and, later, Christian religions. Created c. 1902 by Pau Cin Hau, intially as a logographic script, 1932 reduced to an alphabet. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Phags Pa": { + "name": "Noto Sans Phags Pa", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "phags-pa" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Noto Sans PhagsPa is an unmodulated (\u201csans serif\u201d) design for texts in the historical Central Asian Phags-pa script. Noto Sans PhagsPa contains 379 glyphs, 5 OpenType features, and supports 94 characters from 3 Unicode blocks: Phags-pa, CJK Symbols and Punctuation, Mongolian. Supported writing systems Phags-pa Phags-pa (\u02bcPhags-pa, \ua84f\ua861\ua843 \ua863\ua861\ua859 \ua850\ua85c\ua85e) is a historical Central Asian abugida, written vertically right-to-left. Was sporadically used 1269\u20131360 in the Yuan empire as a unified script for Mongolian, Tibetan, Sanskrit, Chinese, Persian, Uyghur. Created by the Tibetan monk and State Preceptor Drog\u00f6n Ch\u00f6gyal Phagpa for Kublai Khan. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans PhagsPa": { + "name": "Noto Sans PhagsPa", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "math", + "phags-pa", + "symbols" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Phag", + "article": "Noto Sans PhagsPa is an unmodulated (\u201csans serif\u201d) design for texts in the historical Central Asian Phags-pa script. Noto Sans PhagsPa contains 379 glyphs, 5 OpenType features, and supports 94 characters from 3 Unicode blocks: Phags-pa, CJK Symbols and Punctuation, Mongolian. Supported writing systems Phags-pa Phags-pa (\u02bcPhags-pa, \ua84f\ua861\ua843 \ua863\ua861\ua859 \ua850\ua85c\ua85e) is a historical Central Asian abugida, written vertically right-to-left. Was sporadically used 1269\u20131360 in the Yuan empire as a unified script for Mongolian, Tibetan, Sanskrit, Chinese, Persian, Uyghur. Created by the Tibetan monk and State Preceptor Drog\u00f6n Ch\u00f6gyal Phagpa for Kublai Khan. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Phoenician": { + "name": "Noto Sans Phoenician", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "phoenician" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Phnx", + "article": "Noto Sans Phoenician is an unmodulated (\u201csans serif\u201d) design for texts in the historical Middle Eastern Phoenician script. Noto Sans Phoenician contains 34 glyphs, and supports 33 characters from the Unicode block Phoenician. Supported writing systems Phoenician Phoenician is a historical Middle Eastern abjad, written right-to-left. Was used c. 1050\u2013150 BCE in the Mediterranean region for the Phoenician and Punic languages. First widespread phonetic script, derived from Egyptian hieroglyphics. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Psalter Pahlavi": { + "name": "Noto Sans Psalter Pahlavi", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "psalter-pahlavi" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Phlp", + "article": "Noto Sans Psalter Pahlavi is an unmodulated (\u201csans serif\u201d) design for texts in the historical Middle Eastern Psalter Pahlavi script. Noto Sans Psalter Pahlavi contains 98 glyphs, 7 OpenType features, and supports 37 characters from the Unicode block Psalter Pahlavi. Supported writing systems Psalter Pahlavi Psalter Pahlavi is a historical Middle Eastern abjad, written right-to-left. Was presumably used in the mid-6th\u20137th century CE for Middle Persian. The letters are connected. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Rejang": { + "name": "Noto Sans Rejang", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "rejang" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Rjng", + "article": "Noto Sans Rejang is an unmodulated (\u201csans serif\u201d) design for texts in the Southeast Asian Rejang script. Noto Sans Rejang contains 46 glyphs, and supports 45 characters from the Unicode block Rejang. Supported writing systems Rejang Rejang (Kaganga, Redjang, \ua946\ua930\ua953\ua93c\ua93d \ua93d\ua94d\ua93a\ua94f) is a Southeast Asian abugida, written left-to-right. Used in Indonesia for the Rejang and Malay languages, but Latin script is now mostly used for the Rejang language. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Runic": { + "name": "Noto Sans Runic", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "runic" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Runr", + "article": "Noto Sans Runic is an unmodulated (\u201csans serif\u201d) design for texts in the historical European Runic script. Noto Sans Runic contains 94 glyphs, and supports 93 characters from the Unicode block Runic. Supported writing systems Runic Runic is a historical European alphabet, written left-to-right or boustrophedon. Used in Northern Europe in 150\u20131000 CE for Germanic languages. The Scandinavian variants are also called Futhark or Fu\u00feark. Derived from Old Italic. Gradually replaced with the Latin script. Still used for specialized purposes, by occultist, mystic, and esoteric movements, and in fantasy literature. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans SC": { + "name": "Noto Sans SC", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "chinese-simplified", + "cyrillic", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Hans", + "article": "Noto Sans SC is an unmodulated (\u201csans serif\u201d) design for languages in mainland China that use the Simplified Chinese variant of the Han ideograms. It also supports Hiragana, Katakana, Latin, Cyrillic, Greek and Hangul. Noto Sans CJK SC contains 65,535 glyphs, 23 OpenType features, and supports 44,806 characters from 55 Unicode blocks: CJK Unified Ideographs, Hangul Syllables, CJK Unified Ideographs Extension A, CJK Unified Ideographs Extension B, CJK Compatibility Ideographs, Hangul Jamo, CJK Compatibility, Halfwidth and Fullwidth Forms, Kangxi Radicals, Enclosed CJK Letters and Months, Enclosed Alphanumeric Supplement, Box Drawing, CJK Radicals Supplement, CJK Unified Ideographs Extension E, Katakana, Hangul Compatibility Jamo, Hiragana, Latin Extended Additional, Latin-1 Supplement, Basic Latin, Enclosed Alphanumerics, Mathematical Operators, Hangul Jamo Extended-B, Cyrillic, Enclosed Ideographic Supplement, CJK Compatibility Ideographs Supplement, CJK Symbols and Punctuation, Miscellaneous Symbols, Greek and Coptic, CJK Unified Ideographs Extension C, Bopomofo, Geometric Shapes, CJK Strokes, General Punctuation, CJK Unified Ideographs Extension D, Block Elements, CJK Compatibility Forms, Latin Extended-A, Hangul Jamo Extended-A, Bopomofo Extended, Miscellaneous Technical, Small Form Variants, Arrows, Latin Extended-B, Letterlike Symbols, Katakana Phonetic Extensions, Kanbun, Ideographic Description Characters, Vertical Forms, Spacing Modifier Letters, Dingbats, Combining Diacritical Marks, Miscellaneous Symbols and Arrows, Alphabetic Presentation Forms, CJK Unified Ideographs Extension F. Supported writing systems Simplified Han Simplified Han (\u7b80\u5316\u5b57) is an East Asian logo-syllabary, written vertically right-to-left and horizontally left-to-right (over 1.3 billion users). Used in mainland China, Malaysia and Singapore. ((TODO)) Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Hangul Hangul (Hangeul, \ud55c\uae00, Chos\u014fn'g\u016dl, \uc870\uc120\uae00) is an East Asian script, written vertically right-to-left and horizontally left-to-right (79 million users). Used for the Korean language. Created in 1446 by King Sejong the Great (Sejong of Joseon) as a simpler, phonetic alternative to using Chinese hanja for Korean. Not universally accepted for centuries, suppressed by Japanese colonial authorities. Since 1945 the standard script for Korean. The 51 basic letters (jamo) are grouped into syllable blocks depending on their position in the spoken syllable. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Latin Latin (Roman) is a European bicameral alphabet, written left-to-right. The most popular writing system in the world. Used for over 3,000 languages including Latin and Romance languages (Italian, French, Portuguese, Spanish and Romanian), Germanic languages (English, Dutch, German, Nordic languages), Finnish, Malaysian, Indonesian, Filipino, Visayan languages, Turkish, Azerbaijani, Polish, Somali, Vietnamese, and many others. Derived from Western Greek, attested in Rome in the 7th century BCE. In the common era, numerous European languages adopted the Latin script along with Western Christian religion, the script disseminated further with European colonization of the Americas, Australia, parts of Asia, Africa and the Pacific. New letters, ligatures and diacritical marks were gradually added to represent the sounds of various languages. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Katakana Katakana (\u7247\u4eee\u540d\u3001\u30ab\u30bf\u30ab\u30ca) is an East Asian syllabary, written vertically right-to-left and horizontally left-to-right (126 million users). Used in Japan for Japanese, Ryukyuan, Ainu and Palauan, and formerly for Taiwanese Hokkien. Katakana is used for transcription of foreign-language words into Japanese, for the writing of loan words, for emphasis, to represent onomatopoeia, for technical and scientific terms, for names of plants, animals and minerals, and often for names of Japanese companies. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Hiragana Hiragana (\u5e73\u4eee\u540d, \u3072\u3089\u304c\u306a) is an East Asian syllabary, written vertically right-to-left and horizontally left-to-right (120 million users). Used in Japan for Japanese and the Ryukyuan languages. Hiragana is used to write okurigana (kana suffixes following a kanji root, for example to inflect verbs and adjectives), various grammatical and function words including particles, as well as miscellaneous other native words for which there are no kanji or whose kanji form is obscure or too formal for the writing purpose. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Emoji symbols Emoji symbols are pictograms, logograms, ideograms and smileys used in electronic messages and web pages. Their primary function is to fill in emotional cues otherwise missing from typed conversation. They are typically rendered as multi-color characters. Read more on ScriptSource, Unicode, Wikipedia, r12a. Bopomofo Bopomofo (\u6ce8\u97f3\u7b26\u865f, \u6ce8\u97f3\u7b26\u53f7, \u3105\u3106\u3107\u3108) is an East Asian syllabary, written left-to-right. Developed in 1913 in China to be used for Mandarin Chinese transliteration alongside the Latin-based Wade\u2013Giles system. Also called Mandarin Phonetic Symbols or Zhuyin (\u6ce8\u97f3). Bopomofo is an official transliteration system in Taiwan, used in dictionaries, books, newspapers and journals to annotate the Taiwanese pronunciation of Chinese Han characters, and in electronic input methods. Largely replaced by Pinyin romanization in the People\u2019s Republic of China. Also used as the primary script for Taiwan\u2019s minority languages like Atayal, Taroko, Paiwan and Yami. Has 21 onset consonants, 16 rhymes, and 4 tone marks. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Cyrillic Cyrillic is a bicameral alphabet originating in Europe, written left-to-right (250 million users). Used for various languages across Eurasia and is used as the national script in various Slavic, Turkic, Mongolic and Iranic-speaking countries in Southeastern Europe, Eastern Europe, the Caucasus, Central Asia, North Asia and East Asia, including Russian, Bulgarian, Macedonian, Serbian, Ukrainian, Uzbek, Azerbaijani, Kazakh, Tajik, Kyrgyz, Bashkort, Chechen, Chuvash, Avar, Dargwa, Kabardian, Karakalpak, Kumyk, Lezgi, Ossetic, Pontic, Yakut, Buriat and many others. Created in the 9th century. Traditionally attributed to Saint Cyril, a monk from Thessaloniki working in Bulgaria, after earlier creation of the Glagolitic script. Sometimes attributed to Clement of Ohrid, a student of Saint Cyril\u2019s. Initially used for Old Church Slavonic. Reformed in 1708 by Russian tsar Peter the Great. Extended by the Soviet Union in the 20th century to write over 50 languages throughout Eastern Europe and Asia (some of those languages switched to Latin after 1991). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Greek Greek (\u0395\u03bb\u03bb\u03b7\u03bd\u03b9\u03ba\u03ac) is a European bicameral alphabet, written left-to-right (11 million users). Used to write the Greek language since the 8th century BCE. Also used to write other languages like Urum, Albanian Tosk, and Balkan Gagauz Turkish. Some symbols are also used in scientific notation. Derived from Phoenician. First \u201ctrue alphabet\u201d, with distinct letters for consonants and vowels. Standardized in the 4th century BCE by Eucleides. Has 24 letters. Some letter variants (sigma: \u03c3/\u03c2) have positional significance in the Greek language, other variants only differ in meaning in scientific notation (e.g. pi: \u03c0/\u03d6). The Greek language used to be written in polytonic spelling, with three accents on vowels. In 1982, Greece introduced monotonic spelling with a single diacritic. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Samaritan": { + "name": "Noto Sans Samaritan", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "samaritan" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Samr", + "article": "Noto Sans Samaritan is an unmodulated (\u201csans serif\u201d) design for texts in the Middle Eastern Samaritan script. Noto Sans Samaritan contains 68 glyphs, 4 OpenType features, and supports 66 characters from the Unicode block Samaritan. Supported writing systems Samaritan Samaritan is a Middle Eastern abjad, written right-to-left. Used since 600 BCE by the Samaritans for religious writings in Samaritan Hebrew and Samaritan Aramaic. Derived from Phoenician. Most Hebrew religious writings use the Hebrew script. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Saurashtra": { + "name": "Noto Sans Saurashtra", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "saurashtra" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Saur", + "article": "Noto Sans Saurashtra is an unmodulated (\u201csans serif\u201d) design for texts in the Indic Saurashtra script. Noto Sans Saurashtra contains 96 glyphs, 3 OpenType features, and supports 90 characters from the Unicode block Saurashtra. Supported writing systems Saurashtra Saurashtra is an Indic abugida, written left-to-right. Used since the 19th century in Southern India for the Indo-European Saurashtra language (130,000 speakers), alongside Tamil, Gijarati, Telugu, and Devanagari scripts. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Sharada": { + "name": "Noto Sans Sharada", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "sharada" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Shrd", + "article": "Noto Sans Sharada is an unmodulated (\u201csans serif\u201d) design for texts in the Indic Sharada script. Noto Sans Sharada contains 239 glyphs, 6 OpenType features, and supports 109 characters from 2 Unicode blocks: Sharada, Vedic Extensions. Supported writing systems Sharada Sharada (\ud804\uddaf\ud804\uddb3\ud804\uddab\ud804\udda2\ud804\uddb3) is an Indic abugida, written left-to-right, partially with a headstroke. Used in c. 700\u20131950s for Kashmiri and Sanskrit, first throughout India, later only in Kashmir. Now used only by the Kashmiri Pandits for religious and ceremonial purposes. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Shavian": { + "name": "Noto Sans Shavian", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "shavian" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Shaw", + "article": "Noto Sans Shavian is an unmodulated (\u201csans serif\u201d) design for texts in the historical artificial Shavian script. Noto Sans Shavian contains 53 glyphs, and supports 52 characters from the Unicode block Shavian. Supported writing systems Shavian Shavian (\ud801\udc56\ud801\udc71\ud801\udc5d\ud801\udc7e\ud801\udc6f \ud801\udc68\ud801\udc64\ud801\udc53\ud801\udc69\ud801\udc5a\ud801\udc67\ud801\udc51) is an artificial alphabet, written left-to-right. Created around 1960 by Ronald Kingsley Read for phonetic spelling of English. The winning entry in a competition posthumously funded by playwright Bernard Shaw. Also adopted for Esperanto. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Siddham": { + "name": "Noto Sans Siddham", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "siddham" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Sidd", + "article": "Noto Sans Siddham is an unmodulated (\u201csans serif\u201d) design for texts in the historical Indic Siddham script. Noto Sans Siddham contains 505 glyphs, 13 OpenType features, and supports 99 characters from the Unicode block Siddham. Supported writing systems Siddham Siddham (\ud805\uddad\ud805\uddb0\ud805\udd9f\ud805\uddbf\ud805\udda0\ud805\uddbd) is a historical Indic abugida, written left-to-right. Was used in 600\u20131200 CE for Sanskrit, first in southern India, later also in China, Japan and Korea. Still occasionally used by Buddhists in Japan. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans SignWriting": { + "name": "Noto Sans SignWriting", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "signwriting" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Sgnw", + "article": "Noto Sans SignWriting is a design for the Sign-Language SignWriting script. Noto Sans SignWriting contains 37,886 glyphs, 4 OpenType features, and supports 679 characters from the Unicode block Sutton SignWriting. Supported writing systems SignWriting SignWriting (Sutton SignWriting) is a featural Sign-Language script, written vertically and horizontally left-to-right. Used to transcribe some 12 sign languages like Brazilian Sign Language, French Sign Language, Norwegian Sign Language, American Sign Language, Danish Sign Language, and for International Sign. Developed in 1974 by Valerie Sutton, later standardized as the International Sign Writing Alphabet (ISWA). The visually iconic symbols represent the hands, face and body, arranged spatially to reflect the movements made by the signer. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Sinhala": { + "name": "Noto Sans Sinhala", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "sinhala" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Sinh", + "article": "Noto Sans Sinhala is an unmodulated (\u201csans serif\u201d) design for texts in the Indic Sinhala script. Noto Sans Sinhala has multiple weights and widths, contains 645 glyphs, 11 OpenType features, and supports 170 characters from 3 Unicode blocks: Sinhala, Basic Latin, General Punctuation. Supported writing systems Sinhala Sinhala (\u0dc3\u0dd2\u0d82\u0dc4\u0dbd) is an Indic abugida, written left-to-right. Used since c. 300 CE in Sri Lanka for the Sinhala language (15 million speakers), for Pali and Sanskrit. The \u201cpure\u201d letter set has 20 consonant and 20 vowel letters, and is used for the sounds of the spoken Sinhala. The \u201cmixed\u201d letter set (18 more consonant letters) is used for correct spelling, which often reflect archaic pronunciations, and for non-Sinhala words and languages. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Sinhala UI": { + "name": "Noto Sans Sinhala UI", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "sinhala" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Sinh", + "article": "Noto Sans Sinhala UI is an unmodulated (\u201csans serif\u201d) design for app and website user interfaces in the Indic Sinhala script. Noto Sans Sinhala UI has multiple weights and widths, contains 645 glyphs, 11 OpenType features, and supports 170 characters from 3 Unicode blocks: Sinhala, Basic Latin, General Punctuation. Supported writing systems Sinhala Sinhala (\u0dc3\u0dd2\u0d82\u0dc4\u0dbd) is an Indic abugida, written left-to-right. Used since c. 300 CE in Sri Lanka for the Sinhala language (15 million speakers), for Pali and Sanskrit. The \u201cpure\u201d letter set has 20 consonant and 20 vowel letters, and is used for the sounds of the spoken Sinhala. The \u201cmixed\u201d letter set (18 more consonant letters) is used for correct spelling, which often reflect archaic pronunciations, and for non-Sinhala words and languages. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Sogdian": { + "name": "Noto Sans Sogdian", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "sogdian" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Sogd", + "article": "Noto Sans Sogdian is an unmodulated (\u201csans serif\u201d) design for texts in the historical Middle Eastern Sogdian script. Noto Sans Sogdian contains 345 glyphs, 26 OpenType features, and supports 49 characters from the Unicode block Sogdian. Supported writing systems Sogdian Sogdian (\ud803\udf3c\ud803\udf34\ud803\udf36\ud803\udf39\ud803\udf37\ud803\udf38\u200e) is a historical Middle Eastern abjad, written right-to-left. Was used in 7th\u201314th centuries CE, alongside Manichaean and Syriac, for the middle Iranian Sogdian language spoken in parts of today\u2019s Uzbekistan, Tajikistan, Pakistan and China. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Sora Sompeng": { + "name": "Noto Sans Sora Sompeng", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "sora-sompeng" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Sora", + "article": "Noto Sans Sora Sompeng is an unmodulated (\u201csans serif\u201d) design for texts in the Indic Sora Sompeng script. Noto Sans Sora Sompeng has multiple weights, contains 42 glyphs, and supports 41 characters from the Unicode block Sora Sompeng. Supported writing systems Sora Sompeng Sora Sompeng (\ud804\udcd0\ud804\udce6\ud804\udcdd\ud804\udcd7 \ud804\udcd0\ud804\udce6\ud804\udcd6\ud804\udcdb\ud804\udce3\ud804\udcd7) is an Indic syllabary, written left-to-right. Used in India for the Sora language (0.3 million speakers). Created in 1936 by Mangei Gomango to replace non-native scripts previously used for the Sora language: Telugu, Oriya and an IPA-based script. Has 24 letters. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Soyombo": { + "name": "Noto Sans Soyombo", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "soyombo" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Soyo", + "article": "Noto Sans Soyombo is an unmodulated (\u201csans serif\u201d) design for texts in the Indic Soyombo script. Noto Sans Soyombo contains 323 glyphs, 7 OpenType features, and supports 88 characters from the Unicode block Soyombo. Supported writing systems Soyombo Soyombo (\ud806\ude9e\ud806\ude9e\u200e) is a historical Indic abugida, written left-to-right. Was used in 1686\u201318th century as a ceremonial and decorative script for the Mongolian language. Also sporadically used for Tibetan and Sanskrit. Created by Bogdo Zanabazar. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Sundanese": { + "name": "Noto Sans Sundanese", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "sundanese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Sund", + "article": "Noto Sans Sundanese is an unmodulated (\u201csans serif\u201d) design for texts in the Southeast Asian Sundanese script. Noto Sans Sundanese has multiple weights, contains 89 glyphs, 3 OpenType features, and supports 82 characters from 2 Unicode blocks: Sundanese, Sundanese Supplement. Supported writing systems Sundanese Sundanese (\u1b83\u1b8a\u1baa\u1b9e\u1b9b \u1b9e\u1ba5\u1b94\u1baa\u1b93) is a Southeast Asian abugida, written left-to-right. The standard form (Aksara Sunda Baku, \u1b83\u1b8a\u1baa\u1b9e\u1b9b \u1b9e\u1ba5\u1b94\u1baa\u1b93 \u1b98\u1b8a\u1ba5) is used on the Indonesian island Java since 1996 for the Sundanese language (27 million speakers), and is derived from Old Sundanese script (Aksara Sunda Kuno, \u1b83\u1b8a\u1baa\u1b9e\u1b9b \u1b9e\u1ba5\u1b94\u1baa\u1b93 \u1b8a\u1ba5\u1b94) used in the 14th\u201318th centuries. The Sudanese language also uses Latin script. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Sunuwar": { + "name": "Noto Sans Sunuwar", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "sunuwar" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Sunu", + "article": "Noto Sans Sunuwar is an unmodulated (\u201csans serif\u201d) design for texts in the South Asian Sunuwar script. Noto Sans Sunuwar contains 85 glyphs, 1 OpenType feature, and supports 44 characters from the Unicode block Sunuwar. Supported writing systems Sunuwar Sunuwar (K\u00f5its brese) is a left-to-right South Asian writing system used for the Kiranti-K\u00f5its (Mukhia) language. The script used in Nepal and Sikkim, India. The orthographic rules in Sikkim are currently different than those in Nepal. The font supports both standards. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Syloti Nagri": { + "name": "Noto Sans Syloti Nagri", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "syloti-nagri" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Sylo", + "article": "Noto Sans Syloti Nagri is an unmodulated (\u201csans serif\u201d) design for texts in the Indic Syloti Nagri script. Noto Sans Syloti Nagri contains 87 glyphs, 3 OpenType features, and supports 68 characters from the Unicode block Syloti Nagri. Supported writing systems Syloti Nagri Syloti Nagri (Sylheti Nagri, \ua80d\ua824\ua81f\ua810\ua824 \ua818\ua823\ua809\ua81e\ua824) is an Indic abugida, written left-to-right. Used in Bangladesh for the Sylheti language. Supposedly created in the 14th century, attested in the 17th century. Since the mid-20th century almost entirely replaced by the Bengali and Latin scripts. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Symbols": { + "name": "Noto Sans Symbols", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "symbols" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "symbols" + ], + "description": null, + "primary_script": null, + "article": "Noto Sans Symbols is an unmodulated (\u201csans serif\u201d) design for texts in Symbols. Noto Sans Symbols has multiple weights, contains 1,224 glyphs, and supports 840 characters from 10 Unicode blocks: Enclosed Alphanumeric Supplement, Miscellaneous Symbols, Alchemical Symbols, Miscellaneous Technical, Enclosed Alphanumerics, Basic Latin, Arrows, Combining Diacritical Marks for Symbols, Dingbats, Miscellaneous Symbols and Pictographs. Supported writing systems Symbols Symbols are characters that signify an idea, object, or relationship, but do not belong to another standardized script or notation, like arrows, card suit symbols, or religious icons. Read more on ScriptSource, Unicode, Wikipedia, r12a.", + "minisite_url": null + }, + "Noto Sans Symbols 2": { + "name": "Noto Sans Symbols 2", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "braille", + "latin", + "latin-ext", + "math", + "mayan-numerals", + "symbols" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "symbols" + ], + "description": null, + "primary_script": "Brai", + "article": "Noto Sans Symbols 2 is an unmodulated (\u201csans serif\u201d) design for texts in Symbols and in Emoji symbols. Noto Sans Symbols 2 contains 2,674 glyphs, 3 OpenType features, and supports 2,655 characters from 26 Unicode blocks: Miscellaneous Symbols and Pictographs, Braille Patterns, Miscellaneous Symbols and Arrows, Symbols for Legacy Computing, Supplemental Arrows-C, Dingbats, Miscellaneous Symbols, Geometric Shapes Extended, Domino Tiles, Chess Symbols, Geometric Shapes, Tai Xuan Jing Symbols, Playing Cards, Yijing Hexagram Symbols, Symbols and Pictographs Extended-A, Ornamental Dingbats, Phaistos Disc, Transport and Map Symbols, Mahjong Tiles, Control Pictures, Miscellaneous Technical, Ancient Greek Numbers, Ancient Symbols, Arrows, Optical Character Recognition, Mathematical Operators. Supported writing systems Symbols Symbols are characters that signify an idea, object, or relationship, but do not belong to another standardized script or notation, like arrows, card suit symbols, or religious icons. Read more on ScriptSource, Unicode, Wikipedia, r12a. Emoji symbols Emoji symbols are pictograms, logograms, ideograms and smileys used in electronic messages and web pages. Their primary function is to fill in emotional cues otherwise missing from typed conversation. They are typically rendered as multi-color characters. Read more on ScriptSource, Unicode, Wikipedia, r12a.", + "minisite_url": null + }, + "Noto Sans Syriac": { + "name": "Noto Sans Syriac", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "syriac" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Syrc", + "article": "Noto Sans Syriac is an unmodulated (\u201csans serif\u201d) Estrangela design for texts in the Middle Eastern Syriac script. Noto Sans Syriac contains 288 glyphs, 19 OpenType features, and supports 150 characters from 5 Unicode blocks: Syriac, Arabic, Basic Latin, Combining Diacritical Marks, Latin-1 Supplement. Supported writing systems Syriac Syriac (\u0710\u0720\u0726 \u0712\u071d\u072c \u0723\u0718\u072a\u071d\u071d\u0710) is a Middle Eastern abjad, written right-to-left. Was used in West Asia for Syriac (now only used in the Syrian church), and also Aramaic, Neo-Aramaic, Turoyo/Surayt. Attested in 6 CE. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Syriac Eastern": { + "name": "Noto Sans Syriac Eastern", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "syriac" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Syrc", + "article": "Noto Sans Syriac Eastern is an unmodulated (\u201csans serif\u201d) Eastern (Ma\u1e0fn\u1e25\u0101y\u0101) design for texts in the Middle Eastern Syriac script. Noto Sans Syriac Eastern contains 233 glyphs, 19 OpenType features, and supports 150 characters from 5 Unicode blocks: Syriac, Arabic, Basic Latin, Combining Diacritical Marks, Latin-1 Supplement. Supported writing systems Syriac Syriac (\u0710\u0720\u0726 \u0712\u071d\u072c \u0723\u0718\u072a\u071d\u071d\u0710) is a Middle Eastern abjad, written right-to-left. Was used in West Asia for Syriac (now only used in the Syrian church), and also Aramaic, Neo-Aramaic, Turoyo/Surayt. Attested in 6 CE. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans TC": { + "name": "Noto Sans TC", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "chinese-traditional", + "cyrillic", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Hant", + "article": "Noto Sans TC is an unmodulated (\u201csans serif\u201d) design for languages in Taiwan and Macau that use the Traditional Chinese variant of the Han ideograms. It also supports Hiragana, Katakana, Latin, Cyrillic, Greek and Hangul. Noto Sans CJK TC contains 65,535 glyphs, 23 OpenType features, and supports 44,806 characters from 55 Unicode blocks: CJK Unified Ideographs, Hangul Syllables, CJK Unified Ideographs Extension A, CJK Unified Ideographs Extension B, CJK Compatibility Ideographs, Hangul Jamo, CJK Compatibility, Halfwidth and Fullwidth Forms, Kangxi Radicals, Enclosed CJK Letters and Months, Enclosed Alphanumeric Supplement, Box Drawing, CJK Radicals Supplement, CJK Unified Ideographs Extension E, Katakana, Hangul Compatibility Jamo, Hiragana, Latin Extended Additional, Latin-1 Supplement, Basic Latin, Enclosed Alphanumerics, Mathematical Operators, Hangul Jamo Extended-B, Cyrillic, Enclosed Ideographic Supplement, CJK Compatibility Ideographs Supplement, CJK Symbols and Punctuation, Miscellaneous Symbols, Greek and Coptic, CJK Unified Ideographs Extension C, Bopomofo, Geometric Shapes, CJK Strokes, General Punctuation, CJK Unified Ideographs Extension D, Block Elements, CJK Compatibility Forms, Latin Extended-A, Hangul Jamo Extended-A, Bopomofo Extended, Miscellaneous Technical, Small Form Variants, Arrows, Latin Extended-B, Letterlike Symbols, Katakana Phonetic Extensions, Kanbun, Ideographic Description Characters, Vertical Forms, Spacing Modifier Letters, Dingbats, Combining Diacritical Marks, Miscellaneous Symbols and Arrows, Alphabetic Presentation Forms, CJK Unified Ideographs Extension F. Supported writing systems Traditional Han Traditional Han (\u6f22\u5b57) is an East Asian logo-syllabary, written vertically right-to-left and horizontally left-to-right (over 30 million users). Used in Taiwan, Hong Kong and Macau. ((TODO)) Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Hangul Hangul (Hangeul, \ud55c\uae00, Chos\u014fn'g\u016dl, \uc870\uc120\uae00) is an East Asian script, written vertically right-to-left and horizontally left-to-right (79 million users). Used for the Korean language. Created in 1446 by King Sejong the Great (Sejong of Joseon) as a simpler, phonetic alternative to using Chinese hanja for Korean. Not universally accepted for centuries, suppressed by Japanese colonial authorities. Since 1945 the standard script for Korean. The 51 basic letters (jamo) are grouped into syllable blocks depending on their position in the spoken syllable. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Latin Latin (Roman) is a European bicameral alphabet, written left-to-right. The most popular writing system in the world. Used for over 3,000 languages including Latin and Romance languages (Italian, French, Portuguese, Spanish and Romanian), Germanic languages (English, Dutch, German, Nordic languages), Finnish, Malaysian, Indonesian, Filipino, Visayan languages, Turkish, Azerbaijani, Polish, Somali, Vietnamese, and many others. Derived from Western Greek, attested in Rome in the 7th century BCE. In the common era, numerous European languages adopted the Latin script along with Western Christian religion, the script disseminated further with European colonization of the Americas, Australia, parts of Asia, Africa and the Pacific. New letters, ligatures and diacritical marks were gradually added to represent the sounds of various languages. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Katakana Katakana (\u7247\u4eee\u540d\u3001\u30ab\u30bf\u30ab\u30ca) is an East Asian syllabary, written vertically right-to-left and horizontally left-to-right (126 million users). Used in Japan for Japanese, Ryukyuan, Ainu and Palauan, and formerly for Taiwanese Hokkien. Katakana is used for transcription of foreign-language words into Japanese, for the writing of loan words, for emphasis, to represent onomatopoeia, for technical and scientific terms, for names of plants, animals and minerals, and often for names of Japanese companies. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Hiragana Hiragana (\u5e73\u4eee\u540d, \u3072\u3089\u304c\u306a) is an East Asian syllabary, written vertically right-to-left and horizontally left-to-right (120 million users). Used in Japan for Japanese and the Ryukyuan languages. Hiragana is used to write okurigana (kana suffixes following a kanji root, for example to inflect verbs and adjectives), various grammatical and function words including particles, as well as miscellaneous other native words for which there are no kanji or whose kanji form is obscure or too formal for the writing purpose. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Emoji symbols Emoji symbols are pictograms, logograms, ideograms and smileys used in electronic messages and web pages. Their primary function is to fill in emotional cues otherwise missing from typed conversation. They are typically rendered as multi-color characters. Read more on ScriptSource, Unicode, Wikipedia, r12a. Bopomofo Bopomofo (\u6ce8\u97f3\u7b26\u865f, \u6ce8\u97f3\u7b26\u53f7, \u3105\u3106\u3107\u3108) is an East Asian syllabary, written left-to-right. Developed in 1913 in China to be used for Mandarin Chinese transliteration alongside the Latin-based Wade\u2013Giles system. Also called Mandarin Phonetic Symbols or Zhuyin (\u6ce8\u97f3). Bopomofo is an official transliteration system in Taiwan, used in dictionaries, books, newspapers and journals to annotate the Taiwanese pronunciation of Chinese Han characters, and in electronic input methods. Largely replaced by Pinyin romanization in the People\u2019s Republic of China. Also used as the primary script for Taiwan\u2019s minority languages like Atayal, Taroko, Paiwan and Yami. Has 21 onset consonants, 16 rhymes, and 4 tone marks. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Cyrillic Cyrillic is a bicameral alphabet originating in Europe, written left-to-right (250 million users). Used for various languages across Eurasia and is used as the national script in various Slavic, Turkic, Mongolic and Iranic-speaking countries in Southeastern Europe, Eastern Europe, the Caucasus, Central Asia, North Asia and East Asia, including Russian, Bulgarian, Macedonian, Serbian, Ukrainian, Uzbek, Azerbaijani, Kazakh, Tajik, Kyrgyz, Bashkort, Chechen, Chuvash, Avar, Dargwa, Kabardian, Karakalpak, Kumyk, Lezgi, Ossetic, Pontic, Yakut, Buriat and many others. Created in the 9th century. Traditionally attributed to Saint Cyril, a monk from Thessaloniki working in Bulgaria, after earlier creation of the Glagolitic script. Sometimes attributed to Clement of Ohrid, a student of Saint Cyril\u2019s. Initially used for Old Church Slavonic. Reformed in 1708 by Russian tsar Peter the Great. Extended by the Soviet Union in the 20th century to write over 50 languages throughout Eastern Europe and Asia (some of those languages switched to Latin after 1991). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Greek Greek (\u0395\u03bb\u03bb\u03b7\u03bd\u03b9\u03ba\u03ac) is a European bicameral alphabet, written left-to-right (11 million users). Used to write the Greek language since the 8th century BCE. Also used to write other languages like Urum, Albanian Tosk, and Balkan Gagauz Turkish. Some symbols are also used in scientific notation. Derived from Phoenician. First \u201ctrue alphabet\u201d, with distinct letters for consonants and vowels. Standardized in the 4th century BCE by Eucleides. Has 24 letters. Some letter variants (sigma: \u03c3/\u03c2) have positional significance in the Greek language, other variants only differ in meaning in scientific notation (e.g. pi: \u03c0/\u03d6). The Greek language used to be written in polytonic spelling, with three accents on vowels. In 1982, Greece introduced monotonic spelling with a single diacritic. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Tagalog": { + "name": "Noto Sans Tagalog", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "tagalog" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Tglg", + "article": "Noto Sans Tagalog is an unmodulated (\u201csans serif\u201d) design for texts in the historical Southeast Asian Tagalog script. Noto Sans Tagalog contains 31 glyphs, and supports 30 characters from the Unicode block Tagalog. Supported writing systems Tagalog Tagalog (Baybayin, Alibata, \u170a\u170c\u1714\u170a\u170c\u1712\u1708\u1714) is a historical Southeast Asian abugida, written left-to-right. Was used in the Philippines in the 13th\u201318th centuries for the Tagalog language (21 million speakers), which is now written in the Latin script. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Tagbanwa": { + "name": "Noto Sans Tagbanwa", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "tagbanwa" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Tagb", + "article": "Noto Sans Tagbanwa is an unmodulated (\u201csans serif\u201d) design for texts in the Southeast Asian Tagbanwa script. Noto Sans Tagbanwa contains 29 glyphs, and supports 28 characters from the Unicode block Tagbanwa. Supported writing systems Tagbanwa Tagbanwa (\u1766\u176a\u176f) is a Southeast Asian abugida, written left-to-right. Used in the Philippines since c. 1300 for the Tagbanwa language (8\u201325,000 speakers). Has 13 consontants. The script and language are in decline, being replaced by Tagalog. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Tai Le": { + "name": "Noto Sans Tai Le", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "tai-le" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Tale", + "article": "Noto Sans Tai Le is an unmodulated (\u201csans serif\u201d) design for texts in the Southeast Asian Tai Le script. Noto Sans Tai Le contains 71 glyphs, 2 OpenType features, and supports 64 characters from 3 Unicode blocks: Tai Le, CJK Symbols and Punctuation, Combining Diacritical Marks. Supported writing systems Tai Le Tai Le (\u1956\u196d\u1970\u1958\u196b\u1974) is a Southeast Asian abugida, written left-to-right. Used in Yunnan, China since c. 1200 CE for the Tai Le (Tai N\u00fca) language. Revised several times in 1952\u20131988. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Tai Tham": { + "name": "Noto Sans Tai Tham", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "tai-tham" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Lana", + "article": "Noto Sans Tai Tham is an unmodulated (\u201csans serif\u201d) design for texts in the Southeast Asian Lanna (Tai Tham) script. Noto Sans Tai Tham has multiple weights, contains 799 glyphs, 3 OpenType features, and supports 135 characters from the Unicode block Tai Tham. Supported writing systems Lanna (Tai Tham) Lanna (Tai Tham) is a Southeast Asian abugida, written left-to-right. Used in Thailand and China for the Northern Thai language. Was also used for the L\u00fc and Kh\u00fcn languages. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Tai Viet": { + "name": "Noto Sans Tai Viet", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "tai-viet" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Tavt", + "article": "Noto Sans Tai Viet is an unmodulated (\u201csans serif\u201d) design for texts in the Southeast Asian Tai Viet script. Noto Sans Tai Viet contains 83 glyphs, and supports 82 characters from the Unicode block Tai Viet. Supported writing systems Tai Viet Tai Viet is a Southeast Asian abugida, written left-to-right. Used since the 16th century in Vietnam, Laos, China and Thailand for the Tai Dam, Tai D\u00f3n, Tai Daeng, Thai Song and T\u00e0y Tac languages. Has 31 consonants and 14 vowels. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Takri": { + "name": "Noto Sans Takri", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "takri" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Takr", + "article": "Noto Sans Takri is an unmodulated (\u201csans serif\u201d) design for texts in the historical Indic Takri script. Noto Sans Takri contains 95 glyphs, 8 OpenType features, and supports 86 characters from 2 Unicode blocks: Takri, Common Indic Number Forms. Supported writing systems Takri Takri (\ud805\ude94\ud805\udead\ud805\ude8a\ud805\udea4\ud805\udeaf) is a historical Indic abugida, written left-to-right, mostly without a headstroke. Was used in the 16th\u201319th centuries in today\u2019s India and Pakistan for the Chambeali and Dogri languages, and for Pahari languages like Jaunsari and Kulvi. Related to the Dogri script. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Tamil": { + "name": "Noto Sans Tamil", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "tamil" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Taml", + "article": "Noto Sans Tamil is an unmodulated (\u201csans serif\u201d) design for texts in the Indic Tamil script. Noto Sans Tamil has multiple weights and widths, contains 244 glyphs, 11 OpenType features, and supports 147 characters from 5 Unicode blocks: Tamil, Basic Latin, General Punctuation, Devanagari, Grantha. Supported writing systems Tamil Tamil (\u0ba4\u0bae\u0bbf\u0bb4\u0bcd) is an Indic abugida, written left-to-right (70 million users). Used in India, Sri Lanka, Singapore, Malaysia and Mauritius for the Tamil language, and other languages like Irula, Badaga, Kurumba, Paniya, Saurashtra. Has 18 consonants (modest set for Brahmic scripts) and 12 vowels. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Tamil Supplement": { + "name": "Noto Sans Tamil Supplement", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "tamil-supplement" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Noto is a global font collection for writing in all modern and ancient languages. Noto Sans Tamil Supplement is an unmodulated (\u201csans serif\u201d) design in the Supplement variant for texts in the Indic Tamil script. It has 54 glyphs.", + "primary_script": "Taml", + "article": null, + "minisite_url": null + }, + "Noto Sans Tamil UI": { + "name": "Noto Sans Tamil UI", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "tamil" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Taml", + "article": "Noto Sans Tamil UI is an unmodulated (\u201csans serif\u201d) design for app and website user interfaces in the Indic Tamil script. Noto Sans Tamil UI has multiple weights and widths, contains 244 glyphs, 11 OpenType features, and supports 147 characters from 5 Unicode blocks: Tamil, Basic Latin, General Punctuation, Devanagari, Grantha. Supported writing systems Tamil Tamil (\u0ba4\u0bae\u0bbf\u0bb4\u0bcd) is an Indic abugida, written left-to-right (70 million users). Used in India, Sri Lanka, Singapore, Malaysia and Mauritius for the Tamil language, and other languages like Irula, Badaga, Kurumba, Paniya, Saurashtra. Has 18 consonants (modest set for Brahmic scripts) and 12 vowels. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Tangsa": { + "name": "Noto Sans Tangsa", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "tangsa" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Tnsa", + "article": "Noto Sans Tangsa is a design for the Indic Tangsa script. Noto Sans Tangsa has multiple weights, contains 94 glyphs, 2 OpenType features, and supports 93 characters from the Unicode block Tangsa. Supported writing systems Tangsa Tangsa is an Indic alphabet. Used by the Tangsa (Tangshang, Hawa) people at the border between India and Myanmar. Read more on ScriptSource, Unicode, Wikipedia, r12a.", + "minisite_url": null + }, + "Noto Sans Telugu": { + "name": "Noto Sans Telugu", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "telugu" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Telu", + "article": "Noto Sans Telugu is an unmodulated (\u201csans serif\u201d) design for texts in the Indic Telugu script. Noto Sans Telugu has multiple weights and widths, contains 958 glyphs, 11 OpenType features, and supports 163 characters from 4 Unicode blocks: Telugu, Basic Latin, General Punctuation, Devanagari. Supported writing systems Telugu Telugu (\u0c24\u0c46\u0c32\u0c41\u0c17\u0c41) is an Indic abugida, written left-to-right without a headstroke. Used since c. 1300 CE in South India for the Telugu language (74 million speakers), state language of Andhra Pradesh. Also used for Chenchu, Savara, Manna-Dora, for Sanskrit and Gondi. Closely related to the Kannada script. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Telugu UI": { + "name": "Noto Sans Telugu UI", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "telugu" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Telu", + "article": "Noto Sans Telugu UI is an unmodulated (\u201csans serif\u201d) design for app and website user interfaces in the Indic Telugu script. Noto Sans Telugu UI has multiple weights and widths, contains 958 glyphs, 11 OpenType features, and supports 163 characters from 4 Unicode blocks: Telugu, Basic Latin, General Punctuation, Devanagari. Supported writing systems Telugu Telugu (\u0c24\u0c46\u0c32\u0c41\u0c17\u0c41) is an Indic abugida, written left-to-right without a headstroke. Used since c. 1300 CE in South India for the Telugu language (74 million speakers), state language of Andhra Pradesh. Also used for Chenchu, Savara, Manna-Dora, for Sanskrit and Gondi. Closely related to the Kannada script. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Thaana": { + "name": "Noto Sans Thaana", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "thaana" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Thaa", + "article": "Noto Sans Thaana is an unmodulated (\u201csans serif\u201d) design for texts in the Indic Thaana script. Noto Sans Thaana has multiple weights, contains 90 glyphs, and supports 89 characters from 4 Unicode blocks: Thaana, Basic Latin, Arabic, General Punctuation. Supported writing systems Thaana Thaana (\u078b\u07a8\u0788\u07ac\u0780\u07a8) is an Indic alphabet, written right-to-left (350,000 users). Used on the Maldives and in India for the Maldivian (Mahl, Dhivehi) language, which also uses a Latin transliteration. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Thai": { + "name": "Noto Sans Thai", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "thai" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Thai", + "article": "Noto Sans Thai is an unmodulated (\u201csans serif\u201d) design in the more modern, loopless variant of the Southeast Asian Thai script, mainly suitable for headlines, packaging and advertising. Noto Sans Thai has multiple weights and widths, contains 140 glyphs, 6 OpenType features, and supports 101 characters from the Unicode block Thai. Supported writing systems Thai Thai (\u0e44\u0e17\u0e22) is a Southeast Asian abugida, written left-to-right (38 million users). Used since 1283 in Thailand, Laos and China for the Thai, Northern Thai, Northeastern Thai, Southern Thai, Thai Song and Pali languages. Related to the Lao script. Uses 44 letters for 21 consonants. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Thai Looped": { + "name": "Noto Sans Thai Looped", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "thai" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Thai", + "article": "Noto Sans Thai Looped is an unmodulated (\u201csans serif\u201d) design in the more traditional, looped variant of the Southeast Asian Thai script, suitable for all texts. Noto Looped Thai contains 212 glyphs, 8 OpenType features, and supports 148 characters from 5 Unicode blocks: Thai, Basic Latin, General Punctuation, Latin-1 Supplement, Combining Diacritical Marks. Supported writing systems Thai Thai (\u0e44\u0e17\u0e22) is a Southeast Asian abugida, written left-to-right (38 million users). Used since 1283 in Thailand, Laos and China for the Thai, Northern Thai, Northeastern Thai, Southern Thai, Thai Song and Pali languages. Related to the Lao script. Uses 44 letters for 21 consonants. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Thai UI": { + "name": "Noto Sans Thai UI", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "thai" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Thai", + "article": "Noto Sans Thai UI is an unmodulated (\u201csans serif\u201d) design in the more modern, loopless variant of the Southeast Asian Thai script, suitable for app and website user interfaces in the Thai script. Noto Sans Thai UI has multiple weights and widths, contains 140 glyphs, 6 OpenType features, and supports 101 characters from the Unicode block Thai. Supported writing systems Thai Thai (\u0e44\u0e17\u0e22) is a Southeast Asian abugida, written left-to-right (38 million users). Used since 1283 in Thailand, Laos and China for the Thai, Northern Thai, Northeastern Thai, Southern Thai, Thai Song and Pali languages. Related to the Lao script. Uses 44 letters for 21 consonants. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Tifinagh": { + "name": "Noto Sans Tifinagh", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "tifinagh" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Tfng", + "article": "Noto Sans Tifinagh is an unmodulated (\u201csans serif\u201d) design for texts in the African Tifinagh script. Noto Sans Tifinagh contains 164 glyphs, 5 OpenType features, and supports 76 characters from 2 Unicode blocks: Tifinagh, Combining Diacritical Marks. Supported writing systems Tifinagh Tifinagh (\u2d5c\u2d49\u2d3c\u2d49\u2d4f\u2d30\u2d56) is an African abjad. Used alongside the Berber Latin Alphabet for Berber languages of North Africa (1 million speakers), and for Tuareg languages. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Tirhuta": { + "name": "Noto Sans Tirhuta", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "tirhuta" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Tirh", + "article": "Noto Sans Tirhuta is an unmodulated (\u201csans serif\u201d) design for texts in the Indic Tirhuta script. Noto Sans Tirhuta contains 262 glyphs, 13 OpenType features, and supports 108 characters from 3 Unicode blocks: Tirhuta, Devanagari, Common Indic Number Forms. Supported writing systems Tirhuta Tirhuta (Mithilakshar) is an Indic abugida, written left-to-right. Was used in India and Nepal for the Maithili language (35 million speakers), which now mostly uses Devanagari. Tirhuta is still occasionally used for ceremonial purposes. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans UI": { + "name": "Noto Sans UI", + "designer": [ + "Google" + ], + "license": "apache2", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "When text is rendered by a computer, sometimes there will be characters in the text that can not be displayed, because no font that supports them is available to the computer. When this occurs, small boxes are shown to represent the characters. We call those small boxes \u201ctofu,\u201d and we want to remove tofu from the Web. This is how the Noto font families got their name. Noto helps to make the web more beautiful across platforms for all languages. Currently, Noto covers over 30 scripts, and will cover all of Unicode in the future. This is the Sans UI Latin, Greek and Cyrillic family. It has Regular, Bold, Italic and Bold Italic styles and is hinted. The design of Noto UI fonts are adjusted to be more vertically compact, a refinement made for user interface typography; you may wish to compare them with the normal Noto Sans fonts. Noto fonts for many other languages are available as web fonts from the Google Web Fonts Early Access page. Noto fonts are intended to be visually harmonious across multiple languages, with compatible heights and stroke thicknesses. For the currently released Noto fonts see code.google.com/p/noto/", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Noto Sans Ugaritic": { + "name": "Noto Sans Ugaritic", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "ugaritic" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Ugar", + "article": "Noto Sans Ugaritic is an unmodulated (\u201csans serif\u201d) design for texts in the historical Middle Eastern Ugaritic script. Noto Sans Ugaritic contains 36 glyphs, and supports 35 characters from the Unicode block Ugaritic. Supported writing systems Ugaritic Ugaritic is a historical Middle Eastern abjad, written left-to-right. Was used in today\u2019s Syria in 1500-1300 BCE for the Ugaritic language, and also for Hurrian. Has 30 letters that visually resemble cuneiform. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Vai": { + "name": "Noto Sans Vai", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vai" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Vaii", + "article": "Noto Sans Vai is an unmodulated (\u201csans serif\u201d) design for texts in the African Vai script. Noto Sans Vai contains 305 glyphs, and supports 304 characters from the Unicode block Vai. Supported writing systems Vai Vai (\ua559\ua524) is an African syllabary, written left-to-right. Used in Liberia and Sierra Leone for the Vai language (115,000 speakers). Created in the 1830s by M\u0254m\u0254lu Duwalu Buk\u025bl\u025b. Has 212 symbols. Possibly influenced by the Cherokee syllabary. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Vithkuqi": { + "name": "Noto Sans Vithkuqi", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vithkuqi" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Vith", + "article": "Noto Sans Vithkuqi is a design for the historical European Vithkuqi script. Noto Sans Vithkuqi has multiple weights, contains 103 glyphs, and supports 101 characters from 2 Unicode blocks: Vithkuqi, Basic Latin. Supported writing systems Vithkuqi Vithkuqi (B\u00fcthakukye) is a historical European bicameral alphabet, written left-to-right. Created around 1840 by Naum Veqilharxhi for the Albanian language. Read more on ScriptSource, Unicode, Wikipedia, r12a.", + "minisite_url": null + }, + "Noto Sans Wancho": { + "name": "Noto Sans Wancho", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "wancho" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Wcho", + "article": "Noto Sans Wancho is an unmodulated (\u201csans serif\u201d) design for texts in the Indic Wancho script. Noto Sans Wancho contains 95 glyphs, 3 OpenType features, and supports 79 characters from 2 Unicode blocks: Wancho, Basic Latin. Supported writing systems Wancho Wancho is an Indic alphabet, written left-to-right. Created 2001\u20132012 by Banwang Losu in India for the Wancho language. Some schools teach the Wancho script but the language generally uses Devanagari and Latin script. Read more on ScriptSource, Unicode, Wikipedia, r12a.", + "minisite_url": null + }, + "Noto Sans Warang Citi": { + "name": "Noto Sans Warang Citi", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "warang-citi" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Wara", + "article": "Noto Sans Warang Citi is an unmodulated (\u201csans serif\u201d) design for texts in the Indic Varang Kshiti (Warang Citi) script. Noto Sans Warang Citi contains 181 glyphs, 3 OpenType features, and supports 89 characters from the Unicode block Warang Citi. Supported writing systems Varang Kshiti (Warang Citi) Varang Kshiti (Warang Citi, \ud806\udcb9\ud806\udcd7\ud806\udcc1\ud806\udcdc\ud806\udcca \ud806\udccf\ud806\udcc2\ud806\udcd5\ud806\udcc2\u200e) is an Indic abugida, written left-to-right. Used in India for the Ho language, alongside Devanagari and Latin. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Yi": { + "name": "Noto Sans Yi", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "yi" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Yiii", + "article": "Noto Sans Yi is an unmodulated (\u201csans serif\u201d) design for texts in the East Asian Yi script. Noto Sans Yi contains 1,251 glyphs, and supports 1,250 characters from 4 Unicode blocks: Yi Syllables, Yi Radicals, CJK Symbols and Punctuation, Halfwidth and Fullwidth Forms. Supported writing systems Yi Yi (Modern Yi, \ua188\ua320\ua071\ua0b7) is an East Asian logo-syllabary, written horizontally left-to-right (modern) or vertically right-to-left (traditional). Used for the Nuosu Yi language (2 million users) in the Liangshan Yi region of China. Yi signs are made from five basic strokes; dot, horizontal line, vertical line, arch and circle. Attested 500 years ago, believed to be use for perhaps even 5000 years. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Zanabazar Square": { + "name": "Noto Sans Zanabazar Square", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "zanabazar-square" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Zanb", + "article": "Noto Sans Zanabazar Square is an unmodulated (\u201csans serif\u201d) design for texts in the historical Central Asian Zanabazar Square script. Noto Sans Zanabazar Square contains 154 glyphs, 6 OpenType features, and supports 77 characters from the Unicode block Zanabazar Square. Supported writing systems Zanabazar Square Zanabazar Square (Mongolian Square, \ud806\ude22\ud806\ude06\ud806\ude0f\ud806\ude33\ud806\ude0b\ud806\ude06\ud806\ude2c\ud806\ude33\u200e) is a historical Central Asian abugida, written left-to-right. Was used in Mongolia for writing the Mongolian, Sanskrit and Tibetan languages. Created in the late 17th century by the Tibetan Buddhism leader Zanabazar, who also developed the the Soyombo script. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif": { + "name": "Noto Serif", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext", + "math", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Noto Serif is a modulated (\u201cserif\u201d) design for texts in the Latin, Cyrillic and Greek scripts, also suitable as the complementary font for other script-specific Noto Serif fonts. Noto Serif has italic styles, multiple weights and widths, contains 3,256 glyphs, 24 OpenType features, and supports 2,840 characters from 30 Unicode blocks: Latin Extended Additional, Cyrillic, Greek Extended, Latin Extended-B, Latin Extended-D, Latin Extended-A, Phonetic Extensions, Greek and Coptic, Combining Diacritical Marks, IPA Extensions, Cyrillic Extended-B, Latin-1 Supplement, General Punctuation, Basic Latin, Supplemental Punctuation, Spacing Modifier Letters, Letterlike Symbols, Phonetic Extensions Supplement, Combining Diacritical Marks Supplement, Latin Extended-E, Cyrillic Supplement, Currency Symbols, Latin Extended-C, Cyrillic Extended-A, Modifier Tone Letters, Superscripts and Subscripts, Combining Diacritical Marks Extended, Combining Half Marks, Cyrillic Extended-C, Alphabetic Presentation Forms. Supported writing systems Latin Latin (Roman) is a European bicameral alphabet, written left-to-right. The most popular writing system in the world. Used for over 3,000 languages including Latin and Romance languages (Italian, French, Portuguese, Spanish and Romanian), Germanic languages (English, Dutch, German, Nordic languages), Finnish, Malaysian, Indonesian, Filipino, Visayan languages, Turkish, Azerbaijani, Polish, Somali, Vietnamese, and many others. Derived from Western Greek, attested in Rome in the 7th century BCE. In the common era, numerous European languages adopted the Latin script along with Western Christian religion, the script disseminated further with European colonization of the Americas, Australia, parts of Asia, Africa and the Pacific. New letters, ligatures and diacritical marks were gradually added to represent the sounds of various languages. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Cyrillic Cyrillic is a bicameral alphabet originating in Europe, written left-to-right (250 million users). Used for various languages across Eurasia and is used as the national script in various Slavic, Turkic, Mongolic and Iranic-speaking countries in Southeastern Europe, Eastern Europe, the Caucasus, Central Asia, North Asia and East Asia, including Russian, Bulgarian, Macedonian, Serbian, Ukrainian, Uzbek, Azerbaijani, Kazakh, Tajik, Kyrgyz, Bashkort, Chechen, Chuvash, Avar, Dargwa, Kabardian, Karakalpak, Kumyk, Lezgi, Ossetic, Pontic, Yakut, Buriat and many others. Created in the 9th century. Traditionally attributed to Saint Cyril, a monk from Thessaloniki working in Bulgaria, after earlier creation of the Glagolitic script. Sometimes attributed to Clement of Ohrid, a student of Saint Cyril\u2019s. Initially used for Old Church Slavonic. Reformed in 1708 by Russian tsar Peter the Great. Extended by the Soviet Union in the 20th century to write over 50 languages throughout Eastern Europe and Asia (some of those languages switched to Latin after 1991). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Greek Greek (\u0395\u03bb\u03bb\u03b7\u03bd\u03b9\u03ba\u03ac) is a European bicameral alphabet, written left-to-right (11 million users). Used to write the Greek language since the 8th century BCE. Also used to write other languages like Urum, Albanian Tosk, and Balkan Gagauz Turkish. Some symbols are also used in scientific notation. Derived from Phoenician. First \u201ctrue alphabet\u201d, with distinct letters for consonants and vowels. Standardized in the 4th century BCE by Eucleides. Has 24 letters. Some letter variants (sigma: \u03c3/\u03c2) have positional significance in the Greek language, other variants only differ in meaning in scientific notation (e.g. pi: \u03c0/\u03d6). The Greek language used to be written in polytonic spelling, with three accents on vowels. In 1982, Greece introduced monotonic spelling with a single diacritic. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif Ahom": { + "name": "Noto Serif Ahom", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "ahom", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Ahom", + "article": "Noto Serif Ahom is a modulated (\u201cserif\u201d) design for texts in the Southeast Asian Ahom script. Noto Serif Ahom contains 76 glyphs, 7 OpenType features, and supports 63 characters from the Unicode block Ahom. Supported writing systems Ahom Ahom (\ud805\udf12\ud805\udf11\ud805\udf2a\ud805\udf28) is a Southeast Asian abugida, written left-to-right. Was used in the 13th\u201318th century CE by the Tai Ahom community in India for the now-extinct Ahom language. Later largely replaced by the Assamese language and script. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif Armenian": { + "name": "Noto Serif Armenian", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "armenian", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Armn", + "article": "Noto Serif Armenian is a modulated (\u201cserif\u201d) design for texts in the European Armenian script. Noto Serif Armenian has multiple weights and widths, contains 107 glyphs, 3 OpenType features, and supports 104 characters from 2 Unicode blocks: Armenian, Alphabetic Presentation Forms. Supported writing systems Armenian Armenian (\u0540\u0561\u0575\u0578\u0581 \u0563\u0580\u0565\u0580) is a European bicameral alphabet, written left-to-right (12 million users). Created around 405 CE by Mesrop Mashtots. Used for the Armenian language to this day. Was widespread in the 18th\u201319th centuries CE in the Ottoman Empire. Armenia uses a reformed spelling introduced in the Soviet Union, the Armenian diaspora mostly uses the original Mesropian orthography. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif Balinese": { + "name": "Noto Serif Balinese", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "balinese", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Bali", + "article": "Noto Serif Balinese is a modulated (\u201cserif\u201d) design for texts in the Southeast Asian Balinese script. Noto Serif Balinese contains 217 glyphs, 6 OpenType features, and supports 129 characters from the Unicode block Balinese. Supported writing systems Balinese Balinese (\u1b05\u1b13\u1b44\u1b31\u1b2d\u1b29\u1b2e\u1b36) is a Southeast Asian abugida, written left-to-right (5 million users). Used for the Balinese language on the Indonesian islands of Java and Bali, mostly for signage, traditional literature, and, on a limited scale, for new literature. Also used for Old Javanese and Sanskrit. Derived from Old Kawi, similar to Javanese. Has 47 letters. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif Bengali": { + "name": "Noto Serif Bengali", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "bengali", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Beng", + "article": "Noto Serif Bengali is a modulated (\u201cserif\u201d) design for texts in the Indic Bangla (Bengali) script. Noto Serif Bengali has multiple weights and widths, contains 640 glyphs, 19 OpenType features, and supports 173 characters from 5 Unicode blocks: Bengali, Basic Latin, Vedic Extensions, General Punctuation, Devanagari. Supported writing systems Bangla (Bengali) Bangla (Bengali, Bengali-Assamese, \u09ac\u09be\u0982\u09b2\u09be \u09ac\u09b0\u09cd\u09a3\u09ae\u09be\u09b2\u09be) is an Indic abugida, written left-to-right (265 million users). Used in Bangladesh and India, for the Bengali language, and for other languages like Assamese, Kokborok, Bishnupriya Manipuri, Meitei Manipuri, Rabha, Maithili, Rangpuri, Sylheti, Santali and Sanskrit. Developed in the 11th century CE. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif Devanagari": { + "name": "Noto Serif Devanagari", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Deva", + "article": "Noto Serif Devanagari is a modulated (\u201cserif\u201d) design for texts in the Indic Devanagari script. Noto Serif Devanagari has multiple weights and widths, contains 871 glyphs, 18 OpenType features, and supports 272 characters from 6 Unicode blocks: Devanagari, Vedic Extensions, Devanagari Extended, Basic Latin, General Punctuation, Common Indic Number Forms. Supported writing systems Devanagari Devanagari (Negari, \u0926\u0947\u0935\u0928\u093e\u0917\u0930\u0940) is an Indic abugida, written left-to-right with a headstroke (over 600 million users). Used in India and Nepal for over 120 languages like Indo-Aryan languages, including Hindi, Nepali, Marathi, Maithili, Awadhi, Newari and Bhojpuri, and for Sanskrit. 4th most widely used script in the world. Brahmic script created in the 1st century CE, the modern form developed in the 7th century. Has 14 vowels and 33 consonants. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif Display": { + "name": "Noto Serif Display", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "Noto Serif Display is a modulated (\u201cserif\u201d) design for texts in larger font sizes in the European Latin script and in Cyrillic, Greek. Noto Serif Display has italic styles, multiple weights and widths, contains 3,256 glyphs, 24 OpenType features, and supports 2,840 characters from 30 Unicode blocks: Latin Extended Additional, Cyrillic, Greek Extended, Latin Extended-B, Latin Extended-D, Latin Extended-A, Phonetic Extensions, Greek and Coptic, Combining Diacritical Marks, IPA Extensions, Cyrillic Extended-B, Latin-1 Supplement, General Punctuation, Basic Latin, Supplemental Punctuation, Spacing Modifier Letters, Letterlike Symbols, Phonetic Extensions Supplement, Combining Diacritical Marks Supplement, Latin Extended-E, Cyrillic Supplement, Currency Symbols, Latin Extended-C, Cyrillic Extended-A, Modifier Tone Letters, Superscripts and Subscripts, Combining Diacritical Marks Extended, Combining Half Marks, Cyrillic Extended-C, Alphabetic Presentation Forms. Supported writing systems Latin Latin (Roman) is a European bicameral alphabet, written left-to-right. The most popular writing system in the world. Used for over 3,000 languages including Latin and Romance languages (Italian, French, Portuguese, Spanish and Romanian), Germanic languages (English, Dutch, German, Nordic languages), Finnish, Malaysian, Indonesian, Filipino, Visayan languages, Turkish, Azerbaijani, Polish, Somali, Vietnamese, and many others. Derived from Western Greek, attested in Rome in the 7th century BCE. In the common era, numerous European languages adopted the Latin script along with Western Christian religion, the script disseminated further with European colonization of the Americas, Australia, parts of Asia, Africa and the Pacific. New letters, ligatures and diacritical marks were gradually added to represent the sounds of various languages. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Cyrillic Cyrillic is a bicameral alphabet originating in Europe, written left-to-right (250 million users). Used for various languages across Eurasia and is used as the national script in various Slavic, Turkic, Mongolic and Iranic-speaking countries in Southeastern Europe, Eastern Europe, the Caucasus, Central Asia, North Asia and East Asia, including Russian, Bulgarian, Macedonian, Serbian, Ukrainian, Uzbek, Azerbaijani, Kazakh, Tajik, Kyrgyz, Bashkort, Chechen, Chuvash, Avar, Dargwa, Kabardian, Karakalpak, Kumyk, Lezgi, Ossetic, Pontic, Yakut, Buriat and many others. Created in the 9th century. Traditionally attributed to Saint Cyril, a monk from Thessaloniki working in Bulgaria, after earlier creation of the Glagolitic script. Sometimes attributed to Clement of Ohrid, a student of Saint Cyril\u2019s. Initially used for Old Church Slavonic. Reformed in 1708 by Russian tsar Peter the Great. Extended by the Soviet Union in the 20th century to write over 50 languages throughout Eastern Europe and Asia (some of those languages switched to Latin after 1991). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Greek Greek (\u0395\u03bb\u03bb\u03b7\u03bd\u03b9\u03ba\u03ac) is a European bicameral alphabet, written left-to-right (11 million users). Used to write the Greek language since the 8th century BCE. Also used to write other languages like Urum, Albanian Tosk, and Balkan Gagauz Turkish. Some symbols are also used in scientific notation. Derived from Phoenician. First \u201ctrue alphabet\u201d, with distinct letters for consonants and vowels. Standardized in the 4th century BCE by Eucleides. Has 24 letters. Some letter variants (sigma: \u03c3/\u03c2) have positional significance in the Greek language, other variants only differ in meaning in scientific notation (e.g. pi: \u03c0/\u03d6). The Greek language used to be written in polytonic spelling, with three accents on vowels. In 1982, Greece introduced monotonic spelling with a single diacritic. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif Dives Akuru": { + "name": "Noto Serif Dives Akuru", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "dives-akuru", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Diak", + "article": "Noto Serif Dives Akuru is a design for the historical Indic Dives Akuru script. Noto Serif Dives Akuru contains 812 glyphs, 9 OpenType features, and supports 74 characters from the Unicode block Dives Akuru. Supported writing systems Dives Akuru Dives Akuru (\ud806\udd1d\ud806\udd31\ud806\udd29\ud806\udd34\ud806\udd2d\ud806\udd31 \ud806\udd25\ud806\udd0c\ud806\udd33\ud806\udd27\ud806\udd33) is a historical Indic abugida, written left-to-right. Was used for Maldivian language before switching to Thaana. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif Dogra": { + "name": "Noto Serif Dogra", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "dogra", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Dogr", + "article": "Noto Serif Dogra is a modulated (\u201cserif\u201d) design for texts in the historical Indic Dogra script. Noto Serif Dogra contains 143 glyphs, 8 OpenType features, and supports 69 characters from the Unicode block Dogra. Supported writing systems Dogra Dogra (Dogri, \ud806\udc16\ud806\udc35\ud806\udc0c\ud806\udc24\ud806\udc2c) is a historical Indic abugida, written left-to-right. Was used for the Dogri language in Jammu and Kashmir in the northern part of the Indian subcontinent. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif Ethiopic": { + "name": "Noto Serif Ethiopic", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "ethiopic", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Ethi", + "article": "Noto Serif Ethiopic is a modulated (\u201cserif\u201d) design for texts in the African Ethiopic script. Noto Serif Ethiopic has multiple weights and widths, contains 566 glyphs, 5 OpenType features, and supports 505 characters from 4 Unicode blocks: Ethiopic, Ethiopic Extended, Ethiopic Extended-A, Ethiopic Supplement. Supported writing systems Ethiopic Ethiopic (Ge\u02bdez, \u130d\u12d5\u12dd, \u134a\u12f0\u120d) is an African abugida, written left-to-right (18 million users). Used for Ethiosemitic languages like Tigr\u00e9, Amharic and Tigrinya and some Cushitic and Nilotic languages. Was used in the 1st\u201312th century CE in Ethiopia and Eritrea for the Ge\u02bdez language (now a liturgical language). Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif Georgian": { + "name": "Noto Serif Georgian", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "georgian", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Geor", + "article": "Noto Serif Georgian is a modulated (\u201cserif\u201d) design for texts in the European Georgian script. Noto Serif Georgian has multiple weights and widths, contains 225 glyphs, 6 OpenType features, and supports 186 characters from 4 Unicode blocks: Georgian, Georgian Extended, Georgian Supplement, Combining Diacritical Marks. Supported writing systems Georgian Georgian (\u10e5\u10d0\u10e0\u10d7\u10e3\u10da\u10d8) is a European alphabet, written left-to-right (4.5 million users). Used for the Georgian language of Georgia, and other Kartvelian languages. Since 430 CE, the Georgian language used an inscriptional form (Asomtavruli), which evolved into a manuscript form (Nuskhuri). These are categorized as Khutsuri (ecclesiastical): Asomtavruli is uppercase, Nuskhuri is lowercase. Khutsuri is still used for liturgical purposes, but was replaced by a new case-less form (Mkhedruli) used for nearly all modern Georgian writing. In the 1950s, Akaki Shanidze attempted to add Asomtavruli as uppercase and use Mkhedruli for lowercase, but the effort did not succeed. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif Grantha": { + "name": "Noto Serif Grantha", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "grantha", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Gran", + "article": "Noto Serif Grantha is a modulated (\u201cserif\u201d) design for texts in the Indic Grantha script. Noto Serif Grantha contains 479 glyphs, 24 OpenType features, and supports 121 characters from 3 Unicode blocks: Grantha, Vedic Extensions, Devanagari. Supported writing systems Grantha Grantha (\ud804\udf17\ud804\udf4d\ud804\udf30\ud804\udf28\ud804\udf4d\ud804\udf25) is an Indic abugida, written left-to-right. Used since the 7th century CE for writing religious texts in Sanskrit and Dravidian languages. Related to Tamil. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif Gujarati": { + "name": "Noto Serif Gujarati", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "gujarati", + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Gujr", + "article": "Noto Serif Gujarati is a modulated (\u201cserif\u201d) design for texts in the Indic Gujarati script. Noto Serif Gujarati has multiple weights, contains 456 glyphs, 17 OpenType features, and supports 164 characters from 5 Unicode blocks: Gujarati, Basic Latin, General Punctuation, Devanagari, Common Indic Number Forms. Supported writing systems Gujarati Gujarati (\u0a97\u0ac1\u0a9c\u0ab0\u0abe\u0aa4\u0ac0) is an Indic abugida, written left-to-right without a headstroke (48 million users). Used in India since the 16th century CE for the Gujarati and Chodri languages. Also used alongside Devanagari for languages used by the Bhil people. Related to Devanagari. Was used mainly for bookkeeping and correspondence until the mid-19th century. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif Gurmukhi": { + "name": "Noto Serif Gurmukhi", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "gurmukhi", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Guru", + "article": "Noto Serif Gurmukhi is a modulated (\u201cserif\u201d) design for texts in the Indic Gurmukhi script. Noto Serif Gurmukhi has multiple weights, contains 294 glyphs, 11 OpenType features, and supports 154 characters from 5 Unicode blocks: Gurmukhi, Basic Latin, General Punctuation, Devanagari, Common Indic Number Forms. Supported writing systems Gurmukhi Gurmukhi (\u0a17\u0a41\u0a30\u0a2e\u0a41\u0a16\u0a40) is an Indic abugida, written left-to-right with a headstroke (22 million users). Used in India for the Punjabi language by followers of the Sikh religion. Brahmic script. Current form developed in the 16th century by Guru Angad. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif HK": { + "name": "Noto Serif HK", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "chinese-hongkong", + "cyrillic", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Hant", + "article": "Noto Serif HK is an modulated (\u201cserif\u201d) design for languages in Hong Kong that use the Traditional Chinese variant of the Han ideograms. It also supports Latin, Cyrillic, Greek, Katakana, Hiragana and Hangul. Noto Serif HK has multiple weights, contains 65,535 glyphs, 23 OpenType features, and supports 44,746 characters from 55 Unicode blocks: CJK Unified Ideographs, Hangul Syllables, CJK Unified Ideographs Extension A, CJK Unified Ideographs Extension B, CJK Compatibility Ideographs, Hangul Jamo, CJK Compatibility, Halfwidth and Fullwidth Forms, Kangxi Radicals, Enclosed CJK Letters and Months, Enclosed Alphanumeric Supplement, Box Drawing, CJK Radicals Supplement, CJK Unified Ideographs Extension E, Katakana, Hangul Compatibility Jamo, Hiragana, Latin Extended Additional, Latin-1 Supplement, Basic Latin, Enclosed Alphanumerics, Mathematical Operators, Hangul Jamo Extended-B, Cyrillic, Enclosed Ideographic Supplement, CJK Compatibility Ideographs Supplement, CJK Symbols and Punctuation, Miscellaneous Symbols, Greek and Coptic, CJK Unified Ideographs Extension C, Bopomofo, Geometric Shapes, CJK Strokes, General Punctuation, CJK Unified Ideographs Extension D, Block Elements, CJK Compatibility Forms, Latin Extended-A, Hangul Jamo Extended-A, Bopomofo Extended, Miscellaneous Technical, Small Form Variants, Arrows, Latin Extended-B, Letterlike Symbols, Katakana Phonetic Extensions, Kanbun, Ideographic Description Characters, Vertical Forms, Spacing Modifier Letters, Dingbats, Combining Diacritical Marks, Miscellaneous Symbols and Arrows, Alphabetic Presentation Forms, CJK Unified Ideographs Extension F. Supported writing systems Han (Hanzi, Kanji, Hanja) Han (Hanzi, Kanji, Hanja, \u6c49\u5b57, \u6f22\u5b57) is an East Asian logo-syllabary, written vertically right-to-left and horizontally left-to-right (over 1.3 billion users). Used at least since the Shang dynasty (1600\u20131046 BCE) to write the Chinese (Sinitic) languages like Mandarin and Cantonese, but also, today or in the past, Japanese, Korean, Vietnamese, Okinawan, Zhuang, Miao and other languages. The Han script has regional variations: Traditional Chinese (since the 5th century CE, today used in Taiwan, Hong Kong, Macau), Simplified Chinese (used since 1949\u20131956 in mainland China, Singapore, and Malaysia), Japanese (called Hanji, used together with the Hiragana and Katakana syllabaries in Japan), Korean (called Hanja, widely used for the Korean language since 400 BCE until the mid-20th century). Fundamentally the same characters represent the same or highly related concepts across dialects and languages, which themselves are often mutually unintelligible or completely unrelated. Some 2,100\u20132,500 Han characters are required for basic literacy, some 5,200\u20136,300 for reading typical texts. Many more are needed for specialized or historical texts: the Unicode Standard encodes over 94,000 Han characters. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Hangul Hangul (Hangeul, \ud55c\uae00, Chos\u014fn'g\u016dl, \uc870\uc120\uae00) is an East Asian script, written vertically right-to-left and horizontally left-to-right (79 million users). Used for the Korean language. Created in 1446 by King Sejong the Great (Sejong of Joseon) as a simpler, phonetic alternative to using Chinese hanja for Korean. Not universally accepted for centuries, suppressed by Japanese colonial authorities. Since 1945 the standard script for Korean. The 51 basic letters (jamo) are grouped into syllable blocks depending on their position in the spoken syllable. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Latin Latin (Roman) is a European bicameral alphabet, written left-to-right. The most popular writing system in the world. Used for over 3,000 languages including Latin and Romance languages (Italian, French, Portuguese, Spanish and Romanian), Germanic languages (English, Dutch, German, Nordic languages), Finnish, Malaysian, Indonesian, Filipino, Visayan languages, Turkish, Azerbaijani, Polish, Somali, Vietnamese, and many others. Derived from Western Greek, attested in Rome in the 7th century BCE. In the common era, numerous European languages adopted the Latin script along with Western Christian religion, the script disseminated further with European colonization of the Americas, Australia, parts of Asia, Africa and the Pacific. New letters, ligatures and diacritical marks were gradually added to represent the sounds of various languages. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Katakana Katakana (\u7247\u4eee\u540d\u3001\u30ab\u30bf\u30ab\u30ca) is an East Asian syllabary, written vertically right-to-left and horizontally left-to-right (126 million users). Used in Japan for Japanese, Ryukyuan, Ainu and Palauan, and formerly for Taiwanese Hokkien. Katakana is used for transcription of foreign-language words into Japanese, for the writing of loan words, for emphasis, to represent onomatopoeia, for technical and scientific terms, for names of plants, animals and minerals, and often for names of Japanese companies. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Hiragana Hiragana (\u5e73\u4eee\u540d, \u3072\u3089\u304c\u306a) is an East Asian syllabary, written vertically right-to-left and horizontally left-to-right (120 million users). Used in Japan for Japanese and the Ryukyuan languages. Hiragana is used to write okurigana (kana suffixes following a kanji root, for example to inflect verbs and adjectives), various grammatical and function words including particles, as well as miscellaneous other native words for which there are no kanji or whose kanji form is obscure or too formal for the writing purpose. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Emoji symbols Emoji symbols are pictograms, logograms, ideograms and smileys used in electronic messages and web pages. Their primary function is to fill in emotional cues otherwise missing from typed conversation. They are typically rendered as multi-color characters. Read more on ScriptSource, Unicode, Wikipedia, r12a. Bopomofo Bopomofo (\u6ce8\u97f3\u7b26\u865f, \u6ce8\u97f3\u7b26\u53f7, \u3105\u3106\u3107\u3108) is an East Asian syllabary, written left-to-right. Developed in 1913 in China to be used for Mandarin Chinese transliteration alongside the Latin-based Wade\u2013Giles system. Also called Mandarin Phonetic Symbols or Zhuyin (\u6ce8\u97f3). Bopomofo is an official transliteration system in Taiwan, used in dictionaries, books, newspapers and journals to annotate the Taiwanese pronunciation of Chinese Han characters, and in electronic input methods. Largely replaced by Pinyin romanization in the People\u2019s Republic of China. Also used as the primary script for Taiwan\u2019s minority languages like Atayal, Taroko, Paiwan and Yami. Has 21 onset consonants, 16 rhymes, and 4 tone marks. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Cyrillic Cyrillic is a bicameral alphabet originating in Europe, written left-to-right (250 million users). Used for various languages across Eurasia and is used as the national script in various Slavic, Turkic, Mongolic and Iranic-speaking countries in Southeastern Europe, Eastern Europe, the Caucasus, Central Asia, North Asia and East Asia, including Russian, Bulgarian, Macedonian, Serbian, Ukrainian, Uzbek, Azerbaijani, Kazakh, Tajik, Kyrgyz, Bashkort, Chechen, Chuvash, Avar, Dargwa, Kabardian, Karakalpak, Kumyk, Lezgi, Ossetic, Pontic, Yakut, Buriat and many others. Created in the 9th century. Traditionally attributed to Saint Cyril, a monk from Thessaloniki working in Bulgaria, after earlier creation of the Glagolitic script. Sometimes attributed to Clement of Ohrid, a student of Saint Cyril\u2019s. Initially used for Old Church Slavonic. Reformed in 1708 by Russian tsar Peter the Great. Extended by the Soviet Union in the 20th century to write over 50 languages throughout Eastern Europe and Asia (some of those languages switched to Latin after 1991). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Greek Greek (\u0395\u03bb\u03bb\u03b7\u03bd\u03b9\u03ba\u03ac) is a European bicameral alphabet, written left-to-right (11 million users). Used to write the Greek language since the 8th century BCE. Also used to write other languages like Urum, Albanian Tosk, and Balkan Gagauz Turkish. Some symbols are also used in scientific notation. Derived from Phoenician. First \u201ctrue alphabet\u201d, with distinct letters for consonants and vowels. Standardized in the 4th century BCE by Eucleides. Has 24 letters. Some letter variants (sigma: \u03c3/\u03c2) have positional significance in the Greek language, other variants only differ in meaning in scientific notation (e.g. pi: \u03c0/\u03d6). The Greek language used to be written in polytonic spelling, with three accents on vowels. In 1982, Greece introduced monotonic spelling with a single diacritic. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif Hebrew": { + "name": "Noto Serif Hebrew", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "hebrew", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Hebr", + "article": "Noto Serif Hebrew is a modulated (\u201cserif\u201d) design for texts in the Middle Eastern Hebrew script. Noto Serif Hebrew has multiple weights and widths, contains 150 glyphs, 4 OpenType features, and supports 145 characters from 2 Unicode blocks: Hebrew, Alphabetic Presentation Forms. Supported writing systems Hebrew Hebrew (\u05e2\u05d1\u05e8\u05d9\u05ea) is a Middle Eastern abjad, written right-to-left (14 million users). Used for the Hebrew, Samaritan and Yiddish languages. Also used for some varieties of Arabic and for the languages of Jewish communities across the world. Has 22 consonant letters, 5 have positional variants. Vowels in Hebrew language are normally omitted except for long vowels which are sometimes written with the consonant letters \u05d0\u05d4\u05d5\u05d9 (those were vowel-only letters until the 9th century). Children\u2019s and school books use niqqud diacritics for all vowels. Religious texts may use cantillation marks for indicating rhythm and stress. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif Hentaigana": { + "name": "Noto Serif Hentaigana", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "kana-extended", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Noto is a global font collection for writing in all modern and ancient languages. Noto Serif Hentaigana is a font that contains symbols for the Kana Supplement Unicode block. Noto Serif Hentaigana contains 478 glyphs, and supports 515 characters from 9 Unicode blocks: Kana Supplement, Latin Extended-A, Basic Latin, Latin-1 Supplement, Combining Diacritical Marks, General Punctuation, Spacing Modifier Letters, Latin Extended Additional, Latin Extended-B.", + "minisite_url": null + }, + "Noto Serif JP": { + "name": "Noto Serif JP", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "japanese", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Jpan", + "article": "Noto Serif JP is a modulated (\u201cserif\u201d) design for the Japanese language and other languages used in Japan. It supports Hiragana, Katakana, Kanji, Latin, Cyrillic, Greek and Hangul. Noto Serif CJK JP contains 65,535 glyphs, 25 OpenType features, and supports 43,029 characters from 53 Unicode blocks: CJK Unified Ideographs, Hangul Syllables, CJK Unified Ideographs Extension A, CJK Unified Ideographs Extension B, CJK Compatibility Ideographs, Hangul Jamo, CJK Compatibility, Halfwidth and Fullwidth Forms, Kangxi Radicals, Enclosed CJK Letters and Months, Enclosed Alphanumeric Supplement, Box Drawing, CJK Radicals Supplement, CJK Unified Ideographs Extension E, Katakana, Hangul Compatibility Jamo, Hiragana, Latin Extended Additional, Latin-1 Supplement, Basic Latin, Enclosed Alphanumerics, Mathematical Operators, Hangul Jamo Extended-B, Cyrillic, Enclosed Ideographic Supplement, CJK Symbols and Punctuation, Miscellaneous Symbols, Greek and Coptic, CJK Unified Ideographs Extension C, CJK Compatibility Ideographs Supplement, Bopomofo, Geometric Shapes, CJK Strokes, General Punctuation, CJK Unified Ideographs Extension D, Block Elements, CJK Compatibility Forms, Latin Extended-A, Hangul Jamo Extended-A, Bopomofo Extended, Miscellaneous Technical, Small Form Variants, Arrows, Latin Extended-B, Letterlike Symbols, Katakana Phonetic Extensions, Kanbun, Ideographic Description Characters, Vertical Forms, Dingbats, Spacing Modifier Letters, Alphabetic Presentation Forms, Miscellaneous Symbols and Arrows. Supported writing systems Japanese Kanji Japanese Kanji (\u6f22\u5b57) is an East Asian logo-syllabary, written left-to-right (126 million users). Used together with the Hiragana and Katakana syllabaries in Japan for the Japanese language. Noun, verb, adjective and some adverb stems use kanji (the most basic set is 2,136). Grammatical elements use Hiragana, loan words and emphasis use Katakana. Kanji is primarily derived from the traditional Chinese Han characters. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Hangul Hangul (Hangeul, \ud55c\uae00, Chos\u014fn'g\u016dl, \uc870\uc120\uae00) is an East Asian script, written vertically right-to-left and horizontally left-to-right (79 million users). Used for the Korean language. Created in 1446 by King Sejong the Great (Sejong of Joseon) as a simpler, phonetic alternative to using Chinese hanja for Korean. Not universally accepted for centuries, suppressed by Japanese colonial authorities. Since 1945 the standard script for Korean. The 51 basic letters (jamo) are grouped into syllable blocks depending on their position in the spoken syllable. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Latin Latin (Roman) is a European bicameral alphabet, written left-to-right. The most popular writing system in the world. Used for over 3,000 languages including Latin and Romance languages (Italian, French, Portuguese, Spanish and Romanian), Germanic languages (English, Dutch, German, Nordic languages), Finnish, Malaysian, Indonesian, Filipino, Visayan languages, Turkish, Azerbaijani, Polish, Somali, Vietnamese, and many others. Derived from Western Greek, attested in Rome in the 7th century BCE. In the common era, numerous European languages adopted the Latin script along with Western Christian religion, the script disseminated further with European colonization of the Americas, Australia, parts of Asia, Africa and the Pacific. New letters, ligatures and diacritical marks were gradually added to represent the sounds of various languages. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Katakana Katakana (\u7247\u4eee\u540d\u3001\u30ab\u30bf\u30ab\u30ca) is an East Asian syllabary, written vertically right-to-left and horizontally left-to-right (126 million users). Used in Japan for Japanese, Ryukyuan, Ainu and Palauan, and formerly for Taiwanese Hokkien. Katakana is used for transcription of foreign-language words into Japanese, for the writing of loan words, for emphasis, to represent onomatopoeia, for technical and scientific terms, for names of plants, animals and minerals, and often for names of Japanese companies. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Hiragana Hiragana (\u5e73\u4eee\u540d, \u3072\u3089\u304c\u306a) is an East Asian syllabary, written vertically right-to-left and horizontally left-to-right (120 million users). Used in Japan for Japanese and the Ryukyuan languages. Hiragana is used to write okurigana (kana suffixes following a kanji root, for example to inflect verbs and adjectives), various grammatical and function words including particles, as well as miscellaneous other native words for which there are no kanji or whose kanji form is obscure or too formal for the writing purpose. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Emoji symbols Emoji symbols are pictograms, logograms, ideograms and smileys used in electronic messages and web pages. Their primary function is to fill in emotional cues otherwise missing from typed conversation. They are typically rendered as multi-color characters. Read more on ScriptSource, Unicode, Wikipedia, r12a. Bopomofo Bopomofo (\u6ce8\u97f3\u7b26\u865f, \u6ce8\u97f3\u7b26\u53f7, \u3105\u3106\u3107\u3108) is an East Asian syllabary, written left-to-right. Developed in 1913 in China to be used for Mandarin Chinese transliteration alongside the Latin-based Wade\u2013Giles system. Also called Mandarin Phonetic Symbols or Zhuyin (\u6ce8\u97f3). Bopomofo is an official transliteration system in Taiwan, used in dictionaries, books, newspapers and journals to annotate the Taiwanese pronunciation of Chinese Han characters, and in electronic input methods. Largely replaced by Pinyin romanization in the People\u2019s Republic of China. Also used as the primary script for Taiwan\u2019s minority languages like Atayal, Taroko, Paiwan and Yami. Has 21 onset consonants, 16 rhymes, and 4 tone marks. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Cyrillic Cyrillic is a bicameral alphabet originating in Europe, written left-to-right (250 million users). Used for various languages across Eurasia and is used as the national script in various Slavic, Turkic, Mongolic and Iranic-speaking countries in Southeastern Europe, Eastern Europe, the Caucasus, Central Asia, North Asia and East Asia, including Russian, Bulgarian, Macedonian, Serbian, Ukrainian, Uzbek, Azerbaijani, Kazakh, Tajik, Kyrgyz, Bashkort, Chechen, Chuvash, Avar, Dargwa, Kabardian, Karakalpak, Kumyk, Lezgi, Ossetic, Pontic, Yakut, Buriat and many others. Created in the 9th century. Traditionally attributed to Saint Cyril, a monk from Thessaloniki working in Bulgaria, after earlier creation of the Glagolitic script. Sometimes attributed to Clement of Ohrid, a student of Saint Cyril\u2019s. Initially used for Old Church Slavonic. Reformed in 1708 by Russian tsar Peter the Great. Extended by the Soviet Union in the 20th century to write over 50 languages throughout Eastern Europe and Asia (some of those languages switched to Latin after 1991). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Greek Greek (\u0395\u03bb\u03bb\u03b7\u03bd\u03b9\u03ba\u03ac) is a European bicameral alphabet, written left-to-right (11 million users). Used to write the Greek language since the 8th century BCE. Also used to write other languages like Urum, Albanian Tosk, and Balkan Gagauz Turkish. Some symbols are also used in scientific notation. Derived from Phoenician. First \u201ctrue alphabet\u201d, with distinct letters for consonants and vowels. Standardized in the 4th century BCE by Eucleides. Has 24 letters. Some letter variants (sigma: \u03c3/\u03c2) have positional significance in the Greek language, other variants only differ in meaning in scientific notation (e.g. pi: \u03c0/\u03d6). The Greek language used to be written in polytonic spelling, with three accents on vowels. In 1982, Greece introduced monotonic spelling with a single diacritic. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif KR": { + "name": "Noto Serif KR", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "korean", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Kore", + "article": "Noto Serif KR is a modulated (\u201cserif\u201d) design for the Korean language using Hangul and the Korean Hanja scripts. It also supports Hiragana, Katakana, Latin, Cyrillic and Greek. Noto Serif CJK KR contains 65,535 glyphs, 21 OpenType features, and supports 43,029 characters from 53 Unicode blocks: CJK Unified Ideographs, Hangul Syllables, CJK Unified Ideographs Extension A, CJK Unified Ideographs Extension B, CJK Compatibility Ideographs, Hangul Jamo, CJK Compatibility, Halfwidth and Fullwidth Forms, Kangxi Radicals, Enclosed CJK Letters and Months, Enclosed Alphanumeric Supplement, Box Drawing, CJK Radicals Supplement, CJK Unified Ideographs Extension E, Katakana, Hangul Compatibility Jamo, Hiragana, Latin Extended Additional, Latin-1 Supplement, Basic Latin, Enclosed Alphanumerics, Mathematical Operators, Hangul Jamo Extended-B, Cyrillic, Enclosed Ideographic Supplement, CJK Symbols and Punctuation, Miscellaneous Symbols, Greek and Coptic, CJK Unified Ideographs Extension C, CJK Compatibility Ideographs Supplement, Bopomofo, Geometric Shapes, CJK Strokes, General Punctuation, CJK Unified Ideographs Extension D, Block Elements, CJK Compatibility Forms, Latin Extended-A, Hangul Jamo Extended-A, Bopomofo Extended, Miscellaneous Technical, Small Form Variants, Arrows, Latin Extended-B, Letterlike Symbols, Katakana Phonetic Extensions, Kanbun, Ideographic Description Characters, Vertical Forms, Dingbats, Spacing Modifier Letters, Alphabetic Presentation Forms, Miscellaneous Symbols and Arrows. Supported writing systems Korean Hanja Korean Hanja (\ud55c\uc790, \u6f22\u5b57) is an East Asian logo-syllabary, written left-to-right. Based on traditional Chinese Han characters, Hanja was used for the Korean language until 1446, when King Sejong introduced Hangul. Until the mid-20th century Hanja and Hangul were used in parallel or mixed. Today, the vast majority of Korean text uses Hangul but Hanja is still used in some context, and schools teach some 1,000-3,000 Hanja symbols. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Hangul Hangul (Hangeul, \ud55c\uae00, Chos\u014fn'g\u016dl, \uc870\uc120\uae00) is an East Asian script, written vertically right-to-left and horizontally left-to-right (79 million users). Used for the Korean language. Created in 1446 by King Sejong the Great (Sejong of Joseon) as a simpler, phonetic alternative to using Chinese hanja for Korean. Not universally accepted for centuries, suppressed by Japanese colonial authorities. Since 1945 the standard script for Korean. The 51 basic letters (jamo) are grouped into syllable blocks depending on their position in the spoken syllable. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Latin Latin (Roman) is a European bicameral alphabet, written left-to-right. The most popular writing system in the world. Used for over 3,000 languages including Latin and Romance languages (Italian, French, Portuguese, Spanish and Romanian), Germanic languages (English, Dutch, German, Nordic languages), Finnish, Malaysian, Indonesian, Filipino, Visayan languages, Turkish, Azerbaijani, Polish, Somali, Vietnamese, and many others. Derived from Western Greek, attested in Rome in the 7th century BCE. In the common era, numerous European languages adopted the Latin script along with Western Christian religion, the script disseminated further with European colonization of the Americas, Australia, parts of Asia, Africa and the Pacific. New letters, ligatures and diacritical marks were gradually added to represent the sounds of various languages. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Katakana Katakana (\u7247\u4eee\u540d\u3001\u30ab\u30bf\u30ab\u30ca) is an East Asian syllabary, written vertically right-to-left and horizontally left-to-right (126 million users). Used in Japan for Japanese, Ryukyuan, Ainu and Palauan, and formerly for Taiwanese Hokkien. Katakana is used for transcription of foreign-language words into Japanese, for the writing of loan words, for emphasis, to represent onomatopoeia, for technical and scientific terms, for names of plants, animals and minerals, and often for names of Japanese companies. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Hiragana Hiragana (\u5e73\u4eee\u540d, \u3072\u3089\u304c\u306a) is an East Asian syllabary, written vertically right-to-left and horizontally left-to-right (120 million users). Used in Japan for Japanese and the Ryukyuan languages. Hiragana is used to write okurigana (kana suffixes following a kanji root, for example to inflect verbs and adjectives), various grammatical and function words including particles, as well as miscellaneous other native words for which there are no kanji or whose kanji form is obscure or too formal for the writing purpose. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Emoji symbols Emoji symbols are pictograms, logograms, ideograms and smileys used in electronic messages and web pages. Their primary function is to fill in emotional cues otherwise missing from typed conversation. They are typically rendered as multi-color characters. Read more on ScriptSource, Unicode, Wikipedia, r12a. Bopomofo Bopomofo (\u6ce8\u97f3\u7b26\u865f, \u6ce8\u97f3\u7b26\u53f7, \u3105\u3106\u3107\u3108) is an East Asian syllabary, written left-to-right. Developed in 1913 in China to be used for Mandarin Chinese transliteration alongside the Latin-based Wade\u2013Giles system. Also called Mandarin Phonetic Symbols or Zhuyin (\u6ce8\u97f3). Bopomofo is an official transliteration system in Taiwan, used in dictionaries, books, newspapers and journals to annotate the Taiwanese pronunciation of Chinese Han characters, and in electronic input methods. Largely replaced by Pinyin romanization in the People\u2019s Republic of China. Also used as the primary script for Taiwan\u2019s minority languages like Atayal, Taroko, Paiwan and Yami. Has 21 onset consonants, 16 rhymes, and 4 tone marks. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Cyrillic Cyrillic is a bicameral alphabet originating in Europe, written left-to-right (250 million users). Used for various languages across Eurasia and is used as the national script in various Slavic, Turkic, Mongolic and Iranic-speaking countries in Southeastern Europe, Eastern Europe, the Caucasus, Central Asia, North Asia and East Asia, including Russian, Bulgarian, Macedonian, Serbian, Ukrainian, Uzbek, Azerbaijani, Kazakh, Tajik, Kyrgyz, Bashkort, Chechen, Chuvash, Avar, Dargwa, Kabardian, Karakalpak, Kumyk, Lezgi, Ossetic, Pontic, Yakut, Buriat and many others. Created in the 9th century. Traditionally attributed to Saint Cyril, a monk from Thessaloniki working in Bulgaria, after earlier creation of the Glagolitic script. Sometimes attributed to Clement of Ohrid, a student of Saint Cyril\u2019s. Initially used for Old Church Slavonic. Reformed in 1708 by Russian tsar Peter the Great. Extended by the Soviet Union in the 20th century to write over 50 languages throughout Eastern Europe and Asia (some of those languages switched to Latin after 1991). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Greek Greek (\u0395\u03bb\u03bb\u03b7\u03bd\u03b9\u03ba\u03ac) is a European bicameral alphabet, written left-to-right (11 million users). Used to write the Greek language since the 8th century BCE. Also used to write other languages like Urum, Albanian Tosk, and Balkan Gagauz Turkish. Some symbols are also used in scientific notation. Derived from Phoenician. First \u201ctrue alphabet\u201d, with distinct letters for consonants and vowels. Standardized in the 4th century BCE by Eucleides. Has 24 letters. Some letter variants (sigma: \u03c3/\u03c2) have positional significance in the Greek language, other variants only differ in meaning in scientific notation (e.g. pi: \u03c0/\u03d6). The Greek language used to be written in polytonic spelling, with three accents on vowels. In 1982, Greece introduced monotonic spelling with a single diacritic. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif Kannada": { + "name": "Noto Serif Kannada", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "kannada", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Knda", + "article": "Noto Serif Kannada is a modulated (\u201cserif\u201d) design for texts in the Indic Kannada script. Noto Serif Kannada has multiple weights, contains 417 glyphs, 11 OpenType features, and supports 164 characters from 5 Unicode blocks: Kannada, Basic Latin, General Punctuation, Vedic Extensions, Devanagari. Supported writing systems Kannada Kannada (\u0c95\u0ca8\u0ccd\u0ca8\u0ca1 \u0cb2\u0cbf\u0caa\u0cbf) is an Indic abugida, written left-to-right, partially with a headstroke (45 million users). Used in southern India for the Kannada language as well as Konkani, Tulu, Badaga, Kudiya, Paniya. Related to Telugu. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif Khitan Small Script": { + "name": "Noto Serif Khitan Small Script", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "khitan-small-script", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Kits", + "article": "Noto Serif Khitan Small Script is a design for the historical East Asian Khitan small script script. Noto Serif Khitan Small Script contains 11,365 glyphs, 2 OpenType features, and supports 497 characters from 3 Unicode blocks: Khitan Small Script, CJK Unified Ideographs, Basic Latin. Supported writing systems Khitan small script Khitan small script is a historical East Asian logo-syllabary. Was used in the 10th\u201312th centuries by the Khitan in the Liao Empire (north-eastern China) for the Khitan language. Later used by the Jurchens. Two independent writing systems, the Khitan large script and the Khitan small script, were used in parallel. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif Khmer": { + "name": "Noto Serif Khmer", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "khmer", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Khmr", + "article": "Noto Serif Khmer is a modulated (\u201cserif\u201d) design for texts in the Southeast Asian Khmer script. Noto Serif Khmer has multiple weights and widths, contains 361 glyphs, 13 OpenType features, and supports 175 characters from 4 Unicode blocks: Khmer, Khmer Symbols, Basic Latin, General Punctuation. Supported writing systems Khmer Khmer (\u17a2\u1780\u17d2\u179f\u179a\u1781\u17d2\u1798\u17c2\u179a) is a Southeast Asian abugida, written left-to-right (12 million users). Used since the 7th century in Cambodia for the Khmer language. Also used for Brao, Mnong, Pali. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif Khojki": { + "name": "Noto Serif Khojki", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "khojki", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Khoj", + "article": "Noto Sans Khojki is an modulated (\u201cserif\u201d) design for texts in the Indic Khojki script. Noto Sans Khojki contains 423 glyphs, 8 OpenType features, and supports 89 characters from 2 Unicode blocks: Khojki, Common Indic Number Forms. Supported writing systems Khojki Khojki (\ud804\ude09\ud804\ude32\ud804\ude10\ud804\ude08\ud804\ude2e) is an Indic abugida, written left-to-right. Used since the 16th century in today\u2019s Pakistan and India by the Khoja people for religious texts in the Sindhi language. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif Lao": { + "name": "Noto Serif Lao", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "lao", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Laoo", + "article": "Noto Serif Lao is a modulated (\u201cserif\u201d) design for texts in the Southeast Asian Lao script. Noto Serif Lao has multiple weights and widths, contains 117 glyphs, 5 OpenType features, and supports 76 characters from the Unicode block Lao. Supported writing systems Lao Lao (\u0ea5\u0eb2\u0ea7) is a Southeast Asian abugida, written left-to-right (7 million users). Used since the 14th century in Laos the Lao language, and also for Isan, Thai. Derived from the Khmer script. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif Makasar": { + "name": "Noto Serif Makasar", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "makasar" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Maka", + "article": "Noto Serif Makasar is a design for the historical Southeast Asian Makasar script. Noto Serif Makasar contains 30 glyphs, 5 OpenType features, and supports 27 characters from the Unicode block Makasar. Supported writing systems Makasar Makasar (Old Makassarese, \ud807\udeea\ud807\udee2\ud807\udeea\ud807\udee2) is a historical Southeast Asian abugida, written left-to-right. Was used in the 17th\u201319th century on the Indonesian island Sulawesi through for the Makassarese language. Later replaced by Buginese (Lontara). Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif Malayalam": { + "name": "Noto Serif Malayalam", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "malayalam" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Mlym", + "article": "Noto Serif Malayalam is a modulated (\u201cserif\u201d) design for texts in the Indic Malayalam script. Noto Serif Malayalam has multiple weights, contains 354 glyphs, 10 OpenType features, and supports 187 characters from 4 Unicode blocks: Malayalam, Basic Latin, General Punctuation, Devanagari. Supported writing systems Malayalam Malayalam (\u0d2e\u0d32\u0d2f\u0d3e\u0d33\u0d02) is an Indic abugida, written left-to-right (38 million users). Used since c. 830 CE in India for Malayalam (official language of the Kerala state), Irula, Paniya and some other languages. Derived from the a Vatteluttu alphabet. Has 15 vowel letters, 42 consonant letters, and a few other symbols. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif Myanmar": { + "name": "Noto Serif Myanmar", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "myanmar" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Mymr", + "article": "Noto Serif Myanmar is a modulated (\u201cserif\u201d) design for texts in the Southeast Asian Myanmar script. Noto Serif Myanmar contains 725 glyphs, 7 OpenType features, and supports 239 characters from 4 Unicode blocks: Myanmar, Myanmar Extended-A, Myanmar Extended-B, General Punctuation. Supported writing systems Myanmar Myanmar (Burmese, \u1019\u103c\u1014\u103a\u1019\u102c) is a Southeast Asian abugida, written left-to-right (40 million users). Used since c. 1000 CE in Myanmar for the Burmese and Mon languages. Also used for some Karen languages. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif NP Hmong": { + "name": "Noto Serif NP Hmong", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "nyiakeng-puachue-hmong" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Hmnp", + "article": "Noto Serif Nyiakeng Puachue Hmong is a modulated (\u201cserif\u201d) design for texts in the Nyiakeng Puachue Hmong script. Noto Serif Nyiakeng Puachue Hmong has multiple weights, contains 76 glyphs, 2 OpenType features, and supports 75 characters from the Unicode block Nyiakeng Puachue Hmong. Supported writing systems Nyiakeng Puachue Hmong Nyiakeng Puachue Hmong (\ud838\udd10\ud838\udd26\ud838\udd32\ud838\udd24\ud838\udd0e\ud838\udd2b\ud838\udd30\ud838\udd1a\ud838\udd27\ud838\udd32\ud838\udd24\ud838\udd14\ud838\udd2c\ud838\udd31\u200e) is an alphabet, written left-to-right. Used for the White Hmong and Green Hmong languages by members of the United Christians Liberty Evangelical Church in the USA, in Laos, Thailand, Vietnam, France, and in Australia. Created in the 1980s by Reverend Chervang Kong. Read more on ScriptSource, Unicode, Wikipedia, r12a.", + "minisite_url": null + }, + "Noto Serif Nyiakeng Puachue Hmong": { + "name": "Noto Serif Nyiakeng Puachue Hmong", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "nyiakeng-puachue-hmong" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Hmnp", + "article": "Noto Serif Nyiakeng Puachue Hmong is a modulated (\u201cserif\u201d) design for texts in the Nyiakeng Puachue Hmong script. Noto Serif Nyiakeng Puachue Hmong has multiple weights, contains 76 glyphs, 2 OpenType features, and supports 75 characters from the Unicode block Nyiakeng Puachue Hmong. Supported writing systems Nyiakeng Puachue Hmong Nyiakeng Puachue Hmong (\ud838\udd10\ud838\udd26\ud838\udd32\ud838\udd24\ud838\udd0e\ud838\udd2b\ud838\udd30\ud838\udd1a\ud838\udd27\ud838\udd32\ud838\udd24\ud838\udd14\ud838\udd2c\ud838\udd31\u200e) is an alphabet, written left-to-right. Used for the White Hmong and Green Hmong languages by members of the United Christians Liberty Evangelical Church in the USA, in Laos, Thailand, Vietnam, France, and in Australia. Created in the 1980s by Reverend Chervang Kong. Read more on ScriptSource, Unicode, Wikipedia, r12a.", + "minisite_url": null + }, + "Noto Serif Old Uyghur": { + "name": "Noto Serif Old Uyghur", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "old-uyghur" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Ougr", + "article": "Noto Serif Old Uyghur is a design for the historical Central Asian Old Uyghur script. Noto Serif Old Uyghur contains 132 glyphs, 9 OpenType features, and supports 34 characters from the Unicode block Old Uyghur. Supported writing systems Old Uyghur Old Uyghur is a historical Central Asian abjad. Was used in Turfanand Gansu in c. 700s\u20131800s for the Old Uyghur language, a variety of Old Turkic. Evolved into the Mongolian and Manchu scripts. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif Oriya": { + "name": "Noto Serif Oriya", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "oriya" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Orya", + "article": "Noto Serif Oriya is a modulated (\u201cserif\u201d) design for texts in the Indic Odia (Oriya) script. Noto Serif Oriya has multiple weights, contains 690 glyphs, 16 OpenType features, and supports 151 characters from 3 Unicode blocks: Oriya, Basic Latin, General Punctuation. Supported writing systems Odia (Oriya) Odia (Oriya, \u0b09\u0b24\u0b4d\u0b15\u0b33) is an Indic abugida, written left-to-right (21 million users). Used since the c. 14th century in India for the Odia language (state language of Orissa). Also used for Dravidian and Munda languages. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif Ottoman Siyaq": { + "name": "Noto Serif Ottoman Siyaq", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "ottoman-siyaq-numbers" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Noto Serif Ottoman Siyaq Numbers is a modulated (\u201cserif\u201d) design for the Arabic form of the Siyaq numeral system, used in Iran, Turkey, the Arabian Peninsula, and South Asia for accounting and finance. Noto Serif Ottoman Siyaq contains 63 glyphs, and supports 61 characters .", + "minisite_url": null + }, + "Noto Serif SC": { + "name": "Noto Serif SC", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "chinese-simplified", + "cyrillic", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Hans", + "article": "Noto Serif SC is a modulated (\u201cserif\u201d) design for languages in mainland China that use the Simplified Chinese variant of the Han ideograms. It also supports Hiragana, Katakana, Latin, Cyrillic, Greek and Hangul. Noto Serif CJK SC contains 65,535 glyphs, 21 OpenType features, and supports 43,029 characters from 53 Unicode blocks: CJK Unified Ideographs, Hangul Syllables, CJK Unified Ideographs Extension A, CJK Unified Ideographs Extension B, CJK Compatibility Ideographs, Hangul Jamo, CJK Compatibility, Halfwidth and Fullwidth Forms, Kangxi Radicals, Enclosed CJK Letters and Months, Enclosed Alphanumeric Supplement, Box Drawing, CJK Radicals Supplement, CJK Unified Ideographs Extension E, Katakana, Hangul Compatibility Jamo, Hiragana, Latin Extended Additional, Latin-1 Supplement, Basic Latin, Enclosed Alphanumerics, Mathematical Operators, Hangul Jamo Extended-B, Cyrillic, Enclosed Ideographic Supplement, CJK Symbols and Punctuation, Miscellaneous Symbols, Greek and Coptic, CJK Unified Ideographs Extension C, CJK Compatibility Ideographs Supplement, Bopomofo, Geometric Shapes, CJK Strokes, General Punctuation, CJK Unified Ideographs Extension D, Block Elements, CJK Compatibility Forms, Latin Extended-A, Hangul Jamo Extended-A, Bopomofo Extended, Miscellaneous Technical, Small Form Variants, Arrows, Latin Extended-B, Letterlike Symbols, Katakana Phonetic Extensions, Kanbun, Ideographic Description Characters, Vertical Forms, Dingbats, Spacing Modifier Letters, Alphabetic Presentation Forms, Miscellaneous Symbols and Arrows. Supported writing systems Simplified Han Simplified Han (\u7b80\u5316\u5b57) is an East Asian logo-syllabary, written vertically right-to-left and horizontally left-to-right (over 1.3 billion users). Used in mainland China, Malaysia and Singapore. ((TODO)) Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Hangul Hangul (Hangeul, \ud55c\uae00, Chos\u014fn'g\u016dl, \uc870\uc120\uae00) is an East Asian script, written vertically right-to-left and horizontally left-to-right (79 million users). Used for the Korean language. Created in 1446 by King Sejong the Great (Sejong of Joseon) as a simpler, phonetic alternative to using Chinese hanja for Korean. Not universally accepted for centuries, suppressed by Japanese colonial authorities. Since 1945 the standard script for Korean. The 51 basic letters (jamo) are grouped into syllable blocks depending on their position in the spoken syllable. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Latin Latin (Roman) is a European bicameral alphabet, written left-to-right. The most popular writing system in the world. Used for over 3,000 languages including Latin and Romance languages (Italian, French, Portuguese, Spanish and Romanian), Germanic languages (English, Dutch, German, Nordic languages), Finnish, Malaysian, Indonesian, Filipino, Visayan languages, Turkish, Azerbaijani, Polish, Somali, Vietnamese, and many others. Derived from Western Greek, attested in Rome in the 7th century BCE. In the common era, numerous European languages adopted the Latin script along with Western Christian religion, the script disseminated further with European colonization of the Americas, Australia, parts of Asia, Africa and the Pacific. New letters, ligatures and diacritical marks were gradually added to represent the sounds of various languages. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Katakana Katakana (\u7247\u4eee\u540d\u3001\u30ab\u30bf\u30ab\u30ca) is an East Asian syllabary, written vertically right-to-left and horizontally left-to-right (126 million users). Used in Japan for Japanese, Ryukyuan, Ainu and Palauan, and formerly for Taiwanese Hokkien. Katakana is used for transcription of foreign-language words into Japanese, for the writing of loan words, for emphasis, to represent onomatopoeia, for technical and scientific terms, for names of plants, animals and minerals, and often for names of Japanese companies. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Hiragana Hiragana (\u5e73\u4eee\u540d, \u3072\u3089\u304c\u306a) is an East Asian syllabary, written vertically right-to-left and horizontally left-to-right (120 million users). Used in Japan for Japanese and the Ryukyuan languages. Hiragana is used to write okurigana (kana suffixes following a kanji root, for example to inflect verbs and adjectives), various grammatical and function words including particles, as well as miscellaneous other native words for which there are no kanji or whose kanji form is obscure or too formal for the writing purpose. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Emoji symbols Emoji symbols are pictograms, logograms, ideograms and smileys used in electronic messages and web pages. Their primary function is to fill in emotional cues otherwise missing from typed conversation. They are typically rendered as multi-color characters. Read more on ScriptSource, Unicode, Wikipedia, r12a. Bopomofo Bopomofo (\u6ce8\u97f3\u7b26\u865f, \u6ce8\u97f3\u7b26\u53f7, \u3105\u3106\u3107\u3108) is an East Asian syllabary, written left-to-right. Developed in 1913 in China to be used for Mandarin Chinese transliteration alongside the Latin-based Wade\u2013Giles system. Also called Mandarin Phonetic Symbols or Zhuyin (\u6ce8\u97f3). Bopomofo is an official transliteration system in Taiwan, used in dictionaries, books, newspapers and journals to annotate the Taiwanese pronunciation of Chinese Han characters, and in electronic input methods. Largely replaced by Pinyin romanization in the People\u2019s Republic of China. Also used as the primary script for Taiwan\u2019s minority languages like Atayal, Taroko, Paiwan and Yami. Has 21 onset consonants, 16 rhymes, and 4 tone marks. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Cyrillic Cyrillic is a bicameral alphabet originating in Europe, written left-to-right (250 million users). Used for various languages across Eurasia and is used as the national script in various Slavic, Turkic, Mongolic and Iranic-speaking countries in Southeastern Europe, Eastern Europe, the Caucasus, Central Asia, North Asia and East Asia, including Russian, Bulgarian, Macedonian, Serbian, Ukrainian, Uzbek, Azerbaijani, Kazakh, Tajik, Kyrgyz, Bashkort, Chechen, Chuvash, Avar, Dargwa, Kabardian, Karakalpak, Kumyk, Lezgi, Ossetic, Pontic, Yakut, Buriat and many others. Created in the 9th century. Traditionally attributed to Saint Cyril, a monk from Thessaloniki working in Bulgaria, after earlier creation of the Glagolitic script. Sometimes attributed to Clement of Ohrid, a student of Saint Cyril\u2019s. Initially used for Old Church Slavonic. Reformed in 1708 by Russian tsar Peter the Great. Extended by the Soviet Union in the 20th century to write over 50 languages throughout Eastern Europe and Asia (some of those languages switched to Latin after 1991). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Greek Greek (\u0395\u03bb\u03bb\u03b7\u03bd\u03b9\u03ba\u03ac) is a European bicameral alphabet, written left-to-right (11 million users). Used to write the Greek language since the 8th century BCE. Also used to write other languages like Urum, Albanian Tosk, and Balkan Gagauz Turkish. Some symbols are also used in scientific notation. Derived from Phoenician. First \u201ctrue alphabet\u201d, with distinct letters for consonants and vowels. Standardized in the 4th century BCE by Eucleides. Has 24 letters. Some letter variants (sigma: \u03c3/\u03c2) have positional significance in the Greek language, other variants only differ in meaning in scientific notation (e.g. pi: \u03c0/\u03d6). The Greek language used to be written in polytonic spelling, with three accents on vowels. In 1982, Greece introduced monotonic spelling with a single diacritic. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif Sinhala": { + "name": "Noto Serif Sinhala", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "sinhala" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Sinh", + "article": "Noto Serif Sinhala is a modulated (\u201cserif\u201d) design for texts in the Indic Sinhala script. Noto Serif Sinhala has multiple weights and widths, contains 645 glyphs, 11 OpenType features, and supports 170 characters from 3 Unicode blocks: Sinhala, Basic Latin, General Punctuation. Supported writing systems Sinhala Sinhala (\u0dc3\u0dd2\u0d82\u0dc4\u0dbd) is an Indic abugida, written left-to-right. Used since c. 300 CE in Sri Lanka for the Sinhala language (15 million speakers), for Pali and Sanskrit. The \u201cpure\u201d letter set has 20 consonant and 20 vowel letters, and is used for the sounds of the spoken Sinhala. The \u201cmixed\u201d letter set (18 more consonant letters) is used for correct spelling, which often reflect archaic pronunciations, and for non-Sinhala words and languages. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif TC": { + "name": "Noto Serif TC", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "chinese-traditional", + "cyrillic", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Hant", + "article": "Noto Serif TC is a modulated (\u201cserif\u201d) design for languages in Taiwan, Hong Kong and Macau that use the Traditional Chinese variant of the Han ideograms. It also supports Hiragana, Katakana, Latin, Cyrillic, Greek and Hangul. Noto Serif CJK TC contains 65,535 glyphs, 21 OpenType features, and supports 43,029 characters from 53 Unicode blocks: CJK Unified Ideographs, Hangul Syllables, CJK Unified Ideographs Extension A, CJK Unified Ideographs Extension B, CJK Compatibility Ideographs, Hangul Jamo, CJK Compatibility, Halfwidth and Fullwidth Forms, Kangxi Radicals, Enclosed CJK Letters and Months, Enclosed Alphanumeric Supplement, Box Drawing, CJK Radicals Supplement, CJK Unified Ideographs Extension E, Katakana, Hangul Compatibility Jamo, Hiragana, Latin Extended Additional, Latin-1 Supplement, Basic Latin, Enclosed Alphanumerics, Mathematical Operators, Hangul Jamo Extended-B, Cyrillic, Enclosed Ideographic Supplement, CJK Symbols and Punctuation, Miscellaneous Symbols, Greek and Coptic, CJK Unified Ideographs Extension C, CJK Compatibility Ideographs Supplement, Bopomofo, Geometric Shapes, CJK Strokes, General Punctuation, CJK Unified Ideographs Extension D, Block Elements, CJK Compatibility Forms, Latin Extended-A, Hangul Jamo Extended-A, Bopomofo Extended, Miscellaneous Technical, Small Form Variants, Arrows, Latin Extended-B, Letterlike Symbols, Katakana Phonetic Extensions, Kanbun, Ideographic Description Characters, Vertical Forms, Dingbats, Spacing Modifier Letters, Alphabetic Presentation Forms, Miscellaneous Symbols and Arrows. Supported writing systems Traditional Han Traditional Han (\u6f22\u5b57) is an East Asian logo-syllabary, written vertically right-to-left and horizontally left-to-right (over 30 million users). Used in Taiwan, Hong Kong and Macau. ((TODO)) Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Hangul Hangul (Hangeul, \ud55c\uae00, Chos\u014fn'g\u016dl, \uc870\uc120\uae00) is an East Asian script, written vertically right-to-left and horizontally left-to-right (79 million users). Used for the Korean language. Created in 1446 by King Sejong the Great (Sejong of Joseon) as a simpler, phonetic alternative to using Chinese hanja for Korean. Not universally accepted for centuries, suppressed by Japanese colonial authorities. Since 1945 the standard script for Korean. The 51 basic letters (jamo) are grouped into syllable blocks depending on their position in the spoken syllable. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Latin Latin (Roman) is a European bicameral alphabet, written left-to-right. The most popular writing system in the world. Used for over 3,000 languages including Latin and Romance languages (Italian, French, Portuguese, Spanish and Romanian), Germanic languages (English, Dutch, German, Nordic languages), Finnish, Malaysian, Indonesian, Filipino, Visayan languages, Turkish, Azerbaijani, Polish, Somali, Vietnamese, and many others. Derived from Western Greek, attested in Rome in the 7th century BCE. In the common era, numerous European languages adopted the Latin script along with Western Christian religion, the script disseminated further with European colonization of the Americas, Australia, parts of Asia, Africa and the Pacific. New letters, ligatures and diacritical marks were gradually added to represent the sounds of various languages. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Katakana Katakana (\u7247\u4eee\u540d\u3001\u30ab\u30bf\u30ab\u30ca) is an East Asian syllabary, written vertically right-to-left and horizontally left-to-right (126 million users). Used in Japan for Japanese, Ryukyuan, Ainu and Palauan, and formerly for Taiwanese Hokkien. Katakana is used for transcription of foreign-language words into Japanese, for the writing of loan words, for emphasis, to represent onomatopoeia, for technical and scientific terms, for names of plants, animals and minerals, and often for names of Japanese companies. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Hiragana Hiragana (\u5e73\u4eee\u540d, \u3072\u3089\u304c\u306a) is an East Asian syllabary, written vertically right-to-left and horizontally left-to-right (120 million users). Used in Japan for Japanese and the Ryukyuan languages. Hiragana is used to write okurigana (kana suffixes following a kanji root, for example to inflect verbs and adjectives), various grammatical and function words including particles, as well as miscellaneous other native words for which there are no kanji or whose kanji form is obscure or too formal for the writing purpose. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Emoji symbols Emoji symbols are pictograms, logograms, ideograms and smileys used in electronic messages and web pages. Their primary function is to fill in emotional cues otherwise missing from typed conversation. They are typically rendered as multi-color characters. Read more on ScriptSource, Unicode, Wikipedia, r12a. Bopomofo Bopomofo (\u6ce8\u97f3\u7b26\u865f, \u6ce8\u97f3\u7b26\u53f7, \u3105\u3106\u3107\u3108) is an East Asian syllabary, written left-to-right. Developed in 1913 in China to be used for Mandarin Chinese transliteration alongside the Latin-based Wade\u2013Giles system. Also called Mandarin Phonetic Symbols or Zhuyin (\u6ce8\u97f3). Bopomofo is an official transliteration system in Taiwan, used in dictionaries, books, newspapers and journals to annotate the Taiwanese pronunciation of Chinese Han characters, and in electronic input methods. Largely replaced by Pinyin romanization in the People\u2019s Republic of China. Also used as the primary script for Taiwan\u2019s minority languages like Atayal, Taroko, Paiwan and Yami. Has 21 onset consonants, 16 rhymes, and 4 tone marks. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Cyrillic Cyrillic is a bicameral alphabet originating in Europe, written left-to-right (250 million users). Used for various languages across Eurasia and is used as the national script in various Slavic, Turkic, Mongolic and Iranic-speaking countries in Southeastern Europe, Eastern Europe, the Caucasus, Central Asia, North Asia and East Asia, including Russian, Bulgarian, Macedonian, Serbian, Ukrainian, Uzbek, Azerbaijani, Kazakh, Tajik, Kyrgyz, Bashkort, Chechen, Chuvash, Avar, Dargwa, Kabardian, Karakalpak, Kumyk, Lezgi, Ossetic, Pontic, Yakut, Buriat and many others. Created in the 9th century. Traditionally attributed to Saint Cyril, a monk from Thessaloniki working in Bulgaria, after earlier creation of the Glagolitic script. Sometimes attributed to Clement of Ohrid, a student of Saint Cyril\u2019s. Initially used for Old Church Slavonic. Reformed in 1708 by Russian tsar Peter the Great. Extended by the Soviet Union in the 20th century to write over 50 languages throughout Eastern Europe and Asia (some of those languages switched to Latin after 1991). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Greek Greek (\u0395\u03bb\u03bb\u03b7\u03bd\u03b9\u03ba\u03ac) is a European bicameral alphabet, written left-to-right (11 million users). Used to write the Greek language since the 8th century BCE. Also used to write other languages like Urum, Albanian Tosk, and Balkan Gagauz Turkish. Some symbols are also used in scientific notation. Derived from Phoenician. First \u201ctrue alphabet\u201d, with distinct letters for consonants and vowels. Standardized in the 4th century BCE by Eucleides. Has 24 letters. Some letter variants (sigma: \u03c3/\u03c2) have positional significance in the Greek language, other variants only differ in meaning in scientific notation (e.g. pi: \u03c0/\u03d6). The Greek language used to be written in polytonic spelling, with three accents on vowels. In 1982, Greece introduced monotonic spelling with a single diacritic. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif Tamil": { + "name": "Noto Serif Tamil", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "tamil" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Taml", + "article": "Noto Serif Tamil is a modulated (\u201cserif\u201d) design for texts in the Indic Tamil script. Noto Serif Tamil has italic styles, multiple weights and widths, contains 222 glyphs, 10 OpenType features, and supports 147 characters from 5 Unicode blocks: Tamil, Basic Latin, General Punctuation, Devanagari, Grantha. Supported writing systems Tamil Tamil (\u0ba4\u0bae\u0bbf\u0bb4\u0bcd) is an Indic abugida, written left-to-right (70 million users). Used in India, Sri Lanka, Singapore, Malaysia and Mauritius for the Tamil language, and other languages like Irula, Badaga, Kurumba, Paniya, Saurashtra. Has 18 consonants (modest set for Brahmic scripts) and 12 vowels. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif Tangut": { + "name": "Noto Serif Tangut", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "tangut" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Tang", + "article": "Noto Serif Tangut is a modulated (\u201cserif\u201d) design for texts in the historical East Asian Tangut script. Noto Serif Tangut contains 6,897 glyphs, and supports 6,896 characters from 2 Unicode blocks: Tangut, Tangut Components. Supported writing systems Tangut Tangut (Xixia, \ud81f\udf07\ud81d\udff2) is a historical East Asian logo-syllabary, written vertically left-to-right. Was widely used in China in 1036\u20131502 for the now-extinct Tangut language. Superficially similar to Chinese writing, but not related. Had almost 6,000 characters. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif Telugu": { + "name": "Noto Serif Telugu", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "telugu" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Telu", + "article": "Noto Serif Telugu is a modulated (\u201cserif\u201d) design for texts in the Indic Telugu script. Noto Serif Telugu has multiple weights, contains 728 glyphs, 11 OpenType features, and supports 163 characters from 4 Unicode blocks: Telugu, Basic Latin, General Punctuation, Devanagari. Supported writing systems Telugu Telugu (\u0c24\u0c46\u0c32\u0c41\u0c17\u0c41) is an Indic abugida, written left-to-right without a headstroke. Used since c. 1300 CE in South India for the Telugu language (74 million speakers), state language of Andhra Pradesh. Also used for Chenchu, Savara, Manna-Dora, for Sanskrit and Gondi. Closely related to the Kannada script. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif Thai": { + "name": "Noto Serif Thai", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "thai" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Thai", + "article": "Noto Serif Thai is a modulated (\u201cserif\u201d) design for texts in the Southeast Asian Thai script. Noto Serif Thai has multiple weights and widths, contains 140 glyphs, 6 OpenType features, and supports 101 characters from the Unicode block Thai. Supported writing systems Thai Thai (\u0e44\u0e17\u0e22) is a Southeast Asian abugida, written left-to-right (38 million users). Used since 1283 in Thailand, Laos and China for the Thai, Northern Thai, Northeastern Thai, Southern Thai, Thai Song and Pali languages. Related to the Lao script. Uses 44 letters for 21 consonants. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif Tibetan": { + "name": "Noto Serif Tibetan", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "tibetan" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Tibt", + "article": "Noto Serif Tibetan is a modulated (\u201cserif\u201d) design for texts in the Central Asian Tibetan script. Noto Serif Tibetan has multiple weights, contains 1,891 glyphs, 7 OpenType features, and supports 223 characters from the Unicode block Tibetan. Supported writing systems Tibetan Tibetan (\u0f56\u0f7c\u0f51) is a Central Asian abugida, written left-to-right (5 million users). Used since c. 650 CE in Tibet, Bhutan, Nepal and India for the Tibetan, Dzongkha, Ladakhi and Sikkimese languages and for religious Sanskrit texts. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif Todhri": { + "name": "Noto Serif Todhri", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "todhri" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Todr", + "article": "Noto Serif Todhri is an unmodulated (\u201csans-serif\u201d) design. Noto Serif Todhri contains 76 glyphs, 2 OpenType features, and supports 68 characters from 2 Unicode blocks: Todhri, Combining Diacritical Marks. Supported writing systems Todhri Read more on ScriptSource, Wikipedia, and r12a.", + "minisite_url": null + }, + "Noto Serif Toto": { + "name": "Noto Serif Toto", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "toto" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Toto", + "article": "Noto Serif is a modulated (\u201cserif\u201d) design for texts in the Latin, Cyrillic and Greek scripts, also suitable as the complementary font for other script-specific Noto Serif fonts. Noto Serif Toto has multiple weights, contains 40 glyphs, 3 OpenType features, and supports 36 characters from the Unicode block Toto. Supported writing systems Toto Toto is an Indic alphabet, written left-to-right. Created in 2015 by Dhaniram Toto for the 1,500 speakers of the Toto language, who live in a single jungle village in India near Bhutan. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, r12a.", + "minisite_url": null + }, + "Noto Serif Vithkuqi": { + "name": "Noto Serif Vithkuqi", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "vithkuqi" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Vith", + "article": "Noto Serif Vithkuqi is a design for the historical European Vithkuqi script. Noto Serif Vithkuqi has multiple weights, contains 103 glyphs, and supports 101 characters from 2 Unicode blocks: Vithkuqi, Basic Latin. Supported writing systems Vithkuqi Vithkuqi (B\u00fcthakukye) is a historical European bicameral alphabet, written left-to-right. Created around 1840 by Naum Veqilharxhi for the Albanian language. Read more on ScriptSource, Unicode, Wikipedia, r12a.", + "minisite_url": null + }, + "Noto Serif Yezidi": { + "name": "Noto Serif Yezidi", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "yezidi" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Yezi", + "article": "Noto Serif Yezidi is a modulated (\u201cserif\u201d) design for texts in the Middle Eastern Yezidi script. Noto Serif Yezidi has multiple weights, contains 56 glyphs, 2 OpenType features, and supports 55 characters from 2 Unicode blocks: Yezidi, Arabic. Supported writing systems Yezidi Yezidi (Yazidi) is a Middle Eastern abjad. Used in Kurdistan, Iraq, Syria, Turkey and the Caucasus for religious texts in the Kurdish and Arabic languages. Read more on ScriptSource, Unicode, Wikipedia, r12a.", + "minisite_url": null + }, + "Noto Traditional Nushu": { + "name": "Noto Traditional Nushu", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "nushu" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Nshu", + "article": "Noto Traditional Nushu is an unmodulated (\u201csans serif\u201d) design in multiple weights for the East Asian N\u00fcshu script, with a calligraphic skeleton and a compact appearance. It is suitable for texts in medium font sizes, and for headlines. Noto Traditional Nushu contains 870 glyphs, 2 OpenType features, and supports 470 characters from 2 Unicode blocks: Nushu, Basic Latin. Supported writing systems N\u00fcshu N\u00fcshu (\ud82c\udd81\ud82c\ude2c\u200e) is an East Asian logo-syllabary, written vertically left-to-right. Was used in the 13th\u201320th centuries by women in Jiangyong County in Hunan province of southern China, mainly for the Chinese dialect Xiangnan Tuhua. Recently revived. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Latin Latin (Roman) is a European bicameral alphabet, written left-to-right. The most popular writing system in the world. Used for over 3,000 languages including Latin and Romance languages (Italian, French, Portuguese, Spanish and Romanian), Germanic languages (English, Dutch, German, Nordic languages), Finnish, Malaysian, Indonesian, Filipino, Visayan languages, Turkish, Azerbaijani, Polish, Somali, Vietnamese, and many others. Derived from Western Greek, attested in Rome in the 7th century BCE. In the common era, numerous European languages adopted the Latin script along with Western Christian religion, the script disseminated further with European colonization of the Americas, Australia, parts of Asia, Africa and the Pacific. New letters, ligatures and diacritical marks were gradually added to represent the sounds of various languages. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Znamenny Musical Notation": { + "name": "Noto Znamenny Musical Notation", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "math", + "symbols", + "znamenny" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "symbols" + ], + "description": null, + "primary_script": null, + "article": "Noto Znamenny Musical Notation is a font that contains symbols for the Znamenny Chant _musical notation. Noto Znamenny Musical Notation contains 527 glyphs, 9 OpenType features, and supports 515 characters from 9 Unicode blocks: Znamenny Musical Notation, Latin Extended-A, Basic Latin, Latin-1 Supplement, Combining Diacritical Marks, General Punctuation, Spacing Modifier Letters, Latin Extended Additional, Latin Extended-B.", + "minisite_url": null + }, + "NotoSerifTamilSlanted": { + "name": "NotoSerifTamilSlanted", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "tamil" + ], + "stroke": "SERIF", + "classifications": [], + "description": "The Noto project develops fonts to support all the languages in the world. Google has been developing a font family called Noto, which aims to support all languages with a harmonious look and feel. Noto has multiple styles and weights, and is freely available to all. The comprehensive set of font sources and tools used in our development is available in our GitHub repositories. Noto fonts for many other languages are available as web fonts in Google Fonts Early Access.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Nova Cut": { + "name": "Nova Cut", + "designer": [ + "Wojciech Kalinowski" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "I created the NovaCut font about 14-15 years ago for making inscriptions on stone. Initially the font contained only capitals and digits and existed only on paper and stone inscriptions. In 2010 I decided transfer this font to a computer, and made the missing lowercase and some basical signs; it was initially named Gothica. By the way I made other versions of some letters. It was a lot of this at the end of my work. I decided create new fonts based on these letters. And finally I created six fonts family and named these fonts Nova (NovaCut, NovaFlat, NovaOval, NovaRound, NovaSlim, NovaSquare - by the shape of individual fonts). At last I created monospace font - NovaMono - the seventh part of this family.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Nova Flat": { + "name": "Nova Flat", + "designer": [ + "Wojciech Kalinowski" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "I created the NovaCut font about 14-15 years ago for making inscriptions on stone. Initially the font contained only capitals and digits and existed only on paper and stone inscriptions. In 2010 I decided transfer this font to a computer, and made the missing lowercase and some basical signs; it was initially named Gothica. By the way I made other versions of some letters. It was a lot of this at the end of my work. I decided create new fonts based on these letters. And finally I created six fonts family and named these fonts Nova (NovaCut, NovaFlat, NovaOval, NovaRound, NovaSlim, NovaSquare - by the shape of individual fonts). At last I created monospace font - NovaMono - the seventh part of this family.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Nova Mono": { + "name": "Nova Mono", + "designer": [ + "Wojciech Kalinowski" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "greek", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "monospace", + "display" + ], + "description": "I created the NovaCut font about 14-15 years ago for making inscriptions on stone. Initially the font contained only capitals and digits and existed only on paper and stone inscriptions. In 2010 I decided transfer this font to a computer, and made the missing lowercase and some basical signs; it was initially named Gothica. By the way I made other versions of some letters. It was a lot of this at the end of my work. I decided create new fonts based on these letters. And finally I created six fonts family and named these fonts Nova (NovaCut, NovaFlat, NovaOval, NovaRound, NovaSlim, NovaSquare - by the shape of individual fonts). At last I created monospace font - NovaMono - the seventh part of this family.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Nova Oval": { + "name": "Nova Oval", + "designer": [ + "Wojciech Kalinowski" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "I created the NovaCut font about 14-15 years ago for making inscriptions on stone. Initially the font contained only capitals and digits and existed only on paper and stone inscriptions. In 2010 I decided transfer this font to a computer, and made the missing lowercase and some basical signs; it was initially named Gothica. By the way I made other versions of some letters. It was a lot of this at the end of my work. I decided create new fonts based on these letters. And finally I created six fonts family and named these fonts Nova (NovaCut, NovaFlat, NovaOval, NovaRound, NovaSlim, NovaSquare - by the shape of individual fonts). At last I created monospace font - NovaMono - the seventh part of this family.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Nova Round": { + "name": "Nova Round", + "designer": [ + "Wojciech Kalinowski" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "I created the NovaCut font about 14-15 years ago for making inscriptions on stone. Initially the font contained only capitals and digits and existed only on paper and stone inscriptions. In 2010 I decided transfer this font to a computer, and made the missing lowercase and some basical signs; it was initially named Gothica. By the way I made other versions of some letters. It was a lot of this at the end of my work. I decided create new fonts based on these letters. And finally I created six fonts family and named these fonts Nova (NovaCut, NovaFlat, NovaOval, NovaRound, NovaSlim, NovaSquare - by the shape of individual fonts). At last I created monospace font - NovaMono - the seventh part of this family.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Nova Script": { + "name": "Nova Script", + "designer": [ + "Wojciech Kalinowski" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "NovaScript is based on my NovaOval font, and it's a part of the Nova set. I created it because the Nova family was missing an oblique font. Now I consider the Nova family complete.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Nova Slim": { + "name": "Nova Slim", + "designer": [ + "Wojciech Kalinowski" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "I created the NovaCut font about 14-15 years ago for making inscriptions on stone. Initially the font contained only capitals and digits and existed only on paper and stone inscriptions. In 2010 I decided transfer this font to a computer, and made the missing lowercase and some basical signs; it was initially named Gothica. By the way I made other versions of some letters. It was a lot of this at the end of my work. I decided create new fonts based on these letters. And finally I created six fonts family and named these fonts Nova (NovaCut, NovaFlat, NovaOval, NovaRound, NovaSlim, NovaSquare - by the shape of individual fonts). At last I created monospace font - NovaMono - the seventh part of this family.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Nova Square": { + "name": "Nova Square", + "designer": [ + "Wojciech Kalinowski" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "I created the NovaCut font about 14-15 years ago for making inscriptions on stone. Initially the font contained only capitals and digits and existed only on paper and stone inscriptions. In 2010 I decided transfer this font to a computer, and made the missing lowercase and some basical signs; it was initially named Gothica. By the way I made other versions of some letters. It was a lot of this at the end of my work. I decided create new fonts based on these letters. And finally I created six fonts family and named these fonts Nova (NovaCut, NovaFlat, NovaOval, NovaRound, NovaSlim, NovaSquare - by the shape of individual fonts). At last I created monospace font - NovaMono - the seventh part of this family.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Numans": { + "name": "Numans", + "designer": [ + "Jovanny Lemonad" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Numans font is a modern 'grotesque' sans-serif with open forms. Sometimes I would like to call it \"Humans,\" but since I am from Russia, my English is not so fluent and sometimes I can be confused. The name comes from romanticising this. Numans is similar to the more bold font Days One, also available in Google Web Fonts.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Nunito": { + "name": "Nunito", + "designer": [ + "Vernon Adams", + "Cyreal", + "Jacques Le Bailly" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Nunito is a well balanced sans serif typeface superfamily, with 2 versions: The project began with Nunito, created by Vernon Adams as a rounded terminal sans serif for display typography. Jacques Le Bailly extended it to a full set of weights, and an accompanying regular non-rounded terminal version, Nunito Sans. To contribute, see github.com/googlefonts/nunito.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Nunito Sans": { + "name": "Nunito Sans", + "designer": [ + "Vernon Adams", + "Jacques Le Bailly", + "Manvel Shmavonyan", + "Alexei Vanyashin" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Nunito is a well balanced sans serif typeface superfamily, with 2 versions: The project began with Nunito, created by Vernon Adams as a rounded terminal sans serif for display typography. Jacques Le Bailly extended it to a full set of weights, and an accompanying regular non-rounded terminal version, Nunito Sans. In February 2023, Nunito Sans has been upgraded to a variable font with four axes: ascenders high, optical size, width and weight. Cyrillic has been added and the language support expanded. To contribute, please see github.com/googlefonts/NunitoSans.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Nuosu SIL": { + "name": "Nuosu SIL", + "designer": [ + "SIL International" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "yi" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Nuosu is a single Unicode font for the standardized Yi script used by a large ethnic group in southwestern China. The traditional Yi scripts have been in use for centuries, and have a tremendous number of local variants. The script was standardized in the 1970's by the Chinese government. In the process of standardization, 820 symbols from the traditional scripts of the Liangshan region were chosen to form a syllabary. This font was developed by SIL, and you can learn more about it at software.sil.org/nuosu. To contribute, see github.com/silnrsi/font-nuosu.", + "primary_script": "Yiii", + "article": null, + "minisite_url": null + }, + "OFL Sorts Mill Goudy TT": { + "name": "OFL Sorts Mill Goudy TT", + "designer": [ + "Barry Schwartz" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "A \u2018revival\u2019 of Goudy Oldstyle and Italic, with features among which are small capitals (in the roman only), oldstyle and lining figures, superscripts and subscripts, fractions, ligatures, class-based kerning, case-sensitive forms and capital spacing. There is support for many languages that use latin script.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Odibee Sans": { + "name": "Odibee Sans", + "designer": [ + "James Barnard" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Odibee Sans is a display font project by London-based designer James Barnard. James set out to create his very own one day build (ODB) and completed the entire character set, numbers and the basic glyphs in 24 hours. To contribute, see github.com/barnard555/odibeesans.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Odor Mean Chey": { + "name": "Odor Mean Chey", + "designer": [ + "Danh Hong" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "khmer", + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Odor Mean Chey is a Khmer font for headlines, titles and subtitles, and even banner designs. To contribute, see github.com/danhhong/OdorMeanChey.", + "primary_script": "Khmr", + "article": null, + "minisite_url": null + }, + "Offside": { + "name": "Offside", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "The main feature of Offside is its simple structure and monoline stroke. It is modern, slightly condensed, with large counters to achieve excellent readability on the web, even in small sizes. Its design details make it also suitable for writing headlines or signage with great clarity and prestige. The February 2023 update features a bigger glyphset, fractions and some minor aesthetic modifications. To contribute, see github.com/etunni/offside.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Oi": { + "name": "Oi", + "designer": [ + "Kostas Bartsokas" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "arabic", + "cyrillic", + "cyrillic-ext", + "greek", + "latin", + "latin-ext", + "tamil", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Oi is an ultra-fat display typeface that has its roots in grotesque slab serifs, most specifically the style that sprung with the release of Caslon\u2019s Ionic in 1844 and Clarendon by Fann Street Foundry in 1845. The typeface is a free spirited twisted interpetation of the clarendonesques. With an unapologetic tendency for public shouting, it is a whimsical loudmouth attention seeker! \"Oi\" is an interjection used in various languages. Its meaning varies, depending on the tone and abruptness of its use, from a simple \u201chi\u201d or a call of attention to as far as a challenge to a fight. Check out the mini-website. To contribute, see github.com/kosbarts/Oi.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ojuju": { + "name": "Ojuju", + "designer": [ + "\u1ee4d\u1ecb Foundry", + "Chisaokwu Joboson", + "Mirko Velimirovi\u0107" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "math", + "symbols", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "Ojuju is a reverse contrast Weight axis variable font inspired by African Masquerades. Ojuju draws inspiration from a variety of African traditional dance costumes to inform the design decisions. The masks worn by the Dogon dancers from Mali inspired the aperture shaping, and counterform placement within many of the letterforms. Additionally African movie poster lettering from the 1970's was referenced to round out the design space. Ojuju covers all of the Google's SSA(sub-saharan-african) latin glyphs. This Afro-grotesque style created by Chisaokwu Joboson, is distinct with varying apertures as it moves from extra-light to bold. To contribute, see github.com/jobosonchisa/ojuju.", + "minisite_url": null + }, + "Old Standard TT": { + "name": "Old Standard TT", + "designer": [ + "Alexey Kryukov" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Old Standard reproduces a specific type of Modern (classicist) style of serif typefaces, very commonly used in various editions of the late 19th and early 20th century, but almost completely abandoned later. However, this lettertype still has at least two advantages: it can be considered a good choice for typesetting scientific papers, especially on social and humanitarian sciences, as its specific features are closely associated in people's eyes with old books they learned on; the most beautiful examples of Greek and Cyrillic lettertypes were all based on the classicist style, so for those scripts, \"Modern\" fonts are much more appropriate than any contemporary (e. g. Times-based) designs. The name \"Old Standard\" was selected as opposed to the \"Obyknovennaya Novaya\" (\"New Standard\") typeface, widely used in Soviet typography, which represents another, slightly different type of the same Modern style. Of course this name doesn't look very original, but it seems to be a good choice for a revival of the most common lettertype of the early 20th century.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Oldenburg": { + "name": "Oldenburg", + "designer": [ + "Nicole Fally" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Foundry: Sorkin Type Co Oldenburg is inspired by nearly monoline handwritting seen on a series of German posters. It has been changed and adapted to be more broadly useful design than a more faithful interpretation would have been. Despite the increased ulity in Oldernburg it still presenst plenty of the whimsical feeling that made its source so attractive. Oldenburg can be used a in a wide range of sizes. Source files are available from Google Code. To contribute to the project contact Eben Sorkin.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ole": { + "name": "Ole", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Ol\u00e9 (named after the Spanish expression, pronounced \"oh-leh!\") has a romantic and fun flavour. Have a little fun using the ornamental glyphs to spice up any design. The Latin glyph set supports Western, Central, Eastern european languages and also Vietnamese. To contribute, see github.com/googlefonts/ole", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Oleo Script": { + "name": "Oleo Script", + "designer": [ + "soytutype fonts" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Oleo is a flowy yet legible non-connected script typeface. It is perfect for situations where a quaint and casual lettering effect is desired. Suitable for various typography contexts including captions, headlines, packaging, invitations, cards, posters, advertising, greeting cards, and book jackets. Oleo Script is currently available in two weights, Regular and Bold. It has also a Swash Caps sister family, also available in Regular and Bold. Oleo Script is a Unicode typeface family that supports languages that use the Latin script and its variants, and could be expanded to support other scripts. For more information see the Soytutype website, follow us on Twitter @soytutype or Google+ or contact Soytutype.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Oleo Script Swash Caps": { + "name": "Oleo Script Swash Caps", + "designer": [ + "soytutype fonts" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Oleo is a flowy yet legible non-connected script typeface. It is perfect for situations where a quaint and casual lettering effect is desired. Suitable for various typography contexts including captions, headlines, packaging, invitations, cards, posters, advertising, greeting cards, and book jackets. Oleo Script Swash Caps is currently available in two weights, Regular and Bold. It has also a Oleo Script sister family, also available in Regular and Bold. Oleo Script Swash Caps is a Unicode typeface family that supports languages that use the Latin script and its variants, and could be expanded to support other scripts. For more information see the Soytutype website, follow us on Twitter @soytutype or Google+ or contact Soytutype.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Onest": { + "name": "Onest", + "designer": [ + "Dmitri Voloshin", + "Andrey Kudryavtsev" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "From thin to extra bold, Onest is designed as a hybrid of geometric and humanistic grotesques. Onest is suitable for reading long texts from the screens of any device and is recommended for apps and sites. Letters are easily distinguished even in small sizes, so they can be used in interface elements or navigation. Several character sets have been developed for a range of closed and semi-closed apertures, allowing the combination of characters depending on the goal. Onest is a modern typeface, so it has a lot of useful conveniences. The subtleties of correct speech transmission are Onest's strong points. It knows like no other the importance and value of using the right diacritics and the difference between cedilla, ogonek and and the way things should be. For all its versatility, Onest allows text to keep its individuality. All thanks to alternative symbols that set the tone and even the character of the message. To contribute, please see github.com/simpals/onest.", + "minisite_url": null + }, + "Oooh Baby": { + "name": "Oooh Baby", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Oooh Baby. This cute little font is perfect for scrapping and fun play! It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/oooh-baby.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Open Sans": { + "name": "Open Sans", + "designer": [ + "Steve Matteson" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "hebrew", + "latin", + "latin-ext", + "math", + "symbols", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Open Sans is a humanist sans serif typeface designed by Steve Matteson, Type Director of Ascender Corp. This version contains the complete 897 character set, which includes the standard ISO Latin 1, Latin CE, Greek and Cyrillic character sets. Open Sans was designed with an upright stress, open forms and a neutral, yet friendly appearance. It was optimized for print, web, and mobile interfaces, and has excellent legibility characteristics in its letterforms. In March 2021, the family has been updated to a variable font family and it also includes Hebrew, and unified and simplified the licensing under OFL. To contribute, see github.com/googlefonts/opensans", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Open Sans Condensed": { + "name": "Open Sans Condensed", + "designer": [ + "Steve Matteson" + ], + "license": "apache2", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Open Sans is a humanist sans serif typeface designed by Steve Matteson, Type Director of Ascender Corp. This version contains the complete 897 character set, which includes the standard ISO Latin 1, Latin CE, Greek and Cyrillic character sets. Open Sans was designed with an upright stress, open forms and a neutral, yet friendly appearance. It was optimized for print, web, and mobile interfaces, and has excellent legibility characteristics in its letterforms.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Oranienbaum": { + "name": "Oranienbaum", + "designer": [ + "Oleg Pospelov", + "Jovanny Lemonad" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Oranienbaum is a modern high contrast Antiqua with well-defined, recognizable features. Based on the architecture of classic Antiqua fonts, such as Bodoni, Oranienbaum is typical of the typefaces from the first quarter of the 20th century: pronounced serifs, contrasting geometry, and an interplay of right angles and flowing lines. The font is well suited for both headlines and body text. It was designed through a collaboration of Oleg Pospelov as the main type designer, with Jovanny Lemonad as art director, technical engineer and publisher.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Orbit": { + "name": "Orbit", + "designer": [ + "Sooun Cho", + "JAMO" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "korean", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Orbit is inspired by the concept of monospaced Latin coding fonts. Korean fonts are usually already monospaced, but by bringing the impression of the Latin coding font in the Hangeul and punctuation design, Orbit gives a mathematical and geometric impression through a serif with right angle and orbicular circles. The font attempts to express orbitals with typeface using symmetry and connectivity to create a somewhat cosmic and futuristic atmosphere. As it is reminiscent of coding interface screens, it is recommended to use bright writing on a dark background, below 10pt. To contribute, please visit github.com/JAMO-TYPEFACE/Orbit.", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "Orbitron": { + "name": "Orbitron", + "designer": [ + "Matt McInerney" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Orbitron is a geometric sans-serif typeface intended for display purposes. It features four weights (light, medium, bold, and black), stylistic alternatives, small caps, and a ton of alternate glyphs. Orbitron was designed so that graphic designers in the future will have some alternative to typefaces like Eurostile or Bank Gothic. If you\u2019ve ever seen a futuristic sci-fi movie, you may have noticed that all other fonts have been lost or destroyed in the apocalypse that led humans to flee earth. Only those very few geometric typefaces have survived to be used on spaceship exteriors, spacestation signage, monopolistic corporate branding, uniforms featuring aerodynamic shoulder pads, etc. Of course Orbitron could also be used on the posters for the movies portraying this inevitable future. It was initially published on the League of Movable Type. Orbitron was remastered as a variable font in 2019. To contribute updates or file issues, see https://github.com/theleagueof/orbitron.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Oregano": { + "name": "Oregano", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "The Oregano family is based on cartoon style lettering of calligrapher and logo designer Rand Holub. This style of hand lettering adorned many retro brochures and advertisements of the late 40's through the 1960's. This approachable vintage spunk-filled lettering style exudes a casual and care free flavor perfect for both on screen and printed materials.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Orelega One": { + "name": "Orelega One", + "designer": [ + "Haruki Wakamatsu" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Orelega is a whimsical Clarendon font with oversized ears. Its design was based on Sagona Extra Bold by Ren\u00e9 Bieder, but it is not a shameless copy. Everything has been redrawn from the ground up, with many new aesthetic changes. Orelega is Esperanto for \u201clarge-eared\u201d. It is composed of orel- \u201cear\u201d, -eg- [augments degree or size], and -a [adjective ending]. To contribute, see github.com/JapanYoshi/Orelega", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Orienta": { + "name": "Orienta", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Orienta is a spacious sans serif, with excellent visual performance at very small text sizes. The balance between forms and counterforms creates strong legibility. If used in titles, you can see the details are all carefully designed, especially in the strokes of each letter. The February 2023 update features a bigger glyphset, fractions and some minor aesthetic modifications. To contribute, see github.com/etunni/orienta.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Original Surfer": { + "name": "Original Surfer", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Original Surfer is an offbeat sans serif font with loads of personality. Inspired by a vintage advertisement for the \"California Cliffs Caravan Park\", this font exudes all of the fun of a summer vacation anytime of the year. The letterforms are clear and cleanly legible, while nothing is formal or uptight about this font.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Oswald": { + "name": "Oswald", + "designer": [ + "Vernon Adams", + "Kalapi Gajjar", + "Cyreal" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Oswald is a reworking of the classic style historically represented by the 'Alternate Gothic' sans serif typefaces. The characters of Oswald were initially re-drawn and reformed to better fit the pixel grid of standard digital screens. Oswald is designed to be used freely across the internet by web browsers on desktop computers, laptops and mobile devices. - Since the initial launch in 2011, Oswald was updated continually by Vernon Adams until 2014. Vernon added Light and Bold weights, support for more Latin and Cyrillic languages, tightened the spacing and kerning and made many glyph refinements throughout the family based on hundreds of users' feedback. - In 2016 the Latin part of the family was updated by Kalapi Gajjar to complete the work started by Vernon. - In January 2019, it was updated with a variable font Weight axis. - In July 2023, the font was upgraded with a Cyrillic character set expansion, and the rendering of math symbols was improved. To contribute, see github.com/googlefonts/OswaldFont", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Otomanopee One": { + "name": "Otomanopee One", + "designer": [ + "Gutenberg Labo" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Original designed Japanese font, inspired graphical letters in manga. The outher had draw this style letters as onomatopoeia in her manga when she was a teenager. Eventually she stopped drawing manga, but made this letters to the font named Otomanopee and began distributing it under an open source license in 2007. Why the font is named Otomanopee is that the author mistook the spelling of onomatopoeia for \"otomanopoeia\" in her childhood. To contribute to the project, visit github.com/Gutenberg-Labo/Otomanopee", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Outfit": { + "name": "Outfit", + "designer": [ + "Smartsheet Inc", + "Rodrigo Fuenzalida" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "A beautiful geometric sans: The official typeface for brand automation company outfit.io. Inspired by the ligature-rich outfit wordmark, Outfit.io is delighted to release it's own type family. The Outfit typeface links the Outfit written voice to Outfit product marks; on brand by default. In 2023, the font has been updated, offering a more expanded language support. To contribute to the project, visit github.com/Outfitio/Outfit-Fonts", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Over the Rainbow": { + "name": "Over the Rainbow", + "designer": [ + "Kimberly Geswein" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "This font always makes me smile. Something about the style of the handwriting just makes me feel happy. It is slightly connected but not a true script by any means & will lend an upbeat feel to any project you use it on.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Overlock": { + "name": "Overlock", + "designer": [ + "Dario Manuel Muhafara" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "The Overlock typeface family was selected by the Letras Latinas Biennal in 2006. The initial idea of this typeface was to simulate the Overlock sewing technique. The special thing about these forms is the warm feeling that they give to your text, because of the particular rounded glyph shapes that emerge. As a result, the Overlock typeface family is great for titles and short texts in magazine style layouts. It looks its very best at bigger sizes. It comes in three weights, Regular, Bold and Black, each with a true italic. It has two set of numbers and small caps which are available as a sister family, Overlock SC", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Overlock SC": { + "name": "Overlock SC", + "designer": [ + "Dario Manuel Muhafara" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "The Overlock typeface family was selected by the Letras Latinas Biennal in 2006. The initial idea of this typeface was to simulate the Overlock sewing technique. The special thing about these forms is the warm feeling that they give to your text, because of the particular rounded glyph shapes that emerge. As a result, the Overlock typeface family is great for titles and short texts in magazine style layouts. It looks its very best at bigger sizes. The main Overlock family comes in three weights, Regular, Bold and Black, each with a true italic. It has two set of numbers and small caps, which are available in this sister family.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Overpass": { + "name": "Overpass", + "designer": [ + "Delve Withrington", + "Dave Bailey", + "Thomas Jockin" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Overpass is a free, Open Source typeface designed by Delve Fonts. The design of Overpass is an interpretation of the well-known \u201cHighway Gothic\u201d letterforms from the Standard Alphabets for Traffic Control Devices published by the U.S. Federal Highway Administration. Starting from those specifications, critical adjustments were made to the letterforms to create an optimal presentation at smaller sizes on-screen and later for display sizes, especially in the lighter weights. Also see Overpass Mono! Overpass can be used for everything from extended passages of text in print and online, to UI design, posters, wayfinding signage, and environmental graphic design. Designers: Delve Withrington, Dave Bailey, and Thomas Jockin TrueType Hinting: Jason Campbell Direction: Dave Crossland, Andy Fitzsimon, Jakub Steiner, and Ben Dubrovsky Special thanks: Aaron Bell for his diligence in preparing v4.0 for release and Michael Luton for his insight and support. To contribute to the project, please visit https://github.com/RedHatOfficial/Overpass", + "primary_script": null, + "article": null, + "minisite_url": "https://overpassfont.org/" + }, + "Overpass Mono": { + "name": "Overpass Mono", + "designer": [ + "Delve Withrington", + "Dave Bailey", + "Thomas Jockin" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "monospace" + ], + "description": "Overpass Mono is a thoughtful, monospaced re-imagining of the Overpass proportional design, designed by Delve Fonts. Consisting of five weights ranging from Light to Bold. The Overpass Mono fonts are finely tuned to meet the requirements of today\u2019s programmers. The design of Overpass is an interpretation of the well-known \u201cHighway Gothic\u201d letterforms from the Standard Alphabets for Traffic Control Devices published by the U.S. Federal Highway Administration. Starting from those specifications, critical adjustments were made to the letterforms to create an optimal presentation at smaller sizes on-screen and later for display sizes, especially in the lighter weights. Overpass can be used for everything from extended passages of text in print and online, to UI design, posters, wayfinding signage, and environmental graphic design. Designers: Delve Withrington, Dave Bailey, and Thomas Jockin TrueType Hinting: Jason Campbell Direction: Dave Crossland, Andy Fitzsimon, Jakub Steiner, and Ben Dubrovsky Special thanks: Aaron Bell for his diligence in preparing v4.0 for release and Michael Luton for his insight and support. To contribute to the project, please visit https://github.com/RedHatOfficial/Overpass", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ovo": { + "name": "Ovo", + "designer": [ + "Nicole Fally" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Foundry: Sorkin Type Co Ovo was inspired by a set of hand lettered caps seen in a 1930's lettering guide. The capitals suggested the time in which they were made because of the soft serif treatment used. This detail and a subtle casual feeling creeping into the otherwise classical forms led to the soft genial lowercase and the whimsical numbers now seen in Ovo. Ovo is a medium contrast serif font. Because of the old style variable letter widths and subtle detail it will work best at medium to large sizes. Source files are available from Google Code. To contribute to the project contact Eben Sorkin.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Oxanium": { + "name": "Oxanium", + "designer": [ + "Severin Meyer" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Oxanium is a square, futuristic font family. It feels at home on the head-up display of a spaceship, or the scoreboard of a video game. Its intuitive strokes ensure legibility at small sizes and quick glances, while angled cuts add charisma to big headlines. To contribute, please go to github.com/sevmeyer/oxanium.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Oxygen": { + "name": "Oxygen", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "The Oxygen typeface family is created as part of the KDE Project, a libre desktop for the GNU+Linux operating system. The design is optimized for the FreeType font rendering system and works well in all graphical user interfaces, desktops and devices. This is a web font version of Oxygen, designed to be used freely across the internet by web browsers on desktop computers, laptops and mobile devices.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Oxygen Mono": { + "name": "Oxygen Mono", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "monospace" + ], + "description": "Oxygen Mono is the monospace companion family to Oxygen, the KDE project UI and brand type.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "PT Mono": { + "name": "PT Mono", + "designer": [ + "ParaType" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "monospace" + ], + "description": "PT Mono was developed for specific uses in forms, tables, worksheets and other contexts. Equal character widths are very helpful in setting complex documents, as with such a font you may easily calculate size of entry fields, column widths in tables and so on. One of the most important areas of use is in governmental web sites where visitors have to fill different forms. Currently PT Mono consists of just one Regular style. PT Mono was designed by Alexandra Korolkova with participation of Isabella Chaeva and with the financial support of Google Web Fonts.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "PT Sans": { + "name": "PT Sans", + "designer": [ + "ParaType" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "PT Sans was developed for the project \"Public Types of Russian Federation.\" The second family of the project, PT Serif, is also available. The fonts are released with a libre license and can be freely redistributed: The main aim of the project is to give possibility to the people of Russia to read and write in their native languages. The project is dedicated to the 300 year anniversary of the civil type invented by Peter the Great in 1708\u20131710. It was given financial support from the Russian Federal Agency for Press and Mass Communications. The fonts include standard Western, Central European and Cyrillic code pages, plus the characters of every title language in the Russian Federation. This makes them a unique and very important tool for modern digital communications. PT Sans is based on Russian sans serif types of the second part of the 20th century, but at the same time has distinctive features of contemporary humanistic designs. The family consists of 8 styles: 4 basic styles, 2 captions styles for small sizes, and 2 narrows styles for economic type setting. Designed by Alexandra Korolkova, Olga Umpeleva and Vladimir Yefimov and released by ParaType in 2009.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "PT Sans Caption": { + "name": "PT Sans Caption", + "designer": [ + "ParaType" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "PT Sans was developed for the project \"Public Types of Russian Federation.\" The second family of the project, PT Serif, is also available. The fonts are released with a libre license and can be freely redistributed: The main aim of the project is to give possibility to the people of Russia to read and write in their native languages. The project is dedicated to the 300 year anniversary of the civil type invented by Peter the Great in 1708\u20131710. It was given financial support from the Russian Federal Agency for Press and Mass Communications. The fonts include standard Western, Central European and Cyrillic code pages, plus the characters of every title language in the Russian Federation. This makes them a unique and very important tool for modern digital communications. PT Sans is based on Russian sans serif types of the second part of the 20th century, but at the same time has distinctive features of contemporary humanistic designs. The family consists of 8 styles: 4 basic styles, 2 captions styles for small sizes, and 2 narrows styles for economic type setting. Designed by Alexandra Korolkova, Olga Umpeleva and Vladimir Yefimov and released by ParaType in 2009.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "PT Sans Narrow": { + "name": "PT Sans Narrow", + "designer": [ + "ParaType" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "PT Sans was developed for the project \"Public Types of Russian Federation.\" The second family of the project, PT Serif, is also available. The fonts are released with a libre license and can be freely redistributed: The main aim of the project is to give possibility to the people of Russia to read and write in their native languages. The project is dedicated to the 300 year anniversary of the civil type invented by Peter the Great in 1708\u20131710. It was given financial support from the Russian Federal Agency for Press and Mass Communications. The fonts include standard Western, Central European and Cyrillic code pages, plus the characters of every title language in the Russian Federation. This makes them a unique and very important tool for modern digital communications. PT Sans is based on Russian sans serif types of the second part of the 20th century, but at the same time has distinctive features of contemporary humanistic designs. The family consists of 8 styles: 4 basic styles, 2 captions styles for small sizes, and 2 narrows styles for economic type setting. Designed by Alexandra Korolkova, Olga Umpeleva and Vladimir Yefimov and released by ParaType in 2009.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "PT Serif": { + "name": "PT Serif", + "designer": [ + "ParaType" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "PT Serif\u2122 is the second pan-Cyrillic font family developed for the project \u201cPublic Types of the Russian Federation.\u201d The first family of the project, PT Sans, was released in 2009. The fonts are released with a libre license and can be freely redistributed: The main aim of the project is to give possibility to the people of Russia to read and write in their native languages. The project is dedicated to the 300 year anniversary of the civil type invented by Peter the Great in 1708\u20131710. It was given financial support from the Russian Federal Agency for Press and Mass Communications. The fonts include standard Western, Central European and Cyrillic code pages, plus the characters of every title language in the Russian Federation. This makes them a unique and very important tool for modern digital communications. PT Serif is a transitional serif typeface with humanistic terminals. It is designed for use together with PT Sans, and is harmonized across metrics, proportions, weights and design. The family consists of six styles: regular and bold weights with corresponding italics form a standard font family for basic text setting; two caption styles in regular and italic are for use in small point sizes. Designed by Alexandra Korolkova, Olga Umpeleva and Vladimir Yefimov and released by ParaType in 2010.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "PT Serif Caption": { + "name": "PT Serif Caption", + "designer": [ + "ParaType" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "PT Serif\u2122 is the second pan-Cyrillic font family developed for the project \u201cPublic Types of the Russian Federation.\u201d The first family of the project, PT Sans, was released in 2009. The fonts are released with a libre license and can be freely redistributed: The main aim of the project is to give possibility to the people of Russia to read and write in their native languages. The project is dedicated to the 300 year anniversary of the civil type invented by Peter the Great in 1708\u20131710. It was given financial support from the Russian Federal Agency for Press and Mass Communications. The fonts include standard Western, Central European and Cyrillic code pages, plus the characters of every title language in the Russian Federation. This makes them a unique and very important tool for modern digital communications. PT Serif is a transitional serif typeface with humanistic terminals. It is designed for use together with PT Sans, and is harmonized across metrics, proportions, weights and design. The family consists of six styles: regular and bold weights with corresponding italics form a standard font family for basic text setting; two caption styles in regular and italic are for use in small point sizes. Designed by Alexandra Korolkova, Olga Umpeleva and Vladimir Yefimov and released by ParaType in 2010.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Pacifico": { + "name": "Pacifico", + "designer": [ + "Vernon Adams", + "Jacques Le Bailly", + "Botjo Nikoltchev", + "Ani Petrova" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Aloha! Pacifico is an original and fun brush script handwriting font by Vernon Adams which was inspired by the 1950s American surf culture in 2011. It was redrawn by Jacques Le Bailly at Baron von Fonthausen in 2016. It was expanded to Cyrillic by Botjo Nikoltchev and Ani Petrova at Lettersoup in 2017. The Pacifico project was commissioned by Google from Vernon Adams, an English type designer who lived in San Clemente, Los Angeles, USA. To contribute, see github.com/googlefonts/Pacifico Updated June 2019 to v3.000: Added extended Cyrillic support.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Padauk": { + "name": "Padauk", + "designer": [ + "SIL International" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "myanmar" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Padauk is a fully capable Unicode 6 font supporting all the Myanmar characters in the standard. Thus it provides support for minority languages as well, in both local and Burmese rendering styles. Downloads of Padauk include the necessary Graphite smarts to render the Myanmar script correctly. Thus if you want to use this font at full fidelity to the orthography, you will need to use Graphite-capable applications, such as the latest versions of LibreOffice. However the web font files served by Google Fonts do not include Graphite tables. Fortunately, Padauk also has OpenType tables which allow it to be rendered in a basic way, in applications that support OpenType shaping such as Word. The web font files served by Google Fonts include the OpenType tables, so the font will work in most web browsers. The last upgrade in July 2022, offers an major language support update. The Padauk project is maintained at https://github.com/silnrsi/font-padauk.", + "primary_script": "Mymr", + "article": null, + "minisite_url": null + }, + "Padyakke Expanded One": { + "name": "Padyakke Expanded One", + "designer": [ + "James Puckett" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "kannada", + "latin", + "latin-ext" + ], + "stroke": "SLAB_SERIF", + "classifications": [ + "display" + ], + "description": "Padyakke is a wide, airy, and friendly font for the Kannada writing system. Its gracefully balanced thin strokes rise up over sumptuously swollen bottoms. Padyakke was designed to pair with Aoife Mooney\u2019s latin typeface BioRhyme Expanded; thus BioRhyme\u2019s idosyncratic bowls, not-quite-perpendicular stroke terminals, and teardrop terminals are also in Padyakke. Padyakke\u2019s Kannada glyphs were designed by James Puckett. Padyakke\u2019s Latin glyphs were designed by Aoife Mooney. To contribute, see github.com/DunwichType/Padyakke_Libre", + "primary_script": "Knda", + "article": null, + "minisite_url": null + }, + "Palanquin": { + "name": "Palanquin", + "designer": [ + "Pria Ravichandran" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Palanquin is a Unicode-compliant Latin and Devanagari text type family designed for the digital age. The Devanagari is monolinear and was designed alongside the sans serif Latin. It currently comprises of seven text weights, and is extended with a heavier display family, Palanquin Dark, that has many subtle design details to accommodate the darker typographic color. The Palanquin superfamily is versatile and strikes a balance between typographic conventions and that bit of sparkle. Many thanks to Michael for all the technical assistance. Heartfelt thanks to Maggi for the sincere support. The Palanquin project is led by Pria Ravichandran, a type designer from India. To contribute, visit github.com/VanillaandCream/Palanquin", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Palanquin Dark": { + "name": "Palanquin Dark", + "designer": [ + "Pria Ravichandran" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Palanquin is a Unicode-compliant Latin and Devanagari text type family designed for the digital age. The Devanagari is monolinear and was designed alongside the sans serif Latin. Palanquin Dark is the heavier display family, with 4 weights. Palanquin is a text family with seven text weights. The Palanquin superfamily is versatile and strikes a balance between typographic conventions and that bit of sparkle. Many thanks to Michael for all the technical assistance. Heartfelt thanks to Maggi for the sincere support. The Palanquin project is led by Pria Ravichandran, a type designer from India. To contribute, see github.com/VanillaandCream/Palanquin", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Palette Mosaic": { + "name": "Palette Mosaic", + "designer": [ + "Shibuya Font" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "japanese", + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Palette Mosaic is constructed from primitive shapes by handicapped artists in collaboration with design students. The shapes have been arranged to create a strong and solid atmosphere. This family is part of the Shibuya Font project, a collaboration of design major students and handicapped artist living in Shibuya city, officially approved by Shibuya city in Tokyo. Shibuya font Official Site: http://www.shibuyafont.jp To contribute to the project, visit github.com/shibuyafont/Palette-mosaic-font-mono", + "primary_script": "Hira", + "article": null, + "minisite_url": null + }, + "Pangolin": { + "name": "Pangolin", + "designer": [ + "Kevin Burke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Pangolin was designed for the Google Valentine's Day 2017 Doodle, Pangolin Love. A pangolin is an endangered species native to Asia and Africa. The font is a sans serif handwriting style. It supports many languages that use the Latin and Cyrillic scripts.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Paprika": { + "name": "Paprika", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Paprika will give taste and color to your texts with its clear and friendly gestures. An expressive typeface, it can be used in long texts as it gives readers a pleasant reading experience and is excellent in headlines that also need a natural feeling. To contribute, see github.com/etunni/paprika.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Parastoo": { + "name": "Parastoo", + "designer": [ + "Saber Rastikerdar" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Arab", + "article": "Parastoo is a refined Persian typeface designed by Saber Rastikerdar, developed with modern Farsi usage in both print and digital contexts in mind. Rooted in a traditional Naskh-inspired structure, Parastoo features clean lines, subtle serifs, and balanced proportions that give it a formal yet approachable appearance. It offers high readability and smooth visual flow, with moderate stroke contrast and thoughtful spacing that support long-form reading and dense text layouts. Designed primarily for Farsi, Parastoo ensures accurate rendering and typographic integrity in contemporary environments, addressing many of the localization and display issues found in older, legacy Farsi fonts. While it draws stylistic influence from classic typefaces such as B Nazanin, Parastoo modernizes the aesthetic and technical foundations to better suit today\u2019s multilingual publishing needs. It retains compatibility with other Perso-Arabic script languages, making it a versatile choice for professional and editorial use. Please note that this is a Persian-first font and requires explicitly setting the Arabic language in your application to achieve standard Arabic text shaping. To contribute, please see github.com/googlefonts/parastoo-font.", + "minisite_url": null + }, + "Parisienne": { + "name": "Parisienne", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Parisienne is a casual connecting script inspired by a 1960s Bra advertisement! It has a slight bounce and intentional irregularity to what might other wise appear to be a more formal script font. Classic, yet free spirited, it is a typestyle for a wide variety of use.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Parkinsans": { + "name": "Parkinsans", + "designer": [ + "Red Stone" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Latn", + "article": "Parkinsans is a geometric sans serif designed for UK charity Parkinson\u2019s UK. Energetic, human, accessible, approachable \u2013 Parkinsans embodies Parkinson\u2019s UK\u2019s relentless energy, whilst typographic quirks reflect the unique experience of every Parkinson\u2019s journey. Consisting of 6 weights, Parkinsans is designed to grab attention at display sizes and provide an accessible, easy reading experience for short form copy. Designed by the award-winning, London-based creative agency Red Stone, Parkinsans is a fork of Indian Type Foundry's Poppins. To contribute, see github.com/redstonedesign/parkinsans.", + "minisite_url": null + }, + "Passero One": { + "name": "Passero One", + "designer": [ + "Viktoriya Grabowska" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Foundry: Sorkin Type Co Passero One is an innovative low contrast sans serif type. Despite having an utterly distinctive voice it remains remarkably legible and versatile. Perhaps this is because of the way Passero One gently echos old style text letterforms. Passero One will work best from medium text sizes through large display sizes. Source files are available from Google Code. To contribute to the project contact Eben Sorkin.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Passion One": { + "name": "Passion One", + "designer": [ + "Fontstage" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Passion One is a set of 3 display fonts aimed to composing titles in big sizes. Its counterforms decrease as the passion increases! Please use them only for your most passionate thoughts and ideas.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Passions Conflict": { + "name": "Passions Conflict", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Passions Conflict was one of the very first fonts to utilize embellished forms. The capital letters have wonderful nuances of adornment. The lowercase forms blend flawlessly with the capitals. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/passions-conflict.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Pathway Extreme": { + "name": "Pathway Extreme", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Pathway Extreme is derived from Pathway Gothic One, a narrow grotesque sans typeface, which is a very popular historic typographic style. The family has also been upgraded to a variable font. To contribute, see github.com/etunni/Pathway-Variable-Font.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Pathway Gothic One": { + "name": "Pathway Gothic One", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Pathway Gothic One is a narrow grotesque sans typeface, a very popular style in the history of typography. This book weight is the first of many. The March 2023 update features a bigger glyphset, fractions and some minor aesthetic modifications. To contribute, see github.com/etunni/pathway-gothic.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Patrick Hand": { + "name": "Patrick Hand", + "designer": [ + "Patrick Wagesreiter" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "handwriting" + ], + "description": "Patrick Hand is a font based on the designer's own handwriting. It is developed to bring an impressive and useful handwriting effect to your texts. There is a Small Caps sister family. It has all the basic latin characters as well as most of the latin extended ones. It also includes some fancy glyphs like heavy quotation marks and the floral heart! Ligatures, small caps and old style numbers are available as OpenType features in the downloaded version of this font. Updated January 2013 with support for more European languages and Vietnamese, and in February with a Small Caps sister family.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Patrick Hand SC": { + "name": "Patrick Hand SC", + "designer": [ + "Patrick Wagesreiter" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "handwriting" + ], + "description": "Patrick Hand is a font based on the designer's own handwriting. It is developed to bring an impressive and useful handwriting effect to your texts. This is the Small Caps sister family. It has all the basic latin characters as well as most of the latin extended ones. It also includes some fancy glyphs like heavy quotation marks and the floral heart! Ligatures, small caps and old style numbers are available as OpenType features in the download of the regular Patrick Hand family. Updated 2019-03: Updated to latest upstream release, fixing 'fi' ligature.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Pattaya": { + "name": "Pattaya", + "designer": [ + "Cadson Demak" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "latin", + "latin-ext", + "thai", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Lobster is one of the most popular web fonts, designed by Pablo Impallari. Pattaya is a version of Lobster extended into Thai, and supports Latin and all variations of the Thai script with an informal loopless design. However, vertical metrics (that effect line-spacing) had to be adjusted in order to support Thai vowels and tone marks, so this is published as a separate family. A similarity between some glyphs such as \u0e01 \u0e16 \u0e20 \u0e24 \u0e26, \u0e0e and \u0e0f, \u0e1a and \u0e1b, or \u0e02 and \u0e0a is something to take into consideration because it might lead to confusion when typesetting very short texts. Pattaya has a specific approach to the thick and thin strokes of Thai glyphs. Other type designers of Thai fonts may like to use this approach as a reference. Informal loopless Thai tyefaces have slightly simplified details, as compared to formal ones, and this simplification has to be done properly in order to preserve the character of each glyph. The size and position of Thai vowel and tone marks need to be managed carefully, because they are all relevant to readability, legibility, and overall texture. The Pattaya project is led by Cadson Demak, a type foundry in Thailand. To contribute, see github.com/cadsondemak/pattaya", + "primary_script": "Thai", + "article": null, + "minisite_url": null + }, + "Patua One": { + "name": "Patua One", + "designer": [ + "LatinoType" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Patua One is a slab serif text type designed for use in small sizes. It has low contrast and strong serifs and is intended to generate visual impact. Its thick serifs are curved to provide it with a touch of smoothness and gesture.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Pavanam": { + "name": "Pavanam", + "designer": [ + "Tharique Azeez" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "tamil" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Pavanam is a Tamil and Latin typeface designed with a focus on greater legibility in smaller sizes for both screen and print media. The Latin design is derived from Vernon Adam's Pontano Sans; it has been slightly modified to match with the Tamil typefaces's proportions and vertical metrics. The word Pavanam means wind in Tamil. The Pavanam project is led by Tharique Azeez, a type designer based in Sri Lanka. To contribute, see github.com/enathu/pavanam", + "primary_script": "Taml", + "article": null, + "minisite_url": null + }, + "Paytone One": { + "name": "Paytone One", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Paytone One is a sans-serif font designed for use as a display and headline font on modern websites. It has a casual appearance with round bowls and slanted stroke terminals that add visual interest. February 2023: The font has been updated to v1.002 and now includes GF Plus encoding, revised outlines, Vietnamese diacritics, improved spacing and kerning. To contribute, visit the Paytone One repository on Github: https://github.com/googlefonts/paytoneFont.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Peddana": { + "name": "Peddana", + "designer": [ + "Appaji Ambarisha Darbha" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "telugu" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Peddana is an Open Source typeface supporting both the Telugu and Latin scripts. This font was developed mainly for the use in news publications and is suitable for text, headings, posters and invitations. The Telugu is developed by Appaji Ambarisha Darbha in 2013 and made available under the SIL Open Font License v1.1 by Silicon Andhra. The Latin is developed by SIL International and originally published as Charis. The Peddana project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India. To contribute, see github.com/appajid/peddana", + "primary_script": "Telu", + "article": null, + "minisite_url": null + }, + "Peralta": { + "name": "Peralta", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SLAB_SERIF", + "classifications": [ + "display" + ], + "description": "The Peralta typeface is an egyptian slab serif gone haywire. You'll find that Capitals and Lowercase have opposite weight distributions, as well as an all-around offbeat nature, and yet it all works to create a delightfully comic typeface.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Permanent Marker": { + "name": "Permanent Marker", + "designer": [ + "Font Diner" + ], + "license": "apache2", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Permanent Marker represents the look and feel of a favorite writing instrument.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Petemoss": { + "name": "Petemoss", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Petemoss is a semi-calligraphic brush script. It is inspired by the forms created using a Pentel\u2122 color brush. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/petemoss.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Petit Formal Script": { + "name": "Petit Formal Script", + "designer": [ + "Impallari Type" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Formal Scripts are great typefaces to suggest elegance, quality, refinement and luxury. They are used a lot in print publishing, but you don't see many formal scripts used on the web. Isn't it? Mostly because their tiny hairlines breaks and disappear when used at small sizes on the screen. Also, they usually have long ascenders and descenders, and the lowercase letters look too small when compared to most sans or serif fonts. More over, they are usually quite condensed, making them even more difficult to read. That's why we designed a script type specifically tailored for web use, that can survive being set even as small as 13px.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Petrona": { + "name": "Petrona", + "designer": [ + "Ringo R. Seeber" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Petrona\u2019s personality is an answer to how many characteristics can be added to a typeface without undermining its purpose within the text-type genre. Petrona playfully maneuvers plenty of personal touches, without losing the essence of a design intended for legibility in digital and print media, from headlines to body text. Uppercase glyphs have heavy asymmetric serifs and arms with inverted angles, which combine with lowercase designs that share a big x-height, pronounced ascenders, and soft curves of low stroke contrast. First published in Google Fonts in November 2011 as a single style Roman design, it was completely redrawn in 2019 and 2020. It has evolved, and now offers a comprehensive range of weights, a complete set of corresponding italics, and an extended glyph set that supports over 200 Latin languages. A full set of small caps, plus ligatures, alternates, and all kinds of numerals, fractions, punctuations, symbols, and currencies are included. As a variable font, it has a Weight axis in both the roman and italic files. The previous swashy Q is still available, found in Stylistic Set 1. It is now a typeface that supplies everything needed for fine text typography. The Petrona project is led by Ringo R. Seeber from Glyph Co, based in Brooklyn, NY. To contribute, please visit github.com/RingoSeeber/Petrona", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Phetsarath": { + "name": "Phetsarath", + "designer": [ + "Danh Hong" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "lao" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Phetsarath is a font for the Lao language, used in the Lao People's Democratic Republic. It was commissioned by the Ministry of Posts and Telecommunications of the national government.", + "primary_script": "Laoo", + "article": null, + "minisite_url": null + }, + "Philosopher": { + "name": "Philosopher", + "designer": [ + "Jovanny Lemonad" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Philosopher was started in 2008 and takes inspiration from Agfa Rotis and ITC Binary. This font is universal: It can be used in logos, headlines, and for text. The initial version of the font was deliberately spread with errors - this was my invaluable contribution to type culture around the world, as I thought then - I wanted to stir up designers so they began working with fonts, rather than passively using what is there. Over time I wanted to correct the errors, and now the font has been used by millions of people worldwide. In June 2011 a four-style family was published, and in September 2011 the full Latin and Cyrillic family was fully hinted. To contribute, see github.com/alexeiva/philosopher.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Phudu": { + "name": "Phudu", + "designer": [ + "D\u01b0\u01a1ng Tr\u1ea7n" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Phudu is a sans-serif display typeface inspired by Vietnamese hand-lettering billboards in the old days, that supports a wide range of languages by Duong Tran. As a new way to achieve variable font, the lighterPhudu gets, the extended it becomes, for people to read it easier compared to other lightweight narrow typefaces. In the progress of learning and crafting types, Duong has always thought about what makes a Vietnamese typeface. If we rewind to the past, we can see a Vietnamese lettering style on the billboard stores, when the artists adapted Latin typefaces and then added marks based on their styles. Among those, there were mostly all-caps sans-serif types played as descriptions or the store's names themself. To make a new easy-to-read and easy-to-get typeface, Duong mixed some of the researched letters from the story above. He doesn't want to just revive the types, he wants to improve them to fit the modern-day styles, but still have \"Vietnamese\" souls in them. The typeface was named Phudu (ph\u1ee5c d\u1ef1ng) - \"revival\" in Vietnamese, and has a meaning of timeless (quite the opposite of the name when it can be read as \"ph\u00f9 du\" - ephemeral). To contribute, see github.com/duongtrtype/DTPhudu", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Piazzolla": { + "name": "Piazzolla", + "designer": [ + "Juan Pablo del Peral", + "Huerta Tipogr\u00e1fica" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Piazzolla is a type system intended for optimizing the available space in press media and other publications. It has a compact appearance which allows for small font sizes and tight leading while achieving solid lines and robust paragraphs. It has a distinctive voice that conveys a personal style, especially in display sizes. It has great performance and readability in small point sizes and long texts, both for screen and printing. Designed by Juan Pablo del Peral for Huerta Tipogr\u00e1fica. To contribute see github.com/huertatipografica/piazzolla.", + "primary_script": null, + "article": null, + "minisite_url": "https://piazzolla.huertatipografica.com/" + }, + "Piedra": { + "name": "Piedra", + "designer": [ + "Sudtipos" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "The world may seem cartoonish to you, pilgrim, but the funnies ain't really that funny. The Flintstones are so last century. The Hulks are in, and they're here to stay. Piedra is the rocky, fear-inducing face of galvanized triceps and \u00fcberchiseled jawlines. Be intimidated, be very intimidated. You don't believe it?", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Pinyon Script": { + "name": "Pinyon Script", + "designer": [ + "Nicole Fally" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Pinyon Script is a romantic round hand script-style font. It also features swashes that are confident and showy, somehow giving the type a feeling suggestive of the American West. Perhaps this is why, despite its refinement and aristocratic style, Pinyon Script manages to feel so friendly. Pinyon Script uses high stroke contrast and is very slanted, making it most suitable for use at larger sizes. After expanding the glyphset and language support in June 2022, Pinyon Script now supports African Pri, thanks to the 2024 update. To contribute, visit github.com/SorkinType/Pinyon .", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Pirata One": { + "name": "Pirata One", + "designer": [ + "Rodrigo Fuenzalida", + "Nicolas Massi" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Pirata One is a gothic textura font, simplified and optimized to work well on screen and pixel displays. Its condensed structure and spacing give it an excellent performance and rhythm on texts so it can be used as a header font or in shorts paragraphs. Designed by Rodrigo Fuenzalida and Nicolas Massi. To contribute to the project contact Rodrigo Fuenzalida.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Pixelify Sans": { + "name": "Pixelify Sans", + "designer": [ + "Stefie Justprince" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Pixelify Sans fonts are a unique style of typography that originated in the 1980s with the rise of computer graphics and video games. Pixel fonts are characterized by their blocky, pixelated appearance, which is achieved by using a grid of small, square pixels to create each letterform. To contribute, please see github.com/eifetx/Pixelify-Sans.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Plaster": { + "name": "Plaster", + "designer": [ + "Sorkin Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Foundry: Sorkin Type Co Plaster is a very low contrast extremely geometric design done in the tradition of the work of Joseph Albers. However many of the solutions to the glyph design vary from Alber's choices. Plaster is suitable for use in medium to large sizes including headlines. This font deviates from most similar fonts because the space between letters is larger. The gaps in the stencil style letters makes letter identification more difficult. A wider letter space helps make the letters easy to read again. Source files are available from Google Code. To contribute to the project contact Eben Sorkin.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Platypi": { + "name": "Platypi", + "designer": [ + "David Sargent" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Drawing inspiration from the unusual blend of characteristics observed in the Australian platypus, Platypi combines sharp, heavy wedge serifs usually seen in display faces with more conventional curves and proportions to achieve a practical text typeface with a unique and distinctive visual rhythm. The heavier weights push this tension further with increased stroke tapering and overall contrast. Platypi features six weights with matching italic styles. It supports Indigenous Australian and Vietnamese languages, and includes the full Google Fonts Latin Plus Character Set. The word Platypi is commonly used as the plural of platypus; however, it is a form of pseudo-Latin. The correct plural is platypuses. To contribute, see github.com/d-sargent/platypi.", + "minisite_url": null + }, + "Play": { + "name": "Play", + "designer": [ + "Jonas Hecksher" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Play is a minimalistic sans serif typeface designed by Jonas Hecksher during his time as Type Director of Playtype Type Foundry. All letters in Play derive from the 'O' \u2013 square and circular at the same time. Play is designed with large, open counters, ample lowercase x-heights and a corporate, yet friendly appearance. The combination of these qualities give Play both a high legibility and readability.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Playball": { + "name": "Playball", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "An athletic look was the inspiration for Playball. Take advantage of the sweeping swashes to give a true sports look. Perfect for baseball banners and the like. Playball comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/play-ball.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Playfair": { + "name": "Playfair", + "designer": [ + "Claus Eggers S\u00f8rensen" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "Playfair is well suited for general purpose typesetting. Playfair can be interpolated in three dimensions: Width, Weight and Optical Size. The optical size axis is the most extreme of the axes. Along that axis you can seamlessly change the letterforms from the extremely small Agate (5pt) to the extremely big Needlepoint (1200pt). The Agate has a very low contrast between the thickest and thinnest parts of its strokes, in fact the contrast is even slightly negative, meaning the the horisontal strokes are heavier than the vertical strokes. At the other end the Needlepoint is as high contrast as practically possible. The thinnest strokes are but a single unit wide, meaning that if you were to typeset in 1000 points using a Needlepoint weight, the resulting thinnest strokes would be one point wide. The weight axis adds a second dimension by allowing you to seamlessly change from a light regular to a dark black. An update in June 2023 slightly modifies the width axis, giving the text a narrower appearance. In February 2025, a glyphset update improves the language support by adding African. To contribute, see github.com/googlefonts/Playfair.", + "minisite_url": null + }, + "Playfair Display": { + "name": "Playfair Display", + "designer": [ + "Claus Eggers S\u00f8rensen" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Playfair is a transitional design. In the European Enlightenment in the late 18th century, broad nib quills were replaced by pointed steel pens as the popular writing tool of the day. Together with developments in printing technology, ink, and paper making, it became fashionable to print letterforms of high contrast and delicate hairlines that were increasingly detached from the written letterforms. This design lends itself to this period, and while it is not a revival of any particular design, it takes influence from the designs of John Baskerville and from \u2018Scotch Roman\u2019 designs. This typeface was initially published in 2011, and had a major update in 2017. Being a Display (large size) design in the transitional genre, functionally and stylistically it can accompany Georgia or Gelasio for body text. It was succeeded in 2023 by the complete Playfair design, which as a variable font includes body text designs in the optical size axis. This is the main family, with a sibling Playfair Display SC small caps family. The main family downloaded font files include a full set of small caps, common ligatures, and discretionary ligatures. The Playfair project is led by Claus Eggers S\u00f8rensen, a type designer based in Amsterdam, Netherlands. To contribute, see github.com/clauseggers/Playfair-Display", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Playfair Display SC": { + "name": "Playfair Display SC", + "designer": [ + "Claus Eggers S\u00f8rensen" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Playfair is a transitional design. In the European Enlightenment in the late 18th century, broad nib quills were replaced by pointed steel pens as the popular writing tool of the day. Together with developments in printing technology, ink, and paper making, it became fashionable to print letterforms of high contrast and delicate hairlines that were increasingly detached from the written letterforms. This design lends itself to this period, and while it is not a revival of any particular design, it takes influence from the designs of John Baskerville and from \u2018Scotch Roman\u2019 designs. This typeface was initially published in 2011, and had a major update in 2017. Being a Display (large size) design in the transitional genre, functionally and stylistically it can accompany Georgia or Gelasio for body text. It was succeeded in 2023 by the complete Playfair design, which as a variable font includes body text designs in the optical size axis. This is the Small Cap sibling family to the main Playfair Display family. The main family downloaded font files include a full set of small caps, common ligatures, and discretionary ligatures. The Playfair project is led by Claus Eggers S\u00f8rensen, a type designer based in Amsterdam, Netherlands. To contribute, see github.com/clauseggers/Playfair-Display", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Playpen Sans": { + "name": "Playpen Sans", + "designer": [ + "TypeTogether", + "Laura Meseguer", + "Veronika Burian", + "Jos\u00e9 Scaglione", + "Kostas Bartsokas", + "Vera Evstafieva", + "Tom Grace", + "Yorlmar Campos" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "emoji", + "greek", + "latin", + "latin-ext", + "math", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playpen Sans was designed by TypeTogether after over two years of primary research into handwriting education for Latin-based languages, available at primarium.info. It is a variable font with a weight range from Thin (100) to ExtraBold (800) and supports three different writing systems\u2014Latin, Greek, and Cyrillic\u2014that cover over 700 Latin languages, including Vietnamese and 619 Sub-Saharan African languages, 54 Cyrillic languages, and Greek, along with 26 emoji. The Playpen Sans superfamily also includes an Arabic (Playpen Sans Arabic), Devanagari (Playpen Sans Deva), Hebrew (Playpen Sans Hebrew), and Thai (Playpen Sans Thai) fonts that expand the language support of the system. Playpen Sans provides seven different glyphs for each character that are automatically applied as you type, using a built-in shuffler that both ensures variety and avoids repetition. This adds to the overall organic, spontaneous, and authentic feel of the handwritten style. To contribute, see github.com/TypeTogether/Playpen-Sans Watch the video on Youtube A casual handwriting font Some typefaces do more than one thing well, and others excel at just one thing. The Playpen Sans font family excels at imitating casual handwriting with a completely natural look \u2014 the aesthetic form of something made by hand \u2013 combined with all the functionality of a professional typeface. The font world has a general tension between what\u2019s organic and what\u2019s digital. When scribbling a quick note, written letters have slight differences, but all look similar because they come from the same person. Digital typefaces are instead almost always very consistent \u2014 each character is exactly the same, every time you type it. The goal of a typeface that is both casual in look and digital in nature is to appear authentically human within the bounds of digital technology: A typeface with a set of characters that are \u201cthe same, but different\u201d that carries the authenticity which everyone craves. The main problem with typical casual fonts is not having enough alternate characters to look real. When a family has more than one alternate, another problem arises in controlling how and when a character gets replaced. To solve these problems, Playpen Sans was designed with seven versions of each character, plus a novel and automatic shuffler, so no single shape is repeated in close proximity. The result is text with spontaneous inconsistencies that feel fun and organic\u2026 all the benefits of a modern, professional typeface that looks natural. The family was made for non-designers, and it shines within short, informal settings: greeting cards and invitations; casual signs; fun documents, and of course, children\u2019s books and educational materials, comic books, and graphic novels. The straight and curved endings for \u2018i, l, y\u2019, the two-story \u2018a\u2019, and optional shapes for \u2018f, G, I, M\u2019 are notable features. Playpen Sans combines technological and aesthetic values, showing the best of both worlds with digital capabilities and a casual, handmade look. Is it spontaneous? Is it authentic? Thankfully, yes, and yes. Greek and Cyrillic Greek and Cyrillic follow the same principles as Latin, giving the idea that they are all written by the same person. All the writing systems approach letterform construction with casual and continuous strokes; typical stroke boundaries are not always respected due to the relaxed mood of writing; and the in-strokes and out-strokes allow for a natural transition from one letter to the other. Each is a set of clear letterforms that are easy to write and recognize. The design forms a bridge between handwritten and typographic letters, friendly to both little readers and adults. Emojis Playpen Sans has emojis for breezy and encouraging uses, that each match the eight named weights of the Latin. Find here the list of all the emojis available. You can copy and paste them into your document editor when using the font. \ud83d\ude09 \ud83c\udf1e \ud83d\ude0d \u2620 \u2639 \ud83d\ude09 \u270f \ud83d\udcd6 \ud83c\udfe0 \u270d \ud83e\udde9 \ud83e\udd96 \ud83e\ude90 \u2708 \ud83c\udf20 \ud83c\udf82 \ud83c\udfa8 \ud83d\udce3 \ud83d\udc46 \ud83d\udc4d \ud83d\udc4e \ud83c\udfaf \ud83e\udeab \u2705 \u274c \ud83c\udfc5 \ud83e\udd84", + "minisite_url": "https://www.type-together.com/making-playpen-sans" + }, + "Playpen Sans Arabic": { + "name": "Playpen Sans Arabic", + "designer": [ + "TypeTogether", + "Azza Alameddine", + "Laura Meseguer", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "arabic", + "emoji", + "latin", + "latin-ext", + "math" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": "Arab", + "article": "Playpen Sans Arabic was designed by TypeTogether after over two years of primary research into handwriting education for Latin-based languages, available at primarium.info. Playpen Sans Arabic is a variable font with a weight range from Thin (100) to ExtraBold (800). It supports two different writing systems: Arabic and Latin, covering 6 Arabic-based languages and over 332 Latin-based ones, along with a set of \u201creward icons\u201d as emoji. The superfamily also includes a Pan-African Latin, Greek, Cyrillic (Playpen Sans), Devanagari (Playpen Sans Deva), Hebrew (Playpen Sans Hebrew), and Thai (Playpen Sans Thai) fonts that expand the language support of the system. It has alternate glyphs for each character that are automatically applied as you type, with a built-in shuffler that both ensures variety and avoids repetition. This adds to the overall organic, spontaneous, and authentic feel of the handwritten style. To contribute, see github.com/TypeTogether/Playpen-Sans Watch the video on Youtube Arabic Playpen Sans Arabic follows the same fun and relaxed aesthetic as its Latin counterpart, maintaining a cohesive and playful handwriting style across writing systems. Designed with the same tools and writing hand, it seamlessly integrates with the overall design philosophy of the font family. The Arabic writing system features variations in letter shapes and subtle shifts in the positioning of diacritic marks, enhancing its organic and spontaneous feel. Additionally, it includes Ruq\u02bfah alternates, offering further stylistic flexibility while preserving the authentic, handwritten charm that defines Playpen Sans. A casual handwriting font Some typefaces excel at just one thing, while others do multiple things well. Playpen Sans stands out by perfectly imitating casual handwriting, blending the organic feel of something made by hand with the precision of a professional digital typeface. Handwritten text is naturally inconsistent, but digital fonts aim for uniformity. Playpen Sans bridges this gap by offering a set of characters that are \u201cthe same, but different,\u201d creating an authentic and human-like appearance within the constraints of digital design. It has a set of clear letterforms that are easy to write and recognize. The design forms a bridge between handwritten and typographic letters, friendly to both little readers and adults. To achieve this, Playpen Sans includes multiple versions of each character and a built-in shuffler, ensuring no two shapes repeat too closely. This results in text that feels spontaneous, fun, and organic, while maintaining the functionality of a modern typeface. Designed with non-designers in mind, it shines in informal settings like greeting cards, invitations, children\u2019s books, and graphic novels. Its clarifying features, such as straight and curved endings for certain letters and optional shapes, add to its versatility. Playpen Sans combines the best of both worlds: the aesthetic charm of handwritten text and the technological capabilities of a digital font. It\u2019s spontaneous, authentic, and effortlessly bridges the gap between the organic and the digital. Emojis Playpen Sans has emojis for breezy and encouraging uses, that each match the eight named weights of the Latin. Find here the list of all the emojis available. You can copy and paste them into your document editor when using the font. \ud83d\ude09 \ud83c\udf1e \ud83d\ude0d \u2620 \u2639 \ud83d\ude09 \u270f \ud83d\udcd6 \ud83c\udfe0 \u270d \ud83e\udde9 \ud83e\udd96 \ud83e\ude90 \u2708 \ud83c\udf20 \ud83c\udf82 \ud83c\udfa8 \ud83d\udce3 \ud83d\udc46 \ud83d\udc4d \ud83d\udc4e \ud83c\udfaf \ud83e\udeab \u2705 \u274c \ud83c\udfc5 \ud83e\udd84", + "minisite_url": "https://www.type-together.com/making-playpen-sans" + }, + "Playpen Sans Deva": { + "name": "Playpen Sans Deva", + "designer": [ + "TypeTogether", + "Pooja Saxena", + "Gunjan Panchal", + "Laura Meseguer", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "devanagari", + "emoji", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": "Deva", + "article": "Playpen Sans Devanagari was designed by TypeTogether after over two years of primary research into handwriting education for Latin-based languages, available at primarium.info. It is a variable font with a weight range from Thin (100) to ExtraBold (800). It supports two different writing systems: Devanagari and Latin, covering 3 Devanagari languages and over 332 Latin-based ones, along with a set of \u201creward icons\u201d as emoji. The superfamily also includes a Pan-African Latin, Greek, Cyrillic (Playpen Sans), Arabic (Playpen Sans Arabic), Hebrew (Playpen Sans Hebrew), and Thai (Playpen Sans Thai) fonts that expand the language support of the system. Playpen Sans Devanagari has alternate glyphs for each character that are automatically applied as you type, with a built-in shuffler that both ensures variety and avoids repetition. This adds to the overall organic, spontaneous, and authentic feel of the handwritten style. To contribute, see github.com/TypeTogether/Playpen-Sans Watch the video on Youtube Devanagari Playpen Sans Devanagari is a thoughtfully designed typeface that celebrates the natural beauty and diversity of handwritten Devanagari script. Built on the backbone of countless hours spent drawing and redrawing Devanagari letters and combinations by hand, the design carefully selects and refines the most organic and intuitive shapes. Subtle variations, including minor gaps in the headlines, add an organic texture that mimics the imperfections of real handwriting. The font emphasizes intuitive retracing, with carefully crafted imperfect joins and even a sprinkle of strategically placed overlaps, creating a warm and approachable handwritten appearance. Moving away from rigid calligraphic rules, Playpen Sans Devanagari honors the everyday ways people draw their letters, incorporating small idiosyncrasies that make the text feel friendly, relatable, and full of character. This design is a tribute to the human touch, blending authenticity with readability for a truly inviting typographic experience. A casual handwriting font Some typefaces excel at just one thing, while others do multiple things well. Playpen Sans stands out by perfectly imitating casual handwriting, blending the organic feel of something made by hand with the precision of a professional digital typeface. Handwritten text is naturally inconsistent, but digital fonts aim for uniformity. Playpen Sans bridges this gap by offering a set of characters that are \u201cthe same, but different,\u201d creating an authentic and human-like appearance within the constraints of digital design. It has a set of clear letterforms that are easy to write and recognize. The design forms a bridge between handwritten and typographic letters, friendly to both little readers and adults. To achieve this, Playpen Sans includes multiple versions of each character and a built-in shuffler, ensuring no two shapes repeat too closely. This results in text that feels spontaneous, fun, and organic, while maintaining the functionality of a modern typeface. Designed with non-designers in mind, it shines in informal settings like greeting cards, invitations, children\u2019s books, and graphic novels. Its clarifying features, such as straight and curved endings for certain letters and optional shapes, add to its versatility. Playpen Sans combines the best of both worlds: the aesthetic charm of handwritten text and the technological capabilities of a digital font. It\u2019s spontaneous, authentic, and effortlessly bridges the gap between the organic and the digital. Emojis Playpen Sans has emojis for breezy and encouraging uses, that each match the eight named weights of the Latin. Find here the list of all the emojis available. You can copy and paste them into your document editor when using the font. \ud83d\ude09 \ud83c\udf1e \ud83d\ude0d \u2620 \u2639 \ud83d\ude09 \u270f \ud83d\udcd6 \ud83c\udfe0 \u270d \ud83e\udde9 \ud83e\udd96 \ud83e\ude90 \u2708 \ud83c\udf20 \ud83c\udf82 \ud83c\udfa8 \ud83d\udce3 \ud83d\udc46 \ud83d\udc4d \ud83d\udc4e \ud83c\udfaf \ud83e\udeab \u2705 \u274c \ud83c\udfc5 \ud83e\udd84", + "minisite_url": "https://www.type-together.com/making-playpen-sans" + }, + "Playpen Sans Hebrew": { + "name": "Playpen Sans Hebrew", + "designer": [ + "TypeTogether", + "Tom Grace", + "Laura Meseguer", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "emoji", + "hebrew", + "latin", + "latin-ext", + "math" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": "Hebr", + "article": "Playpen Sans Hebrew was designed by TypeTogether after over two years of primary research into handwriting education for Latin-based languages, available at primarium.info. It is a variable font with a weight range from Thin (100) to ExtraBold (800). It supports two different writing systems: Hebrew and Latin, covering four Hebrew languages and over 332 Latin-based ones, along with a set of \u201creward icons\u201d as emoji. The Playpen Sans superfamily also includes a Pan-African Latin, Greek, Cyrillic (Playpen Sans), Arabic (Playpen Sans Arabic), Devanagari (Playpen Sans Deva), and Thai (Playpen Sans Thai) fonts that expand the language support of the system. Playpen Sans Hebrew has alternate glyphs for each character that are automatically applied as you type, with a built-in shuffler that both ensures variety and avoids repetition. This adds to the overall organic, spontaneous, and authentic feel of the handwritten style. To contribute, see github.com/TypeTogether/Playpen-Sans Watch the video on Youtube Hebrew Playpen Sans Hebrew is a warm and inviting cursive script that seamlessly integrates into the Playpen Sans type family. Its lively, organic forms and irregular curves evoke the charm of natural handwriting, giving it a friendly and informal personality. Designed with versatility in mind, the font comes in eight carefully crafted weights, each optically balanced to ensure comfortable legibility across various applications. Whether used for headlines, short text paragraphs, or creative projects, Playpen Sans Hebrew maintains a visually harmonious relationship with the other scripts in the Playpen Sans family, making it a cohesive yet distinctive addition. Its approachable aesthetic and thoughtful design make it perfect for adding a touch of warmth and humanity to any typographic composition. A casual handwriting font Some typefaces excel at just one thing, while others do multiple things well. Playpen Sans stands out by perfectly imitating casual handwriting, blending the organic feel of something made by hand with the precision of a professional digital typeface. Handwritten text is naturally inconsistent, but digital fonts aim for uniformity. Playpen Sans bridges this gap by offering a set of characters that are \u201cthe same, but different,\u201d creating an authentic and human-like appearance within the constraints of digital design. It has a set of clear letterforms that are easy to write and recognize. The design forms a bridge between handwritten and typographic letters, friendly to both little readers and adults. To achieve this, Playpen Sans includes multiple versions of each character and a built-in shuffler, ensuring no two shapes repeat too closely. This results in text that feels spontaneous, fun, and organic, while maintaining the functionality of a modern typeface. Designed with non-designers in mind, it shines in informal settings like greeting cards, invitations, children\u2019s books, and graphic novels. Its clarifying features, such as straight and curved endings for certain letters and optional shapes, add to its versatility. Playpen Sans combines the best of both worlds: the aesthetic charm of handwritten text and the technological capabilities of a digital font. It\u2019s spontaneous, authentic, and effortlessly bridges the gap between the organic and the digital. Emojis Playpen Sans has emojis for breezy and encouraging uses, that each match the eight named weights of the Latin. Find here the list of all the emojis available. You can copy and paste them into your document editor when using the font. \ud83d\ude09 \ud83c\udf1e \ud83d\ude0d \u2620 \u2639 \ud83d\ude09 \u270f \ud83d\udcd6 \ud83c\udfe0 \u270d \ud83e\udde9 \ud83e\udd96 \ud83e\ude90 \u2708 \ud83c\udf20 \ud83c\udf82 \ud83c\udfa8 \ud83d\udce3 \ud83d\udc46 \ud83d\udc4d \ud83d\udc4e \ud83c\udfaf \ud83e\udeab \u2705 \u274c \ud83c\udfc5 \ud83e\udd84", + "minisite_url": "https://www.type-together.com/making-playpen-sans" + }, + "Playpen Sans Thai": { + "name": "Playpen Sans Thai", + "designer": [ + "TypeTogether", + "Sirin Gunkloy", + "Laura Meseguer", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "emoji", + "latin", + "latin-ext", + "math", + "thai" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": "Thai", + "article": "Playpen Sans Thai was designed by TypeTogether after over two years of primary research into handwriting education for Latin-based languages, available at primarium.info. It is a variable font with a weight range from Thin (100) to ExtraBold (800). It supports two different writing systems: Thai and Latin, covering Thai and over 332 Latin-based languages, along with a set of \u201creward icons\u201d as emoji. The superfamily also includes a Pan-African Latin, Greek, Cyrillic (Playpen Sans), Arabic (Playpen Sans Arabic), Devanagari (Playpen Sans Deva), and Hebrew (Playpen Sans Hebrew) fonts that expand the language support of the system. Playpen Sans Thai has alternate glyphs for each character that are automatically applied as you type, with a built-in shuffler that both ensures variety and avoids repetition. This adds to the overall organic, spontaneous, and authentic feel of the handwritten style. To contribute, see github.com/TypeTogether/Playpen-Sans Watch the video on Youtube Thai Playpen Sans Thai is a playful and distinctive typeface that reimagines the traditional Thai script with a unique twist. Unlike conventional Thai fonts that rely on simple looped or loopless terminals, this design introduces a subtle yet innovative feature: hook-shaped terminals that hint at the natural starting point of each letter. Inspired by extensive research into the most legible letterforms for graphic novels, this detail not only enhances readability but also adds a touch of whimsy. The flowing strokes capture the fluid, continuous nature of Thai writing, striking a perfect balance between casual and steady\u2014a rhythm that feels neither too fast nor too slow. The result is a font with a lively, fun-loving personality, designed to bring joy and clarity to every word. A casual handwriting font Some typefaces excel at just one thing, while others do multiple things well. Playpen Sans stands out by perfectly imitating casual handwriting, blending the organic feel of something made by hand with the precision of a professional digital typeface. Handwritten text is naturally inconsistent, but digital fonts aim for uniformity. Playpen Sans bridges this gap by offering a set of characters that are \u201cthe same, but different,\u201d creating an authentic and human-like appearance within the constraints of digital design. It has a set of clear letterforms that are easy to write and recognize. The design forms a bridge between handwritten and typographic letters, friendly to both little readers and adults. To achieve this, Playpen Sans includes multiple versions of each character and a built-in shuffler, ensuring no two shapes repeat too closely. This results in text that feels spontaneous, fun, and organic, while maintaining the functionality of a modern typeface. Designed with non-designers in mind, it shines in informal settings like greeting cards, invitations, children\u2019s books, and graphic novels. Its clarifying features, such as straight and curved endings for certain letters and optional shapes, add to its versatility. Playpen Sans combines the best of both worlds: the aesthetic charm of handwritten text and the technological capabilities of a digital font. It\u2019s spontaneous, authentic, and effortlessly bridges the gap between the organic and the digital. Emojis Playpen Sans has emojis for breezy and encouraging uses, that each match the eight named weights of the Latin. Find here the list of all the emojis available. You can copy and paste them into your document editor when using the font. \ud83d\ude09 \ud83c\udf1e \ud83d\ude0d \u2620 \u2639 \ud83d\ude09 \u270f \ud83d\udcd6 \ud83c\udfe0 \u270d \ud83e\udde9 \ud83e\udd96 \ud83e\ude90 \u2708 \ud83c\udf20 \ud83c\udf82 \ud83c\udfa8 \ud83d\udce3 \ud83d\udc46 \ud83d\udc4d \ud83d\udc4e \ud83c\udfaf \ud83e\udeab \u2705 \u274c \ud83c\udfc5 \ud83e\udd84", + "minisite_url": "https://www.type-together.com/making-playpen-sans" + }, + "Playwrite AR": { + "name": "Playwrite AR", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Primary school curricula in Argentina focus on writing mostly from a comprehension and composition standpoint rather than from the perspective of handwriting. Even so, primary school students learn how to write with joined upright cursive letters from first or second grade. In the initial level, students learn print-style uppercase letters, followed by print lowercase letters in the first grade, and finally, cursive writing. Playwrite Argentina is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling font with Guides, Playwrite AR Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Argentina characteristics As it happens in many South American countries, handwriting for primary education is rooted in the tradition of French Normal schools. It is a round, continuous cursive style, and some of its most recognizable features are the long ascenders and descender loops, semi-connected uppercase letters, curved entry strokes on x-height, the knot in the letter 'o', and a crossbar in 'q' that requires a pen lift. Family name in font menus Playwrite Argentina appears in font menus with a two-letter country code \u2018AR\u2019, Playwrite AR, and features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Argentina, see primarium.info/countries/argentina. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite AR\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/argentina" + }, + "Playwrite AR Guides": { + "name": "Playwrite AR Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Argentina Guides is a single-weight font companion that harmonizes seamlessly with the main family, Playwrite Argentina. It includes guidelines on the baseline, x-height, ascenders, and descenders. These guides provide a visual aid for primary school children that helps young learners grasp the proportions of letterforms and assists them in drawing letters with confidence and accuracy. Primary school curricula in Argentina focus on writing mostly from a comprehension and composition standpoint rather than from the perspective of handwriting. Even so, primary school students learn how to write with joined upright cursive letters from first or second grade. In the initial level, students learn print-style uppercase letters, followed by print lowercase letters in the first grade, and finally, cursive writing. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Argentina Guides characteristics Guidelines are present in all characters except for those used for letter/word spacing. To create a versatile tool for teachers when designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. In Playwrite Guides fonts the underscore prints only the guidelines, and matches the width of the normal word space. Find the detailed characteristics of this country's Model in Playwrite Argentina. Family name in font menus Playwrite Argentina Guides appears in font menus with a two-letter country code \u2018AR\u2019, Playwrite AR Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Argentina, see primarium.info/countries/argentina. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite AR Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/argentina" + }, + "Playwrite AT": { + "name": "Playwrite AT", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "The Austrian Elementary School Curriculum, updated in 2003, stipulates that by the end of the second grade, students should achieve legible and fluent handwriting based on the \u00d6sterreichische Schulschrift, or Austrian school script. This model was originally created in 1946 drawing upon the foundations of German S\u00fctterlinschrift, but underwent several reforms before its last version was introduced in 1995. Playwrite \u00d6sterreich is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite AT Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite \u00d6sterreich characteristics This cursive style, available in upright and slanted (italic) versions, features oval foundational forms and medium-length extenders. It favors fast writing and it is mostly joined, but some letters with crossbars require pen lifts. Uppercase letters are cursive and semi-joined. Notable shapes include Kurrent-style 't,' an 'f' with a loopless descender, a crossbar in 'Z', and knots in certain lower cases. Family name in font menus Playwrite \u00d6sterreich appears in font menus with a two-letter country code \u2018AT\u2019, Playwrite AT, and features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in England, see primarium.info/countries/austria. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold style, so please avoid applying it in text editors. If you use the common 'B' button, you will automatically generate a low-quality style. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite AT\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/austria" + }, + "Playwrite AT Guides": { + "name": "Playwrite AT Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite \u00d6sterreich Guides is a single-weight font companion that harmonizes seamlessly with the main family, Playwrite \u00d6sterreich. It includes guidelines on the baseline, x-height, ascenders, and descenders. These guides provide a visual aid for primary school children that helps young learners grasp the proportions of letterforms and assists them in drawing letters with confidence and accuracy. The Austrian Elementary School Curriculum, updated in 2003, stipulates that by the end of the second grade, students should achieve legible and fluent handwriting based on the \u00d6sterreichische Schulschrift, or Austrian school script. This model was originally created in 1946 drawing upon the foundations of German S\u00fctterlinschrift, but underwent several reforms before its last version was introduced in 1995. To contribute, see github.com/TypeTogether/Playwrite. Playwrite \u00d6sterreich Guides characteristics Guidelines are present in all characters except for those used for letter/word spacing. To create a versatile tool for teachers when designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. In Playwrite Guides fonts the underscore prints only the guidelines, and matches the width of the normal word space. Find the detailed characteristics of this country's Model in Playwrite \u00d6sterreich. Family name in font menus Playwrite \u00d6sterreich Guides appears in font menus with a two-letter country code \u2018AT\u2019, Playwrite AT Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in England, see primarium.info/countries/austria. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold style, so please avoid applying it in text editors. If you use the common 'B' button, you will automatically generate a low-quality style. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite AT Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/austria" + }, + "Playwrite AU NSW": { + "name": "Playwrite AU NSW", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "All Australian provinces employ modern cursive letters for handwriting education, which are taught in a progressive manner. But each state teaches its own version of this style, locally known as \u2018script\u2018, and state-level departments of education offer guidelines and, in some cases, resources for schools and teachers. The adoption of the current models and approach can be traced back to 1990, when the Australian Education Council (AEC) recommended that all schools in the country should adopt a handwriting style based on Scottish calligrapher Tom Gourdie\u2019s Simple Modern Hand. The AEC advocated for a consistent style in handwriting instruction across the country so students relocating across states and territories would not face difficulties. Despite starting from the same source, today the five main handwriting models have diverged somewhat in their details. Playwrite Australia NSW is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite AU NSW Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Australia NSW characteristics This semi-connected, slanted modern cursive features print-style capital letters. It is characterized by loopless extenders and letters with descenders that do not connect to the following letter. Construction exhibits an overall high stroke speed. Key features include an open 'G' without a crossbar and a uniquely designed 'Y'. The lowercase 'f' is disconnected and has a straight descender. The letters 'b' and 'p' feature closed bowls, enhancing their distinctiveness. Both 'r' and 'z' are presented in an italic style, contributing to the script's elegant and streamlined. Family name in font menus Playwrite Australia NSW appears in font menus with a two-letter country code \u2018AU\u2019 and a the \u2018NSW\u2019 abbreviation Playwrite AU NSW. It features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in australia, see primarium.info/countries/australia. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite AU NSW\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/australia" + }, + "Playwrite AU NSW Guides": { + "name": "Playwrite AU NSW Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Australia NSW Guides is a single-weight font companion that harmonizes seamlessly with the main family, Playwrite Australia NSW. It includes guidelines on the baseline, x-height, ascenders, and descenders. These guides provide a visual aid for primary school children that helps young learners grasp the proportions of letterforms and assists them in drawing letters with confidence and accuracy. All Australian provinces employ modern cursive letters for handwriting education, which are taught in a progressive manner. But each state teaches its own version of this style, locally known as \u2018script\u2018, and state-level departments of education offer guidelines and, in some cases, resources for schools and teachers. The adoption of the current models and approach can be traced back to 1990, when the Australian Education Council (AEC) recommended that all schools in the country should adopt a handwriting style based on Scottish calligrapher Tom Gourdie\u2019s Simple Modern Hand. The AEC advocated for a consistent style in handwriting instruction across the country so students relocating across states and territories would not face difficulties. Despite starting from the same source, today the five main handwriting models have diverged somewhat in their details. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Australia NSW Guides characteristics Guidelines are present in all characters except for those used for letter/word spacing. To create a versatile tool for teachers when designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. In Playwrite Guides fonts the underscore prints only the guidelines, and matches the width of the normal word space. Find the detailed characteristics of this country's Model in Playwrite Australia NSW. Family name in font menus Playwrite Australia NSW Guides appears in font menus with a two-letter country code \u2018AU\u2019 and a the \u2018NSW\u2019 abbreviation Playwrite AU NSW Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in australia, see primarium.info/countries/australia. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite AU NSW Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/australia" + }, + "Playwrite AU QLD": { + "name": "Playwrite AU QLD", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "All Australian provinces employ modern cursive letters for handwriting education, which are taught in a progressive manner. But each state teaches its own version of this style, locally known as \u2018script\u2018, and state-level departments of education offer guidelines and, in some cases, resources for schools and teachers. The adoption of the current models and approach can be traced back to 1990, when the Australian Education Council (AEC) recommended that all schools in the country should adopt a handwriting style based on Scottish calligrapher Tom Gourdie\u2019s Simple Modern Hand. The AEC advocated for a consistent style in handwriting instruction across the country so students relocating across states and territories would not face difficulties. Despite starting from the same source, today the five main handwriting models have diverged somewhat in their details. Playwrite Australia QLD is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite AU QLD Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Australia QLD characteristics This semi-connected, slanted modern cursive features print-style capital letters. The extenders are loopless, and letters with descenders do not connect to the next letter, allowing for a fluid and fast writing pace. Notably, 'm' and 'n' start with curved entry strokes. Distinctive features include an open 'G' without a crossbar and a serifed 'I', adding a unique touch. The 'Y' is peculiar in its form. The lowercase 'f' is disconnected and features a straight descender. The 'q' concludes with a short exit stroke, while the 's' maintains a cursive style. The 'z' is designed to be wide and open with a descender, enhancing readability and style. Family name in font menus Playwrite Australia QLD appears in font menus with a two-letter country code \u2018AU\u2019 and a the \u2018QLD\u2019 abbreviation Playwrite AU QLD. It features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in australia, see primarium.info/countries/australia. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite AU QLD\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/australia" + }, + "Playwrite AU QLD Guides": { + "name": "Playwrite AU QLD Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Australia QLD Guides is a single-weight font companion that harmonizes seamlessly with the main family, Playwrite Australia QLD. It includes guidelines on the baseline, x-height, ascenders, and descenders. These guides provide a visual aid for primary school children that helps young learners grasp the proportions of letterforms and assists them in drawing letters with confidence and accuracy. All Australian provinces employ modern cursive letters for handwriting education, which are taught in a progressive manner. But each state teaches its own version of this style, locally known as \u2018script\u2018, and state-level departments of education offer guidelines and, in some cases, resources for schools and teachers. The adoption of the current models and approach can be traced back to 1990, when the Australian Education Council (AEC) recommended that all schools in the country should adopt a handwriting style based on Scottish calligrapher Tom Gourdie\u2019s Simple Modern Hand. The AEC advocated for a consistent style in handwriting instruction across the country so students relocating across states and territories would not face difficulties. Despite starting from the same source, today the five main handwriting models have diverged somewhat in their details. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Australia QLD Guides characteristics Guidelines are present in all characters except for those used for letter/word spacing. To create a versatile tool for teachers when designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. In Playwrite Guides fonts the underscore prints only the guidelines, and matches the width of the normal word space. Find the detailed characteristics of this country's Model in Playwrite Australia QLD. Family name in font menus Playwrite Australia QLD Guides appears in font menus with a two-letter country code \u2018AU\u2019 and a the \u2018QLD\u2019 abbreviation Playwrite AU QLD Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in australia, see primarium.info/countries/australia. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite AU QLD Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/australia" + }, + "Playwrite AU SA": { + "name": "Playwrite AU SA", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "All Australian provinces employ modern cursive letters for handwriting education, which are taught in a progressive manner. But each state teaches its own version of this style, locally known as \u2018script\u2018, and state-level departments of education offer guidelines and, in some cases, resources for schools and teachers. The adoption of the current models and approach can be traced back to 1990, when the Australian Education Council (AEC) recommended that all schools in the country should adopt a handwriting style based on Scottish calligrapher Tom Gourdie\u2019s Simple Modern Hand. The AEC advocated for a consistent style in handwriting instruction across the country so students relocating across states and territories would not face difficulties. Despite starting from the same source, today the five main handwriting models have diverged somewhat in their details. Playwrite Australia SA is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite AU SA Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Australia SA characteristics This semi-connected, slanted modern cursive features print-style capital letters. The extenders are loopless, and letters with descenders do not connect to the next letter, facilitating a brisk writing pace. Key characteristics include an open 'G' without a crossbar, a serifed 'I', and the 'Y', which also stands out with its unusual design. The lowercase 'f' is disconnected and comes with a straight descender. The 'q' is noted for its short exit stroke, while the 'k' is uniquely designed with two strokes. Both 'r' and 'z' are presented in an italic style, contributing to the elegance of this script. Family name in font menus Playwrite Australia SA appears in font menus with a two-letter country code \u2018AU\u2019 and a the \u2018SA\u2019 abbreviation Playwrite AU SA. It features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in australia, see primarium.info/countries/australia. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite AU SA\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/australia" + }, + "Playwrite AU SA Guides": { + "name": "Playwrite AU SA Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Australia SA Guides is a single-weight font companion that harmonizes seamlessly with the main family, Playwrite Australia SA. It includes guidelines on the baseline, x-height, ascenders, and descenders. These guides provide a visual aid for primary school children that helps young learners grasp the proportions of letterforms and assists them in drawing letters with confidence and accuracy. All Australian provinces employ modern cursive letters for handwriting education, which are taught in a progressive manner. But each state teaches its own version of this style, locally known as \u2018script\u2018, and state-level departments of education offer guidelines and, in some cases, resources for schools and teachers. The adoption of the current models and approach can be traced back to 1990, when the Australian Education Council (AEC) recommended that all schools in the country should adopt a handwriting style based on Scottish calligrapher Tom Gourdie\u2019s Simple Modern Hand. The AEC advocated for a consistent style in handwriting instruction across the country so students relocating across states and territories would not face difficulties. Despite starting from the same source, today the five main handwriting models have diverged somewhat in their details. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Australia SA Guides characteristics Guidelines are present in all characters except for those used for letter/word spacing. To create a versatile tool for teachers when designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. In Playwrite Guides fonts the underscore prints only the guidelines, and matches the width of the normal word space. Find the detailed characteristics of this country's Model in Playwrite Australia SA. Family name in font menus Playwrite Australia SA Guides appears in font menus with a two-letter country code \u2018AU\u2019 and a the \u2018SA\u2019 abbreviation Playwrite AU SA Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in australia, see primarium.info/countries/australia. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite AU SA Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/australia" + }, + "Playwrite AU TAS": { + "name": "Playwrite AU TAS", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "All Australian provinces employ modern cursive letters for handwriting education, which are taught in a progressive manner. But each state teaches its own version of this style, locally known as \u2018script\u2018, and state-level departments of education offer guidelines and, in some cases, resources for schools and teachers. The adoption of the current models and approach can be traced back to 1990, when the Australian Education Council (AEC) recommended that all schools in the country should adopt a handwriting style based on Scottish calligrapher Tom Gourdie\u2019s Simple Modern Hand. The AEC advocated for a consistent style in handwriting instruction across the country so students relocating across states and territories would not face difficulties. Despite starting from the same source, today the five main handwriting models have diverged somewhat in their details. Playwrite Australia Tasmania is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite AU TAS Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Australia Tasmania characteristics This semi-connected, slanted modern cursive features print-style capital letters. The lowercase letters are loopless, and characters with descenders, as well as the letter 's', do not connect to the following letter, allowing for faster writing. The style is characterized by a high stroke speed. Notably, the letter 'G' is open, and 'Y' has a peculiar design. The 'f' is disconnected with a curved descender. The letters 'b' and 'p' have closed bowls, while 'r' and 'z' are presented in an italic style. Additionally, 'q' finishes with a small exit stroke, contributing to the fluidity and distinctiveness of this handwriting style. Family name in font menus Playwrite Australia Tasmania appears in font menus with a two-letter country code \u2018AU\u2019 and a the \u2018TAS\u2019 abbreviation Playwrite AU TAS. It features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in australia, see primarium.info/countries/australia. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite AU TAS\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/australia" + }, + "Playwrite AU TAS Guides": { + "name": "Playwrite AU TAS Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Australia TAS Guides is a single-weight font companion that harmonizes seamlessly with the main family, Playwrite Australia TAS. It includes guidelines on the baseline, x-height, ascenders, and descenders. These guides provide a visual aid for primary school children that helps young learners grasp the proportions of letterforms and assists them in drawing letters with confidence and accuracy. All Australian provinces employ modern cursive letters for handwriting education, which are taught in a progressive manner. But each state teaches its own version of this style, locally known as \u2018script\u2018, and state-level departments of education offer guidelines and, in some cases, resources for schools and teachers. The adoption of the current models and approach can be traced back to 1990, when the Australian Education Council (AEC) recommended that all schools in the country should adopt a handwriting style based on Scottish calligrapher Tom Gourdie\u2019s Simple Modern Hand. The AEC advocated for a consistent style in handwriting instruction across the country so students relocating across states and territories would not face difficulties. Despite starting from the same source, today the five main handwriting models have diverged somewhat in their details. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Australia Tasmania Guides characteristics Guidelines are present in all characters except for those used for letter/word spacing. To create a versatile tool for teachers when designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. In Playwrite Guides fonts the underscore prints only the guidelines, and matches the width of the normal word space. Find the detailed characteristics of this country's Model in Playwrite Australia TAS. Family name in font menus Playwrite Australia Tasmania Guides appears in font menus with a two-letter country code \u2018AU\u2019 and a the \u2018TAS\u2019 abbreviation Playwrite AU TAS Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in australia, see primarium.info/countries/australia. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite AU TAS Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/australia" + }, + "Playwrite AU VIC": { + "name": "Playwrite AU VIC", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "All Australian provinces employ modern cursive letters for handwriting education, which are taught in a progressive manner. But each state teaches its own version of this style, locally known as \u2018script\u2018, and state-level departments of education offer guidelines and, in some cases, resources for schools and teachers. The adoption of the current models and approach can be traced back to 1990, when the Australian Education Council (AEC) recommended that all schools in the country should adopt a handwriting style based on Scottish calligrapher Tom Gourdie\u2019s Simple Modern Hand. The AEC advocated for a consistent style in handwriting instruction across the country so students relocating across states and territories would not face difficulties. Despite starting from the same source, today the five main handwriting models have diverged somewhat in their details. Playwrite Australia Victoria is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite AU VIC Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Australia Victoria characteristics This modern cursive includes elements of continuous cursive styles, such as the open bowls in 'b' and 'p'. The only loop is on the ascender of 'f', while 'm' and 'n' feature curved entry strokes. Letters with descenders, except for 'f', do not connect to the next letter, giving a more distinct and clear semi-connected appearance. The 'z' has a very open design with a descender. In line with other Australian models, 'g' also features an open design. 'M' is noted for its plain legs, and 'q' ends with a small exit stroke. Family name in font menus Playwrite Australia Victoria appears in font menus with a two-letter country code \u2018AU\u2019 and a the \u2018VIC\u2019 abbreviation Playwrite AU VIC. It features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in australia, see primarium.info/countries/australia. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite AU VIC\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/australia" + }, + "Playwrite AU VIC Guides": { + "name": "Playwrite AU VIC Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Australia Victoria Guides is a single-weight font companion that harmonizes seamlessly with the main family, Playwrite Australia Victoria. It includes guidelines on the baseline, x-height, ascenders, and descenders. These guides provide a visual aid for primary school children that helps young learners grasp the proportions of letterforms and assists them in drawing letters with confidence and accuracy. All Australian provinces employ modern cursive letters for handwriting education, which are taught in a progressive manner. But each state teaches its own version of this style, locally known as \u2018script\u2018, and state-level departments of education offer guidelines and, in some cases, resources for schools and teachers. The adoption of the current models and approach can be traced back to 1990, when the Australian Education Council (AEC) recommended that all schools in the country should adopt a handwriting style based on Scottish calligrapher Tom Gourdie\u2019s Simple Modern Hand. The AEC advocated for a consistent style in handwriting instruction across the country so students relocating across states and territories would not face difficulties. Despite starting from the same source, today the five main handwriting models have diverged somewhat in their details. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Australia Victoria Guides characteristics Guidelines are present in all characters except for those used for letter/word spacing. To create a versatile tool for teachers when designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. In Playwrite Guides fonts the underscore prints only the guidelines, and matches the width of the normal word space. Find the detailed characteristics of this country's Model in Playwrite Australia Victoria. Family name in font menus Playwrite Australia Victoria Guides appears in font menus with a two-letter country code \u2018AU\u2019 and a the \u2018VIC\u2019 abbreviation Playwrite AU VIC Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in australia, see primarium.info/countries/australia. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite AU VIC Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/australia" + }, + "Playwrite BE VLG": { + "name": "Playwrite BE VLG", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "The Dutch-French language divide in Belgium, a phenomenon with roots stretching back to the Middle Ages, continues to be relevant in the country today. Traditions of handwriting education exemplify this circumstance and reflect the country's historical ties to France and the Netherlands. Regardless of the handwriting model adopted, students learn print-style script letters in kindergarten and progress to connected letters in primary school. In Flanders, there is a preference for sloped continuous cursive writing, reminiscent of Dutch handwriting models, whereas the French-speaking community in the Walloon region opts for upright cursive writing, a style that enjoys popularity in France. This diversity in handwriting education is a direct response to Belgium's rich linguistic culture, leading to the introduction of a second official language early in the school years. Playwrite Belgi\u00eb Vlaanderen is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite BE VLG Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Belgi\u00eb Vlaanderen characteristics This style is a slanted, fully connected continuous cursive. It features decorative capital letters, some of which, like 'A', closely resemble a cursive structure. The extenders are of medium length, enhancing the fluidity. 'T' and 'Z' are designed with a crossbar, while 'X' includes loops that facilitates continuous writing without lifting the pen. The 'S' maintains a straight spine. The lowercase 'f' features only a top loop, connecting from its crossbar, and the 't' has a crossbar that extends only to the right, giving it a distinctive appearance. Family name in font menus Playwrite Belgi\u00eb Vlaanderen appears in font menus with a two-letter country code \u2018BE\u2019 and a the \u2018VLG\u2019 abbreviation Playwrite BE VLG. It features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in australia, see primarium.info/countries/belgium. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite BE VLG\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/belgium" + }, + "Playwrite BE VLG Guides": { + "name": "Playwrite BE VLG Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Belgi\u00eb Vlaanderen Guides is a single-weight font companion that harmonizes seamlessly with the main family, Playwrite Belgi\u00eb Vlaanderen. It includes guidelines on the baseline, x-height, ascenders, and descenders. These guides provide a visual aid for primary school children that helps young learners grasp the proportions of letterforms and assists them in drawing letters with confidence and accuracy. The Dutch-French language divide in Belgium, a phenomenon with roots stretching back to the Middle Ages, continues to be relevant in the country today. Traditions of handwriting education exemplify this circumstance and reflect the country's historical ties to France and the Netherlands. Regardless of the handwriting model adopted, students learn print-style script letters in kindergarten and progress to connected letters in primary school. In Flanders, there is a preference for sloped continuous cursive writing, reminiscent of Dutch handwriting models, whereas the French-speaking community in the Walloon region opts for upright cursive writing, a style that enjoys popularity in France. This diversity in handwriting education is a direct response to Belgium's rich linguistic culture, leading to the introduction of a second official language early in the school years. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Belgi\u00eb Vlaanderen characteristics Guidelines are present in all characters except for those used for letter/word spacing. To create a versatile tool for teachers when designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. In Playwrite Guides fonts the underscore prints only the guidelines, and matches the width of the normal word space. Find the detailed characteristics of this country's Model in Playwrite Belgi\u00eb Vlaanderen. Family name in font menus Playwrite Belgi\u00eb Vlaanderen Guides appears in font menus with a two-letter country code \u2018BE\u2019 and a the \u2018VLG\u2019 abbreviation Playwrite BE VLG Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in australia, see primarium.info/countries/belgium. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite BE VLG Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/belgium" + }, + "Playwrite BE WAL": { + "name": "Playwrite BE WAL", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "The Dutch-French language divide in Belgium, a phenomenon with roots stretching back to the Middle Ages, continues to be relevant in the country today. Traditions of handwriting education exemplify this circumstance and reflect the country's historical ties to France and the Netherlands. Regardless of the handwriting model adopted, students learn print-style script letters in kindergarten and progress to connected letters in primary school. In Flanders, there is a preference for sloped continuous cursive writing, reminiscent of Dutch handwriting models, whereas the French-speaking community in the Walloon region opts for upright cursive writing, a style that enjoys popularity in France. This diversity in handwriting education is a direct response to Belgium's rich linguistic culture, leading to the introduction of a second official language early in the school years. Playwrite Belgique Wallonie-Bruxelles is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite BE WAL Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Belgique Wallonie-Bruxelles characteristics This upright cursive style features very long extenders and is executed at a slow speed. The capitals are decorative, with features like crossbars in 'T' and 'Z', and a vertical spine in 'S'. The lowercase letters adhere to a continuous, fully connected cursive style, incorporating loops, knots, and curved entry strokes. Notable details include a flat-topped 'z' with a knot and a 't' with a single-sided crossbar, enhancing the ornate nature of this script. Family name in font menus Playwrite Belgique Wallonie-Bruxelles appears in font menus with a two-letter country code \u2018BE\u2019 and a the \u2018WAL\u2019 abbreviation Playwrite BE WAL. It features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in australia, see primarium.info/countries/belgium. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite BE WAL\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/belgium" + }, + "Playwrite BE WAL Guides": { + "name": "Playwrite BE WAL Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Belgique Wallonie-Bruxelles Guides is a single-weight font companion that harmonizes seamlessly with the main family, Playwrite Belgique Wallonie-Bruxelles. It includes guidelines on the baseline, x-height, ascenders, and descenders. These guides provide a visual aid for primary school children that helps young learners grasp the proportions of letterforms and assists them in drawing letters with confidence and accuracy. The Dutch-French language divide in Belgium, a phenomenon with roots stretching back to the Middle Ages, continues to be relevant in the country today. Traditions of handwriting education exemplify this circumstance and reflect the country's historical ties to France and the Netherlands. Regardless of the handwriting model adopted, students learn print-style script letters in kindergarten and progress to connected letters in primary school. In Flanders, there is a preference for sloped continuous cursive writing, reminiscent of Dutch handwriting models, whereas the French-speaking community in the Walloon region opts for upright cursive writing, a style that enjoys popularity in France. This diversity in handwriting education is a direct response to Belgium's rich linguistic culture, leading to the introduction of a second official language early in the school years. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Belgique Wallonie-Bruxelles Guides characteristics Guidelines are present in all characters except for those used for letter/word spacing. To create a versatile tool for teachers when designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. In Playwrite Guides fonts the underscore prints only the guidelines, and matches the width of the normal word space. Find the detailed characteristics of this country's Model in Playwrite Belgique Wallonie-Bruxelles. Family name in font menus Playwrite Belgique Wallonie-Bruxelles Guides appears in font menus with a two-letter country code \u2018BE\u2019 and a the \u2018WAL\u2019 abbreviation Playwrite BE WAL Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in australia, see primarium.info/countries/belgium. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite BE WAL Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/belgium" + }, + "Playwrite BR": { + "name": "Playwrite BR", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Educational Vertical cursive models first appeared in the 19th century in France, England, and the USA as simplified forms of their predecessors, Roundhand and Spencerian styles, respectively. The upright cursive writing did not enjoy a long period of popularity in northern European and Anglo-American countries. It was, however, widely adopted in Spain, Portugal, Italy, and France, where it is still used. From these countries, it traveled to erstwhile colonies such as Brazil, Argentina, Uruguay, and Chile, among others. In Brazil, this resulted in the replacement of the then-popular models of handwriting, such as Palmer from the US and commercial Roundhand script from England, with the vertical cursive approach. Playwrite Brasil is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite BR Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Brasil characteristics This style features a vertical continuous cursive with medium-length extenders, round letters, and a slow curve speed. The capital letters are predominantly cursive, with many designed to connect seamlessly to the following lowercase letters. 'Q' is notably distinctive in shape. Many lowercase letters begin with curved entry strokes. The letter 'q' includes a crossbar, 'f' features a mirrored bottom loop, and 'z' is characterized by a round form with a looped descender. Family name in font menus Playwrite Brasil appears in font menus with a two-letter country code \u2018BR\u2019, Playwrite BR, and features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Brasil, see primarium.info/countries/Brasil. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite BR\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/brazil" + }, + "Playwrite BR Guides": { + "name": "Playwrite BR Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Brasil Guides is a single-weight font companion that harmonizes seamlessly with the main family, Playwrite Brasil. It includes guidelines on the baseline, x-height, ascenders, and descenders. These guides provide a visual aid for primary school children that helps young learners grasp the proportions of letterforms and assists them in drawing letters with confidence and accuracy. Educational Vertical cursive models first appeared in the 19th century in France, England, and the USA as simplified forms of their predecessors, Roundhand and Spencerian styles, respectively. The upright cursive writing did not enjoy a long period of popularity in northern European and Anglo-American countries. It was, however, widely adopted in Spain, Portugal, Italy, and France, where it is still used. From these countries, it traveled to erstwhile colonies such as Brazil, Argentina, Uruguay, and Chile, among others. In Brazil, this resulted in the replacement of the then-popular models of handwriting, such as Palmer from the US and commercial Roundhand script from England, with the vertical cursive approach. Playwrite Brasil Guides is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Brasil Guides characteristics Guidelines are present in all characters except for those used for letter/word spacing. To create a versatile tool for teachers when designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. In Playwrite Guides fonts the underscore prints only the guidelines, and matches the width of the normal word space. Find the detailed characteristics of this country's Model in Playwrite Brasil. Family name in font menus Playwrite Brasil Guides appears in font menus with a two-letter country code \u2018BR\u2019, Playwrite BR Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Brasil, see primarium.info/countries/Brasil. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite BR Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/brazil" + }, + "Playwrite CA": { + "name": "Playwrite CA", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "The traditional method of handwriting instruction in Canada is called MacLean\u2019s Method of Writing, and was developed by educator Henry Boyver MacLean in the mid-20th century. Building upon letter shapes devised by Austin Norman Palmer in the United States, MacLean introduced several changes to suit the needs of school instruction, such as modifications to teaching methods and the addition of motor preparation exercises. Even though MacLean\u2019s books have not been used in Canada for several years, his letter shapes survive in schoolbooks published by regional governments and private publishing houses. They are widely used in the majority of Canadian primary schools. Playwrite Canada is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite CA Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Canada characteristics This slanted continuous cursive style is influenced by the Zaner-Bloser and D'Nealian models. It includes cursive uppercase letters, with some particularly intricate ones like 'I', 'J', and 'G'. The lowercase letters feature medium-length extenders with loops, which are consistent even in letters like 'p' and 'q', and are constructed using medium-speed strokes. Additionally, several lowercase letters such as 'm', 'n', 'v', 'w', 'y', and 'z' start with curved entry strokes at the x-height. Family name in font menus Playwrite Canada appears in font menus with a two-letter country code \u2018CA\u2019, Playwrite CA, and features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Canada, see primarium.info/countries/canada. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite CA\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/canada" + }, + "Playwrite CA Guides": { + "name": "Playwrite CA Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Canada Guides is a single-weight font companion that harmonizes seamlessly with the main family, Playwrite Canada. It includes guidelines on the baseline, x-height, ascenders, and descenders. These guides provide a visual aid for primary school children that helps young learners grasp the proportions of letterforms and assists them in drawing letters with confidence and accuracy. The traditional method of handwriting instruction in Canada is called MacLean\u2019s Method of Writing, and was developed by educator Henry Boyver MacLean in the mid-20th century. Building upon letter shapes devised by Austin Norman Palmer in the United States, MacLean introduced several changes to suit the needs of school instruction, such as modifications to teaching methods and the addition of motor preparation exercises. Even though MacLean\u2019s books have not been used in Canada for several years, his letter shapes survive in schoolbooks published by regional governments and private publishing houses. They are widely used in the majority of Canadian primary schools. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Canada Guides characteristics Guidelines are present in all characters except for those used for letter/word spacing. To create a versatile tool for teachers when designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. In Playwrite Guides fonts the underscore prints only the guidelines, and matches the width of the normal word space. Find the detailed characteristics of this country's Model in Playwrite Canada. Family name in font menus Playwrite Canada Guides appears in font menus with a two-letter country code \u2018CA\u2019, Playwrite CA Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Canada, see primarium.info/countries/canada. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite CA Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/canada" + }, + "Playwrite CL": { + "name": "Playwrite CL", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "The most prevalent style of handwriting taught in Chile is known as \u2018letra ligada\u2019, or joined letters. This form of cursive handwriting is introduced to children as early as 6 years old, either alongside print letters or as a standalone style. It can be seen as a slantless variant of English roundhand, a calligraphic style that emerged in England, gaining widespread popularity in the 18th century, but Chilean type designers note that, while there are structural similarities between the two styles, there are also notable differences. For instance, letra ligada typically features shorter ascenders and descenders, and its uppercase letters are less ornate. This divergence is present in both contemporary typographic and calligraphic examples. Playwrite Chile is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite CL Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Chile characteristics This upright continuous cursive features a mix of uppercase styles. Letters like 'A' and 'N' are plain and cursive, whereas others such as 'Q' and 'T' are more decorative and intricate. The lowercase letters have medium-length extenders with loops and are characterized by their rounded forms and slow stroke speed. The letter 'q' is distinguished by a mirrored loop on its descender. The 'o' includes a knot, and the letters 'm', 'n', 'v', 'w', 'y', and 'z' begin with curved entry strokes. Family name in font menus Playwrite Chile appears in font menus with a two-letter country code \u2018CL\u2019, Playwrite CL, and features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Chile, see primarium.info/countries/Chile. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite CL\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/chile" + }, + "Playwrite CL Guides": { + "name": "Playwrite CL Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Chile Guides is a single-weight font companion that harmonizes seamlessly with the main family, Playwrite Chile. It includes guidelines on the baseline, x-height, ascenders, and descenders. These guides provide a visual aid for primary school children that helps young learners grasp the proportions of letterforms and assists them in drawing letters with confidence and accuracy. The most prevalent style of handwriting taught in Chile is known as \u2018letra ligada\u2019, or joined letters. This form of cursive handwriting is introduced to children as early as 6 years old, either alongside print letters or as a standalone style. It can be seen as a slantless variant of English roundhand, a calligraphic style that emerged in England, gaining widespread popularity in the 18th century, but Chilean type designers note that, while there are structural similarities between the two styles, there are also notable differences. For instance, letra ligada typically features shorter ascenders and descenders, and its uppercase letters are less ornate. This divergence is present in both contemporary typographic and calligraphic examples. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Chile Guides characteristics Guidelines are present in all characters except for those used for letter/word spacing. To create a versatile tool for teachers when designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. In Playwrite Guides fonts the underscore prints only the guidelines, and matches the width of the normal word space. Find the detailed characteristics of this country's Model in Playwrite Chile. Family name in font menus Playwrite Chile Guides appears in font menus with a two-letter country code \u2018CL\u2019, Playwrite CL, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Chile, see primarium.info/countries/Chile. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite CL\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/chile" + }, + "Playwrite CO": { + "name": "Playwrite CO", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "The Colombian cursive style \u2018letra pegada\u2019 is visibly rooted in the traditions of the Palmer method, created by Austin Palmer (1860\u20131927) in the United States at the turn of the last century. It has many similarities with cursive writing models in North American countries ( United States, M\u00e9xico, and Canada), which also descend from the same style. This influence can be seen in the \u2018cartillas\u2019 or handwriting education booklets produced by private publishers, which play an essential role in the teaching of reading and writing in the country. Playwrite Colombia is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite CO Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Colombia characteristics Following the tradition and current use of these booklets, Playwrite Colombia is a very slanted continuous cursive. Its lowercase letters have medium-length ascenders and descenders with loops that favor writing whole words without pen lifts. Based on the Palmer style, these loops are mirrored in the descending strokes of letters 'f' and 'q'. Some uppercase letters, such as the 'G', 'L' and 'Z', have decorative and complex cursive shapes. Family name in font menus Playwrite Colombia appears in font menus with a two-letter country code \u2018CO\u2019, Playwrite CO, and features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Colombia, see primarium.info/countries/colombia. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite CO\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/colombia" + }, + "Playwrite CO Guides": { + "name": "Playwrite CO Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Colombia Guides is a single-weight font companion that harmonizes seamlessly with the main family, Playwrite Colombia. It includes guidelines on the baseline, x-height, ascenders, and descenders. These guides provide a visual aid for primary school children that helps young learners grasp the proportions of letterforms and assists them in drawing letters with confidence and accuracy. The Colombian cursive style \u2018letra pegada\u2019 is visibly rooted in the traditions of the Palmer method, created by Austin Palmer (1860\u20131927) in the United States at the turn of the last century. It has many similarities with cursive writing models in North American countries ( United States, M\u00e9xico, and Canada), which also descend from the same style. This influence can be seen in the \u2018cartillas\u2019 or handwriting education booklets produced by private publishers, which play an essential role in the teaching of reading and writing in the country. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Colombia Guides characteristics Guidelines are present in all characters except for those used for letter/word spacing. To create a versatile tool for teachers when designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. In Playwrite Guides fonts the underscore prints only the guidelines, and matches the width of the normal word space. Find the detailed characteristics of this country's Model in Playwrite Colombia. Family name in font menus Playwrite Colombia Guides appears in font menus with a two-letter country code \u2018CO\u2019, Playwrite CO Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Colombia, see primarium.info/countries/colombia. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite CO Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/colombia" + }, + "Playwrite CU": { + "name": "Playwrite CU", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Literacy education in Cuba is notable for its distinctive approach: students are introduced to two different styles of letters from the outset, one for reading and the other for writing. Textbooks feature print-style, typographic letters represented by either geometric or grotesque sans serifs for reading. These styles are consistent across all workbooks and textbooks, with the exception of those focused on writing and calligraphy. For these, a fully-joined, cursive style is used, drawing inspiration from calligraphic models from the United States, notably the Palmer Method, created by Austin Palmer , and the Zaner-Bloser method, developed by Charles Paxton Zaner and his partner Elmer Ward Bloser. Playwrite Cuba is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite CU Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Cuba characteristics This style is a very slanted continuous cursive that draws inspiration from the Zaner-Bloser and D'Nealian models. It features cursive uppercase letters, some of which are quite complex, such as 'I', 'J', and 'G'. The lowercase letters have medium-length extenders with loops, present even in letters like 'p' and 'q', and are formed using slow strokes. Notably, this style includes an italic-style 'r' and a 'z' with a flat top and a loop. Family name in font menus Playwrite Cuba appears in font menus with a two-letter country code \u2018CU\u2019, Playwrite CU, and features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Cuba, see primarium.info/countries/cuba. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite CU\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/cuba" + }, + "Playwrite CU Guides": { + "name": "Playwrite CU Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Cuba Guides is a single-weight font companion that harmonizes seamlessly with the main family, Playwrite Cuba. It includes guidelines on the baseline, x-height, ascenders, and descenders. These guides provide a visual aid for primary school children that helps young learners grasp the proportions of letterforms and assists them in drawing letters with confidence and accuracy. Literacy education in Cuba is notable for its distinctive approach: students are introduced to two different styles of letters from the outset, one for reading and the other for writing. Textbooks feature print-style, typographic letters represented by either geometric or grotesque sans serifs for reading. These styles are consistent across all workbooks and textbooks, with the exception of those focused on writing and calligraphy. For these, a fully-joined, cursive style is used, drawing inspiration from calligraphic models from the United States, notably the Palmer Method, created by Austin Palmer , and the Zaner-Bloser method, developed by Charles Paxton Zaner and his partner Elmer Ward Bloser. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Cuba Guides characteristics Guidelines are present in all characters except for those used for letter/word spacing. To create a versatile tool for teachers when designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. In Playwrite Guides fonts the underscore prints only the guidelines, and matches the width of the normal word space. Find the detailed characteristics of this country's Model in Playwrite Cuba. Family name in font menus Playwrite Cuba Guides appears in font menus with a two-letter country code \u2018CU\u2019, Playwrite CU Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info. To learn more about handwriting education in Cuba, see primarium.info/countries/cuba. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite CU Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/cuba" + }, + "Playwrite CZ": { + "name": "Playwrite CZ", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "There are two main models used for handwriting education in the Czech Republic. The first, known as Zjednodu\u0161en\u00e1 psac\u00ed latinka, or Simplified Latin script, is a continuous cursive hand. This model was officially ratified by the education ministry of erstwhile Czechoslovakia in 1932 and underwent its last revision in 1978. The second model, Comenia Script, features unjoined letters and was endorsed by the ministry in 2012. The national curriculum, which was last published in 2013, provides no further prescriptions about handwriting, and as a result, schools have the autonomy to select either model for instruction. Playwrite \u010cesko is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite CZ Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite \u010cesko characteristics This sloped continuous cursive style includes decorative capital letters. 'A' and 'H' feature looped crossbars, while 'G' has a cursive structure but lacks a descending stroke. 'M' and 'N' are constructed differently, with only one following a cursive format. The lowercase letters have looped ascenders and descenders. Curved entry strokes appear in 'm', 'n', and 'v', but are absent in 'w'. The letter 'q' includes a mirrored loop in its descender. Family name in font menus Playwrite \u010cesko appears in font menus with a two-letter country code \u2018CZ\u2019, Playwrite CZ, and features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Cesko, see primarium.info/countries/czech-republic. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite CZ\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/czech-republic" + }, + "Playwrite CZ Guides": { + "name": "Playwrite CZ Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite \u010cesko Guides is a single-weight font companion that harmonizes seamlessly with the main family, Playwrite \u010cesko. It includes guidelines on the baseline, x-height, ascenders, and descenders. These guides provide a visual aid for primary school children that helps young learners grasp the proportions of letterforms and assists them in drawing letters with confidence and accuracy. There are two main models used for handwriting education in the Czech Republic. The first, known as Zjednodu\u0161en\u00e1 psac\u00ed latinka, or Simplified Latin script, is a continuous cursive hand. This model was officially ratified by the education ministry of erstwhile Czechoslovakia in 1932 and underwent its last revision in 1978. The second model, Comenia Script, features unjoined letters and was endorsed by the ministry in 2012. The national curriculum, which was last published in 2013, provides no further prescriptions about handwriting, and as a result, schools have the autonomy to select either model for instruction. To contribute, see github.com/TypeTogether/Playwrite. Playwrite \u010cesko Guides characteristics Guidelines are present in all characters except for those used for letter/word spacing. To create a versatile tool for teachers when designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. In Playwrite Guides fonts the underscore prints only the guidelines, and matches the width of the normal word space. Find the detailed characteristics of this country's Model in Playwrite \u010cesko. Family name in font menus Playwrite \u010cesko Guides appears in font menus with a two-letter country code \u2018CZ\u2019, Playwrite CZ Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Cesko, see primarium.info/countries/czech-republic. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite CZ Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/czech-republic" + }, + "Playwrite DE Grund": { + "name": "Playwrite DE Grund", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "In Germany, education is regulated at the state level rather than at the national level. Each state defines its own models and methods of teaching handwriting in primary schools. The common goal is acquiring a personal style of connected handwriting at the end of primary school in fourth grade (10-11 years old). Emphasis is on the flow of connected writing, letter recognition, and legibility, not the exact imitation of individual letters. In most states, teachers and schools can choose from three cursive styles: Ausgangsschrift (LA), Vereinfachte Ausgangsschrift (VA), and Schulausgangsschrift (SAS). But in 2010, the Grundschulverband, or Association of Primary Schools, presented an alternative progressive approach for handwriting teaching: Grundschrift, based primarily on a print-style script with some added cursive elements, like H\u00e4ckchen, or exit strokes. Some German states, like Bremen and Hamburg, allow this method to be used in schools, in addition to the dominant Ausgangschrift systems. According to Das Deutsche Schulportal, Grundschrift is taught in 10% of all German schools. Playwrite Deutschland Grundschrift is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite DE Grund Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Deutschland Grundschrift characteristics This style is a simple precursive, entirely disconnected. The uppercase letters are simplified print forms, notable for a two-stroke 'R' and an 'M' with a raised middle point. Several lowercase letters retain the characteristic exit stroke typical of precursives. The letter 'k' is constructed using two strokes, and the 'f' features a straight descender, distinguishing it within this straightforward style. Family name in font menus Playwrite Deutschland Grundschrift appears in font menus with a two-letter country code \u2018DE\u2019 and a the \u2018Grund\u2019 abbreviation, Playwrite DE Grund. It features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Germany, see primarium.info/countries/germany. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite DE Grund\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/germany" + }, + "Playwrite DE Grund Guides": { + "name": "Playwrite DE Grund Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Deutschland Grundschrift Guides is a single-weight font companion that harmonizes seamlessly with the main family, Playwrite Deutschland Grundschrift. It includes guidelines on the baseline, x-height, ascenders, and descenders. These guides provide a visual aid for primary school children that helps young learners grasp the proportions of letterforms and assists them in drawing letters with confidence and accuracy. In Germany, education is regulated at the state level rather than at the national level. Each state defines its own models and methods of teaching handwriting in primary schools. The common goal is acquiring a personal style of connected handwriting at the end of primary school in fourth grade (10-11 years old). Emphasis is on the flow of connected writing, letter recognition, and legibility, not the exact imitation of individual letters. In most states, teachers and schools can choose from three cursive styles: Ausgangsschrift (LA), Vereinfachte Ausgangsschrift (VA), and Schulausgangsschrift (SAS). But in 2010, the Grundschulverband, or Association of Primary Schools, presented an alternative progressive approach for handwriting teaching: Grundschrift, based primarily on a print-style script with some added cursive elements, like H\u00e4ckchen, or exit strokes. Some German states, like Bremen and Hamburg, allow this method to be used in schools, in addition to the dominant Ausgangschrift systems. According to Das Deutsche Schulportal, Grundschrift is taught in 10% of all German schools. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Deutschland Grundschrift Guides characteristics Guidelines are present in all characters except for those used for letter/word spacing. To create a versatile tool for teachers when designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. In Playwrite Guides fonts the underscore prints only the guidelines, and matches the width of the normal word space. Find the detailed characteristics of this country's Model in Playwrite Deutschland Grundschrift. Family name in font menus Playwrite Deutschland Grundschrift Guides appears in font menus with a two-letter country code \u2018DE\u2019 and a the \u2018Grund\u2019 abbreviation, Playwrite DE Grund Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Germany, see primarium.info/countries/germany. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite DE Grund Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/germany" + }, + "Playwrite DE LA": { + "name": "Playwrite DE LA", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "In Germany, education is regulated at the state level rather than at the national level. Each state defines its own models and methods of teaching handwriting in primary schools. The common goal is acquiring a personal style of connected handwriting at the end of primary school in fourth grade (10-11 years old). Emphasis is on the flow of connected writing, letter recognition, and legibility, not the exact imitation of individual letters. In most states, teachers and schools can choose from three cursive styles: Ausgangsschrift (LA), Vereinfachte Ausgangsschrift (VA), and Schulausgangsschrift (SAS). But in 2010, the Grundschulverband, or Association of Primary Schools, presented an alternative progressive approach for handwriting teaching: Grundschrift, based primarily on a print-style script with some added cursive elements, like H\u00e4ckchen, or exit strokes. Some German states, like Bremen and Hamburg, allow this method to be used in schools, in addition to the dominant Ausgangschrift systems. According to Das Deutsche Schulportal, Grundschrift is taught in 10% of all German schools. Playwrite Deutschland Lateinische Ausgangsschrift is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite DE LA Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Deutschland Lateinische Ausgangsschrift characteristics This style is a very slanted continuous cursive with slightly decorative uppercase letters. Notably, 'A' includes a looped bar, 'S' has a straight spine, 'Z' features a crossbar, and 'X' showcases a double loop, allowing it to be drawn in a single fluid movement, similar to its lowercase counterpart. The lowercase letters have short ascenders and descenders, most with loops facilitating continuous writing. Letters 'm', 'n', 'r', 'v', 'w' begin with curved entry strokes, while 'r' and 'z' display an italic structure. The letter 'f' is characterized by an ascender loop and a straight descender. Family name in font menus Playwrite Deutschland Lateinische Ausgangsschrift appears in font menus with a two-letter country code \u2018DE\u2019 and a the \u2018LA\u2018 abbreviation, Playwrite DE LA. It features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Germany, see primarium.info/countries/germany. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite DE LA\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/germany" + }, + "Playwrite DE LA Guides": { + "name": "Playwrite DE LA Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Deutschland Lateinische Ausgangsschrift Guides is a single-weight font companion that harmonizes seamlessly with the main family, Playwrite Deutschland Lateinische Ausgangsschrift. It includes guidelines on the baseline, x-height, ascenders, and descenders. These guides provide a visual aid for primary school children that helps young learners grasp the proportions of letterforms and assists them in drawing letters with confidence and accuracy. In Germany, education is regulated at the state level rather than at the national level. Each state defines its own models and methods of teaching handwriting in primary schools. The common goal is acquiring a personal style of connected handwriting at the end of primary school in fourth grade (10-11 years old). Emphasis is on the flow of connected writing, letter recognition, and legibility, not the exact imitation of individual letters. In most states, teachers and schools can choose from three cursive styles: Ausgangsschrift (LA), Vereinfachte Ausgangsschrift (VA), and Schulausgangsschrift (SAS). But in 2010, the Grundschulverband, or Association of Primary Schools, presented an alternative progressive approach for handwriting teaching: Grundschrift, based primarily on a print-style script with some added cursive elements, like H\u00e4ckchen, or exit strokes. Some German states, like Bremen and Hamburg, allow this method to be used in schools, in addition to the dominant Ausgangschrift systems. According to Das Deutsche Schulportal, Grundschrift is taught in 10% of all German schools. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Deutschland Lateinische Ausgangsschrift Guides characteristics Guidelines are present in all characters except for those used for letter/word spacing. To create a versatile tool for teachers when designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. In Playwrite Guides fonts the underscore prints only the guidelines, and matches the width of the normal word space. Find the detailed characteristics of this country's Model in Playwrite Deutschland Lateinische Ausgangsschrift. Family name in font menus Playwrite Deutschland Lateinische Ausgangsschrift Guides appears in font menus with a two-letter country code \u2018DE\u2019 and a the \u2018LA\u2018 abbreviation, Playwrite DE LA Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Germany, see primarium.info/countries/germany. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite DE LA Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/germany" + }, + "Playwrite DE SAS": { + "name": "Playwrite DE SAS", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "In Germany, education is regulated at the state level rather than at the national level. Each state defines its own models and methods of teaching handwriting in primary schools. The common goal is acquiring a personal style of connected handwriting at the end of primary school in fourth grade (10-11 years old). Emphasis is on the flow of connected writing, letter recognition, and legibility, not the exact imitation of individual letters. In most states, teachers and schools can choose from three cursive styles: Ausgangsschrift (LA), Vereinfachte Ausgangsschrift (VA), and Schulausgangsschrift (SAS). But in 2010, the Grundschulverband, or Association of Primary Schools, presented an alternative progressive approach for handwriting teaching: Grundschrift, based primarily on a print-style script with some added cursive elements, like H\u00e4ckchen, or exit strokes. Some German states, like Bremen and Hamburg, allow this method to be used in schools, in addition to the dominant Ausgangschrift systems. According to Das Deutsche Schulportal, Grundschrift is taught in 10% of all German schools. Playwrite Deutschland Schulausgangschrift is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite DE SAS Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Deutschland Schulausgangschrift characteristics This continuous cursive features a medium slope, short extenders, and a deliberately slow stroke speed. The capital letters present a restrained appearance, with only a few exhibiting decorative or cursive traits. The lowercase letters have looped ascenders and descenders, and 'm', 'n', and 'r' begin with a curved entry stroke. This typeface displays a German-style 't' that can be executed without lifting the pen. The letter 'f' has a straight and loopless descender, while 'r' and 'z' are designed with an italic structure. Family name in font menus Playwrite Deutschland Schulausgangschrift appears in font menus with a two-letter country code \u2018DE\u2019 and a the \u2018SAS\u2019 abbreviation Playwrite DE SAS. It features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Germany, see primarium.info/countries/germany. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite DE SAS\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/germany" + }, + "Playwrite DE SAS Guides": { + "name": "Playwrite DE SAS Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Deutschland Schulausgangschrift Guides is a single-weight font companion that harmonizes seamlessly with the main family, Playwrite Deutschland Schulausgangschrift. It includes guidelines on the baseline, x-height, ascenders, and descenders. These guides provide a visual aid for primary school children that helps young learners grasp the proportions of letterforms and assists them in drawing letters with confidence and accuracy. In Germany, education is regulated at the state level rather than at the national level. Each state defines its own models and methods of teaching handwriting in primary schools. The common goal is acquiring a personal style of connected handwriting at the end of primary school in fourth grade (10-11 years old). Emphasis is on the flow of connected writing, letter recognition, and legibility, not the exact imitation of individual letters. In most states, teachers and schools can choose from three cursive styles: Ausgangsschrift (LA), Vereinfachte Ausgangsschrift (VA), and Schulausgangsschrift (SAS). But in 2010, the Grundschulverband, or Association of Primary Schools, presented an alternative progressive approach for handwriting teaching: Grundschrift, based primarily on a print-style script with some added cursive elements, like H\u00e4ckchen, or exit strokes. Some German states, like Bremen and Hamburg, allow this method to be used in schools, in addition to the dominant Ausgangschrift systems. According to Das Deutsche Schulportal, Grundschrift is taught in 10% of all German schools. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Deutschland Schulausgangschrift Guides characteristics Guidelines are present in all characters except for those used for letter/word spacing. To create a versatile tool for teachers when designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. In Playwrite Guides fonts the underscore prints only the guidelines, and matches the width of the normal word space. Find the detailed characteristics of this country's Model in Playwrite Deutschland Schulausgangschrift. Family name in font menus Playwrite Deutschland Schulausgangschrift Guides appears in font menus with a two-letter country code \u2018DE\u2019 and a the \u2018SAS\u2019 abbreviation Playwrite DE SAS Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Germany, see primarium.info/countries/germany. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite DE SAS Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/germany" + }, + "Playwrite DE VA": { + "name": "Playwrite DE VA", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "In Germany, education is regulated at the state level rather than at the national level. Each state defines its own models and methods of teaching handwriting in primary schools. The common goal is acquiring a personal style of connected handwriting at the end of primary school in fourth grade (10-11 years old). Emphasis is on the flow of connected writing, letter recognition, and legibility, not the exact imitation of individual letters. In most states, teachers and schools can choose from three cursive styles: Ausgangsschrift (LA), Vereinfachte Ausgangsschrift (VA), and Schulausgangsschrift (SAS). But in 2010, the Grundschulverband, or Association of Primary Schools, presented an alternative progressive approach for handwriting teaching: Grundschrift, based primarily on a print-style script with some added cursive elements, like H\u00e4ckchen, or exit strokes. Some German states, like Bremen and Hamburg, allow this method to be used in schools, in addition to the dominant Ausgangschrift systems. According to Das Deutsche Schulportal, Grundschrift is taught in 10% of all German schools. Playwrite Deutschland Vereinfachte Ausgangsschrift is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite DE VA Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Deutschland Vereinfachte Ausgangsschrift characteristics This continuous cursive has a medium slope and short extenders with a medium stroke speed. The capital letters are designed with a restrained look, though some display decorative or cursive elements. Lowercase letters include looped ascenders and descenders, with 'm', 'n', and 'r' lacking a curved entry stroke. The typeface showcases a German-style 't' that can be written without lifting the pen. The letter 'f' has a straight and loopless descender, while 'z' features a looped descender. Family name in font menus Playwrite Deutschland Vereinfachte Ausgangsschrift appears in font menus with a two-letter country code \u2018DE\u2019 and a the \u2018VA\u2019 abbreviation Playwrite DE VA. It features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Germany, see primarium.info/countries/germany. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite DE VA\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/germany" + }, + "Playwrite DE VA Guides": { + "name": "Playwrite DE VA Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Deutschland Vereinfachte Ausgangsschrift Guides is a single-weight font companion that harmonizes seamlessly with the main family, Playwrite Deutschland Vereinfachte Ausgangsschrift. It includes guidelines on the baseline, x-height, ascenders, and descenders. These guides provide a visual aid for primary school children that helps young learners grasp the proportions of letterforms and assists them in drawing letters with confidence and accuracy. In Germany, education is regulated at the state level rather than at the national level. Each state defines its own models and methods of teaching handwriting in primary schools. The common goal is acquiring a personal style of connected handwriting at the end of primary school in fourth grade (10-11 years old). Emphasis is on the flow of connected writing, letter recognition, and legibility, not the exact imitation of individual letters. In most states, teachers and schools can choose from three cursive styles: Ausgangsschrift (LA), Vereinfachte Ausgangsschrift (VA), and Schulausgangsschrift (SAS). But in 2010, the Grundschulverband, or Association of Primary Schools, presented an alternative progressive approach for handwriting teaching: Grundschrift, based primarily on a print-style script with some added cursive elements, like H\u00e4ckchen, or exit strokes. Some German states, like Bremen and Hamburg, allow this method to be used in schools, in addition to the dominant Ausgangschrift systems. According to Das Deutsche Schulportal, Grundschrift is taught in 10% of all German schools. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Deutschland Vereinfachte Ausgangsschrift Guides characteristics Guidelines are present in all characters except for those used for letter/word spacing. To create a versatile tool for teachers when designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. In Playwrite Guides fonts the underscore prints only the guidelines, and matches the width of the normal word space. Find the detailed characteristics of this country's Model in Playwrite Deutschland Vereinfachte Ausgangsschrift. Family name in font menus Playwrite Deutschland Vereinfachte Ausgangsschrift Guides appears in font menus with a two-letter country code \u2018DE\u2019 and a the \u2018VA\u2019 abbreviation Playwrite DE VA Guides. It features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Germany, see primarium.info/countries/germany. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite DE VA Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/germany" + }, + "Playwrite DK Loopet": { + "name": "Playwrite DK Loopet", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "In 2019, the Ministry of Children and Education outlined the government's primary education requirements in a document called \"Danish Common Goals\". It specifies that second-grade students must be able to write upper and lowercase letters by hand and using the keyboard, and by fourth grade they are expected to write in legible, connected handwriting. Accordingly, handwriting instruction starts during preschool with simplified print letters. Given the autonomy to choose their preferred teaching methods and models, teachers and schools opt between two cursive models during the middle of the second or the beginning of the third year \u2014 the unlooped Grundskrift, or its looped variation known as Grundskrift med l\u00f8kker. Playwrite Danmark Loopet is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite DK Loopet Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Danmark Loopet characteristics This typographic hybrid draws from fully joined modern cursives but includes looped ascenders. It features a slanted orientation with short ascenders and descenders, creating a round and restrained appearance. The capital letters are mostly simplified and print-like, with a very distinctive 'G' that lacks both a descender and a crossbar. The lowercase letters connect with each other, except for 'q'. A standout feature is the lowercase 'b', which combines a modern cursive shape and connecting stroke with an uncharacteristic loop on its ascender. Family name in font menus Playwrite Danmark Loopet appears in font menus with a two-letter country code \u2018DK\u2019 and a the word \u2018Loopet\u2019 abbreviation Playwrite DK Loopet. It features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in australia, see primarium.info/countries/denmark. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to DK used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to DK used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to DK manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite DK Loopet\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts DKlow\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. AdoDK InDesign: Open the Paragraph Panel and select AdoDK \"World-Ready Paragraph Composer\" from the contextual menu. AdoDK Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. AdoDK Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/denmark" + }, + "Playwrite DK Loopet Guides": { + "name": "Playwrite DK Loopet Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Danmark Loopet Guides is a single-weight font companion that harmonizes seamlessly with the main family, Playwrite Danmark Loopet. It includes guidelines on the baseline, x-height, ascenders, and descenders. These guides provide a visual aid for primary school children that helps young learners grasp the proportions of letterforms and assists them in drawing letters with confidence and accuracy. In 2019, the Ministry of Children and Education outlined the government's primary education requirements in a document called \"Danish Common Goals\". It specifies that second-grade students must be able to write upper and lowercase letters by hand and using the keyboard, and by fourth grade they are expected to write in legible, connected handwriting. Accordingly, handwriting instruction starts during preschool with simplified print letters. Given the autonomy to choose their preferred teaching methods and models, teachers and schools opt between two cursive models during the middle of the second or the beginning of the third year \u2014 the unlooped Grundskrift, or its looped variation known as Grundskrift med l\u00f8kker. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Danmark Loopet Guides characteristics Guidelines are present in all characters except for those used for letter/word spacing. To create a versatile tool for teachers when designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. In Playwrite Guides fonts the underscore prints only the guidelines, and matches the width of the normal word space. Find the detailed characteristics of this country's Model in Playwrite Danmark Loopet. Family name in font menus Playwrite Danmark Loopet Guides appears in font menus with a two-letter country code \u2018DK\u2019 and a the word \u2018Loopet\u2019 abbreviation Playwrite DK Loopet Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in australia, see primarium.info/countries/denmark. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to DK used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to DK used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to DK manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite DK Loopet Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts DKlow\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. AdoDK InDesign: Open the Paragraph Panel and select AdoDK \"World-Ready Paragraph Composer\" from the contextual menu. AdoDK Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. AdoDK Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/denmark" + }, + "Playwrite DK Uloopet": { + "name": "Playwrite DK Uloopet", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "In 2019, the Ministry of Children and Education outlined the government's primary education requirements in a document called \"Danish Common Goals\". It specifies that second-grade students must be able to write upper and lowercase letters by hand and using the keyboard, and by fourth grade they are expected to write in legible, connected handwriting. Accordingly, handwriting instruction starts during preschool with simplified print letters. Given the autonomy to choose their preferred teaching methods and models, teachers and schools opt between two cursive models during the middle of the second or the beginning of the third year \u2014 the unlooped Grundskrift, or its looped variation known as Grundskrift med l\u00f8kker. Playwrite Danmark Uloopet is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite DK Uloopet Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Danmark Uloopet characteristics This slanted modern cursive features no loops, creating a streamlined appearance with short ascenders and descenders. It maintains a round and restrained look. The capital letters are largely simplified and print-like, highlighted by a distinctive 'G' that lacks both a descender and a crossbar. Lowercase letters with descenders, such as 'g' and 'y', do not connect to the following letter, and 'm' and 'n' start without a curved entry stroke. Despite its italic structure, 'b' and 'p' are designed with connecting strokes. Family name in font menus Playwrite Danmark Uloopet appears in font menus with a two-letter country code \u2018DK\u2019 and a the word \u2018Uloopet\u2019 abbreviation Playwrite DK Uloopet. It features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in australia, see primarium.info/countries/denmark. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to DK used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to DK used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to DK manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite DK Uloopet\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts DKlow\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. AdoDK InDesign: Open the Paragraph Panel and select AdoDK \"World-Ready Paragraph Composer\" from the contextual menu. AdoDK Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. AdoDK Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/denmark" + }, + "Playwrite DK Uloopet Guides": { + "name": "Playwrite DK Uloopet Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Danmark Uloopet Guides is a single-weight font companion that harmonizes seamlessly with the main family, Playwrite Danmark Uloopet. It includes guidelines on the baseline, x-height, ascenders, and descenders. These guides provide a visual aid for primary school children that helps young learners grasp the proportions of letterforms and assists them in drawing letters with confidence and accuracy. In 2019, the Ministry of Children and Education outlined the government's primary education requirements in a document called \"Danish Common Goals\". It specifies that second-grade students must be able to write upper and lowercase letters by hand and using the keyboard, and by fourth grade they are expected to write in legible, connected handwriting. Accordingly, handwriting instruction starts during preschool with simplified print letters. Given the autonomy to choose their preferred teaching methods and models, teachers and schools opt between two cursive models during the middle of the second or the beginning of the third year \u2014 the unlooped Grundskrift, or its looped variation known as Grundskrift med l\u00f8kker. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Danmark Uloopet Guides characteristics Guidelines are present in all characters except for those used for letter/word spacing. To create a versatile tool for teachers when designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. In Playwrite Guides fonts the underscore prints only the guidelines, and matches the width of the normal word space. Find the detailed characteristics of this country's Model in Playwrite Danmark Uloopet. Family name in font menus Playwrite Danmark Uloopet Guides appears in font menus with a two-letter country code \u2018DK\u2019 and a the word \u2018Uloopet\u2019 abbreviation Playwrite DK Uloopet Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in australia, see primarium.info/countries/denmark. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to DK used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to DK used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to DK manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite DK Uloopet Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts DKlow\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. AdoDK InDesign: Open the Paragraph Panel and select AdoDK \"World-Ready Paragraph Composer\" from the contextual menu. AdoDK Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. AdoDK Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/denmark" + }, + "Playwrite ES": { + "name": "Playwrite ES", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Primary school handwriting in Spain features letters that are cursive from a structural standpoint but have no slant. These upright cursive letters are either taught in the form of a hybrid style, which uses joined cursive lowercase letters with unjoined simplified print uppercase, or as a fully cursive style, which features ornate, and more traditional and decorative uppercase letters. The hybrid style is used in textbooks by major educational publishers, such as Cuadernos Rubio, Santillana Educaci\u00f3n, Editorial Barcanova, and Tekman Education. Playwrite Espa\u00f1a is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite ES Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Espa\u00f1a characteristics This continuous cursive is inspired by traditional French models, featuring medium-length ascenders and descenders with loops. Several lowercase letters begin with curved entry strokes, and a few, such as 'b' and 'p', include knots. The letter 'z' is distinctively styled in italic fashion, adding a recognizable touch to this script. The uppercase letters are simplified and print-like, with the letter 'I' notably having serifs. Family name in font menus Playwrite Espa\u00f1a appears in font menus with a two-letter country code \u2018ES\u2019 Playwrite ES, and features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Spain, see primarium.info/countries/spain. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite ES\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/spain" + }, + "Playwrite ES Deco": { + "name": "Playwrite ES Deco", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Primary school handwriting in Spain features letters that are cursive from a structural standpoint but have no slant. These upright cursive letters are either taught in the form of a hybrid style, which uses joined cursive lowercase letters with unjoined simplified print uppercase, or as a fully cursive style, which features ornate, and more traditional and decorative uppercase letters. The hybrid style is used in textbooks by major educational publishers, such as Cuadernos Rubio, Santillana Educaci\u00f3n, Editorial Barcanova, and Tekman Education. Playwrite Espa\u00f1a Decorativa is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite ES Deco Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Espa\u00f1a Decorativa characteristics This continuous cursive is influenced by traditional French models and features medium-length ascenders and descenders with loops. Several lowercase letters begin with curved entry strokes, and some incorporate knots. The 'z' is uniquely styled in italic fashion, which stands out in this script. In contrast to its more simplified sibling, this model boasts cursive-style capital letters. Notably, the 'X' includes a double knot, and the 'T' is distinguished by a decorative crossbar. Family name in font menus Playwrite Espa\u00f1a Decorativa appears in font menus with a two-letter country code \u2018ES\u2019 and a the \u2018Deco\u2019 abbreviation, Playwrite ES Deco. It features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Spain, see primarium.info/countries/spain. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite ES Deco\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/spain" + }, + "Playwrite ES Deco Guides": { + "name": "Playwrite ES Deco Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Espa\u00f1a Decorativa Guides is a single-weight font companion that harmonizes seamlessly with the main family, Playwrite Espa\u00f1a Decorativa. It includes guidelines on the baseline, x-height, ascenders, and descenders. These guides provide a visual aid for primary school children that helps young learners grasp the proportions of letterforms and assists them in drawing letters with confidence and accuracy. Primary school handwriting in Spain features letters that are cursive from a structural standpoint but have no slant. These upright cursive letters are either taught in the form of a hybrid style, which uses joined cursive lowercase letters with unjoined simplified print uppercase, or as a fully cursive style, which features ornate, and more traditional and decorative uppercase letters. The hybrid style is used in textbooks by major educational publishers, such as Cuadernos Rubio, Santillana Educaci\u00f3n, Editorial Barcanova, and Tekman Education. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Espa\u00f1a Decorativa Guides characteristics Guidelines are present in all characters except for those used for letter/word spacing. To create a versatile tool for teachers when designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. In Playwrite Guides fonts the underscore prints only the guidelines, and matches the width of the normal word space. Find the detailed characteristics of this country's Model in Playwrite Espa\u00f1a Decorativa. Family name in font menus Playwrite Espa\u00f1a Decorativa Guides appears in font menus with a two-letter country code \u2018ES\u2019 and a the \u2018Deco\u2019 abbreviation, Playwrite ES Deco Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Spain, see primarium.info/countries/spain. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite ES Deco Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/spain" + }, + "Playwrite ES Guides": { + "name": "Playwrite ES Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Espa\u00f1a Guides is a single-weight font companion that harmonizes seamlessly with the main family, Playwrite Espa\u00f1a. It includes guidelines on the baseline, x-height, ascenders, and descenders. These guides provide a visual aid for primary school children that helps young learners grasp the proportions of letterforms and assists them in drawing letters with confidence and accuracy. Primary school handwriting in Spain features letters that are cursive from a structural standpoint but have no slant. These upright cursive letters are either taught in the form of a hybrid style, which uses joined cursive lowercase letters with unjoined simplified print uppercase, or as a fully cursive style, which features ornate, and more traditional and decorative uppercase letters. The hybrid style is used in textbooks by major educational publishers, such as Cuadernos Rubio, Santillana Educaci\u00f3n, Editorial Barcanova, and Tekman Education. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Espa\u00f1a Guides characteristics Guidelines are present in all characters except for those used for letter/word spacing. To create a versatile tool for teachers when designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. In Playwrite Guides fonts the underscore prints only the guidelines, and matches the width of the normal word space. Find the detailed characteristics of this country's Model in Playwrite Espa\u00f1a. Family name in font menus Playwrite Espa\u00f1a Guides appears in font menus with a two-letter country code \u2018ES\u2019 Playwrite ES Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Spain, see primarium.info/countries/spain. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite ES Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/spain" + }, + "Playwrite FR Moderne": { + "name": "Playwrite FR Moderne", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "The \u2018\u00e9criture cursive\u2019, or traditional vertical cursive, is the most used approach to handwriting teaching in schools in France. Its forms are inspired by the \u2018Lettre Ronde\u2019, originally written with a broad nib pen and ink. Students learn \u2018\u00e9criture cursive\u2018 by writing letters over S\u00e9y\u00e8s lines, which are introduced during kindergarten (age ~5). Created in 1892, S\u00e9y\u00e8s lines are a system of horizontal and vertical guidelines that govern the proportions of letters, and their ascending and descending strokes. In an attempt to reform and modernize handwriting teaching in schools, the Minist\u00e8re released two digital typeface families in 2013 \u2014 \u00c9criture A by Laurence Bedoin-Collard and Helo\u00edsa Tissot, and \u00c9criture B, by Marion Andrews. Both fonts follow a modern cursive style and are available for free on the Minist\u00e8re\u2019s website, along with information for teachers about the shapes and proportions of letters, and how to connect them to form words in the most logical way possible. Playwrite France Moderne is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite FR Moderne Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite France Moderne characteristics This modern, upright cursive features no loops, medium to long ascenders and descenders, and a relatively fast construction. The capital letters are simplified and print-like, with the only distinctive feature being the raised apex in 'M'. Lowercase letters with descenders, such as 'g' and 'y', do not connect to the following letter, and 'm' and 'n' start without a curved entry stroke. Despite its italic structure, 'b' and 'p' include connecting strokes. The letter 'f' is notable for its descender with a curved stroke. Family name in font menus Playwrite France Moderne appears in font menus with a two-letter country code \u2018FR\u2019 and a the word \u2018Moderne\u2019, Playwrite FR Moderne. It features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in France, see primarium.info/countries/france. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite FR Moderne\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/france" + }, + "Playwrite FR Moderne Guides": { + "name": "Playwrite FR Moderne Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite France Moderne Guides is a single-weight font companion that harmonizes seamlessly with the main family, Playwrite France Moderne. It includes guidelines on the baseline, x-height, ascenders, and descenders. These guides provide a visual aid for primary school children that helps young learners grasp the proportions of letterforms and assists them in drawing letters with confidence and accuracy. The \u2018\u00e9criture cursive\u2019, or traditional vertical cursive, is the most used approach to handwriting teaching in schools in France. Its forms are inspired by the \u2018Lettre Ronde\u2019, originally written with a broad nib pen and ink. Students learn \u2018\u00e9criture cursive\u2019 by writing letters over S\u00e9y\u00e8s lines, which are introduced during kindergarten (age ~5). Created in 1892, S\u00e9y\u00e8s lines are a system of horizontal and vertical guidelines that govern the proportions of letters, and their ascending and descending strokes. In an attempt to reform and modernize handwriting teaching in schools, the Minist\u00e8re released two digital typeface families in 2013 \u2014 \u00c9criture A by Laurence Bedoin-Collard and Helo\u00edsa Tissot, and \u00c9criture B, by Marion Andrews. Both fonts follow a modern cursive style and are available for free on the Minist\u00e8re\u2019s website, along with information for teachers about the shapes and proportions of letters, and how to connect them to form words in the most logical way possible. To contribute, see github.com/TypeTogether/Playwrite. Playwrite France Moderne Guides characteristics Guidelines are present in all characters except for those used for letter/word spacing. To create a versatile tool for teachers when designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. In Playwrite Guides fonts the underscore prints only the guidelines, and matches the width of the normal word space. Find the detailed characteristics of this country's Model in Playwrite France Moderne. Family name in font menus Playwrite France Moderne Guides appears in font menus with a two-letter country code \u2018FR\u2019 and a the word \u2018Moderne\u2019, Playwrite FR Moderne Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in France, see primarium.info/countries/france. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite FR Moderne Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/france" + }, + "Playwrite FR Trad": { + "name": "Playwrite FR Trad", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "The \u2018\u00e9criture cursive\u2019, or traditional vertical cursive, is the most used approach to handwriting teaching in schools in France. Its forms are inspired by the \u2018Lettre Ronde\u2019, originally written with a broad nib pen and ink. Students learn \u2018\u00e9criture cursive\u2018 by writing letters over S\u00e9y\u00e8s lines, which are introduced during kindergarten (age ~5). Created in 1892, S\u00e9y\u00e8s lines are a system of horizontal and vertical guidelines that govern the proportions of letters, and their ascending and descending strokes. In an attempt to reform and modernize handwriting teaching in schools, the Minist\u00e8re released two digital typeface families in 2013 \u2014 \u00c9criture A by Laurence Bedoin-Collard and Helo\u00edsa Tissot, and \u00c9criture B, by Marion Andrews. Both fonts follow a modern cursive style and are available for free on the Minist\u00e8re\u2019s website, along with information for teachers about the shapes and proportions of letters, and how to connect them to form words in the most logical way possible. Playwrite France Traditionnelle is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite FR Trad Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite France Traditionnelle characteristics Closely following the \u00c9criture Droite structure, this upright continuous cursive showcases very long ascenders and descenders and is characterized by round shapes that are executed slowly. The uppercase letters are decorative, with some, like 'R' and 'Y', designed to facilitate connections to subsequent letters. The lowercase 'f' features a mirrored bottom loop. Additionally, letters 'm', 'n', 'v', 'w', 'y', and notably 'z', start with a curved entry stroke, enhancing the fluidity of the script. Family name in font menus Playwrite France Traditionnelle appears in font menus with a two-letter country code \u2018FR\u2019 and a the \u2018Trad\u2019 abbreviation, Playwrite FR Trad. It features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in France, see primarium.info/countries/france. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite FR Trad\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/france" + }, + "Playwrite FR Trad Guides": { + "name": "Playwrite FR Trad Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite France Traditionnelle Guides is a single-weight font companion that harmonizes seamlessly with the main family, Playwrite France Traditionnelle. It includes guidelines on the baseline, x-height, ascenders, and descenders. These guides provide a visual aid for primary school children that helps young learners grasp the proportions of letterforms and assists them in drawing letters with confidence and accuracy. The \u2018\u00e9criture cursive\u2019, or traditional vertical cursive, is the most used approach to handwriting teaching in schools in France. Its forms are inspired by the \u2018Lettre Ronde\u2019, originally written with a broad nib pen and ink. Students learn \u2018\u00e9criture cursive\u2018 by writing letters over S\u00e9y\u00e8s lines, which are introduced during kindergarten (age ~5). Created in 1892, S\u00e9y\u00e8s lines are a system of horizontal and vertical guidelines that govern the proportions of letters, and their ascending and descending strokes. In an attempt to reform and modernize handwriting teaching in schools, the Minist\u00e8re released two digital typeface families in 2013 \u2014 \u00c9criture A by Laurence Bedoin-Collard and Helo\u00edsa Tissot, and \u00c9criture B, by Marion Andrews. Both fonts follow a modern cursive style and are available for free on the Minist\u00e8re\u2019s website, along with information for teachers about the shapes and proportions of letters, and how to connect them to form words in the most logical way possible. To contribute, see github.com/TypeTogether/Playwrite. Playwrite France Traditionnelle characteristics Guidelines are present in all characters except for those used for letter/word spacing. To create a versatile tool for teachers when designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. In Playwrite Guides fonts the underscore prints only the guidelines, and matches the width of the normal word space. Find the detailed characteristics of this country's Model in Playwrite France Traditionnelle. Family name in font menus Playwrite France Traditionnelle Guides appears in font menus with a two-letter country code \u2018FR\u2019 and a the \u2018Trad\u2019 abbreviation, Playwrite FR Trad Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in France, see primarium.info/countries/france. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite FR Trad Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/france" + }, + "Playwrite GB J": { + "name": "Playwrite GB J", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "England has been the incubator for several prominent handwriting styles that still influence teaching around the world. One of the earliest examples is the English Roundhand, which was used in business and education in the 19th century. The implementation of modern cursive styles in classrooms is probably the most influential development for contemporary handwriting education. They draw from the ideas of the Italic Handwriting Revival movement of the early 20th century, and the work of its proponents. Alfred Fairbank (1895\u20131982) proposed modern italic writing, based on chancery models, as a new approach to teaching handwriting with the aim of simplification and faster writing speed. Recently, it has been one of the most popular approaches to handwriting teaching in England. Of the twenty-three methods described in the National Handwriting Association\u2019s 2013 guide to writing methods for teaching, thirteen were fully joined or semi-joined modern cursive styles. Important among these are Nelson Handwriting, Tom Gourdie Modern Hand, Jarman Handwriting, Marion Richardson, and Sassoon-Williams model. Playwrite England Joined is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite GB J Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite England Joined characteristics This fully connected modern cursive has short, loopless ascenders and looped descenders, and is available in two flavors: upright and slanted (italic). It has simplified print upper cases. The most identifiable features are the open 'G' with no crossbar and the 'M' with splain legs. Lowercase 'f' is its more recognizable feature, with an ascender that requires lifting the pen. As expected in this style, the letters 'r' and 'z' have an italic cursive structure. Family name in font menus Playwrite England Joined appears in font menus with a two-letter country code \u2018GB\u2019 and a \u2018J\u2019 for the Joined variant, Playwrite GB J. The font features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info, and to learn more about handwriting education in England, see primarium.info/countries/england. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite GB J\", and click OK. If some text is already selected, the font choice will apply. Note: This font family doesn't include Bold style, so please avoid applying it in text editors. If you use the common 'B' button, you will automatically generate a low-quality style. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/england" + }, + "Playwrite GB J Guides": { + "name": "Playwrite GB J Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite England Joined Guides is a single-weight font companion that harmonizes seamlessly with the main family, Playwrite England Joined. It includes guidelines on the baseline, x-height, ascenders, and descenders. These guides provide a visual aid for primary school children that helps young learners grasp the proportions of letterforms and assists them in drawing letters with confidence and accuracy. England has been the incubator for several prominent handwriting styles that still influence teaching around the world. One of the earliest examples is the English Roundhand, which was used in business and education in the 19th century. The implementation of modern cursive styles in classrooms is probably the most influential development for contemporary handwriting education. They draw from the ideas of the Italic Handwriting Revival movement of the early 20th century, and the work of its proponents. Alfred Fairbank (1895\u20131982) proposed modern italic writing, based on chancery models, as a new approach to teaching handwriting with the aim of simplification and faster writing speed. Recently, it has been one of the most popular approaches to handwriting teaching in England. Of the twenty-three methods described in the National Handwriting Association\u2019s 2013 guide to writing methods for teaching, thirteen were fully joined or semi-joined modern cursive styles. Important among these are Nelson Handwriting, Tom Gourdie Modern Hand, Jarman Handwriting, Marion Richardson, and Sassoon-Williams model. To contribute, see github.com/TypeTogether/Playwrite. Playwrite England Joined Guides characteristics Guidelines are present in all characters except for those used for letter/word spacing. To create a versatile tool for teachers when designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. In Playwrite Guides fonts the underscore prints only the guidelines, and matches the width of the normal word space. Find the detailed characteristics of this country's Model in Playwrite England Joined. Family name in font menus Playwrite England Joined Guides appears in font menus with a two-letter country code \u2018GB\u2019 and a \u2018J\u2019 for the Joined variant, Playwrite GB J Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info, and to learn more about handwriting education in England, see primarium.info/countries/england. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite GB J Guides\", and click OK. If some text is already selected, the font choice will apply. Note: This font family doesn't include Bold style, so please avoid applying it in text editors. If you use the common 'B' button, you will automatically generate a low-quality style. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/england" + }, + "Playwrite GB S": { + "name": "Playwrite GB S", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "England has been the incubator for several prominent handwriting styles that still influence teaching around the world. One of the earliest examples is the English Roundhand, which was used in business and education in the 19th century. The implementation of modern cursive styles in classrooms is probably the most influential development for contemporary handwriting education. They draw from the ideas of the Italic Handwriting Revival movement of the early 20th century, and the work of its proponents. Alfred Fairbank (1895\u20131982) proposed modern italic writing, based on chancery models, as a new approach to teaching handwriting with the aim of simplification and faster writing speed. Recently, it has been one of the most popular approaches to handwriting teaching in England. Of the twenty-three methods described in the National Handwriting Association\u2019s 2013 guide to writing methods for teaching, thirteen were fully joined or semi-joined modern cursive styles. Important among these are Nelson Handwriting, Tom Gourdie Modern Hand, Jarman Handwriting, Marion Richardson, and Sassoon-Williams model. Playwrite England SemiJoined is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite GB S Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite England SemiJoined characteristics This semi-connected modern cursive is offered in both upright and slanted (italic) versions. It features short, loopless ascenders and descenders, with simplified print-like uppercase letters. Notable characteristics include an open 'G' without a crossbar and an 'M' with plain legs. The lowercase 'f' has a curved descending stroke, and the 'q' is distinguished by a flick in its descender. True to this style, there are no curved entry strokes, and letters ending in a right-to-left stroke, such as 'b', 'p', 'g', and 's', do not connect to the following letter. Family name in font menus Playwrite England SemiJoined appears in font menus with a two-letter country code \u2018GB\u2019 and an \u2018S\u2019 for the SemiJoined, Playwrite GB S. The font features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in England, see primarium.info/countries/england. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold style, so please avoid applying it in text editors. If you use the common 'B' button, you will automatically generate a low-quality style. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite GB S\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/england" + }, + "Playwrite GB S Guides": { + "name": "Playwrite GB S Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite England SemiJoined Guides is a single-weight font companion that harmonizes seamlessly with the main family, Playwrite England SemiJoined. It includes guidelines on the baseline, x-height, ascenders, and descenders. These guides provide a visual aid for primary school children that helps young learners grasp the proportions of letterforms and assists them in drawing letters with confidence and accuracy. England has been the incubator for several prominent handwriting styles that still influence teaching around the world. One of the earliest examples is the English Roundhand, which was used in business and education in the 19th century. The implementation of modern cursive styles in classrooms is probably the most influential development for contemporary handwriting education. They draw from the ideas of the Italic Handwriting Revival movement of the early 20th century, and the work of its proponents. Alfred Fairbank (1895\u20131982) proposed modern italic writing, based on chancery models, as a new approach to teaching handwriting with the aim of simplification and faster writing speed. Recently, it has been one of the most popular approaches to handwriting teaching in England. Of the twenty-three methods described in the National Handwriting Association\u2019s 2013 guide to writing methods for teaching, thirteen were fully joined or semi-joined modern cursive styles. Important among these are Nelson Handwriting, Tom Gourdie Modern Hand, Jarman Handwriting, Marion Richardson, and Sassoon-Williams model. To contribute, see github.com/TypeTogether/Playwrite. Playwrite England SemiJoined Guides characteristics Guidelines are present in all characters except for those used for letter/word spacing. To create a versatile tool for teachers when designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. In Playwrite Guides fonts the underscore prints only the guidelines, and matches the width of the normal word space. Find the detailed characteristics of this country's Model in Playwrite England SemiJoined. Family name in font menus Playwrite England SemiJoined Guides appears in font menus with a two-letter country code \u2018GB\u2019 and an \u2018S\u2019 for the SemiJoined, Playwrite GB S Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in England, see primarium.info/countries/england. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold style, so please avoid applying it in text editors. If you use the common 'B' button, you will automatically generate a low-quality style. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite GB S Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/england" + }, + "Playwrite HR": { + "name": "Playwrite HR", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "The seeds for the standardization of Croatian handwriting education were sown in 2007 when the Ministry of Education promoted a series of research projects that yielded numerous resources focused on Croatian language education, particularly for reading and writing. Among these was a handbook for handwriting education by Ante Be\u017een and Sini\u0161a Reberski, an influential work in the standardization of handwriting instruction from 2013 onwards. In first grade, students match letters with sounds and learn to recognize them in the context of words by means of print-style letters. From second grade, students must write using a continuous and fully joined cursive called \u2018rukopisno pismo\u2019. Playwrite Hrvatska is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite HR Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Hrvatska characteristics This is a slanted continuous cursive handwriting model with short looped ascenders and descenders. The uppercase letters are slightly decorative, with some designed to facilitate connecting strokes. Distinctively, the lowercase letters 'm' and 'n' do not have a curved entry stroke, whereas 'r', 'v', 'w', and 'y' do. The construction of these letters is characterized by a slow, rounded, and careful approach. Family name in font menus Playwrite Hrvatska appears in font menus with a two-letter country code \u2018HR\u2019, Playwrite HR, and features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Hrvatska, see primarium.info/countries/croatia. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite HR\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/croatia" + }, + "Playwrite HR Guides": { + "name": "Playwrite HR Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Hrvatska Guides is a single-weight font companion that harmonizes seamlessly with the main family, Playwrite Hrvatska. It includes guidelines on the baseline, x-height, ascenders, and descenders. These guides provide a visual aid for primary school children that helps young learners grasp the proportions of letterforms and assists them in drawing letters with confidence and accuracy. The seeds for the standardization of Croatian handwriting education were sown in 2007 when the Ministry of Education promoted a series of research projects that yielded numerous resources focused on Croatian language education, particularly for reading and writing. Among these was a handbook for handwriting education by Ante Be\u017een and Sini\u0161a Reberski, an influential work in the standardization of handwriting instruction from 2013 onwards. In first grade, students match letters with sounds and learn to recognize them in the context of words by means of print-style letters. From second grade, students must write using a continuous and fully joined cursive called \u2018rukopisno pismo\u2019. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Hrvatska Guides characteristics Guidelines are present in all characters except for those used for letter/word spacing. To create a versatile tool for teachers when designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. In Playwrite Guides fonts the underscore prints only the guidelines, and matches the width of the normal word space. Find the detailed characteristics of this country's Model in Playwrite Hrvatska. Family name in font menus Playwrite Hrvatska Guides appears in font menus with a two-letter country code \u2018HR\u2019, Playwrite HR Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Hrvatska, see primarium.info/countries/croatia. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite HR Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/croatia" + }, + "Playwrite HR Lijeva": { + "name": "Playwrite HR Lijeva", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "The seeds for the standardization of Croatian handwriting education were sown in 2007 when the Ministry of Education promoted a series of research projects that yielded numerous resources focused on Croatian language education, particularly for reading and writing. Among these was a handbook for handwriting education by Ante Be\u017een and Sini\u0161a Reberski, an influential work in the standardization of handwriting instruction from 2013 onwards. In first grade, students match letters with sounds and learn to recognize them in the context of words by means of print-style letters. From second grade, students must write using a continuous and fully joined cursive called \u2018rukopisno pismo\u2019. Playwrite Hrvatska Lijeva is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite HR Lijeva Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Hrvatska Lijeva characteristics This is a slanted continuous cursive handwriting model with short looped ascenders and descenders. The uppercase letters are slightly decorative, with some designed to facilitate connecting strokes. Distinctively, the lowercase letters 'm' and 'n' do not have a curved entry stroke, whereas 'r', 'v', 'w', and 'y' do. The construction of these letters is characterized by a slow, rounded, and careful approach. Family name in font menus Playwrite Hrvatska-Lijeva appears in font menus with a two-letter country code \u2018HR\u2019 and the word \u2019Lijeva\u2019, Playwrite HR Lijeva, and features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Hrvatska-Lijeva, see primarium.info/countries/croatia. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite HR Lijeva\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/croatia" + }, + "Playwrite HR Lijeva Guides": { + "name": "Playwrite HR Lijeva Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Playwrite Hrvatska Lijeva Guides is a single-weight font companion that harmonizes seamlessly with the main family, Playwrite Playwrite Hrvatska Lijeva. It includes guidelines on the baseline, x-height, ascenders, and descenders. These guides provide a visual aid for primary school children that helps young learners grasp the proportions of letterforms and assists them in drawing letters with confidence and accuracy. The seeds for the standardization of Croatian handwriting education were sown in 2007 when the Ministry of Education promoted a series of research projects that yielded numerous resources focused on Croatian language education, particularly for reading and writing. Among these was a handbook for handwriting education by Ante Be\u017een and Sini\u0161a Reberski, an influential work in the standardization of handwriting instruction from 2013 onwards. In first grade, students match letters with sounds and learn to recognize them in the context of words by means of print-style letters. From second grade, students must write using a continuous and fully joined cursive called \u2018rukopisno pismo\u2019. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Hrvatska Lijeva Guides characteristics Guidelines are present in all characters except for those used for letter/word spacing. To create a versatile tool for teachers when designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. In Playwrite Guides fonts the underscore prints only the guidelines, and matches the width of the normal word space. Find the detailed characteristics of this country's Model in Playwrite Playwrite Hrvatska Lijeva. Family name in font menus Playwrite Hrvatska Lijeva appears in font menus with a two-letter country code \u2018HR\u2019 and the word \u2019Lijeva\u2019, Playwrite HR Lijeva Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Hrvatska-Lijeva, see primarium.info/countries/croatia. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite HR Lijeva Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/croatia" + }, + "Playwrite HU": { + "name": "Playwrite HU", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "The most recent version of the National Core Curriculum, published in 2020, describes exercises aimed at preparing students for writing and emphasizes the acquisition of reading skills and comprehension. It does not mention any models for handwriting instruction. However, an official teacher\u2019s manual called Tan\u00edt\u00f3i K\u00e9zik\u00f6nyv prescribes the use of workbooks published by the Minisztere through its Oktat\u00e1si Hivatal, or Educational Authority. There are several handwriting instruction books in the catalog. Among them, the most popular series are \u00cdr\u00e1s Munkaf\u00fczet and Betubarangolo, both edited by the staff of the Oktat\u00e1si Hivatal and with visual and typographic design by L\u00e1szl\u00f3 Kajt\u00e1r. These publications follow the most common approach used in handwriting education in Hungary: both print and cursive letters are introduced from first grade, and the cursive letters are upright, wide, round, and have looped extenders. Playwrite Magyarorsz\u00e1g is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite HU Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Magyarorsz\u00e1g characteristics Inspired by the S\u00fctterlin German style, this vertical continuous cursive features short and sometimes looped ascenders and descenders. The script is rounded and slowly constructed, with subtly decorative uppercase letters. The lowercase 'f' features a single loop in its ascender and connects to the next letter from its crossbar. The letter 'r' is unique in this model as it is the only letter that starts with a curved entry stroke at the x-height. Family name in font menus Playwrite Magyarorsz\u00e1g appears in font menus with a two-letter country code \u2018HU\u2019, Playwrite HU, and features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Tanzania, see primarium.info/countries/hungary. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite HU\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/hungary" + }, + "Playwrite HU Guides": { + "name": "Playwrite HU Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Magyarorsz\u00e1g Guides is a single-weight font companion that harmonizes seamlessly with the main family, Playwrite Magyarorsz\u00e1g. It includes guidelines on the baseline, x-height, ascenders, and descenders. These guides provide a visual aid for primary school children that helps young learners grasp the proportions of letterforms and assists them in drawing letters with confidence and accuracy. The most recent version of the National Core Curriculum, published in 2020, describes exercises aimed at preparing students for writing and emphasizes the acquisition of reading skills and comprehension. It does not mention any models for handwriting instruction. However, an official teacher\u2019s manual called Tan\u00edt\u00f3i K\u00e9zik\u00f6nyv prescribes the use of workbooks published by the Minisztere through its Oktat\u00e1si Hivatal, or Educational Authority. There are several handwriting instruction books in the catalog. Among them, the most popular series are \u00cdr\u00e1s Munkaf\u00fczet and Betubarangolo, both edited by the staff of the Oktat\u00e1si Hivatal and with visual and typographic design by L\u00e1szl\u00f3 Kajt\u00e1r. These publications follow the most common approach used in handwriting education in Hungary: both print and cursive letters are introduced from first grade, and the cursive letters are upright, wide, round, and have looped extenders. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Magyarorsz\u00e1g Guides characteristics Guidelines are present in all characters except for those used for letter/word spacing. To create a versatile tool for teachers when designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. In Playwrite Guides fonts the underscore prints only the guidelines, and matches the width of the normal word space. Find the detailed characteristics of this country's Model in Playwrite Magyarorsz\u00e1g. Family name in font menus Playwrite Magyarorsz\u00e1g Guides appears in font menus with a two-letter country code \u2018HU\u2019, Playwrite HU Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Tanzania, see primarium.info/countries/hungary. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite HU Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/hungary" + }, + "Playwrite ID": { + "name": "Playwrite ID", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "The Indonesian Ministry of Education and Culture introduced a standard, national model for handwriting education through an official decree in 1983. The model was updated in 2009, but the original is still preferred. According to the model, students first \u2018learn huruf\u2018 lepas, or loose letters, followed by \u2018huruf sambung\u2018, or cursive letters. Across the country, handwriting is taught using this model, and it is featured in workbooks produced by popular private publishers in Indonesia. Playwrite Indonesia is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite ID Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Indonesia characteristics This style uses the traditional French model as its basis. It features upright, connected cursive letters with notably long ascenders and descenders. The letters, characterized by their rounded shapes, are written slowly. Capital letters blend printed and decorative elements, notably in 'Q', 'K', and 'L'. The lowercase 'f' has a mirrored bottom loop. Letters 'm', 'n', 'v', 'w', and especially 'z', begin with a curved entry stroke. The lowercase 'b' is distinguished by a knot, and interestingly, the 's' does not adopt a cursive form. Family name in font menus Playwrite Indonesia appears in font menus with a two-letter country code \u2018ID\u2019, Playwrite ID and features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Indonesia, see primarium.info/countries/indonesia. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite ID\", and click OK. If some text is already selected, the font choice will apply. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/indonesia" + }, + "Playwrite ID Guides": { + "name": "Playwrite ID Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Indonesia Guides is a single-weight font companion that harmonizes seamlessly with the main family, Playwrite Indonesia. It includes guidelines on the baseline, x-height, ascenders, and descenders. These guides provide a visual aid for primary school children that helps young learners grasp the proportions of letterforms and assists them in drawing letters with confidence and accuracy. The Indonesian Ministry of Education and Culture introduced a standard, national model for handwriting education through an official decree in 1983. The model was updated in 2009, but the original is still preferred. According to the model, students first \u2018learn huruf\u2018 lepas, or loose letters, followed by \u2018huruf sambung\u2018, or cursive letters. Across the country, handwriting is taught using this model, and it is featured in workbooks produced by popular private publishers in Indonesia. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Indonesia Guides characteristics Guidelines are present in all characters except for those used for letter/word spacing. To create a versatile tool for teachers when designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. In Playwrite Guides fonts the underscore prints only the guidelines, and matches the width of the normal word space. Find the detailed characteristics of this country's Model in Playwrite Indonesia. Family name in font menus Playwrite Indonesia Guides appears in font menus with a two-letter country code \u2018ID\u2019, Playwrite ID Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Indonesia, see primarium.info/countries/indonesia. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite ID Guides\", and click OK. If some text is already selected, the font choice will apply. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/indonesia" + }, + "Playwrite IE": { + "name": "Playwrite IE", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "The NCAA publishes the national curriculum, and issues of language are dealt with in the \u201cPrimary Language Curriculum\u201d, which was last published in 2019. This document is fully bilingual in English and Irish Gaelic. An additional guideline document for teachers called \u201dPrimary Language Curriculum. Support Material for teachers. Writing\u201d, is also published by the NCAA. This devotes a full section to handwriting and suggests that children can be introduced to cursive writing as early as the junior infant level. In practice, however, each school can choose its own methods for teaching handwriting. Most teachers start with either print script (locally called \u201cmanuscript\u201d) or precursive letters in junior and senior infant levels. From Class 1 onwards, students are taught to add exit strokes to letters and then connect them to achieve a cursive hand. Playwrite Ireland is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite IE Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Ireland characteristics This model showcases a sloped, continuous cursive style where uppercase letters connect to the following letter whenever possible. The letter 'H' is notable for its distinctive crossbar shape. Unlike other models in this category, lowercase letters have short extenders with loops but do not start with curved entry strokes. The construction of the bowls in 'b' and 'p' differs significantly from each other. The letter 'z' features a curved top and a looped descender. Family name in font menus Playwrite Ireland appears in font menus with a two-letter country code \u2018IE\u2019, Playwrite IE, and features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Ireland, see primarium.info/countries/ireland. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite IE\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/ireland" + }, + "Playwrite IE Guides": { + "name": "Playwrite IE Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Ireland Guides is a single-weight font companion that harmonizes seamlessly with the main family, Playwrite Ireland. It includes guidelines on the baseline, x-height, ascenders, and descenders. These guides provide a visual aid for primary school children that helps young learners grasp the proportions of letterforms and assists them in drawing letters with confidence and accuracy. The NCAA publishes the national curriculum, and issues of language are dealt with in the \u201cPrimary Language Curriculum\u201d, which was last published in 2019. This document is fully bilingual in English and Irish Gaelic. An additional guideline document for teachers called \u201dPrimary Language Curriculum. Support Material for teachers. Writing\u201d, is also published by the NCAA. This devotes a full section to handwriting and suggests that children can be introduced to cursive writing as early as the junior infant level. In practice, however, each school can choose its own methods for teaching handwriting. Most teachers start with either print script (locally called \u201cmanuscript\u201d) or precursive letters in junior and senior infant levels. From Class 1 onwards, students are taught to add exit strokes to letters and then connect them to achieve a cursive hand. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Ireland characteristics Guidelines are present in all characters except for those used for letter/word spacing. To create a versatile tool for teachers when designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. In Playwrite Guides fonts the underscore prints only the guidelines, and matches the width of the normal word space. Find the detailed characteristics of this country's Model in Playwrite Ireland. Family name in font menus Playwrite Ireland appears in font menus with a two-letter country code \u2018IE\u2019, Playwrite IE Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Ireland, see primarium.info/countries/ireland. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite IE Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/ireland" + }, + "Playwrite IN": { + "name": "Playwrite IN", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "According to the Indian National Curriculum Framework, students must be taught three languages, starting with their home tongue, and English can be among the languages they learn. Students should learn how to write in Grades 1 and 2, but the document does not specify any methods or models for teaching handwriting. The new NCERT textbooks for English are titled Mridang. The book for grade 1 teaches students print-style letterforms. No cursive writing instruction appears in this or the grade 2 textbook. However, NCERT\u2019s previous English textbook series, called Marigold, focused on cursive writing in grade 2 (7\u20138 years old) and showed samples in a style similar to one developed by Irish-born British diplomat, Vere Foster, in the second half of the nineteenth century. Further, handwriting textbooks produced by a major private publisher directly attribute the samples in their volumes to Foster\u2019s model. Playwrite India is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite IN Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite India characteristics This slanted continuous cursive style features medium-length extenders and draws inspiration from Vere Foster's New Civil Service writing models. The script includes decorative capital letters, with 'A' and 'H' particularly notable for their elaborated crossbars. Lowercase letters are designed with loops on both ascenders and descenders, and several letters begin with curved entry strokes. The letter 'r' is distinguished by a knot, and 'q' is characterized by a short exit stroke in its descender. Family name in font menus Playwrite India appears in font menus with a two-letter country code \u2018IN\u2019, Playwrite IN, and features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in India, see primarium.info/countries/india. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite IN\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/india" + }, + "Playwrite IN Guides": { + "name": "Playwrite IN Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite India Guides is a single-weight font companion that harmonizes seamlessly with the main family, Playwrite India. It includes guidelines on the baseline, x-height, ascenders, and descenders. These guides provide a visual aid for primary school children that helps young learners grasp the proportions of letterforms and assists them in drawing letters with confidence and accuracy. According to the Indian National Curriculum Framework, students must be taught three languages, starting with their home tongue, and English can be among the languages they learn. Students should learn how to write in Grades 1 and 2, but the document does not specify any methods or models for teaching handwriting. The new NCERT textbooks for English are titled Mridang. The book for grade 1 teaches students print-style letterforms. No cursive writing instruction appears in this or the grade 2 textbook. However, NCERT\u2019s previous English textbook series, called Marigold, focused on cursive writing in grade 2 (7\u20138 years old) and showed samples in a style similar to one developed by Irish-born British diplomat, Vere Foster, in the second half of the nineteenth century. Further, handwriting textbooks produced by a major private publisher directly attribute the samples in their volumes to Foster\u2019s model. To contribute, see github.com/TypeTogether/Playwrite. Playwrite India Guides characteristics Guidelines are present in all characters except for those used for letter/word spacing. To create a versatile tool for teachers when designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. In Playwrite Guides fonts the underscore prints only the guidelines, and matches the width of the normal word space. Find the detailed characteristics of this country's Model in Playwrite India. Family name in font menus Playwrite India Guides appears in font menus with a two-letter country code \u2018IN\u2019, Playwrite IN Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in India, see primarium.info/countries/india. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite IN Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/india" + }, + "Playwrite IS": { + "name": "Playwrite IS", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "The latest edition of the national curriculum, published in 2014, requires that at the end of fourth grade, students must \u201cwrite all the letters, write clearly and understandably.\u201d Handwriting teaching in Iceland happens during grades 1-3 (6-9 years old), and books by the MMS adhere to a progressive system based on simplified modern italic styles. According to this system, students should first be introduced to the lowercase letters of Grunnskrift or the initial model. These are simplified and unconnected letters, slightly slanted and with exit strokes. This should be followed by uppercase letters of the same model. Finally, in the third grade (8-9 years old), students learn Tengiskrift or joined letters. Playwrite \u00cdsland is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite IS Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite \u00cdsland characteristics This slanted modern cursive handwriting is crafted for high-speed writing and features print-style uppercase letters, with 'M' notably having splain legs. The lowercase letters are inspired by early Italic calligraphies, including the chancery style. Letters that end with a descender do not connect to the subsequent character, making this a semi-connected model. Both 'b' and 'p' feature closed bowls, while 'z' and 'r' are designed with an italic structure, stressing the script\u2019s aesthetic and functional attributes. Family name in font menus Playwrite \u00cdsland appears in font menus with a two-letter country code \u2018IS\u2019, Playwrite IS, and features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in \u00cdsland, see primarium.info/countries/iceland. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite IS\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/iceland" + }, + "Playwrite IS Guides": { + "name": "Playwrite IS Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite \u00cdsland Guides is a single-weight font companion that harmonizes seamlessly with the main family, Playwrite \u00cdsland. It includes guidelines on the baseline, x-height, ascenders, and descenders. These guides provide a visual aid for primary school children that helps young learners grasp the proportions of letterforms and assists them in drawing letters with confidence and accuracy. The latest edition of the national curriculum, published in 2014, requires that at the end of fourth grade, students must \u201cwrite all the letters, write clearly and understandably.\u201d Handwriting teaching in Iceland happens during grades 1-3 (6-9 years old), and books by the MMS adhere to a progressive system based on simplified modern italic styles. According to this system, students should first be introduced to the lowercase letters of Grunnskrift or the initial model. These are simplified and unconnected letters, slightly slanted and with exit strokes. This should be followed by uppercase letters of the same model. Finally, in the third grade (8-9 years old), students learn Tengiskrift or joined letters. To contribute, see github.com/TypeTogether/Playwrite. Playwrite \u00cdsland characteristics Guidelines are present in all characters except for those used for letter/word spacing. To create a versatile tool for teachers when designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. In Playwrite Guides fonts the underscore prints only the guidelines, and matches the width of the normal word space. Find the detailed characteristics of this country's Model in Playwrite \u00cdsland. Family name in font menus Playwrite \u00cdsland appears in font menus with a two-letter country code \u2018IS\u2019, Playwrite IS Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in \u00cdsland, see primarium.info/countries/iceland. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite IS Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/iceland" + }, + "Playwrite IT Moderna": { + "name": "Playwrite IT Moderna", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Italy holds an important place in the historical development of handwriting styles. Handwriting produced in the Latin script finds its roots in the models produced during the Italian Renaissance. The most prevalent form of handwriting taught in Italy is an upright cursive style developed in the early to mid-20th century, which, according to handwriting expert Francesco Ascoli, was prescribed in the country\u2019s national guidelines in 1945. At the beginning of the 21st century, the decline in the quality of handwriting in Italy caught the attention of the educational community. To rectify this situation, educators and handwriting experts started to explore different ways to improve instruction in primary schools by revamping approaches and resources for traditional handwriting education, or introducing new teaching schemes. The Scrittura Corsiva modern cursive project has gained significant recognition among the latter. Playwrite Italia Moderna is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite IT Moderna Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Italia Moderna characteristics This is a fully joined modern cursive, completely upright, with short ascenders and descenders. it has simplified print style capital letters. Identity traits: It has serifs and 'M' has splain legs. Lowercases use descender loops to connect with the next letter in 'f', 'g', 'j' and 'y'. 'p' and 'b' have closed bowls, 'k' is written with two strokes, and 'f' is missing its top loop. Family name in font menus Playwrite Italia Moderna appears in font menus with a two-letter country code \u2018IT\u2018 and a the word \u2018Moderna\u2018, Playwrite IT Moderna. It features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info, and to learn more about handwriting education in Italy, see primarium.info/countries/italy. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite IT Moderna\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/italy" + }, + "Playwrite IT Moderna Guides": { + "name": "Playwrite IT Moderna Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Italia Moderna Guides is a single-weight font companion that harmonizes seamlessly with the main family, Playwrite Italia Moderna. It includes guidelines on the baseline, x-height, ascenders, and descenders. These guides provide a visual aid for primary school children that helps young learners grasp the proportions of letterforms and assists them in drawing letters with confidence and accuracy. Italy holds an important place in the historical development of handwriting styles. Handwriting produced in the Latin script finds its roots in the models produced during the Italian Renaissance. The most prevalent form of handwriting taught in Italy is an upright cursive style developed in the early to mid-20th century, which, according to handwriting expert Francesco Ascoli, was prescribed in the country\u2019s national guidelines in 1945. At the beginning of the 21st century, the decline in the quality of handwriting in Italy caught the attention of the educational community. To rectify this situation, educators and handwriting experts started to explore different ways to improve instruction in primary schools by revamping approaches and resources for traditional handwriting education, or introducing new teaching schemes. The Scrittura Corsiva modern cursive project has gained significant recognition among the latter. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Italia Moderna Guides characteristics Guidelines are present in all characters except for those used for letter/word spacing. To create a versatile tool for teachers when designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. In Playwrite Guides fonts the underscore prints only the guidelines, and matches the width of the normal word space. Find the detailed characteristics of this country's Model in Playwrite Italia Moderna. Family name in font menus Playwrite Italia Moderna Guides appears in font menus with a two-letter country code \u2018IT\u2018 and a the word \u2018Moderna\u2018, Playwrite IT Moderna Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info, and to learn more about handwriting education in Italy, see primarium.info/countries/italy. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite IT Moderna Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/italy" + }, + "Playwrite IT Trad": { + "name": "Playwrite IT Trad", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Italy holds an important place in the historical development of handwriting styles. Handwriting produced in the Latin script finds its roots in the models produced during the Italian Renaissance. The most prevalent form of handwriting taught in Italy is an upright cursive style developed in the early to mid-20th century, which, according to handwriting expert Francesco Ascoli, was prescribed in the country\u2019s national guidelines in 1945. At the beginning of the 21st century, the decline in the quality of handwriting in Italy caught the attention of the educational community. To rectify this situation, educators and handwriting experts started to explore different ways to improve instruction in primary schools by revamping approaches and resources for traditional handwriting education or introducing new teaching schemes. The Scrittura Corsiva modern cursive project has gained significant recognition among the latter. Playwrite Italia Tradizionale is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite IT Trad Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Italia Tradizionale characteristics This upright, fully joined, modern cursive features short ascenders and descenders. It utilizes simplified print-style capital letters. Distinctive identity traits include a serifed 'I' and an 'M' with splain legs. Lowercase letters 'f', 'g', 'j', and 'y' employ descender loops to connect to the next letter seamlessly. Both 'p' and 'b' are designed with closed bowls, 'k' is constructed with two strokes, and 'f' is notable for the absence of its top loop, creating a recognizable handwriting model. Family name in font menus Playwrite Italia Tradizionale appears in font menus with a two-letter country code, \u2018IT\u2019 and a the \u2018Trad\u2019 abbreviation, Playwrite IT Trad. It features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Italy, see primarium.info/countries/italy. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite IT Trad\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/italy" + }, + "Playwrite IT Trad Guides": { + "name": "Playwrite IT Trad Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Italia Tradizionale Guides is a single-weight font companion that harmonizes seamlessly with the main family, Playwrite Italia Tradizionale. It includes guidelines on the baseline, x-height, ascenders, and descenders. These guides provide a visual aid for primary school children that helps young learners grasp the proportions of letterforms and assists them in drawing letters with confidence and accuracy. Italy holds an important place in the historical development of handwriting styles. Handwriting produced in the Latin script finds its roots in the models produced during the Italian Renaissance. The most prevalent form of handwriting taught in Italy is an upright cursive style developed in the early to mid-20th century, which, according to handwriting expert Francesco Ascoli, was prescribed in the country\u2019s national guidelines in 1945. At the beginning of the 21st century, the decline in the quality of handwriting in Italy caught the attention of the educational community. To rectify this situation, educators and handwriting experts started to explore different ways to improve instruction in primary schools by revamping approaches and resources for traditional handwriting education or introducing new teaching schemes. The Scrittura Corsiva modern cursive project has gained significant recognition among the latter. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Italia Tradizionale characteristics Guidelines are present in all characters except for those used for letter/word spacing. To create a versatile tool for teachers when designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. In Playwrite Guides fonts the underscore prints only the guidelines, and matches the width of the normal word space. Find the detailed characteristics of this country's Model in Playwrite Italia Tradizionale. Family name in font menus Playwrite Italia Tradizionale appears in font menus with a two-letter country code, \u2018IT\u2019 and a the \u2018Trad\u2019 abbreviation, Playwrite IT Trad Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Italy, see primarium.info/countries/italy. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite IT Trad Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/italy" + }, + "Playwrite MX": { + "name": "Playwrite MX", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Since the 1992 educational reform, the curricula for primary education no longer provide details about handwriting instruction or specific writing models. Moreover, it grants teachers the freedom to choose teaching methods for reading and writing instruction during the earliest stages. However, nearly all private schools and most public ones teach cursive writing \u2014 either alongside or sequentially \u2014 with print letters. But the resources they use for teaching cursive writing are privately acquired from publishing houses or created by teachers themselves. In this context, local type designers have been commissioned to create typefaces that match the styles familiar to teachers. These typefaces are usually similar to North American penmanship models, more likely, a derivative from the National Commission of Free Textbooks workbooks dating back to the 1960s. Playwrite M\u00e9xico is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite MX Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite M\u00e9xico characteristics This slanted continuous cursive closely mirrors North American models such as Palmer or Zaner-Bloser. The uppercase letters are cursive and include some complex shapes, notably in 'F', 'I', and 'G'. The lowercase letters feature medium-length extenders, with 'f' and 'q' displaying mirrored descender loops that add intricacy. The letter 'z' is designed with a curved top, while 'b', 'v', and 'w' incorporate knots, contributing to the overall ornate style. The construction of the letters is characterized by a slow and complex execution, emphasizing the deliberate and decorative nature of this handwriting style. Family name in font menus Playwrite M\u00e9xico appears in font menus with a two-letter country code \u2018MX\u2019, Playwrite MX, and features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Mexico, see primarium.info/countries/mexico. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite MX\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/mexico" + }, + "Playwrite MX Guides": { + "name": "Playwrite MX Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite M\u00e9xico Guides is a single-weight font companion that harmonizes seamlessly with the main family, Playwrite M\u00e9xico. It includes guidelines on the baseline, x-height, ascenders, and descenders. These guides provide a visual aid for primary school children that helps young learners grasp the proportions of letterforms and assists them in drawing letters with confidence and accuracy. Since the 1992 educational reform, the curricula for primary education no longer provide details about handwriting instruction or specific writing models. Moreover, it grants teachers the freedom to choose teaching methods for reading and writing instruction during the earliest stages. However, nearly all private schools and most public ones teach cursive writing \u2014 either alongside or sequentially \u2014 with print letters. But the resources they use for teaching cursive writing are privately acquired from publishing houses or created by teachers themselves. In this context, local type designers have been commissioned to create typefaces that match the styles familiar to teachers. These typefaces are usually similar to North American penmanship models, more likely, a derivative from the National Commission of Free Textbooks workbooks dating back to the 1960s. To contribute, see github.com/TypeTogether/Playwrite. Playwrite M\u00e9xico Guides characteristics Guidelines are present in all characters except for those used for letter/word spacing. To create a versatile tool for teachers when designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. In Playwrite Guides fonts the underscore prints only the guidelines, and matches the width of the normal word space. Find the detailed characteristics of this country's Model in Playwrite M\u00e9xico. Family name in font menus Playwrite M\u00e9xico Guides appears in font menus with a two-letter country code \u2018MX\u2019, Playwrite MX Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Mexico, see primarium.info/countries/mexico. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite MX Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/mexico" + }, + "Playwrite NG Modern": { + "name": "Playwrite NG Modern", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "In Nigeria, there is an emphasis on students receiving instruction in the language they hear and use every day. This poses a challenge in a country with limited resources and great linguistic diversity. Apart from four widely spoken languages \u2014 Hausa, Igbo, Yoruba and English \u2014 there are hundreds of regional languages as well as dialects. As a result, teacher training and educational resources are required for several languages. In the past, before the widespread use of computers, there was greater emphasis on handwriting. Today, while private schools with more resources may adopt foreign models like Nelson Handwriting, public schools face financial constraints, impacting their ability to prioritize handwriting education. Given these circumstances, the handwriting style learned by students is often influenced by the habits of their parents and teachers, and they end up mimicking what they see around them. Playwrite Nigeria Modern is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite NG Modern Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Nigeria Modern characteristics Following the tradition and current use of these booklets, Playwrite Nigeria Modern is a very slanted continuous cursive. Its lowercase letters have medium-length ascenders and descenders with loops that favor writing whole words without pen lifts. Based on the Palmer style, these loops are mirrored in the descending strokes of letters 'f' and 'q'. Some uppercase letters, such as the 'G', 'L', and 'Z', have decorative and complex cursive shapes. Family name in font menus Playwrite Nigeria Modern appears in font menus with a two-letter country code \u2018NG\u2019 and the word \u2018Modern\u2019, Playwrite NG Modern. It features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Nigeria, see primarium.info/countries/nigeria. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite NG Modern\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/nigeria" + }, + "Playwrite NG Modern Guides": { + "name": "Playwrite NG Modern Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Nigeria Modern Guides is a single-weight font companion that harmonizes seamlessly with the main family, Playwrite Nigeria Modern. It includes guidelines on the baseline, x-height, ascenders, and descenders. These guides provide a visual aid for primary school children that helps young learners grasp the proportions of letterforms and assists them in drawing letters with confidence and accuracy. In Nigeria, there is an emphasis on students receiving instruction in the language they hear and use every day. This poses a challenge in a country with limited resources and great linguistic diversity. Apart from four widely spoken languages \u2014 Hausa, Igbo, Yoruba and English \u2014 there are hundreds of regional languages as well as dialects. As a result, teacher training and educational resources are required for several languages. In the past, before the widespread use of computers, there was greater emphasis on handwriting. Today, while private schools with more resources may adopt foreign models like Nelson Handwriting, public schools face financial constraints, impacting their ability to prioritize handwriting education. Given these circumstances, the handwriting style learned by students is often influenced by the habits of their parents and teachers, and they end up mimicking what they see around them. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Nigeria Modern Guides characteristics Guidelines are present in all characters except for those used for letter/word spacing. To create a versatile tool for teachers when designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. In Playwrite Guides fonts the underscore prints only the guidelines, and matches the width of the normal word space. Find the detailed characteristics of this country's Model in Playwrite Nigeria Modern. Family name in font menus Playwrite Nigeria Modern Guides appears in font menus with a two-letter country code \u2018NG\u2019 and the word \u2018Modern\u2019, Playwrite NG Modern Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Nigeria, see primarium.info/countries/nigeria. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite NG Modern Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/nigeria" + }, + "Playwrite NL": { + "name": "Playwrite NL", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "In The Netherlands, handwriting education commonly begins in Groep 3 after students have learned fine and gross motor skills in previous years. The most widely used handwriting model in classrooms is verbonden schrift, a slanted continuous cursive with loops. However, teachers have increasingly opted for blokschrift, which features unjoined, simplified print letters. Some teachers choose to instruct in both models: one after another, together, or in a permutation that suits their students. Playwrite Netherland is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite NL Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Netherland characteristics This slanted fully joined handwriting style includes cursive uppercases, with the exception of 'S', and features complex shapes in letters such as 'I' and 'J'. The lowercase letters showcase long ascenders and descenders, each furnished with loops, enhancing the fluidity of the script. Curved entry strokes are present in the letters 'm', 'n', 'v', 'w', 'x', and 'y', contributing to the overall smooth and flowing appearance. The letter 'z' stands out as it is specifically constructed in an italic style, adding a distinct contrast within the script. Family name in font menus Playwrite Netherland appears in font menus with a two-letter country code \u2018NL\u2019, Playwrite NL, and features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Netherland, see primarium.info/countries/the-netherlands. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite NL\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/the-netherlands" + }, + "Playwrite NL Guides": { + "name": "Playwrite NL Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Netherland Guides is a single-weight font companion that harmonizes seamlessly with the main family, Playwrite Netherland. It includes guidelines on the baseline, x-height, ascenders, and descenders. These guides provide a visual aid for primary school children that helps young learners grasp the proportions of letterforms and assists them in drawing letters with confidence and accuracy. In The Netherlands, handwriting education commonly begins in Groep 3 after students have learned fine and gross motor skills in previous years. The most widely used handwriting model in classrooms is verbonden schrift, a slanted continuous cursive with loops. However, teachers have increasingly opted for blokschrift, which features unjoined, simplified print letters. Some teachers choose to instruct in both models: one after another, together, or in a permutation that suits their students. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Netherland Guides characteristics Guidelines are present in all characters except for those used for letter/word spacing. To create a versatile tool for teachers when designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. In Playwrite Guides fonts the underscore prints only the guidelines, and matches the width of the normal word space. Find the detailed characteristics of this country's Model in Playwrite Netherland. Family name in font menus Playwrite Netherland Guides appears in font menus with a two-letter country code \u2018NL\u2019, Playwrite NL Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Netherland, see primarium.info/countries/the-netherlands. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite NL Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/the-netherlands" + }, + "Playwrite NO": { + "name": "Playwrite NO", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "In Norway, the most prevalent form of handwriting in education is the stavskrift. It is an unlooped modern cursive style that borrows elements from continuous cursive writing. Students are taught uppercase and lowercase letters in trykkskrift, a simplified print script, in the first grade. In the middle of the second or beginning of the third grade, they are introduced to stavskrift and learn joining strokes between letters. This path may vary at the discretion of the teacher or the school, but in fourth grade, students are expected to have well-formed and legible handwriting with a certain degree of fluency. Playwrite Norge is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite NO Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Norge characteristics This modern cursive, semi-connected typeface includes elements from continuous cursive handwriting styles. The uppercase letters are decorative, with 'G' and 'Y' featuring descenders with loops that connect to the following letter. Lowercase letters have medium-length, loopless ascenders and descenders. Distinctive features include a straight descender on 'f', a loopless cursive shape in 'z', and cursive styles for 'p' and 'b'. Family name in font menus Playwrite Norge appears in font menus with a two-letter country code \u2018NO\u2019, Playwrite NO, and features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Norge, see primarium.info/countries/norway. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite NO\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/norway" + }, + "Playwrite NO Guides": { + "name": "Playwrite NO Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Norge Guides is a single-weight font companion that harmonizes seamlessly with the main family, Playwrite Norge. It includes guidelines on the baseline, x-height, ascenders, and descenders. These guides provide a visual aid for primary school children that helps young learners grasp the proportions of letterforms and assists them in drawing letters with confidence and accuracy. In Norway, the most prevalent form of handwriting in education is the stavskrift. It is an unlooped modern cursive style that borrows elements from continuous cursive writing. Students are taught uppercase and lowercase letters in trykkskrift, a simplified print script, in the first grade. In the middle of the second or beginning of the third grade, they are introduced to stavskrift and learn joining strokes between letters. This path may vary at the discretion of the teacher or the school, but in fourth grade, students are expected to have well-formed and legible handwriting with a certain degree of fluency. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Norge Guides characteristics Guidelines are present in all characters except for those used for letter/word spacing. To create a versatile tool for teachers when designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. In Playwrite Guides fonts the underscore prints only the guidelines, and matches the width of the normal word space. Find the detailed characteristics of this country's Model in Playwrite Norge. Family name in font menus Playwrite Norge Guides appears in font menus with a two-letter country code \u2018NO\u2019, Playwrite NO Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Norge, see primarium.info/countries/norway. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite NO Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/norway" + }, + "Playwrite NZ": { + "name": "Playwrite NZ", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "The style of handwriting currently taught in New Zealand is specified in Teaching Handwriting, a Ministry of Education publication, which was developed in response to teachers\u2019 requests for guidance on the style of handwriting that should be taught in primary school. Teachers and schools usually create their own resources for handwriting instruction based on the style advocated in this document. It was first released in 1985 and again in digital format in 2008. Even though Teaching Handwriting outlines a progressive handwriting system that advances from simplified print script to cursive writing, sometimes teachers will not teach the latter if it is not practical given their students' learning levels and other curriculum needs. Playwrite New Zealand is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite NZ Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite New Zealand characteristics This modern cursive style is extremely fast and slanted, featuring simplified print-style uppercase letters. Notable are the open 'G' without a crossbar, a serifed 'I', and a 'Y' with a slanted stem. The lowercase letters are semi-connected, exhibiting a very fast and angular construction typical of modern cursive styles based on italic forms. The letter 'f' has a straight descender, and 'q' is distinguished by a short exit stroke that serves as a finial, enhancing the dynamic and streamlined appearance of the script. Family name in font menus Playwrite New-Zealand appears in font menus with a two-letter country code \u2018NZ\u2019, Playwrite NZ, and features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in New-Zealand, see primarium.info/countries/new-zealand. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite NZ\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/new-zealand" + }, + "Playwrite NZ Guides": { + "name": "Playwrite NZ Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite New Zealand Guides is a single-weight font companion that harmonizes seamlessly with the main family, Playwrite New Zealand. It includes guidelines on the baseline, x-height, ascenders, and descenders. These guides provide a visual aid for primary school children that helps young learners grasp the proportions of letterforms and assists them in drawing letters with confidence and accuracy. The style of handwriting currently taught in New Zealand is specified in Teaching Handwriting, a Ministry of Education publication, which was developed in response to teachers\u2019 requests for guidance on the style of handwriting that should be taught in primary school. Teachers and schools usually create their own resources for handwriting instruction based on the style advocated in this document. It was first released in 1985 and again in digital format in 2008. Even though Teaching Handwriting outlines a progressive handwriting system that advances from simplified print script to cursive writing, sometimes teachers will not teach the latter if it is not practical given their students' learning levels and other curriculum needs. To contribute, see github.com/TypeTogether/Playwrite. Playwrite New Zealand Guides characteristics Guidelines are present in all characters except for those used for letter/word spacing. To create a versatile tool for teachers when designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. In Playwrite Guides fonts the underscore prints only the guidelines, and matches the width of the normal word space. Find the detailed characteristics of this country's Model in Playwrite New Zealand. Family name in font menus Playwrite New Zealand appears in font menus with a two-letter country code \u2018NZ\u2019, Playwrite NZ Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in New-Zealand, see primarium.info/countries/new-zealand. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite NZ Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/new-zealand" + }, + "Playwrite PE": { + "name": "Playwrite PE", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Due to the absence of handwriting education guidelines in the curriculum and no prescribed model, there is a great deal of diversity in the approaches to handwriting teaching. The most widespread method is to teach uppercase print-style letters first and connected cursive writing second. However, in some schools, students may start with cursive writing in the first grade itself, and in others, cursive writing is not taught at all. An important difference is seen in private schools, where handwriting may be taught using models imported from abroad. For instance, Spanish-English bilingual schools teach using the Sassoon model that was developed in England. Playwrite Per\u00fa is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite PE Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Per\u00fa characteristics This upright continuous cursive handwriting model features medium-length ascenders and descenders. The capital letters are cursive and include a few complex shapes, notably in 'F', 'R', and 'O'. The letter 'G' is distinctive, appearing to be influenced by American styles rather than the traditional French vertical cursives. The lowercase letters have looped extenders and showcase a unique two-stroke construction of 'k'. The letter 'f' is characterized by a straight descender, while 'v' and 'w' are noted for their knots, adding to the distinctiveness of this cursive style. Family name in font menus Playwrite Peru appears in font menus with a two-letter country code \u2018PE\u2019, Playwrite PE, and features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Peru, see primarium.info/countries/peru. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite PE\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/peru" + }, + "Playwrite PE Guides": { + "name": "Playwrite PE Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Per\u00fa Guides is a single-weight font companion that harmonizes seamlessly with the main family, Playwrite Per\u00fa. It includes guidelines on the baseline, x-height, ascenders, and descenders. These guides provide a visual aid for primary school children that helps young learners grasp the proportions of letterforms and assists them in drawing letters with confidence and accuracy. Due to the absence of handwriting education guidelines in the curriculum and no prescribed model, there is a great deal of diversity in the approaches to handwriting teaching. The most widespread method is to teach uppercase print-style letters first and connected cursive writing second. However, in some schools, students may start with cursive writing in the first grade itself, and in others, cursive writing is not taught at all. An important difference is seen in private schools, where handwriting may be taught using models imported from abroad. For instance, Spanish-English bilingual schools teach using the Sassoon model that was developed in England. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Per\u00fa Guides characteristics Guidelines are present in all characters except for those used for letter/word spacing. To create a versatile tool for teachers when designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. In Playwrite Guides fonts the underscore prints only the guidelines, and matches the width of the normal word space. Find the detailed characteristics of this country's Model in Playwrite Per\u00fa. Family name in font menus Playwrite Peru appears in font menus with a two-letter country code \u2018PE\u2019, Playwrite PE Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Peru, see primarium.info/countries/peru. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite PE Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/peru" + }, + "Playwrite PL": { + "name": "Playwrite PL", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Poland\u2019s podstawa programowa, or core curriculum, is published by the Ministerstwo, and available online, where it is continuously maintained. It mentions handwriting education very briefly, stating that the country\u2019s goal is that students must learn to write by hand, legibly and fluently, in sentences and continuous text. In Poland, the prevalent handwriting education model is a loopless, fully-joined vertical cursive, and students are taught upper and lower cases simultaneously. Handwriting primers show samples of this style alongside instructions on how to draw them. When it comes to reading, students learn that through a serif typeface. Playwrite Polska is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite PL Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Polska characteristics This vertical continuous cursive features decorative uppercase letters, with 'G', 'J', and 'Y' having descender loops that facilitate connections to subsequent letters. The lower cases have medium to long extenders and a restrained appearance. Ascenders are loopless, except for 'f', while 'g', 'j', and 'y' include looped descenders that complement the style of their corresponding uppercase forms. The letter 'k' is constructed in two strokes, and 'm', 'n', and 'r' start with curved entry strokes. Family name in font menus Playwrite Polska appears in font menus with a two-letter country code \u2018PL\u2019, Playwrite PL, and features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Poland, see primarium.info/countries/poland. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite PL\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/poland" + }, + "Playwrite PL Guides": { + "name": "Playwrite PL Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Polska Guides is a single-weight font companion that harmonizes seamlessly with the main family, Playwrite Polska. It includes guidelines on the baseline, x-height, ascenders, and descenders. These guides provide a visual aid for primary school children that helps young learners grasp the proportions of letterforms and assists them in drawing letters with confidence and accuracy. Poland\u2019s podstawa programowa, or core curriculum, is published by the Ministerstwo, and available online, where it is continuously maintained. It mentions handwriting education very briefly, stating that the country\u2019s goal is that students must learn to write by hand, legibly and fluently, in sentences and continuous text. In Poland, the prevalent handwriting education model is a loopless, fully-joined vertical cursive, and students are taught upper and lower cases simultaneously. Handwriting primers show samples of this style alongside instructions on how to draw them. When it comes to reading, students learn that through a serif typeface. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Polska Guides characteristics Guidelines are present in all characters except for those used for letter/word spacing. To create a versatile tool for teachers when designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. In Playwrite Guides fonts the underscore prints only the guidelines, and matches the width of the normal word space. Find the detailed characteristics of this country's Model in Playwrite Polska. Family name in font menus Playwrite Polska Guides appears in font menus with a two-letter country code \u2018PL\u2019, Playwrite PL Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Poland, see primarium.info/countries/poland. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite PL Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/poland" + }, + "Playwrite PT": { + "name": "Playwrite PT", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Even though writing may be introduced in preschool, systematic teaching of handwriting only happens in the 1\u00b0 Cycle. Since schools have pedagogic autonomy in Portugal, there are differences in how handwriting is taught. However, it should be noted that they must meet the curriculum goals set out by the government and are subject to periodic external evaluations. Schools usually begin with \u2018letra impressa\u2019, or print script letters, starting with capital letters for students aged 5\u20136 years old, before moving to a fully joined, vertical cursive writing, known as \u2018escrita vertical\u2019. There are also some traditional schools that start handwriting teaching with letra de m\u00e3o/manuscrita, or cursive letters from the beginning. Playwrite Portugal is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite PT Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Portugal characteristics This upright continuous cursive model features decorative capital letters, with a notably distinctive 'Q' and an 'S' with a vertical stem. The lowercase letters are constructed slowly and carefully, displaying medium-length, looped ascenders and descenders. Letters 'm', 'n', 'v', and 'w' begin with curved entry strokes, while 'z' is characterized by a flat top. Additionally, the letter 'f' has a mirrored descender loop, and the letters 'o', 'v', 'w', and 'z' include knots, enhancing the stylistic intricacy of this handwriting model. Family name in font menus Playwrite Portugal appears in font menus with a two-letter country code \u2018PT\u2019, Playwrite PT, and features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Portugal, see primarium.info/countries/portugal. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite PT\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/portugal" + }, + "Playwrite PT Guides": { + "name": "Playwrite PT Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Portugal Guides is a single-weight font companion that harmonizes seamlessly with the main family, Playwrite Portugal. It includes guidelines on the baseline, x-height, ascenders, and descenders. These guides provide a visual aid for primary school children that helps young learners grasp the proportions of letterforms and assists them in drawing letters with confidence and accuracy. Even though writing may be introduced in preschool, systematic teaching of handwriting only happens in the 1\u00b0 Cycle. Since schools have pedagogic autonomy in Portugal, there are differences in how handwriting is taught. However, it should be noted that they must meet the curriculum goals set out by the government and are subject to periodic external evaluations. Schools usually begin with \u2018letra impressa\u2019, or print script letters, starting with capital letters for students aged 5\u20136 years old, before moving to a fully joined, vertical cursive writing, known as \u2018escrita vertical\u2019. There are also some traditional schools that start handwriting teaching with letra de m\u00e3o/manuscrita, or cursive letters from the beginning. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Portugal Guides characteristics Guidelines are present in all characters except for those used for letter/word spacing. To create a versatile tool for teachers when designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. In Playwrite Guides fonts the underscore prints only the guidelines, and matches the width of the normal word space. Find the detailed characteristics of this country's Model in Playwrite Portugal. Family name in font menus Playwrite Portugal Guides appears in font menus with a two-letter country code \u2018PT\u2019, Playwrite PT Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Portugal, see primarium.info/countries/portugal. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite PT Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/portugal" + }, + "Playwrite RO": { + "name": "Playwrite RO", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "The curriculum goals for Comunicare \u00een limba rom\u00e2n\u0103, or Communication in the Romanian language, place importance on teaching handwriting. Instruction happens during the early years of primary education, specifically in preparatory, first, and second grades. While schools and teachers have some flexibility in their methods, the instruction process, its stages, and writing models are widely standardized. Handwriting education begins in preparatory grade with a focus on print script alphabet, also known as \u2018scris de tipar\u2018 or \u2018litere bloc\u2019, and on development of communication skills. In first grade, students gradually transition to a cursive writing model called \u2018litere de m\u00e2n\u0103\u2018. It is a continuous cursive style with a 18\u00ba slope, and its narrow proportions follow a grid. Playwrite Rom\u00e2nia is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite RO Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Rom\u00e2nia characteristics This slanted continuous cursive features a slow stroke speed and medium-length looped ascenders and descenders. The uppercase letters are decorative, highlighted by a straight spine in 'S' and a distinguishable shape in 'G'. Both capital and lowercase versions of 'X' and 'Z' include crossbars as a unifying stylistic element. The lowercase letters often incorporate knots, enhancing the complex appearance of the script. The letter 'f' has a loopless descender and connects to the next letter via its crossbar, while 'q' is notable for a short exit stroke in its descender. Family name in font menus Playwrite Romania appears in font menus with a two-letter country code \u2018RO\u2019, Playwrite RO, and features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Romania, see primarium.info/countries/romania. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite RO\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/romania" + }, + "Playwrite RO Guides": { + "name": "Playwrite RO Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Rom\u00e2nia Guides is a single-weight font companion that harmonizes seamlessly with the main family, Playwrite Rom\u00e2nia. It includes guidelines on the baseline, x-height, ascenders, and descenders. These guides provide a visual aid for primary school children that helps young learners grasp the proportions of letterforms and assists them in drawing letters with confidence and accuracy. The curriculum goals for Comunicare \u00een limba rom\u00e2n\u0103, or Communication in the Romanian language, place importance on teaching handwriting. Instruction happens during the early years of primary education, specifically in preparatory, first, and second grades. While schools and teachers have some flexibility in their methods, the instruction process, its stages, and writing models are widely standardized. Handwriting education begins in preparatory grade with a focus on print script alphabet, also known as \u2018scris de tipar\u2018 or \u2018litere bloc\u2019, and on development of communication skills. In first grade, students gradually transition to a cursive writing model called \u2018litere de m\u00e2n\u0103\u2018. It is a continuous cursive style with a 18\u00ba slope, and its narrow proportions follow a grid. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Rom\u00e2nia Guides characteristics Guidelines are present in all characters except for those used for letter/word spacing. To create a versatile tool for teachers when designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. In Playwrite Guides fonts the underscore prints only the guidelines, and matches the width of the normal word space. Find the detailed characteristics of this country's Model in Playwrite Rom\u00e2nia. Family name in font menus Playwrite Romania appears in font menus with a two-letter country code \u2018RO\u2019, Playwrite RO Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Romania, see primarium.info/countries/romania. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite RO Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/romania" + }, + "Playwrite SK": { + "name": "Playwrite SK", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "In 2020, the latest iteration of the R\u00e1mcov\u00fd U\u010debn\u00fd Pl\u00e1n, or Framework Curriculum, was published by the Ministerstvo. It provides a sample of fully-joined, cursive writing based on \u2018Zjednodu\u0161en\u00e1 psac\u00ed latinka\u2018, or Simplified Latin script, which was ratified by the government of erstwhile Czechoslovakia in 1932. According to the curriculum, students must learn to write based on this model, following its letter shapes as well as slant. The Ministerstvo has been sharing this model with private publishers since 1993, and in the absence of official digitization, publishers have produced their own versions for use in their textbooks. Until 2020, schools only received government funding for purchasing textbooks if they did so from state-verified publishers, though that is no longer the case. Playwrite Slovensko is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite SK Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Slovensko characteristics This slanted continuous cursive features medium to short extenders and is executed at a slow stroke speed. The capital letters maintain a cursive, mostly unadorned structure, with distinctive traits such as an unusually constructed 'Q' and a vertical spine in 'S'. Lowercase letters have loops on extenders but lack knots, with the exception of the German-style 't'. Several lowercase letters begin with curved entry strokes. The letter 'z' is styled in a plain italic form and does not have a descender. Family name in font menus Playwrite Slovensko appears in font menus with a two-letter country code \u2018SK\u2019, Playwrite SK, and features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Slovakia, see primarium.info/countries/slovakia. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite SK\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/slovakia" + }, + "Playwrite SK Guides": { + "name": "Playwrite SK Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Slovensko Guides is a single-weight font companion that harmonizes seamlessly with the main family, Playwrite Slovensko. It includes guidelines on the baseline, x-height, ascenders, and descenders. These guides provide a visual aid for primary school children that helps young learners grasp the proportions of letterforms and assists them in drawing letters with confidence and accuracy. The Ministerstvo has been sharing this model with private publishers since 1993, and in the absence of official digitization, publishers have produced their own versions for use in their textbooks. Until 2020, schools only received government funding for purchasing textbooks if they did so from state-verified publishers, though that is no longer the case. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Slovensko Guides characteristics Guidelines are present in all characters except for those used for letter/word spacing. To create a versatile tool for teachers when designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. In Playwrite Guides fonts the underscore prints only the guidelines, and matches the width of the normal word space. Find the detailed characteristics of this country's Model in Playwrite Slovensko. Family name in font menus Playwrite Slovensko Guides appears in font menus with a two-letter country code \u2018SK\u2019, Playwrite SK Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Slovakia, see primarium.info/countries/slovakia. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite SK Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/slovakia" + }, + "Playwrite TZ": { + "name": "Playwrite TZ", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "The primary school curriculum, published by the Ministry of Education, Science and Technology, and the Tanzania Institute of Education (TIE), was last updated in 2015. The first section, centered on the first two years of primary education (Standards 1 and 2) focuses on developing competencies in reading, writing and arithmetic. The TIE also publishes a syllabus that provides specific guidelines for the implementation of the curriculum. The syllabus states that students should learn print style letters first followed by cursive writing, but no models or samples are shown. In practice, Standard 1 students learn an almost upright precursive and progress to a fully-joined cursive from Standard 2 onwards. The primers available through the free online library services supply detailed samples and practice materials that are used in classrooms. Playwrite Tanzania is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite TZ Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Tanzania characteristics This sloped continuous cursive style includes decorative capital letters. 'A' and 'H' feature looped crossbars, while 'G' has a cursive structure but lacks a descending stroke. 'M' and 'N' are constructed differently, with only one following a cursive format. The lowercase letters have looped ascenders and descenders. Curved entry strokes appear in 'm', 'n', and 'v', but are absent in 'w'. The letter 'q' includes a mirrored loop in its descender. Family name in font menus Playwrite Tanzania appears in font menus with a two-letter country code \u2018TZ\u2019, Playwrite TZ, and features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Tanzania, see primarium.info/countries/tanzania. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite TZ\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/tanzania" + }, + "Playwrite TZ Guides": { + "name": "Playwrite TZ Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Tanzania Guides is a single-weight font companion that harmonizes seamlessly with the main family, Playwrite Tanzania. It includes guidelines on the baseline, x-height, ascenders, and descenders. These guides provide a visual aid for primary school children that helps young learners grasp the proportions of letterforms and assists them in drawing letters with confidence and accuracy. The primary school curriculum, published by the Ministry of Education, Science and Technology, and the Tanzania Institute of Education (TIE), was last updated in 2015. The first section, centered on the first two years of primary education (Standards 1 and 2) focuses on developing competencies in reading, writing and arithmetic. The TIE also publishes a syllabus that provides specific guidelines for the implementation of the curriculum. The syllabus states that students should learn print style letters first followed by cursive writing, but no models or samples are shown. In practice, Standard 1 students learn an almost upright precursive and progress to a fully-joined cursive from Standard 2 onwards. The primers available through the free online library services supply detailed samples and practice materials that are used in classrooms. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Tanzania Guides characteristics Guidelines are present in all characters except for those used for letter/word spacing. To create a versatile tool for teachers when designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. In Playwrite Guides fonts the underscore prints only the guidelines, and matches the width of the normal word space. Find the detailed characteristics of this country's Model in Playwrite Tanzania. Family name in font menus Playwrite Tanzania Guides appears in font menus with a two-letter country code \u2018TZ\u2019, Playwrite TZ Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Tanzania, see primarium.info/countries/tanzania. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite TZ Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/tanzania" + }, + "Playwrite US Modern": { + "name": "Playwrite US Modern", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "In the absence of a unified national approach, elementary education in the United States is supported by several private companies that espouse different approaches to teaching handwriting. According to American handwriting expert Kate Gladstone, it is difficult to confidently determine which handwriting models are most commonly taught in the country, but among the most widespread are Zaner-Bloser and D\u2019Nealian, both following a traditional style, and Handwriting Without Tears. Two other programs featuring modern cursive models \u2014 Getty-Dubay and Barchowsky Fluent Hand \u2014 are rapidly gaining interest as writing models not only for children but also for adults seeking to improve their handwriting. Playwrite USA Modern is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite US Modern Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite USA Modern characteristics This style is a straightforward, completely upright modern cursive. The uppercase letters adopt a simplified print style, with notable features including a serif on 'I' and an 'M' with a raised center. The lowercase letters are semi-connected and designed with loopless, medium-length ascenders and descenders. Unusually for this style, the letters 'm', 'n', and 'r' begin with a curved entry stroke, which adds a subtle complexity to the otherwise streamlined appearance of the script. Family name in font menus Playwrite USA Modern appears in font menus with a two-letter country code \u2018US\u2019 and a the word \u2018Modern\u2019, Playwrite US Modern. It features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in the United States of America, see primarium.info/countries/united-states-of-america. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite USA Modern\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/united-states-of-america" + }, + "Playwrite US Modern Guides": { + "name": "Playwrite US Modern Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite USA Modern Guides is a single-weight font companion that harmonizes seamlessly with the main family, Playwrite USA Modern. It includes guidelines on the baseline, x-height, ascenders, and descenders. These guides provide a visual aid for primary school children that helps young learners grasp the proportions of letterforms and assists them in drawing letters with confidence and accuracy. In the absence of a unified national approach, elementary education in the United States is supported by several private companies that espouse different approaches to teaching handwriting. According to American handwriting expert Kate Gladstone, it is difficult to confidently determine which handwriting models are most commonly taught in the country, but among the most widespread are Zaner-Bloser and D\u2019Nealian, both following a traditional style, and Handwriting Without Tears. Two other programs featuring modern cursive models \u2014 Getty-Dubay and Barchowsky Fluent Hand \u2014 are rapidly gaining interest as writing models not only for children but also for adults seeking to improve their handwriting. To contribute, see github.com/TypeTogether/Playwrite. Playwrite USA Modern Guides characteristics Guidelines are present in all characters except for those used for letter/word spacing. To create a versatile tool for teachers when designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. In Playwrite Guides fonts the underscore prints only the guidelines, and matches the width of the normal word space. Find the detailed characteristics of this country's Model in Playwrite USA Modern. Family name in font menus Playwrite USA Modern Guides appears in font menus with a two-letter country code \u2018US\u2019 and a the word \u2018Modern\u2019, Playwrite US Modern Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in the United States of America, see primarium.info/countries/united-states-of-america. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite USA Modern Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/united-states-of-america" + }, + "Playwrite US Trad": { + "name": "Playwrite US Trad", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "In the absence of a unified national approach, elementary education in the United States is supported by several private companies that espouse different approaches to teaching handwriting. According to American handwriting expert Kate Gladstone, it is difficult to confidently determine which handwriting models are most commonly taught in the country, but among the most widespread are Zaner-Bloser and D\u2019Nealian, both following a traditional style, and Handwriting Without Tears. Two other programs featuring modern cursive models \u2014 Getty-Dubay and Barchowsky Fluent Hand \u2014 are rapidly gaining interest as writing models not only for children but also for adults seeking to improve their handwriting. Playwrite USA Traditional is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite US Trad Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite USA Traditional characteristics This style follows the traditional American style of Zaner-Bloser and D'Nealian, featuring a slanted continuous cursive. Capital letters vary in appearance, with some like 'I', 'H', and 'G' being more decorative, and others such as 'A', 'N', and 'M' maintaining a cursive style. The construction of the letters appears fast and is complex in certain characters. Ascenders and descenders include loops to facilitate continuous writing, with mirrored loops in 'p' and 'q' enhancing the flow. Consistent with other English-speaking models, the entry strokes for 'v' and 'w' are distinctly different. Family name in font menus Playwrite USA Traditional appears in font menus with a two-letter country code \u2018US\u2019 and a the \u2018Trad\u2019 abbreviation, Playwrite US Trad. It features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in the United States of America, see primarium.info/countries/united-states-of-america. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in font editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite USA Trad\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/united-states-of-america" + }, + "Playwrite US Trad Guides": { + "name": "Playwrite US Trad Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite USA Traditional Guides is a single-weight font companion that harmonizes seamlessly with the main family, Playwrite USA Traditional. It includes guidelines on the baseline, x-height, ascenders, and descenders. These guides provide a visual aid for primary school children that helps young learners grasp the proportions of letterforms and assists them in drawing letters with confidence and accuracy. In the absence of a unified national approach, elementary education in the United States is supported by several private companies that espouse different approaches to teaching handwriting. According to American handwriting expert Kate Gladstone, it is difficult to confidently determine which handwriting models are most commonly taught in the country, but among the most widespread are Zaner-Bloser and D\u2019Nealian, both following a traditional style, and Handwriting Without Tears. Two other programs featuring modern cursive models \u2014 Getty-Dubay and Barchowsky Fluent Hand \u2014 are rapidly gaining interest as writing models not only for children but also for adults seeking to improve their handwriting. To contribute, see github.com/TypeTogether/Playwrite. Playwrite USA Traditional Guides characteristics Guidelines are present in all characters except for those used for letter/word spacing. To create a versatile tool for teachers when designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. In Playwrite Guides fonts the underscore prints only the guidelines, and matches the width of the normal word space. Find the detailed characteristics of this country's Model in Playwrite USA Traditional. Family name in font menus Playwrite USA Traditional Guides appears in font menus with a two-letter country code \u2018US\u2019 and a the \u2018Trad\u2019 abbreviation, Playwrite US Trad Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in the United States of America, see primarium.info/countries/united-states-of-america. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in font editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite USA Trad Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/united-states-of-america" + }, + "Playwrite VN": { + "name": "Playwrite VN", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "In Vietnam, an official handwriting model for teaching in primary schools was adopted in 2002. It is called the m\u1eabu ch\u1eef th\u1ea3o ti\u1ebfng vi\u1ec7t, or Vietnamese official cursive script, and has been in use from academic year 2002-03 onwards. Based on this model, students learn to write in both upright and (optionally) sloped cursive letters, without ever being taught print letters. Nevertheless, they do practice drawing the basic strokes that make up letters in preparation. Handwriting education happens between Grades 1 to 3, and while students are introduced to writing using a pencil, they graduate to writing with fountain pens while they are still in primary school. Playwrite Vi\u1ec7t Nam is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite VN Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Vi\u1ec7t Nam characteristics The model follows the structure and proportions of the upright, monolinear version of the Vietnamese official cursive script. These are the versions that are prioritized for teaching, while others may be introduced if the situation is conducive. The letter shapes derive from the French traditional vertical cursive writing, featuring long ascenders and descenders and round and fully joined lowercases. Letters 'b', 'r', 'v', and 'w' make use of knots to change the stroke direction, 'n' and 'm' have curved entry strokes and 'x' is created by means of two mirrored curves. Notable upper case features are the triangular yet decorative shapes of 'A', 'V' and 'W', and an 'S' with an upright spine. Family name in font menus Playwrite Vi\u1ec7t Nam appears in font menus with a two-letter country code \u2018VN\u2019, Playwrite VN, and features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Vi\u1ec7t Nam, see primarium.info/countries/vietnam. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite VN\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/vietnam" + }, + "Playwrite VN Guides": { + "name": "Playwrite VN Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Vi\u1ec7t Nam Guides is a single-weight font companion that harmonizes seamlessly with the main family, Playwrite Vi\u1ec7t Nam. It includes guidelines on the baseline, x-height, ascenders, and descenders. These guides provide a visual aid for primary school children that helps young learners grasp the proportions of letterforms and assists them in drawing letters with confidence and accuracy. In Vietnam, an official handwriting model for teaching in primary schools was adopted in 2002. It is called the m\u1eabu ch\u1eef th\u1ea3o ti\u1ebfng vi\u1ec7t, or Vietnamese official cursive script, and has been in use from academic year 2002-03 onwards. Based on this model, students learn to write in both upright and (optionally) sloped cursive letters, without ever being taught print letters. Nevertheless, they do practice drawing the basic strokes that make up letters in preparation. Handwriting education happens between Grades 1 to 3, and while students are introduced to writing using a pencil, they graduate to writing with fountain pens while they are still in primary school. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Vi\u1ec7t Nam Guides characteristics Guidelines are present in all characters except for those used for letter/word spacing. To create a versatile tool for teachers when designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. In Playwrite Guides fonts the underscore prints only the guidelines, and matches the width of the normal word space. Find the detailed characteristics of this country's Model in Playwrite Vi\u1ec7t Nam. Family name in font menus Playwrite Vi\u1ec7t Nam Guides appears in font menus with a two-letter country code \u2018VN\u2019, Playwrite VN Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Vi\u1ec7t Nam, see primarium.info/countries/vietnam. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite VN Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/vietnam" + }, + "Playwrite ZA": { + "name": "Playwrite ZA", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Through its website, the Department of Basic Education produces and distributes documents that outline curricula, educational goals and guidelines, implementation notes, and assessment policies. The Curriculum Assessment Policy Statements (CAPS) outlines the steps and objectives for handwriting instruction and specifies that students learn motor skills in Grade R, and unjoined upper and lowercase letters in Grade 1. They then gain speed and proficiency in Grade 2, and proceed to cursive writing. The document does not, however, prescribe any handwriting models that should be used for teaching. Despite the absence of a recommended model, teachers, specialized publishers, and educational resource providers have converged on their choice of fonts for handwriting education. Geometric \u201cball and stick\u201d letters are used for the first stage of instruction, and a very slanted continuous cursive style is used thereafter. Playwrite South Africa is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite ZA Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite South Africa characteristics This continuous cursive features a gentle slope and a relatively slow pace of construction. The uppercase letters incorporate cursive elements, with looped descenders in 'G', 'J', 'Y', and 'Z', enhancing their fluidity. The lowercase letters have looped ascenders and descenders to support seamless connections between letters. Notably, this style does not include curved entry strokes in 'm', 'n', 'v', and 'w', which is a departure from typical continuous cursives. However, it includes distinctly curved shapes in the letters 'x' and 'z', adding a dynamic element to the overall script. Family name in font menus Playwrite South Africa appears in font menus with a two-letter country code \u2018ZA\u2019, Playwrite ZA, and features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in South Africa, see primarium.info/countries/south-africa. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite ZA\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/south-africa" + }, + "Playwrite ZA Guides": { + "name": "Playwrite ZA Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite South Africa Guides is a single-weight font companion that harmonizes seamlessly with the main family, Playwrite South Africa. It includes guidelines on the baseline, x-height, ascenders, and descenders. These guides provide a visual aid for primary school children that helps young learners grasp the proportions of letterforms and assists them in drawing letters with confidence and accuracy. Through its website, the Department of Basic Education produces and distributes documents that outline curricula, educational goals and guidelines, implementation notes, and assessment policies. The Curriculum Assessment Policy Statements (CAPS) outlines the steps and objectives for handwriting instruction and specifies that students learn motor skills in Grade R, and unjoined upper and lowercase letters in Grade 1. They then gain speed and proficiency in Grade 2, and proceed to cursive writing. The document does not, however, prescribe any handwriting models that should be used for teaching. Despite the absence of a recommended model, teachers, specialized publishers, and educational resource providers have converged on their choice of fonts for handwriting education. Geometric \u201cball and stick\u201d letters are used for the first stage of instruction, and a very slanted continuous cursive style is used thereafter. To contribute, see github.com/TypeTogether/Playwrite. Playwrite South Africa Guides characteristics Guidelines are present in all characters except for those used for letter/word spacing. To create a versatile tool for teachers when designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. In Playwrite Guides fonts the underscore prints only the guidelines, and matches the width of the normal word space. Find the detailed characteristics of this country's Model in Playwrite South Africa. Family name in font menus Playwrite South Africa Guides appears in font menus with a two-letter country code \u2018ZA\u2019, Playwrite ZA Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in South Africa, see primarium.info/countries/south-africa. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite ZA Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/south-africa" + }, + "Plus Jakarta Sans": { + "name": "Plus Jakarta Sans", + "designer": [ + "Tokotype" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Plus Jakarta Sans is a fresh take on geometric sans serif styles, designed by Gumpita Rahayu from Tokotype. The fonts were originally commissioned by 6616 Studio for Jakarta Provincial Government program's +Jakarta City of Collaboration identity in 2020. Taking inspiration in Neuzeit Grotesk, Futura, and 1930s grotesque sans serifs with almost monolinear contrast and pointy curves, the fonts consist of modern and clean cut forms, the x-height dimension slightly taller to provide clear spaces between caps and x-height, and also equipped with open counters and balanced spaces to preserve the legibility at a large range of sizes. The beauty of diversity captured in typography. Like the city itself, the uniqueness of this font is that in some glyphs it has its own diversity and characteristic of various explorations of forms that enrich the expressions and stories that coexist. The charms of Plus Jakarta Sans fonts appear when one looks closer, manifesting in a beauty that emerges once seen as a whole. Each alternate in the family contains several alternative characters, divided into three stylistic sets which Lancip (Sharp), Lurus (Straight), and Lingkar (Swirl). As part of +Jakarta City of Collaboration, the fonts are made available for public use under the SIL Open Font License. To contribute, see github.com/tokotype/PlusJakartaSans.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Pochaevsk": { + "name": "Pochaevsk", + "designer": [ + "Aleksandr Andreev" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Pochaevsk is a contemporary Church Slavonic font that reproduces the typeface used in editions published by the Holy Dormition Pochaiv Lavra in the late 19th century and, subsequently, in editions published in the 20th century by Holy Trinity Monastery in Jordanville, New York. Due to its small vertical metrics, this font is convenient for use in bilingual editions featuring Church Slavonic text and text in another languages. To contribute, please see github.com/slavonic/pochaevsk.", + "primary_script": "Cyrl", + "article": null, + "minisite_url": null + }, + "Podkova": { + "name": "Podkova", + "designer": [ + "Cyreal" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Podkova is the Russian word for Horseshoe, and this is a monoline slab serif with diagonal terminals. The wide proportions and clean features aid legibility at small sizes, while the unusual letterforms provide enough character to be useful for display typography too. Initially designed by Ilya Yudin in 2010, it was carefully refined and expanded by Alexei Vanyashin into a wider range of weights (that made the bold style a little lighter) in January 2017. In September 2019, the family is now a variable font. To contribute, see github.com/cyrealtype/Podkova.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Poetsen One": { + "name": "Poetsen One", + "designer": [ + "Rodrigo Fuenzalida", + "Pablo Impallari" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Inspired by the hand painted signs in supermarkets, and the roman structures of the classical alphabets. Poetsen is a display font, but it's not just intended to be used on big 'straight to the eye' titles. Since it has a large x-height, it can be used on short paragraphs in relatively small bodies of text too.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Poiret One": { + "name": "Poiret One", + "designer": [ + "Denis Masharov" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "A fresh decorative geometric grotesque with a hint of Art Deco and c\u0091onstructivism. Poiret One is a unique typeface with light forms and pure elegance. Sleek and simple. Based on geometric forms, it has stylish lines and graceful curves. The font is applicable for large signs, labels, titles, headlines and any type of graphic design on the web, in motion graphics, or in print - from t-shirts to posters and logos. It is also well-suited for short texts and advertising where style is desired. Complete with a lower-case letters, the Poiret One is also useful for all-caps usage. To contribute to the project contact Denis Masharov.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Poller One": { + "name": "Poller One", + "designer": [ + "Yvonne Sch\u00fcttler" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Foundry: Sorkin Type Co Poller is a high contrast semi-extended style Sans Serif. Poller is both readable and full of personality. Because of the higher contrast it is best used from medium sizes to larger display settings. Poller was inspired by hand lettering on early 20th century German posters. Source files are available from Google Code. To contribute to the project contact Eben Sorkin.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Poltawski Nowy": { + "name": "Poltawski Nowy", + "designer": [ + "Adam P\u00f3\u0142tawski", + "Mateusz Machalski", + "Borys Kosmynka", + "Ania Wielu\u0144ska" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "P\u00f3\u0142tawski Nowy is a digitisation project the Antykwa P\u00f3\u0142tawskiego typeface. A key aspect of the design of the digital version of the typeface from 1928 was the approach to the issue of developing the shape of characters from sources. Historical research was carried out in parallel with the preparation of the computer version, which allowed to learn about the unique story of this most recognizable Polish font design. The P\u00f3\u0142tawski Nowy type family is intended for typesetting in sizes from 10 to 18 pt. The project is implemented thanks to the support of the Digital Culture 2020 program of the Ministry of Culture and National Heritage. In the P\u00f3\u0142tawski Nowy digitisation, the source of the study were scans of a type specimen book from the Id\u017akowski i S-ka foundry, a set of drawings, punch patterns and punches made by Monotype in Salfords, Great Britain in 1934-1955. They were made available by the Type Archive London. Thanks to the standardization of characters and the balancing of the typographic rhythm, in the digital version, the typeface retains its ornamental character, while working well in smaller text sizes. The basic character set available in the sources has been extended with further variants of diacritics, small caps, subscript and superscript, variants of numbers (tabular, proportional, nautical) and a set of OpenType features. To contribute see github.com/kosmynkab/Poltawski-Nowy", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Poly": { + "name": "Poly", + "designer": [ + "Nicol\u00e1s Silva" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Poly is a medium contrast serif font. With short ascenders and a very high x-height, Poly is efficient in small sizes. Thanks to its careful balance between the x-height and glyph widths, it allows more economy and legibility than standard web serifs, even in small sizes. This font was originally designed to compose texts in agglutinative languages; these contain very long words. The goal was to develop a typeface that would tolerate cramped tracking and that would increase the number of letters on a single line. Poly is a Unicode typeface family that supports Open Type features and languages that use the Latin script and its variants, especially Native South American language families.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Pompiere": { + "name": "Pompiere", + "designer": [ + "Karolina Lach" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Foundry: Sorkin Type Co Pompiere is a low contrast condensed sans serif font. However unlike most sans it has very tall ascenders and and very small x height. Pompiere is playful and even a little sweet. This font was inspired by a handmade sign seen outside of NYC firefighters Squad Co. 18 in the West Village of Manhattan. Because of its small x height and modest weight it will work best at medium to large sizes. Source files are available from Google Code. To contribute to the project contact Eben Sorkin.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ponnala": { + "name": "Ponnala", + "designer": [ + "Appaji Ambarisha Darbha" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "telugu" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Ponnala is a Telugu font. Designed by Appaji Ambarisha Darbha in 2013 and made available by Silicon Andhra under the SIL Open Font License v1.1. The Ponnala project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India. To contribute, see github.com/appajid/ponnala", + "primary_script": "Telu", + "article": null, + "minisite_url": null + }, + "Ponomar": { + "name": "Ponomar", + "designer": [ + "Aleksandr Andreev" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Ponomar is a contemporary Church Slavonic font that reproduces the typeface used in editions published by the Synodal Press of the Russian Orthodox Church in the early twentieth century. It is presently used in various liturgical books published by the Moscow Patriarchate. It also contains characters needed to typeset liturgical texts in Romanian (Moldovan) Cyrillic, Aleut, and Sakha (Yakut). To contribute, please see github.com/slavonic/Ponomar.", + "primary_script": "Cyrl", + "article": null, + "minisite_url": null + }, + "Pontano Sans": { + "name": "Pontano Sans", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Pontano Sans is a minimalist and light weighted Sans Serif. Pontano is designed mainly for use as a display font but is useable as a text font too. Pontano Sans has been designed to be used freely across the internet by web browsers on desktop computers, laptops and mobile devices. In February 2023, the font becomes variable (light to bold) and presents several improvements in terms of rendering and supported languages. To contribute, see github.com/googlefonts/PontanoSansFont.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Poor Story": { + "name": "Poor Story", + "designer": [ + "Yoon Design" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "korean", + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Poor Story is a Korean and Latin font.", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "Poppins": { + "name": "Poppins", + "designer": [ + "Indian Type Foundry", + "Jonny Pinhorn", + "Ninad Kale" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Geometric sans serif typefaces have always been popular, and with support for both the Devanagari and Latin writing systems, Poppins is an internationalist addition to the genre. Many of the Latin glyphs (such as the ampersand) are more constructed and rationalist than is typical. The Devanagari design was particularly novel when it was first published in 2015, and was the first ever Devanagari typeface with a range of weights in this genre. Just like the Latin, the Devanagari is based on pure geometry, particularly circles. Each letterform is nearly monolinear, with optical corrections applied to stroke joints where necessary to maintain an even typographic color. The Devanagari base character height and the Latin ascender height are equal; Latin capital letters are shorter than the Devanagari characters, and the Latin x-height is set rather high. The project was developed by Indian Type Foundry (ITF). The Devanagari was initially designed by Ninad Kale, while the Latin was initially designed by Jonny Pinhorn. Following their principal phase of designing the first 5 styles, the typeface was later refined, and expanded to include multiple weights and italics, by the ITF studio team. To contribute, see github.com/itfoundry/poppins", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Port Lligat Sans": { + "name": "Port Lligat Sans", + "designer": [ + "Tipo" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Port Lligat Sans is a display typeface. It has a soft variation in strokes, condensed structure, vertical stress, and a well balance groovy rhythm. It is particularly useful for both short text and headlines, but it is also comfortable for reading on screen. It is designed to become a super family with styles in many different typographical categories matching the exactly weight and width across the whole family. As a result they can be used together in many different ways. The first releases are the regular Roman styles of the Sans and Slab families. The Sans is the basic structure for the rest of the styles. It has a white interior simple form, non showy terminals. The strokes are not straight, they have entasis on them, also in the end of the strokes as terminals.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Port Lligat Slab": { + "name": "Port Lligat Slab", + "designer": [ + "Tipo" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Port Lligat Slab is a display typeface. It has a soft variation in strokes, condensed structure, vertical stress, and a well balance groovy rhythm. It is particularly useful for both short text and headlines, but it is also comfortable for reading on screen. It is designed to become a super family with styles in many different typographical categories matching the exactly weight and width across the whole family. As a result they can be used together in many different ways. The first releases are the regular Roman styles of the Sans and Slab families. The Slab matches exactly with the Sans but it has heavy slab serifs and rounded terminals. In small sizes it looks like a groovy serif typeface.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Porter Sans Block": { + "name": "Porter Sans Block", + "designer": [ + "Tyler Finck" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Porter Sans Block is a free style of Porter Sans. Would love to get an email from you showing of your Porter Sans Block awesomeness: hi@tylerfinck.com", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Post No Bills Colombo": { + "name": "Post No Bills Colombo", + "designer": [ + "Mooniak" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "sinhala" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Post No Bills is a stencil font family that supports the Latin, Sinhala and Tamil scripts. Post No Bills Colombo includes Sinhala and Latin glyphs while Post No Bills Jaffna includes Latin and Tamil glyphs. This font family contains six weights from ExtraLight to ExtraBold to give typographers some flexibility with clear and legible letters that are ideal for headlines and short descriptions that require a strong personality. The design aesthetic is based on letterforms that are commonly seen on railway cars and buses throughout Sri Lanka. This font family was initially developed as a single weight uppercase only font for use by the Stick No Bills Poster Gallery in Galle, Sri Lanka, by Martyn Hodges. In early 2015, the Stick No Bills Gallery commissioned Mooniak to refine and extend the Latin design with wider language support and publish the design as a libre font project. Later that year, Google Fonts supported project by commissioning more weights and expanding the language support even more for all readers in Sri Lanka, Sinhala and Tamil. To learn more, visit github.com/mooniak/post-no-bills-font", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Post No Bills Jaffna": { + "name": "Post No Bills Jaffna", + "designer": [ + "Mooniak" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "tamil" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Post No Bills is a stencil font family that supports the Latin, Sinhala and Tamil scripts. Post No Bills Colombo includes Sinhala and Latin glyphs while Post No Bills Jaffna includes Latin and Tamil glyphs. This font family contains six weights from ExtraLight to ExtraBold to give typographers some flexibility with clear and legible letters that are ideal for headlines and short descriptions that require a strong personality. The design aesthetic is based on letterforms that are commonly seen on railway cars and buses throughout Sri Lanka. This font family was initially developed as a single weight uppercase only font for use by the Stick No Bills Poster Gallery in Galle, Sri Lanka, by Martyn Hodges. In early 2015, the Stick No Bills Gallery commissioned Mooniak to refine and extend the Latin design with wider language support and publish the design as a libre font project. Later that year, Google Fonts supported project by commissioning more weights and expanding the language support even more for all readers in Sri Lanka, Sinhala and Tamil. To learn more, visit github.com/mooniak/post-no-bills-font", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Potta One": { + "name": "Potta One", + "designer": [ + "Font Zone 108" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "japanese", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Potta One is a single style family which features letterforms that have been inspired by brush lettering. To contribute to the project, visit github.com/go108go/Potta", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "Pragati Narrow": { + "name": "Pragati Narrow", + "designer": [ + "Omnibus-Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Pragati Narrow is a libre Devanagari typeface family designed as a complement to Archivo Narrow. It is a sans-serif family with vertical and horizontal cuts. Pragati Narrow comes in 2 weights (Regular and Bold) and was specially developed for screen as webfont and desktop font, too. The Devanagari was designed by Marcela Romero, Pablo Cosgaya and Nicol\u00e1s Silva. The Latin version of Pragati is reminiscent of late nineteenth century American typefaces. It includes four Narrow styles and four Normal styles (in development), was derived from Chivo (designed by H\u00e9ctor Gatti) and was developed with the collaboration of the Omnibus-Type team. Pragati (\u092a\u094d\u0930\u0917\u0924\u093f) is the Hindi word for \u2018progress\u2019. This project is led by Omnibus-Type, a type foundry based in Argentina. To contribute, visit github.com/Omnibus-Type/PragatiNarrow.", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Praise": { + "name": "Praise", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Praise is a versatile script with variations from Casual (non-connecting) to Formal appeal. With nearly 3400 glyphs, the five stylistic sets gives a powerful solution to the design needs of the graphic design professional. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/praise-script.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Prata": { + "name": "Prata", + "designer": [ + "Cyreal" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Prata is an elegant Didone typeface with sharp features and organic teardrops. There is a certain tension in the contrast of its virile serifs and soft refined curves. Its triangular serifs complement and accent the thin strokes, and the high contrast means it will work best in display sizes. Designed by Ivan Petrov for Cyreal.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Preahvihear": { + "name": "Preahvihear", + "designer": [ + "Danh Hong" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "khmer", + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Preahvihear is a Khmer font for headlines, titles and subtitles, and even banner designs. To contribute, see github.com/danhhong/Preahvihear.", + "primary_script": "Khmr", + "article": null, + "minisite_url": null + }, + "Press Start 2P": { + "name": "Press Start 2P", + "designer": [ + "CodeMan38" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Press Start 2P is a bitmap font based on the font design from 1980s Namco arcade games. It works best at sizes of 8px, 16px and other multiples of 8. Although the design of uppercase letters and digits dates back to Atari's \"Sprint\" (1977), the specific glyph forms in this TrueType conversion are based on those from \"Return of Ishtar\" (1986), one of the first games to include and regularly use lowercase as well as uppercase letters in its screen font. Unlike the original font from the \"Return of Ishtar\" ROM, Press Start 2P includes a wide variety of non-ASCII Unicode characters for pan-European use, including Greek and Cyrillic. It could be expanded to support other scripts. To contribute to the project contact Cody \"CodeMan38\" Boisclair.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Pridi": { + "name": "Pridi", + "designer": [ + "Cadson Demak" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "thai", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Pridi means \u201cjoyful\u201d in Thai. Pridi is a slab serif Latin and looped Thai typeface that is well-suited for both body text and display. The looped Terminal Thai is designed specifically within loopless terminal concepts, and works well with the slab serif Latin without adding any slabs to any Thai glyphs. This font can be used as a body text in various media such as magazines, advertisements, and other print media. A similarity between some glyphs such as \u0e01 \u0e16 \u0e20 \u0e24 \u0e26, \u0e0e \u0e0f, \u0e1a \u0e1b, and \u0e02 \u0e0a is something to take into consideration because it might lead to confusion when typesetting very short texts. Pridi has a specific approach to the thick and thin strokes of Thai glyphs. Other type designers of Thai fonts may like to use this approach as a reference. Informal looped Thai typefaces have slightly simplified details, as compared to formal ones, and this allows designers to extend the font to heavier weights. The size and position of Thai vowel and tone marks need to be managed carefully, because they are all relevant to readability, legibility, and overall texture. The Pridi project is led by Cadson Demak, a type foundry in Thailand. To contribute, see github.com/cadsondemak/pridi", + "primary_script": "Thai", + "article": null, + "minisite_url": null + }, + "Princess Sofia": { + "name": "Princess Sofia", + "designer": [ + "Tart Workshop" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "She's a real princess who rules the casa with love, grace and fancy penmanship. A casual italic calligraphy inspired style perfect for titling with a little flair. Designed by Crystal Kluge of Tart Workshop (a DBA of Font Diner, Inc). To contribute to the project contact the Font Diner at support@fontdiner.com", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Prociono": { + "name": "Prociono", + "designer": [ + "Barry Schwartz" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Prociono (pro-tsee-O-no) is an Esperanto word meaning either the star Procyon or the animal species known as the raccoon. It is a roman with blackletter elements. To learn more, see bitbucket.org/sortsmill/sortsmill-fonts and theleagueofmoveabletype.com/prociono", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Prompt": { + "name": "Prompt", + "designer": [ + "Cadson Demak" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "thai", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Prompt in Thai means \u201cready,\u201d the same as in English. Prompt is a loopless Thai and sans Latin typeface. The simple and geometric Latin was developed to work harmoniously with the loopless Thai that has wide proportions and airy negative space. It is suitable for both web and print usage, such as magazines, newspapers, and posters. A similarity between some glyphs such as \u0e01 \u0e16 \u0e20 \u0e24 \u0e26, \u0e0e \u0e0f, \u0e1a \u0e1b, \u0e02 \u0e0a is something to take into consideration because it might lead to confusion when typesetting very short texts. Formal loopless Thai typefaces are simplified, compared to traditional looped Thai types, and this simplification has to be done properly in order to preserve the essense of each character. The size and position of Thai vowel and tone marks has been managed carefully, because they are all relevant to readability, legibility, and overall texture. The Prompt project is led by Cadson Demak, a type foundry in Thailand. To contribute, see github.com/cadsondemak/prompt", + "primary_script": "Thai", + "article": null, + "minisite_url": null + }, + "Prosto One": { + "name": "Prosto One", + "designer": [ + "Jovanny Lemonad", + "Pavel Emelyanov" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "This font was created during a 6 month collaboration by two designers in Russia, Jovanny Lemonad and Pavel Emelyanov. They wanted to make a modern 'accidental grotesque,' useful for logos and presentations. The project's initiator and chief designer is Pavel Emelyanov, who worked with his mentor Ivan Gladkikh, known as Jovanny Lemonad, who helped with technical expertize to finalize the font. To contribute to the project contact Jovanny Lemonad and Pavel Emelyanov.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Protest Guerrilla": { + "name": "Protest Guerrilla", + "designer": [ + "Octavio Pardo" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "math", + "symbols", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "The Protest Types began as personal project by designer Octavio Pardo to reflect on the shapes and voices of protest signs. So far it spans four font families, each with a different voice. Protest Guerrilla is an stencil version of Strike. An import and novel design feature of the project as a whole:Strike, Guerrilla and Riot all share the same spacing and kerning. This means designers have the possibility to write a message, and then decide the level of passion (or anger) that they want to express that message with, without altering any line lengths or page layouts. To contribute, please see github.com/octaviopardo/Protest.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Protest Revolution": { + "name": "Protest Revolution", + "designer": [ + "Octavio Pardo" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "math", + "symbols", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "The Protest Types began as personal project by designer Octavio Pardo to reflect on the shapes and voices of protest signs. So far it spans four font families, each with a different voice. Protest Revolution expresses the furious and messy painted signs. An import and novel design feature of the project as a whole:Strike, Guerrilla and Riot all share the same spacing and kerning. This means designers have the possibility to write a message, and then decide the level of passion (or anger) that they want to express that message with, without altering any line lengths or page layouts. To contribute, please see github.com/octaviopardo/Protest.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Protest Riot": { + "name": "Protest Riot", + "designer": [ + "Octavio Pardo" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "math", + "symbols", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "The Protest Types began as personal project by designer Octavio Pardo to reflect on the shapes and voices of protest signs. So far it spans four font families, each with a different voice. Protest Riot captures the shapes of naive and informal street signs. An import and novel design feature of the project as a whole:Strike, Guerrilla and Riot all share the same spacing and kerning. This means designers have the possibility to write a message, and then decide the level of passion (or anger) that they want to express that message with, without altering any line lengths or page layouts. To contribute, please see github.com/octaviopardo/Protest.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Protest Strike": { + "name": "Protest Strike", + "designer": [ + "Octavio Pardo" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "math", + "symbols", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "The Protest Types began as personal project by designer Octavio Pardo to reflect on the shapes and voices of protest signs. So far it spans four font families, each with a different voice. Protest Strike is a solid but peaceful Sans Serif typeface. An import and novel design feature of the project as a whole:Strike, Guerrilla and Riot all share the same spacing and kerning. This means designers have the possibility to write a message, and then decide the level of passion (or anger) that they want to express that message with, without altering any line lengths or page layouts. To contribute, please see github.com/octaviopardo/Protest.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Proza Libre": { + "name": "Proza Libre", + "designer": [ + "Jasper de Waard" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Proza Libre is the libre version of the retail Proza type family, by Bureau Roffa. It is made to render exceptionally well on screens across different operating systems, especially Windows, using ttfautohint. The Proza Libre project is led by Jasper de Waard, a type designer based in the Netherlands. To contribute, see github.com/jasperdewaard/Proza-Libre", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Public Sans": { + "name": "Public Sans", + "designer": [ + "USWDS", + "Dan Williams", + "Pablo Impallari", + "Rodrigo Fuenzalida" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Based on Libre Franklin, Public Sans is a strong, neutral typeface for interfaces, text, and headings. It was Developed by the United States Web Design System. The family was upgraded to a variable font in May 2022. To contribute, see github.com/uswds/public-sans", + "primary_script": null, + "article": null, + "minisite_url": "https://public-sans.digital.gov/" + }, + "Puppies Play": { + "name": "Puppies Play", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Puppies Play is a fun, bouncy script with connectors that give a playful flow. Perfect for baby shower invitations, nursery rhymes, and other items that require a fun, children's look. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/puppies-play.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Puritan": { + "name": "Puritan", + "designer": [ + "Ben Weiner" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "I started drawing letters with a computer when I first got one of my own in 1997. I\u2019d been studying sans serif type as a project on the Typography & Graphic Communication course that I was taking at Reading University, and learning about the different strands of development: \u2018grotesques\u2019 such as the delightful Monotype Series 215 were designed by type cutters or draftsmen, while geometric and humanist sans serifs like Futura and Gill Sans were constructed with compasses or quills by rationalist typographers and calligraphers. In the end, of course, they all needed a little wash and brush-up from the typefounder \u2013 to say nothing of the type designs. I was also in thrall of a typeface called Ehrhardt, a Monotype revival typeface that is based on a seventeenth century design by Miklos Kis. It too had endured a lot of cleaning, but though they were hard on the source material, those responsible created a very elegant condensed typeface. The result looks a bit like a house on an Amsterdam canal. Puritan was my response to these influences; it was also a way (I thought) that I could get hold of an interesting typeface without unofficially borrowing from the Typography department. It might be flawed, but it was mine! Well, I learned a lot from the experience. I wrote a short essay about Puritan as a project in my final year as an undergraduate. Rather than repeat it all here, I have converted the essay (presented as a booklet) into a PDF file of around 1200K which you can download. In October 1999, I submitted Puritan to the 3rd International Type Design Contest, where it made absolutely no impact.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Purple Purse": { + "name": "Purple Purse", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Purple Purse draws its inspiration from a vintage Ivory Soap ad from the 1950's. Somewhat of a cross between Bodoni and Pixie, this font finds that it never truly takes itself seriously. The fun little bounce of the typeface gives it a perky personality. To contribute to the project contact Brian J. Bonislawsky.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Pushster": { + "name": "Pushster", + "designer": [ + "Sir Andyj" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": null, + "primary_script": "Thai", + "article": "Font article goes here. No more of this: . Have you seen this man?", + "minisite_url": "https://fonts.google.com/icons" + }, + "Qahiri": { + "name": "Qahiri", + "designer": [ + "Khaled Hosny" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "arabic", + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Qahiri is a Kufic typeface based on the modernized and regularized old manuscript Kufic calligraphy style of the late master of Arabic calligraphy, Mohammad Abdul Qadir. Following the convention of naming Kufic styles after the cities they appeared in, Qahiri (\u0642\u0627\u0647\u0631\u064a) is named after the city of Cairo, Egypt (\u0627\u0644\u0642\u0627\u0647\u0631\u0629). To contribute, see github.com/alif-type/qahiri", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Quando": { + "name": "Quando", + "designer": [ + "Joana Correia" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Foundry: Sorkin Type Co Quando is a serifed text typeface inspired by brushy handwritten letters seen on an italian poster from the second world war. Quando is a flexible text typeface made for the web whose personality consistently shows in both small and large sizes. Quando's low contrast design helps it work better on screens and smaller sizes. Especially distinctive letterforms include letters like the a, g, x and Q. Quando's friendly feeling along with its clarity and familiarity makes it suitable for a broad range of uses. Source files are available from Google Code. To contribute to the project contact Eben Sorkin.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Quantico": { + "name": "Quantico", + "designer": [ + "MADType" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Quantico is an angular typeface family that was inspired by old beer packaging and military lettering. It utilizes 30 degree angles and completely straight lines to form unique character shapes. Documentation can be found at www.madtype.com and to contribute to the project contact Matthew Desmond at mattdesmond@gmail.com", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Quattrocento": { + "name": "Quattrocento", + "designer": [ + "Impallari Type" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Classic, elegant, sober and strong, the Quattrocento typeface has wide and open letterforms. The generous x-height makes it very legible for body text at small sizes, while the tiny details can only be seen at larger sizes mean it is also a great choice for display typography. Some of their distinctive characteristics are: Low Contrast. The thins are just a tad thiner than the thicks, almost monotone. Cupped, tapered stems that flows naturally into the serifs. Distinctive K, R and & tail. Cupped B, D, E, F, P, Q, R and T. The Q is a humble expression of admiration and gratitude for Doyald Young. Alternate M, Two W alternates. Narrow L, T for better fit. Almost flat top serif on the lowercases. Shoulders of the m and n rise above the serif. Serif-less bottom j and y. It's the perfect sans-serif companion for Quattrocento Sans.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Quattrocento Sans": { + "name": "Quattrocento Sans", + "designer": [ + "Impallari Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Quattrocento Sans is a classic, elegant and sober typeface family. Warm, readable and not intrusive. It's the perfect sans-serif companion for Quattrocento. The wide and open letterforms and large x-height make it very legible for body text at small sizes. All the tiny details that only shows up at bigger sizes make it also great for display use.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Questrial": { + "name": "Questrial", + "designer": [ + "Joe Prince", + "Laura Meseguer" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Questrial is the perfect font for body text and headlines on a website. It's modern style, suited with past characteristics of great typefaces, make it highly readable in any context. The full-circle curves on many characters make Questrial a great font to blend seamlessly with other fonts while still maintaining it's uniqueness. It is heavily influenced by Swiss design, similar to a grotesk style which is closely found in Helvetica. The numbers in Questrial are tabular figures so they can be used in tables and forms to enable maximum satisfaction. Questrial language support includes African Latin and full coverage of Vietnamese, additional to all Western, Central, and South-Eastern European languages. To contribute see github.com/googlefonts/questrial Giving African languages more Latin font choices Questrial font provides pan-African Latin support Due to the scarcity of open source fonts for African languages, Google has released Questrial, offering more font choices for digital Africa. During colonial times, European colonial powers in Africa made their languages (English, Dutch, French, Portuguese, Spanish, and more) the official languages in government, educational, cultural, and other state institutions in African countries. In post-colonial times, African countries aiming to maintain their native (non-colonial) languages face a major roadblock: not enough fonts with Pan-African support that provide all of the letters and diacritics (or accent) marks for the proper spelling of their languages. Proper spelling isn\u2019t just for school tests and national spelling competitions, it\u2019s vital for communication and for language survival. Educational institutions and users need fonts that can show the orthography (proper spelling) for each language, so that students can learn how to write correctly. Otherwise, if pupils see the same word written in different ways, with different kinds of punctuation marks replacing diacritics, they may never learn the proper way to spell. Without standard spelling, students could confuse words that may look similar but have different meanings. These are some examples of words in African languages with similar spellings and different meanings: f\u0254 (to say) and fo (to greet) in Bambara mot\u00f3 (head) and m\u0254\u0301t\u0254 (fire) in Lingala o\u0323\u0300ta\u0301 (enemy) and ota (bullet) in Yoruba To learn more, read:Giving African languages more Latin font choices (English)Offrir plus de choix de polices latines pour les langues africaines (French)", + "minisite_url": null + }, + "Quicksand": { + "name": "Quicksand", + "designer": [ + "Andrew Paglinawan" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Quicksand is a display sans serif with rounded terminals. The project was initiated by Andrew Paglinawan in 2008 using geometric shapes as a core foundation. It is designed for display purposes but kept legible enough to use in small sizes as well. In 2016, in collaboration with Andrew, it was thoroughly revised by Thomas Jockin to improve the quality. In 2019, Mirko Velimirovic converted the family into a variable font. To contribute, see github.com/andrew-paglinawan/QuicksandFamily.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Quintessential": { + "name": "Quintessential", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "The Quintessential typeface is a calligraphic lettering style based on the Italic Hand. As speed became more essential in writing hands, styles became less formal and more relaxed. Classic, clean, and casual, Quintessential fits a lot of design uses - hence its name. To contribute to the project contact Brian J. Bonislawsky.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Qwigley": { + "name": "Qwigley", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Qwigley is both beautiful and contemporary with a few untraditional forms that add to it's modern look. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/qwigley.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Qwitcher Grypen": { + "name": "Qwitcher Grypen", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Inspired by the letterforms that come from using an architectural ruling pen, Qwitcher Grypen is a casual brush script with a bit of an edge. It comes in two styles, Regular and Bold, with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/qwitcher-grypen.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "REM": { + "name": "REM", + "designer": [ + "Octavio Pardo" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "The REM font family is a sans serif font ready for corporate and display uses. It features a heavy low contrast combined with outstrokes that get slightly thinner, which is the opposite of the conventional approach. All together gives it a contemporary feeling suitable for modern branding. With more than 960 glyphs the font is ready for complex type setting with four sets of figures, Small Caps and some alternate glyphs. The name REM is an acronym for \"Rapid Eye Movement,\" which refers to a stage of sleep characterized by quick, random eye movements. I dreamt of it and began drawing it from my dream. To contribute, see github.com/octaviopardo/REM", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "RU Serius": { + "name": "RU Serius", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "RUSerius doesn't take itself seriously at all. This is a fun playful font with a very joyful spirit. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/are-you-serious.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Racing Sans One": { + "name": "Racing Sans One", + "designer": [ + "Impallari Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Around 1800 (100 years before Helvetica and Univers) the first Sans Serif typefaces to include lowercase letters used to have very High Contrast (the difference between thick and thin lines). Maybe because the were derived from the more traditional serif typefaces of the time. But for same reason, as the genre evolved, the fashion was to create 'monoline' sans, of very little contrast. Today, contrasted Sans are very rare, and only a few are successful. While digging in old specimens, we found three that immediately caught our attention: Doric Italic and Taylor Gothic from American Type Founders (1897), and Charter Oak from Keystone Type Foundry of Philadelphia (1906). Racing Sans is a current high contrast sans, paying tribute to this forgotten genre.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Radio Canada": { + "name": "Radio Canada", + "designer": [ + "Charles Daoud", + "Coppers and Brasses", + "Alexandre Saumier Demers", + "Jacques Le Bailly" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "canadian-aboriginal", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "CBC/Radio-Canada is Canada's national public broadcaster. Their mandate is to inform, enlighten and entertain, in order to strengthen Canadian culture on radio, television and digital platforms. The Radio-Canada font was created in 2017 by Montreal-based designer and typographer Charles Daoud, in collaboration with Coppers and Brasses and Alexandre Saumier Demers. It was designed specifically for CBC/Radio-Canada as a brand unifying information font for all the Public Broadcaster\u2019s platforms. Fittingly, for a Public Broadcaster, this is a peoples\u2019 font and the humanistic style stands out with distinctive angles and subtle curves. Its x-height ensures excellent legibility and respects digital accessibility standards, making it very effective when used in continuous text. In 2018, the Radio-Canada font won three awards, in the Font Design category at Communication Arts Typography, Applied Arts Design Annual and at Grand Prix Grafika. Several optimizations saw the light of day in 2021. The number of supported languages has increased from 106 to 317 Latin languages. In 2023, Jacques Le Bailly (Baron von Fonthausen) expanded the font to include the support of Indigenous languages. To contribute, see github.com/cbcrc/radiocanadafonts. To learn more, read You can now use Radio-Canada\u2019s brand typeface: The award-winning variable font comes to Google Fonts (English), Voici Radio-Canada, la police de caract\u00e8res du diffuseur public canadien, plusieurs fois prim\u00e9e et maintenant disponible sur Google Fonts (French).", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Radio Canada Big": { + "name": "Radio Canada Big", + "designer": [ + "\u00c9tienne Aubert Bonn" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "CBC/Radio-Canada is Canada's national public broadcaster. Their mandate is to inform, enlighten, and entertain in order to strengthen Canadian culture on radio, television, and digital platforms. Radio Canada Big is a variable font with a weight axis that spans from Regular (400) to Bold (700), offering a spectrum of options to suit diverse design needs. To contribute, see github.com/googlefonts/radiocanadadisplay.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Radley": { + "name": "Radley", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Radley is based on lettering originally drawn and designed for woodcarved titling work. It was later digitized and extended to be used on the web. Radley is a practical face, based on letterforms used by hand carvers who cut letters quickly, efficiently, and with style. It can be used for both titling and text typography. The basic letterforms in Radley grew out of sketching and designing directly into wood with traditional carving chisels. These were scanned and traced into FontForge and cleaned up digitally, then the character set was expanded. There is something unique about carving letters into wood with traditional hand tools, and hopefully Radley carries some of the original spirit of these hand carved letterforms. Since the initial launch in 2012, Radley was updated by Vernon Adams adding an Italic and support for more Latin languages. He made many glyph refinements throughout the family based on user feedback. In 2017 the family was updated by Marc Foley to complete the work started by Vernon. To contribute, see github.com/googlefonts/RadleyFont", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rajdhani": { + "name": "Rajdhani", + "designer": [ + "Indian Type Foundry" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Rajdhani has modularized letterforms and supports the Devanagari and Latin writing systems. The squared and condensed appearance may be interpreted as technical or even futuristic. Typically round bowls and other letterform elements have straight sides in Rajdhani. The stroke terminals typically end in flat line segments that are horizontal or vertical, rather than diagonal. Their corners are slightly rounded, giving stroke-endings a softer feeling, rather than a pointy one. Satya Rajpurohit and Jyotish Sonowal developed the Devanagari component together, while the Latin was designed by Shiva Nalleperumal. To contribute, see github.com/itfoundry/rajdhani", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Rakkas": { + "name": "Rakkas", + "designer": [ + "Zeynep Akay" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "arabic", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Rakkas is single-weight display typeface that supports the Arabic and Latin scripts. The two scripts share a united style, with neither pretending to be the other, and each interesting in its own right. The Arabic design is inspired by Ruq'ah lettering on Egyptian movie posters from the 50s and 60s, and makes use of contextual alternates to emulate calligraphy. It offers different forms for many letter position and it cascades vertically, giving the user an opportunity to play. The Latin design infuses a blackletter design with informality. The Rakkas project is led by Zeynep Akay, a type designer based in London, UK. To contribute, see github.com/zeynepakay/Rakkas", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Raleway": { + "name": "Raleway", + "designer": [ + "Matt McInerney", + "Pablo Impallari", + "Rodrigo Fuenzalida" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Raleway is an elegant sans-serif typeface family. Initially designed by Matt McInerney as a single thin weight, it was expanded into a 9 weight family by Pablo Impallari and Rodrigo Fuenzalida in 2012 and iKerned by Igino Marini. A thorough review and italic was added in 2016. It is a display face and the download features both old style and lining numerals, standard and discretionary ligatures, a pretty complete set of diacritics, as well as a stylistic alternate inspired by more geometric sans-serif typefaces than its neo-grotesque inspired default character set. It also has a sister family, Raleway Dots. More information can be found at theleagueofmoveabletype.com/raleway and impallari.com/fonts/raleway To contribute to the project, visit github.com/impallari/Raleway", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Raleway Dots": { + "name": "Raleway Dots", + "designer": [ + "Matt McInerney", + "Pablo Impallari", + "Rodrigo Fuenzalida", + "Brenda Gallo" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "A dotted version of Raleway, for posters and big headlines. It is a display face and the downloadable font features both old-style and lining numerals, standard and discretionary ligatures, as well as stylistic alternates that are inspired by more geometric sans-serif typefaces than the default which is neo-grotesque. To contribute to the project, visit github.com/impallari/Raleway", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ramabhadra": { + "name": "Ramabhadra", + "designer": [ + "Purushoth Kumar Guttula" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "telugu" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Ramabhadra is a Telugu font developed for use in headlines, posters and at large sizes. The letterforms are very round and have a uniform thickness, and the terminals have a small temple shape that appear like a sans-serif design. This font includes unique Telugu conjunct letters. Ramabhadra is named after the Telugu poet from the court of the king Krishnadevaraya, and was one of the Astadiggajalu (literally eight legends) there. The Telugu is designed and developed by Purushoth Kumar Guttula in 2013 and made available by Silicon Andhra under the SIL Open Font License v1.1. The Latin is designed by Steve Matteson at Monotype, an internaional type foundry, and initially published as Arimo. The Ramabhadra project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India. To contribute, see github.com/appajid/ramabhadra", + "primary_script": "Telu", + "article": null, + "minisite_url": null + }, + "Ramaraja": { + "name": "Ramaraja", + "designer": [ + "Appaji Ambarisha Darbha" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "telugu" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Ramaraja is an Open Source typeface supporting both the Telugu and Latin scripts. It was developed mainly for use in news publications and is suitable for text, headings, posters, and invitations. Developed by Appaji Ambarisha Darbha in 2013 and made available by Silicon Andhra under the SIL Open Font License v1.1. The Ramaraja project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India. To contribute, see github.com/appajid/ramaraja", + "primary_script": "Telu", + "article": null, + "minisite_url": null + }, + "Rambla": { + "name": "Rambla", + "designer": [ + "Martin Sommaruga" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Rambla is a humanist sans for medium-long texts. It\u2019s slightly condensed, with a generous x-height and short ascenders and descenders. Its proportions are economical in both height and width. It\u2019s elegant at large sizes and legible at the same time, with a lot of rhythm in small sizes. To contribute to the project contact Martin Sommaruga.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rammetto One": { + "name": "Rammetto One", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Rammetto is a typeface based on the Stephenson Blake uppercase display font, Basuto, released in 1926. The Rammetto design refines some of the old font's forms, introduces a full set of lowercase characters and adds extended support for European languages. To contribute, see github.com/googlefonts/RammettoFont.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rampart One": { + "name": "Rampart One", + "designer": [ + "Fontworks Inc." + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Rampart is a unique outline shadow font made in the image of 3-D blocks. It is best used for added impact or to demonstrate strength and stability. To contribute to the project, visit github.com/fontworks-fonts/Rampart", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "Ranchers": { + "name": "Ranchers", + "designer": [ + "Impallari Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Ranchers is one of the many hand-lettering artists' relaxed interpretations of sans serif type, typical of the 1950s. It's great for big posters and fun headlines. Use it bigger than 40px for maximum effect.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rancho": { + "name": "Rancho", + "designer": [ + "Sideshow" + ], + "license": "apache2", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Rancho is a comfortable brush script typeface that works just as well in a barn or at the country club.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ranga": { + "name": "Ranga", + "designer": [ + "TipTopTyp" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Once Allan was a sign painter in Berlin. Grey paneling work in the subway, bad materials, a city split in two. Now things have changed. His (character) palette of activities have expanded tremendously: even Indian flavours are are no longer foreign to him. Bolder brush is used when there is need for true impact. Sensitive subjects are treated with subtlety of regular style. Slightly inclined. This project is led by TipTopTyp, a type foundry based in Berlin, Germany. To contribute, see Ranga on GitHub.", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Rasa": { + "name": "Rasa", + "designer": [ + "Rosetta", + "Anna Giedry\u015b", + "David B\u0159ezina" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "gujarati", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Intended for continuous reading on the web (longer articles in online news, magazines, blogs), Rasa supports over 92 languages in Latin and 2 in Gujarati script (Gujarati and Kachchi). The fonts supports a wide array of basic and compound syllables used in Gujarati. A Latin-only version is available as Yrsa. In terms of glyphs included Rasa is a superset of Yrsa and includes the complete Latin, but in Rasa the Latin may be adjusted to support the primary Gujarati font. It is a deliberate experiment in remixing existing typefaces: The Latin part began with Eben Sorkin's Merriweather. The Gujarati began with David B\u0159ezina\u2019s Skolar Gujarati. To contribute, see github.com/rosettatype/yrsa.", + "primary_script": "Gujr", + "article": null, + "minisite_url": null + }, + "Rationale": { + "name": "Rationale", + "designer": [ + "Cyreal" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Rationale One is a compact monoline webfont designed to work well on screen from large headlines to 12 pt body copy. The concept was to create a modular-based font with optical corrections guided by snap eye judgements. Such irregularities add a warm impression to the overall strict geometrical logic. The idea of subtle stroke cuts originated from the letter n, and was selectively incorporated throughout the characters. This feature becomes visible from 36 pt and above. In body sizes stroke cuts enrich the typographic color with light nuances. Designed by Alexei Vanyashin in cooperation with Olexa Volochay and Vladimir Pavlikov.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ravi Prakash": { + "name": "Ravi Prakash", + "designer": [ + "Appaji Ambarisha Darbha" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "telugu" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Ravi Prakash is a Telugu display typeface, mainly suitable for headings, posters and decorative invitations. As a web font it should be used in very large pixel sizes, while in print the design may be used in a broader range of sizes, perhaps even as small as at 16pt. The Telugu is designed by Appaji Ambarisha Darbha in 2013 and made available by Silicon Andhra under the SIL Open Font License v1.1. The Latin is designed by Eduardo Tunni and originally published as Joti One. The Ravi Prakash project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India. To contribute, see github.com/appajid/raviprakash", + "primary_script": "Telu", + "article": null, + "minisite_url": null + }, + "Readex Pro": { + "name": "Readex Pro", + "designer": [ + "Thomas Jockin", + "Nadine Chahine", + "Bonnie Shaver-Troup", + "Santiago Orozco", + "H\u00e9ctor G\u00f3mez" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "arabic", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Arab", + "article": "Could a new typeface make it easier for the more than 400 million Arabic speakers around the world to read? Type designers Dr. Nadine Chahine and Thomas Jockin joined forces to find out. They created Readex Pro in Arabic using the methodology behind Lexend, made for Latin. The name Readex was chosen as a shortened form of \u201creading expanded.\u201d When Dr. Bonnie Shaver-Troup started the Lexend project, her goal was to help people to read more easily and fluently by reducing visual noise. The Lexend fonts have distinct letterforms, and offer the option to widen tracking (the spacing between letters) together with widening the shapes of individual letterforms themselves. This novel functionality is based on a theory known as the \u201cShaver-Troup Formulation,\u201d which was described in detail in a 2003 USA patent application. To learn more, read The Design of Readex Pro (English) and \u062e\u0637 \u200fReadex Pro: \u0627\u0633\u062a\u0643\u0634\u0627\u0641 \u062d\u062f\u0648\u062f \u0633\u0647\u0648\u0644\u0629 \u0642\u0631\u0627\u0621\u0629 \u0627\u0644\u0646\u0635 \u0645\u0646 \u062e\u0644\u0627\u0644 \u062e\u0637 \u0639\u0631\u0628\u064a \u062c\u062f\u064a\u062f (Arabic)", + "minisite_url": null + }, + "Recursive": { + "name": "Recursive", + "designer": [ + "Arrow Type", + "Stephen Nixon" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Recursive is typographic palette for UI & code. It draws inspiration from single-stroke casual, a style of brush writing used in signpainting that is stylistically flexible and warmly energetic. Recursive adapts this aesthetic basis into an extensive variable font family, designed to excel in digital interactive environments, including data-rich user interfaces, technical documentation, and code editors. Recursive offers a lot more styles than you see here! To download the full Recursive Sans & Mono family, learn more about its 5 variable axes, and to configure advanced Google Fonts URL embed code for access to Recursive\u2019s full stylistic range, check out its website at: \u2192 recursive.design The Recursive project is led by Arrow Type, a type foundry based in Brooklyn, NY, USA. To contribute, see its GitHub repo. Update, April 2021: the Google Fonts release of Recursive has been updated to incorporate various changes from its initial release. This includes fixes that correct printing issues, ensure consistent default line heights between styles on macOS, improve the handling of combining accents, add localization features for several languages, and resolve various other earlier issues.", + "primary_script": null, + "article": null, + "minisite_url": "https://recursive.design" + }, + "Red Hat Display": { + "name": "Red Hat Display", + "designer": [ + "MCKL" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Red Hat is a family of typefaces produced in 2 optical sizes and a monospace style, in a range of weights with italics. The fonts were originally commissioned by Paula Scher, Pentagram and designed by Jeremy Mickel, MCKL for the new Red Hat identity. Red Hat is a fresh take on the geometric sans genre, taking inspiration from a range of American sans serifs including Tempo and Highway Gothic. The Display styles are low contrast and spaced tightly, with a large x-height and open counters. The Text styles have a slightly smaller x-height and narrower width for better legibility, are spaced more generously, and have thinned joins for better performance at small sizes. The two families can be used together seamlessly at a range of sizes. The family has been upgraded to variable fonts with a weight axis (Light to Bold) in June 2021. The November 2024 update addresses a frequently reported weight issue. The Medium and SemiBold weights now have slightly different weight compared to the previous version, ensuring better weight distribution within the design space and improved fluidity in the variable font. To contribute, see github.com/RedHatOfficial/RedHatFont", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Red Hat Mono": { + "name": "Red Hat Mono", + "designer": [ + "MCKL" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "monospace" + ], + "description": "Red Hat is a family of typefaces produced in 2 optical sizes and this monospace style, each with a range of weights and with italics. The fonts were originally commissioned by Paula Scher at Pentagram, and designed by Jeremy Mickel at MCKL for a new Red Hat brand identity. The Red Hat typefaces are a fresh take on the geometric sans genre, taking inspiration from a range of American sans serifs including Tempo and Highway Gothic. The Display styles are low contrast and spaced tightly, with a large x-height and open counters. The Text styles have a slightly smaller x-height and narrower width for better legibility, are spaced more generously, and have thinned joins for better performance at small sizes. The two families can be used together seamlessly at a range of sizes. The November 2024 update addresses a frequently reported weight issue. The Medium and SemiBold weights now have slightly different weight compared to the previous version, ensuring better weight distribution within the design space and improved fluidity in the variable font. To contribute, see github.com/RedHatOfficial/RedHatFont", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Red Hat Text": { + "name": "Red Hat Text", + "designer": [ + "MCKL" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Red Hat is a family of typefaces produced in 2 optical sizes and a monospace style, in a range of weights with italics. The fonts were originally commissioned by Paula Scher, Pentagram and designed by Jeremy Mickel, MCKL for the new Red Hat identity. Red Hat is a fresh take on the geometric sans genre, taking inspiration from a range of American sans serifs including Tempo and Highway Gothic. The Display styles are low contrast and spaced tightly, with a large x-height and open counters. The Text styles have a slightly smaller x-height and narrower width for better legibility, are spaced more generously, and have thinned joins for better performance at small sizes. The two families can be used together seamlessly at a range of sizes. The family has been upgraded to variable fonts with a weight axis (Light to Bold) in June 2021. The November 2024 update addresses a frequently reported weight issue. The Medium and SemiBold weights now have slightly different weight compared to the previous version, ensuring better weight distribution within the design space and improved fluidity in the variable font. To contribute, see github.com/RedHatOfficial/RedHatFont", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Red Rose": { + "name": "Red Rose", + "designer": [ + "Jaikishan Patel" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Red Rose Pro is a latin display typeface designed by Jaikishan Patel. It was exclusively designed for posters of Genre: Love, Romance, Drama, Thriller, Noir and Passion. The current version of the family includes 3 weights; Light, Regular and Bold. Each font includes 640 glyphs that covers Western, Central and South Latin as well as Vietnamese. To contribute, see github.com/magictype/redrose", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Redacted": { + "name": "Redacted", + "designer": [ + "Christian Naths" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "symbols", + "display" + ], + "description": null, + "primary_script": null, + "article": "Redacted and Redacted Script are suitable for wireframing and rapid prototyping. Designed to be unreadable, it keeps your wireframes free of distracting Lorem Ipsum or other dummy text. To contribute, see github.com/christiannaths/redacted-font. Flow and Redacted: Check out these new options for wireframes and other early-stage designs Give your simulated text a realistic look while making it easy to add copy later on with Dan Ross\u2019s Flow Fonts and Christian Naths\u2019s Redacted. Showing text in an early-stage wireframe can be distracting, even if it\u2019s just Lorem ipsum placeholder copy. After all, a successful wireframe is clean and simple, with just enough information to communicate an idea. But how do you convey \u201cthis is text\u201d without showing text? One popular technique is to draw shapes that resemble a block of redacted text. (Redacted text is usually used as a security or privacy measure in a document to make certain words unreadable.) Another technique is to use handwritten scribbles. This creates a sketch-like look that\u2019s especially suited to quick concepting. To learn more, visit Flow and Redacted: Check out these new options for wireframes and other early-stage designs", + "minisite_url": null + }, + "Redacted Script": { + "name": "Redacted Script", + "designer": [ + "Christian Naths" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting", + "symbols" + ], + "description": null, + "primary_script": null, + "article": "Redacted and Redacted Script are suitable for wireframing and rapid prototyping. Designed to be unreadable, it keeps your wireframes free of distracting Lorem Ipsum or other dummy text. To contribute, see github.com/christiannaths/redacted-font. Flow and Redacted: Check out these new options for wireframes and other early-stage designs Give your simulated text a realistic look while making it easy to add copy later on with Dan Ross\u2019s Flow Fonts and Christian Naths\u2019s Redacted. Showing text in an early-stage wireframe can be distracting, even if it\u2019s just Lorem ipsum placeholder copy. After all, a successful wireframe is clean and simple, with just enough information to communicate an idea. But how do you convey \u201cthis is text\u201d without showing text? One popular technique is to draw shapes that resemble a block of redacted text. (Redacted text is usually used as a security or privacy measure in a document to make certain words unreadable.) Another technique is to use handwritten scribbles. This creates a sketch-like look that\u2019s especially suited to quick concepting. To learn more, visit Flow and Redacted: Check out these new options for wireframes and other early-stage designs", + "minisite_url": null + }, + "Reddit Mono": { + "name": "Reddit Mono", + "designer": [ + "Stephen Hutchings", + "OrangeRed" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "monospace" + ], + "description": "Reddit Mono is a humanist sans-serif designed for Reddit. Reddit Mono is complemented by Reddit Sans and Reddit Sans Condensed. To contribute to this project, see github.com/reddit/redditsans", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Reddit Sans": { + "name": "Reddit Sans", + "designer": [ + "Stephen Hutchings", + "OrangeRed" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Reddit Sans is a humanist sans-serif designed for Reddit. Reddit Sans is complemented by Reddit Sans Condensed and Reddit Mono. To contribute to this project, see github.com/reddit/redditsans", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Reddit Sans Condensed": { + "name": "Reddit Sans Condensed", + "designer": [ + "Stephen Hutchings", + "OrangeRed" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Reddit Sans Condensed is a humanist sans-serif designed for Reddit. Reddit Sans Condensed is complemented by Reddit Sans and Reddit Mono. To contribute to this project, see github.com/reddit/redditsans", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Redressed": { + "name": "Redressed", + "designer": [ + "Astigmatic" + ], + "license": "apache2", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Redressed is a medium weight typeface which blends script and italic letterforms together in an upright non-connecting style. Open spacing and stylish letterforms lend themselves to titling, but also to clean legibility at smaller sizes as body copy.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Reem Kufi": { + "name": "Reem Kufi", + "designer": [ + "Khaled Hosny", + "Santiago Orozco" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "arabic", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Reem Kufi is a Kufic typeface based on early Kufic (Mushafi) models, but retrofitted to the Fatimid Kufic grid and with borrowing from its forms. Reem Kufi is largely based on the Kufic designs of the late master of Arabic calligraphy Mohammed Abdul Qadir who revived this art in the 20th century and formalised its rules. Reem Kufi is particularly suitable for display settings, in titles or decorations. Due to its unmistakable old Kufic style, it gives a feeling of something old, historical, or Islamic. The Arabic component was designed by Khaled Hosny, who combined it with the Latin component by Santiago Orozco. Reem is an Arabic female name that literally means \u201ca white deer,\u201d and is also the name of Khaled's daughter. To contribute, see github.com/alif-type/reem-kufi", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Reem Kufi Fun": { + "name": "Reem Kufi Fun", + "designer": [ + "Khaled Hosny", + "Santiago Orozco" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "arabic", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Reem Kufi Fun is a Kufic typeface based on early Kufic (Mushafi) models, but retrofitted to the Fatimid Kufic grid and with borrowing from its forms. Reem Kufi Ink is largely based on the Kufic designs of the late master of Arabic calligraphy Mohammed Abdul Qadir who revived this art in the 20th century and formalised its rules. Reem Kufi Fun is particularly suitable for display settings, in titles or decorations. Due to its unmistakable old Kufic style, it gives a feeling of something old, historical, or Islamic. The Arabic component was designed by Khaled Hosny, who combined it with the Latin component by Santiago Orozco. Reem is an Arabic female name that literally means \u201ca white deer,\u201d and is also the name of Khaled's daughter. This font uses the COLRv0 and CPAL tables. Please visit the gf-guide color page to learn more about Color Fonts technology. To contribute, see github.com/alif-type/reem-kufi", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Reem Kufi Ink": { + "name": "Reem Kufi Ink", + "designer": [ + "Khaled Hosny", + "Santiago Orozco" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "arabic", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Reem Kufi Ink is a Kufic typeface based on early Kufic (Mushafi) models, but retrofitted to the Fatimid Kufic grid and with borrowing from its forms. Reem Kufi Ink is largely based on the Kufic designs of the late master of Arabic calligraphy Mohammed Abdul Qadir who revived this art in the 20th century and formalised its rules. Reem Kufi Ink is particularly suitable for display settings, in titles or decorations. Due to its unmistakable old Kufic style, it gives a feeling of something old, historical, or Islamic. The Arabic component was designed by Khaled Hosny, who combined it with the Latin component by Santiago Orozco. Reem is an Arabic female name that literally means \u201ca white deer,\u201d and is also the name of Khaled's daughter. This font uses the COLRv1, CPAL and SVG tables. Please visit the gf-guide color page to learn more about Color Fonts technology. To contribute, see github.com/alif-type/reem-kufi", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Reenie Beanie": { + "name": "Reenie Beanie", + "designer": [ + "James Grieshaber" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Reene Beanie is a fun font based on basic ball-point pen handwriting. It has a playful and loose look, which lends itself to casual and informal messages. With a little imagination, Reenie Beanie could be used to represent the scribbling of a mad scientist, or the recipes of a genius chef.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Reggae One": { + "name": "Reggae One", + "designer": [ + "Fontworks Inc." + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "japanese", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Reggae is a very popular display font often used in Japanese boys' magazines and digital content. The sharpened ends give off a dynamic pulse, making this font ideal to express rhythm, movement and energy, or for emphasis. To contribute to the project, visit github.com/fontworks-fonts/Reggae", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "Rethink Sans": { + "name": "Rethink Sans", + "designer": [ + "Hans Thiessen" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Rethink is one of the largest global independent creative agencies. Founded in Vancouver in 1999, it now has offices in New York, Toronto, Vancouver, and Montr\u00e9al. Rethink Sans was created in 2023 by Rethink's ECD of Design Hans Thiessen. It was developed specifically to help everyone design with greater confidence and craft in Google Workspace. Rethink Sans is a fork of DM Sans by Colophon Foundry, which in turn is a fork of Poppins by Indian Type Foundry. Deceptively simple, Rethink Sans is filled with thoughtfully turbocharged features, including: weight-specific tracking, two styles of circled numbers a simple keystroke away, and tabular lining figures right out-of-the-box. To contribute, see github.com/hans-thiessen/Rethink-Sans", + "minisite_url": null + }, + "Revalia": { + "name": "Revalia", + "designer": [ + "Johan Kallas", + "Mihkel Virkus" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Revalia is a display sans-serif typeface design, loosely based on the packaging labels of 20th century canned goods. The design has a high x-height, wide letter shapes and the design flirts with medieval letterforms. To contribute to the project contact Johan Kallas and Mihkel Virkus.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rhodium Libre": { + "name": "Rhodium Libre", + "designer": [ + "James Puckett" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Rhodium Libre was designed for use on screens at small sizes and the Latin and Devanagari scripts. To that end, the design is generally uncomplicated and coarse, lacking the small details that are lost on screens; this also reduces the file size to improve latency when used as a web font. The letters are designed slightly wide, with open counters, a large x-height in the Latin glyphs, and so on. The Devanagari glyphs are the same height as the Latin capitals to allow them to stand alongside the oversized Latin lowercase. Historical models for Rhodium\u2019s design are Fortune (AKA Volta) by Konrad Bauer and Walter Baum, and Rex by Intertype. Matthew Carter\u2019s Verdana provided insight into designing type for small sizes and adverse reading environments. The Devanagari glyph set supports contemporary Hindi, Marathi, and Nepali. The Latin glyph set supports Adobe\u2019s Latin-3 character set. This project is led by Dunwich Type Founders, a type foundry based in Denver, Colorado, USA, who design contemporary typeface families. To contribute, see github.com/DunwichType/RhodiumLibre", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ribeye": { + "name": "Ribeye", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Ribeye and Ribeye Marrow are reminiscent of a cartoon tattoo style of lettering, but exhibit a playfulness that breaks traditional weight distribution across its letterforms. An edgy attitude, friendly syncopation, and highly legible letterforms makes these fonts a real pair of charmers.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ribeye Marrow": { + "name": "Ribeye Marrow", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Ribeye and Ribeye Marrow are reminiscent of a cartoon tattoo style of lettering, but exhibit a playfulness that breaks traditional weight distribution across its letterforms. An edgy attitude, friendly syncopation, and highly legible letterforms makes these fonts a real pair of charmers.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Righteous": { + "name": "Righteous", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Righteous was initially inspired by the all capitals letterforms from the deco posters of Hungarian artist Robert Ber\u00e9ny for Modiano. Grid based and geometric in execution, the letterforms are highly readable at a range of point sizes. Unlike that of the inspiration source, Righteous has a full lowercase to increase flexibility of use.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Risque": { + "name": "Risque", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Risque finds its inspiration from the title screen of the 1962 Looney Toons cartoon called \"Martian through Georgia\". Originally an all Capitals reference, it has been created with a lowercase as lively as the irregular latin-esque Capitals. A frolicking fun typeface for retro and all-around offbeat occasions. To contribute to the project contact Brian J. Bonislawsky.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Road Rage": { + "name": "Road Rage", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Road Rage is a return to the days of grunge. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/road-rage.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Roboto": { + "name": "Roboto", + "designer": [ + "Christian Robertson", + "ParaType", + "Font Bureau" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext", + "math", + "symbols", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Roboto has a dual nature. It has a mechanical skeleton and the forms are largely geometric. At the same time, the font features friendly and open curves. While some grotesks distort their letterforms to force a rigid rhythm, Roboto doesn\u2019t compromise, allowing letters to be settled into their natural width. This makes for a more natural reading rhythm more commonly found in humanist and serif types. Updated July 2020: Upgraded to a variable font with Weight and Width axes, that closely match the previous static fonts released as two families, this one and a sibling Roboto Condensed family. Roboto is part of a superfamily set that includes Roboto Slab and Roboto Mono To report issues or contribute, see github.com/TypeNetwork/Roboto. This repository also contains further font builds for different platforms.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Roboto Condensed": { + "name": "Roboto Condensed", + "designer": [ + "Christian Robertson" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Roboto has a dual nature. It has a mechanical skeleton and the forms are largely geometric. At the same time, the font features friendly and open curves. While some grotesks distort their letterforms to force a rigid rhythm, Roboto doesn\u2019t compromise, allowing letters to be settled into their natural width. This makes for a more natural reading rhythm more commonly found in humanist and serif types. This is the Condensed family, which can be used alongside the normal Roboto family and the Roboto Slab family. In August 2023, the family has been upgraded to a variable font. To contribute, please see github.com/googlefonts/roboto-classic.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Roboto Flex": { + "name": "Roboto Flex", + "designer": [ + "Font Bureau", + "David Berlow", + "Santiago Orozco", + "Christian Robertson" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Roboto Flex upgrades Roboto so it becomes a more powerful typeface system, allowing you to do more to express and finesse your text. To contribute, see github.com/googlefonts/roboto-flex.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Roboto Mono": { + "name": "Roboto Mono", + "designer": [ + "Christian Robertson" + ], + "license": "apache2", + "category": "MONOSPACE", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "monospace" + ], + "description": "Roboto Mono is a monospaced addition to the Roboto type family. Like the other members of the Roboto family, the fonts are optimized for readability on screens across a wide variety of devices and reading environments. While the monospaced version is related to its variable width cousin, it doesn\u2019t hesitate to change forms to better fit the constraints of a monospaced environment. For example, narrow glyphs like \u2018I\u2019, \u2018l\u2019 and \u2018i\u2019 have added serifs for more even texture while wider glyphs are adjusted for weight. Curved caps like \u2018C\u2019 and \u2018O\u2019 take on the straighter sides from Roboto Condensed. Special consideration is given to glyphs important for reading and writing software source code. Letters with similar shapes are easy to tell apart. Digit \u20181\u2019, lowercase \u2018l\u2019 and capital \u2018I\u2019 are easily differentiated as are zero and the letter \u2018O\u2019. Punctuation important for code has also been considered. For example, the curly braces \u2018{ }\u2019 have exaggerated points to clearly differentiate them from parenthesis \u2018( )\u2019 and braces \u2018[ ]\u2019. Periods and commas are also exaggerated to identify them more quickly. The scale and weight of symbols commonly used as operators have also been optimized.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Roboto Serif": { + "name": "Roboto Serif", + "designer": [ + "Commercial Type", + "Greg Gazdowicz" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Roboto Serif is a variable typeface family designed to create a comfortable and frictionless reading experience. Minimal and highly functional, it is useful anywhere (even for app interfaces) due to the extensive set of weights and widths across a broad range of optical sizes. While it was carefully crafted to work well in digital media, across the full scope of sizes and resolutions we have today, it is just as comfortable to read and work in print media. To contribute, see github.com/googlefonts/roboto-serif. Say hello to Roboto Serif The newest member of the Roboto superfamily is designed to make reading more comfortable at any size, in any format. Get it on Google Fonts and check out the specimen: Getting Comfortable With Roboto Serif. It's been almost 20 years since the introduction of Matthew Carter\u2019s Georgia\u2014one of the first serif typefaces designed to make reading easier on the low-resolution screens of the time. That year (1993), Americans with Internet access spent fewer than 30 minutes a month surfing the Web. Now we spend almost seven hours a day. Thankfully, reading on-screen has gotten a lot more comfortable since the 90\u2019s. For one thing, you can pick up your device and move over to the sofa. Letterforms are also crisper, smoother, and more legible on today\u2019s screens/devices\u2014and they render more quickly. But another huge (though perhaps less obvious) factor in all of this is the advancement of font technology. Georgia was one of the first eleven \u201cCore Fonts for the Web\u201d that paved the way for OpenType and, eventually, variable fonts. Today, a well-designed, OpenType serif can be just as readable on-screen as it is in print. And a well-designed variable serif can give readers additional benefits on-screen. Enter: Roboto Serif. To learn more, read Say Hello to Roboto Serif.", + "minisite_url": "https://fonts.withgoogle.com/roboto-serif" + }, + "Roboto Slab": { + "name": "Roboto Slab", + "designer": [ + "Christian Robertson" + ], + "license": "apache2", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SLAB_SERIF", + "classifications": [], + "description": "Roboto has a dual nature. It has a mechanical skeleton and the forms are largely geometric. At the same time, the font features friendly and open curves. While some grotesks distort their letterforms to force a rigid rhythm, Roboto doesn\u2019t compromise, allowing letters to be settled into their natural width. This makes for a more natural reading rhythm more commonly found in humanist and serif types. This is the Roboto Slab family, which can be used alongside the normal Roboto family and the Roboto Condensed family. In November 2019, the family was updated with a variable font \"Weight\" axis. To contribute, see github.com/googlefonts/robotoslab.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rochester": { + "name": "Rochester", + "designer": [ + "Sideshow" + ], + "license": "apache2", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "On the town with the latest sensation they call Rochester! This dapper fresh face is dressed to the nines and ready for action! Inspired by elegant calligraphic forms from the early age of Victorian and Art Deco, Rochester is the perfect selection when you want to add a touch of class or a smart looking formal style to any correspondence or memorandum!", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rock 3D": { + "name": "Rock 3D", + "designer": [ + "Shibuya Font" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "japanese", + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "This is a font based on the sketch of 3D letters by handicapped artists, refined & created by design major students, capturing the solidness of the 3D with two dimensional sketch. This is one of the work of Shibuya Font project, a collaboration of design major students and handicapped artist living in Shibuya city, officially approved by Shibuya city in Tokyo. Shibuya font Official Site: http://www.shibuyafont.jp To contribute to the project, visit github.com/shibuyafont/3d-rock-font", + "primary_script": "Hira", + "article": null, + "minisite_url": null + }, + "Rock Salt": { + "name": "Rock Salt", + "designer": [ + "Sideshow" + ], + "license": "apache2", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Rock Salt was hand-crafted with felt-tip markers for a personal look you can pepper throughout your next project.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "RocknRoll One": { + "name": "RocknRoll One", + "designer": [ + "Fontworks Inc." + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "RocknRoll is an original pop-style font. The strokes of varying intensity add momentum and the rounded dots create a lively and dynamic feel. To contribute to the project, visit github.com/fontworks-fonts/RocknRoll", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "Rokkitt": { + "name": "Rokkitt", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SLAB_SERIF", + "classifications": [], + "description": "Rokkitt was initiated by Vernon Adams when he was inspired by the type forms of a number of distinctive geometric slab serifs, sometimes called Egyptians, popular in the late nineteenth and early to mid twentieth centuries. In 1910 the Inland Type Foundry published Litho Antique and similar types were published by American Type Founders in the 1920s and Monotype Corporation in the 1930s. Rokkitt is intended for use as a display font, in headings and headlines, though it can also be used as an alternative to sans serif designs at text sizes. Update January 2017: Vernon Adams began the project in 2011, and developed the typeface until 2014. During 2016 Kalapi Gajjar completed Vernon's original work and released a substantial update with a full set of 9 weights, and support for more Latin languages. Update July 2019: The family has been converted into a variable font. Update January 2023: The family has now an italic. To contribute, see github.com/googlefonts/RokkittFont.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Romanesco": { + "name": "Romanesco", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "The Romanesco typeface is a refined, semi-bold and narrow hand crafted calligraphic style. With stabbing strokes that nod to historical styles, and modern flair leaning towards the current, Romanesco lends itself to a wide array of stylistic uses for a narrow typestyle.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ropa Sans": { + "name": "Ropa Sans", + "designer": [ + "Botjo Nikoltchev" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Ropa Sans is an open-source subset of the Ropa Sans Pro family. Ropa Sans Pro consists of 8 weights plus extra designed italics and small caps, with extensive coverage of Latin and essential coverage of Cyrillic and Greek scripts, and is available commercially from lettersoup.de. This Open Font License version, Ropa Sans, consists of the regular weight and the corresponding italic, and covers Latin-based languages only. While the upright styles pay a distant homage to the technical aesthetics of the early-20th century DIN series, the strongly humanistic italics breathe in quirky freshness and create a unique flavour. The step to a remarkable Italic with its extreme ink-traps caused a hard change of nearly all shapes of the first slices of Roman.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rosario": { + "name": "Rosario", + "designer": [ + "Omnibus-Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Omnibus Type proudly presents Rosario, a new typeface of classic proportions, subtle contrast and weak endings. Carefully produced, elegant, ideal for magazines and academic journals. Rosario is the name of the city of the designer, H\u00e9ctor Gatti. Rosario was initially developed for private use in 2003. In September 2019, The family has been converted to a variable font family. To contribute, see github.com/Omnibus-Type/Rosario.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rosarivo": { + "name": "Rosarivo", + "designer": [ + "Pablo Ugerman" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "handwriting" + ], + "description": "Rosarivo is a typeface designed for use in letterpress printing. It is an elegant and luxurious typeface with high quality details. It works especially well in delicate editorial design. Its letterpress origins mean it has a lighter color than a typical Roman text type. Its features include carefully designed serifs, gradual stroke and marked contrast, calligraphic and humanistic forms, and large ascenders and descenders. It is designed to work well in long texts with generous line spacing. It originates from work presented to the post-graduate course in Typeface Design at the University of Buenos Aires in 2011. Rosarivo is a Unicode typeface family that supports languages that use the Latin script and its variants, and could be expanded to support other scripts. To contribute to the project contact Pablo Ugerman.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rouge Script": { + "name": "Rouge Script", + "designer": [ + "Sabrina Mariela Lopez" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Rouge Script is a formal script type, initiall drawn by hand with a copperplate nib and redrawn with the termination style of a brush script. This gives it the flavor of a casual script. It is very soft and has fast curves, while its low slant angle makes it very legible and improves the render on-screen. It works perfectly for titles or short phrases in branding, magazines, food, feminine and fashion related typography.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rowdies": { + "name": "Rowdies", + "designer": [ + "Jaikishan Patel" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Rowdies is a Latin display typeface inspired by the rough & tough Indian action cinema. Roughness and oddness of each individual letter contribute collectively as a typeface to the fantasy of being bold, fearless and strong. Designed by Jaikishan Patel for action, drama, adventure, thriller, noir & crime genres of storytelling. The font family includes 600+ glyphs in 3 weights; Light, Regular, and Bold. To contribute, see https://github.com/magictype/rowdies", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rozha One": { + "name": "Rozha One", + "designer": [ + "Indian Type Foundry" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Rozha One is a very high contrast Open Source font, which currently offers support for the Devanagari and Latin scripts. Created primarily for display use, the extreme difference between its letters\u2019 thick and thin strokes make it an excellent choice for large headlines and poster-sized graphics. The Indian Type Foundry released Rozha One in 2014; its Devanagari character set was designed by Tim Donaldson and Jyotish Sonowal. Shiva Nallaperumal designed the Latin. The font\u2019s Latin characters are drawn in a fat face \u2018modern\u2019 or \u2018Didone\u2019 style, similar to letters that were commonly used in 19th century advertising posters in the West. Rozha One\u2019s Latin characters barely differentiate between upper and lowercase letter sizes; the x-height of its lowercase letters is so high \u2013 and the size of its capital letters so small \u2013 that these virtually blend into one another in a line of text. Nevertheless, the Devanagari letters are drawn in such a way that they harmonise with the font\u2019s Latin very well in settings where texts in multiple languages sit alongside one another. The headline of the Devanagari base characters is the same thickness as the Latin letters\u2019 serifs. Certain Devanagari letter strokes and vowel marks bare visually similarity to the font\u2019s Latin letters. However, Rozha One does not appear Latinized or un-Devanagari. The font includes 1,095 glyphs, offering full support for the conjuncts and ligatures required by languages written with the Devanagari script. When used in on-screen design environments, Rozha One should be used in very large pixel sizes. However in print, the design may be used in a broader range of sizes, perhaps even as small as at 16 or 18 points. The Rozha project is led by Indian Type Foundry, a type design foundry based in Ahmedabad, India. To contribute, see github.com/itfoundry/rozhaone", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Rubik": { + "name": "Rubik", + "designer": [ + "Hubert and Fischer", + "Meir Sadan", + "Cyreal", + "Daniel Grumer", + "Omaima Dajani" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "arabic", + "cyrillic", + "cyrillic-ext", + "hebrew", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Rubik is a sans serif font family with slightly rounded corners designed by Philipp Hubert and Sebastian Fischer at Hubert & Fischer as part of the Chrome Cube Lab project. Rubik is a 5 weight family with Roman and Italic styles, that accompanies Rubik Mono One, a monospaced variation of the Black roman design. Meir Sadan redesigned the Hebrew component in 2015. Alexei Vanyashin redesigned the Cyrillic component in 2016. To contribute, see github.com/googlefonts/Rubik.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rubik 80s Fade": { + "name": "Rubik 80s Fade", + "designer": [ + "NaN", + "Luke Prowse" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "hebrew", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. Check for more Rubik \"Filtered\" fonts! To contribute, see github.com/NaN-xyz/Rubik-Filtered.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rubik Beastly": { + "name": "Rubik Beastly", + "designer": [ + "NaN", + "Luke Prowse" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "hebrew", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. Check for more Rubik \"Filtered\" fonts!. To contribute, see github.com/NaN-xyz/Rubik-Filtered.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rubik Broken Fax": { + "name": "Rubik Broken Fax", + "designer": [ + "NaN", + "Luke Prowse" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "hebrew", + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. Check for more Rubik \"Filtered\" fonts! To contribute, see github.com/NaN-xyz/Rubik-Filtered.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rubik Bubbles": { + "name": "Rubik Bubbles", + "designer": [ + "NaN", + "Luke Prowse" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "hebrew", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. Check for more Rubik \"Filtered\" fonts!. To contribute, see github.com/NaN-xyz/Rubik-Filtered.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rubik Burned": { + "name": "Rubik Burned", + "designer": [ + "NaN", + "Luke Prowse" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "hebrew", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. Check for more Rubik \"Filtered\" fonts! To contribute, see github.com/NaN-xyz/Rubik-Filtered.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rubik Dirt": { + "name": "Rubik Dirt", + "designer": [ + "NaN", + "Luke Prowse" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "hebrew", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. Check for more Rubik \"Filtered\" fonts! To contribute, see github.com/NaN-xyz/Rubik-Filtered.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rubik Distressed": { + "name": "Rubik Distressed", + "designer": [ + "NaN", + "Luke Prowse" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "hebrew", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. Check for more Rubik \"Filtered\" fonts! To contribute, see github.com/NaN-xyz/Rubik-Filtered.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rubik Doodle Shadow": { + "name": "Rubik Doodle Shadow", + "designer": [ + "NaN", + "Luke Prowse" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "hebrew", + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. Check for more Rubik \"Filtered\" fonts! To contribute, see github.com/NaN-xyz/Rubik-Filtered.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rubik Doodle Triangles": { + "name": "Rubik Doodle Triangles", + "designer": [ + "NaN", + "Luke Prowse" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "hebrew", + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. Check for more Rubik \"Filtered\" fonts! To contribute, see github.com/NaN-xyz/Rubik-Filtered.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rubik Gemstones": { + "name": "Rubik Gemstones", + "designer": [ + "NaN", + "Luke Prowse" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "hebrew", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. Check for more Rubik \"Filtered\" fonts! To contribute, see github.com/NaN-xyz/Rubik-Filtered.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rubik Glitch": { + "name": "Rubik Glitch", + "designer": [ + "NaN", + "Luke Prowse" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "hebrew", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. Check for more Rubik \"Filtered\" fonts!. To contribute, see github.com/NaN-xyz/Rubik-Filtered.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rubik Glitch Pop": { + "name": "Rubik Glitch Pop", + "designer": [ + "NaN", + "Luke Prowse" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "hebrew", + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. Check for more Rubik \"Filtered\" fonts! To contribute, see github.com/NaN-xyz/Rubik-Filtered.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rubik Iso": { + "name": "Rubik Iso", + "designer": [ + "NaN", + "Luke Prowse" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "hebrew", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. Check for more Rubik \"Filtered\" fonts! To contribute, see github.com/NaN-xyz/Rubik-Filtered.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rubik Lines": { + "name": "Rubik Lines", + "designer": [ + "NaN", + "Luke Prowse" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "hebrew", + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. Check for more Rubik \"Filtered\" fonts! To contribute, see github.com/NaN-xyz/Rubik-Filtered.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rubik Maps": { + "name": "Rubik Maps", + "designer": [ + "NaN", + "Luke Prowse" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "hebrew", + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. Check for more Rubik \"Filtered\" fonts! To contribute, see github.com/NaN-xyz/Rubik-Filtered.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rubik Marker Hatch": { + "name": "Rubik Marker Hatch", + "designer": [ + "NaN", + "Luke Prowse" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "hebrew", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. Check for more Rubik \"Filtered\" fonts! To contribute, see github.com/NaN-xyz/Rubik-Filtered.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rubik Maze": { + "name": "Rubik Maze", + "designer": [ + "NaN", + "Luke Prowse" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "hebrew", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. Check for more Rubik \"Filtered\" fonts! To contribute, see github.com/NaN-xyz/Rubik-Filtered.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rubik Microbe": { + "name": "Rubik Microbe", + "designer": [ + "NaN", + "Luke Prowse" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "hebrew", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. Check for more Rubik \"Filtered\" fonts!. To contribute, see github.com/NaN-xyz/Rubik-Filtered.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rubik Mono One": { + "name": "Rubik Mono One", + "designer": [ + "Hubert and Fischer" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "hebrew", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "monospace" + ], + "description": "Rubik is a sans serif font family with slightly rounded corners designed by Philipp Hubert and Sebastian Fischer at Hubert & Fischer as part of the Chrome Cube Lab project. Rubik Mono One is a monospaced sister of the Black roman style in the Rubik family, which has 5 weights.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rubik Moonrocks": { + "name": "Rubik Moonrocks", + "designer": [ + "NaN", + "Luke Prowse" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "hebrew", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. Check for more Rubik \"Filtered\" fonts!. To contribute, see github.com/NaN-xyz/Rubik-Filtered.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rubik One": { + "name": "Rubik One", + "designer": [ + "Hubert and Fischer" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Rubik is a sans serif font family with slightly rounded corners designed by Philipp Hubert and Sebastian Fischer at Hubert & Fischer as part of the Chrome Cube Lab project. Rubik One is the initial version of the Black roman style in the Rubik family, which has 5 weights. It is paired with Rubik Mono One, a monospaced variation of the design.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rubik Pixels": { + "name": "Rubik Pixels", + "designer": [ + "NaN", + "Luke Prowse" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "hebrew", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. Check for more Rubik \"Filtered\" fonts! To contribute, see github.com/NaN-xyz/Rubik-Filtered.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rubik Puddles": { + "name": "Rubik Puddles", + "designer": [ + "NaN", + "Luke Prowse" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "hebrew", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. Check for more Rubik \"Filtered\" fonts!. To contribute, see github.com/NaN-xyz/Rubik-Filtered.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rubik Scribble": { + "name": "Rubik Scribble", + "designer": [ + "NaN", + "Luke Prowse" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "hebrew", + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. Check for more Rubik \"Filtered\" fonts! To contribute, see github.com/NaN-xyz/Rubik-Filtered.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rubik Spray Paint": { + "name": "Rubik Spray Paint", + "designer": [ + "NaN", + "Luke Prowse" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "hebrew", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. Check for more Rubik \"Filtered\" fonts! To contribute, see github.com/NaN-xyz/Rubik-Filtered.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rubik Storm": { + "name": "Rubik Storm", + "designer": [ + "NaN", + "Luke Prowse" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "hebrew", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. Check for more Rubik \"Filtered\" fonts! To contribute, see github.com/NaN-xyz/Rubik-Filtered.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rubik Vinyl": { + "name": "Rubik Vinyl", + "designer": [ + "NaN", + "Luke Prowse" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "hebrew", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. Check for more Rubik \"Filtered\" fonts! To contribute, see github.com/NaN-xyz/Rubik-Filtered.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rubik Wet Paint": { + "name": "Rubik Wet Paint", + "designer": [ + "NaN", + "Luke Prowse" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "hebrew", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. Check for more Rubik \"Filtered\" fonts!. To contribute, see github.com/NaN-xyz/Rubik-Filtered.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ruda": { + "name": "Ruda", + "designer": [ + "Mariela Monsalve", + "Angelina Sanchez" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Ruda is a sans serif typeface originally developed for a specific context of use, product labels. Designed by Mariela Monsalve and Angelina Sanchez, Ruda features a very large x-height, low cap-height and open forms. In Febraury 2020, the family has been upgraded to a variable font. To contribute, see github.com/marmonsalve/Ruda-new. Ruda is a collaboration between marie monsalve and Angelina Saanchez.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rufina": { + "name": "Rufina", + "designer": [ + "Martin Sommaruga" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Rufina combines features of several typographic styles with Bodoni forms found in the calligraphy of flexible tip pens. High contrast enables it to work well in text and headlines. To contribute to the project contact Martin Sommaruga.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ruge Boogie": { + "name": "Ruge Boogie", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Smack a pi\u00f1ata or celebrate Cinco de Mayo with Ruge Boogie. This two-font set is a fun and bouncy style with a joyful flair. Great for scrapbooking, tubes, and other fun stuff. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/ruge-boogie.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ruluko": { + "name": "Ruluko", + "designer": [ + "Ana Sanfelippo", + "Ang\u00e9lica D\u00edaz", + "Meme Hern\u00e1ndez" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Ruluko is a typeface designed to aid those learning to read. The shapes you see are related to the handwriting typically used at schools in Argentina. The concept is that those who have learned to read this handwriting style may recognise this type style more easily than other typefaces often used in this context. But as a warm and stylish sans serif text type, you may use Ruluko for any purpose. Designed by Ana Sanfelippo (@anasanfelippo), Ang\u00e9lica D\u00edaz (@angiecinadiaz) and Meme Hern\u00e1ndez (@memepeca).", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rum Raisin": { + "name": "Rum Raisin", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Rum Raisin draws inspiration from a vintage Kelloggs Raisin Bran cereal box. Taken from a formerly unicase design, this has been developed as a caps/lowercase character set. The original unicase a is in the Delta character slot, as an alternate to a more suitable A. To contribute to the project contact Brian J. Bonislawsky.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ruslan Display": { + "name": "Ruslan Display", + "designer": [ + "Oleg Snarsky", + "Denis Masharov", + "Vladimir Rabdu" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "The Ruslan Display font is based on a 1970s typeface made by Ukrainian designer Oleg Snarsky, which evokes the ustav and semiustav styles of the 11th\u201316th centuries, known as the Ruthenian period. This is featured in the signage of Kiev's Teremky metro station, and in a collection of Snarsky's typefaces in the book \u201c\u0428\u0440\u0438\u0444\u0442\u044b-\u0430\u043b\u0444\u0430\u0432\u0438\u0442\u044b \u0434\u043b\u044f \u0440\u0435\u043a\u043b\u0430\u043c\u043d\u044b\u0445 \u0438 \u0434\u0435\u043a\u043e\u0440\u0430\u0442\u0438\u0432\u043d\u043e-\u043e\u0444\u043e\u0440\u043c\u0438\u0442\u0435\u043b\u044c\u0441\u043a\u0438\u0445 \u0440\u0430\u0431\u043e\u0442\u201c published in 1979 and available online. It was digitized and extended with an original Latin complement by Russian designer Denis Masharov, in collaboration with Vladimir Rabdu, in 2011. The name means \u2018lion\u2019. Suitable for lettering, Ruslan Display can also be used to set short texts and supports Latin and Cyrillic.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Russo One": { + "name": "Russo One", + "designer": [ + "Jovanny Lemonad" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Russo means Russian. It seems strange that in a such font there is no snow, vodka or bears. What I wanted to show is that Russian culture is quite varied and modern. In Russia, too, some people love good fonts and typography. Russo One is designed for headlines and logotypes. It is simple and original, stylish and casual.Russo One is a Unicode typeface family that supports languages that use the Cyrillic, Baltic, Turkish, Central Europe, Latin script and its variants, and could be expanded to support other scripts. To contribute to the project contact Jovanny Lemonad.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ruthie": { + "name": "Ruthie", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Ruthie is an elegant calligraphic script with ornate capital forms. To contribute, see github.com/googlefonts/ruthie.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ruwudu": { + "name": "Ruwudu", + "designer": [ + "SIL International" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "arabic", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Ruwudu is intended to provide a libre and open font family for Arabic script languages in West Africa that use the Rubutun Kano style. This font supports the characters known to be used by languages written in this style of Arabic script, but may not have the characters needed for other languages. Smart font routines automatically adjust the shape and position of characters. To contribute, please see github.com/silnrsi/font-ruwudu.", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Rye": { + "name": "Rye", + "designer": [ + "Nicole Fally" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Foundry: Sorkin Type Co Rye's bold attention getting shapes are useful for advertising. Rye is a medium contrast design inspired by posters using wood type. It gives off a feeling of the American West. It is suitable for use in medium to large sizes including headlines. This font was made specifically to be web type. Source files are available from Google Code. To contribute to the project contact Eben Sorkin.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "STIX Two Math": { + "name": "STIX Two Math", + "designer": [ + "Tiro Typeworks", + "Ross Mills", + "John Hudson", + "Paul Hanslow" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "latin", + "latin-ext", + "math", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "The Scientific and Technical Information eXchange (STIX) fonts are intended to satisfy the demanding needs of authors, publishers, printers, and others working in the scientific, medical, and technical fields. The STIX Two fonts consist of one Math font, two variable text fonts (Roman and Italic), and eight static text (Regular to Bold in both roman and italic variants). Together, they provide a uniform set of fonts that can be used throughout the production process. The STIX project began through the joint efforts of American Mathematical Society (AMS), American Institute of Physics (AIP), American Physical Society (APS), American Chemical Society (ACS), The Institute of Electrical and Electronic Engineers (IEEE), and Elsevier. These companies are collectively known as the STI Pub companies. To contribute, see github.com/stipub/stixfonts.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "STIX Two Text": { + "name": "STIX Two Text", + "designer": [ + "Tiro Typeworks", + "Ross Mills", + "John Hudson", + "Paul Hanslow" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "The Scientific and Technical Information eXchange (STIX) fonts are intended to satisfy the demanding needs of authors, publishers, printers, and others working in the scientific, medical, and technical fields. The STIX Two fonts consist of two variable text fonts (Roman and Italic), eight static text (Regular to Bold in both roman and italic variants) and one Math font (currently only available for direct download from the repository). Together, they provide a uniform set of fonts that can be used throughout the production process. The STIX project began through the joint efforts of American Mathematical Society (AMS), American Institute of Physics (AIP), American Physical Society (APS), American Chemical Society (ACS), The Institute of Electrical and Electronic Engineers (IEEE), and Elsevier. These companies are collectively known as the STI Pub companies. To contribute, see github.com/stipub/stixfonts.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "SUSE": { + "name": "SUSE", + "designer": [ + "Ren\u00e9 Bieder" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "SUSE was created to reflect the innovative and open-source spirit of the SUSE company. It provides clarity and legibility, making it ideal for both digital and print media. The hybrid design combines geometric precision with monospaced stability, ensuring a modern and efficient aesthetic. To contribute, see github.com/SUSE/suse-font. SUSE is a sans serif typeface designed by Ren\u00e9 Bieder, embodying a unique hybrid between geometric and monospaced features. It captures the essence of SUSE, a company renowned for its open-source solutions. This versatile typeface family includes the following styles: Thin, ExtraLight, Light, Regular, Medium, SemiBold, Bold, and ExtraBold. It stands out with its distinctive design, perfect for modern, open-source, and tech-focused projects. Its variety of weights allows for flexibility in design, from headlines to body text, ensuring consistency and harmony across different use cases. SUSE supports over 200 Latin-based languages", + "minisite_url": null + }, + "Sacramento": { + "name": "Sacramento", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "The Sacramento typeface is a monoline, semi-connected script inspired by hand-lettering artist brochure work of the 1950's and 1960's. It stands on a thin line between formal and casual lettering styles, yet it has a commanding presence for headlines and titles. To contribute to the project contact Brian J. Bonislawsky.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Sahitya": { + "name": "Sahitya", + "designer": [ + "Juan Pablo del Peral" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "devanagari", + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Sahitya is a Devanagari typeface family based on the Latin Alegreya fonts. It was designed to match the style and feel of the original Latin characters. Juan Pablo del Peral designed the Latin, and led the design of the Devanagari with Sol Matas. Thanks to Erin McLaughlin, Vaishnavi Murthyand, Noopur Datye, Dan Reynolds and Jos\u00e9 Nicol\u00e1s Silva for their support and feedback. The Sahitya project is led by Juan Pablo del Peral, a type designer based in Argentina. To contribute, see github.com/juandelperal/sahitya", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Sail": { + "name": "Sail", + "designer": [ + "Miguel Hernandez" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Sail is a Didot script for headline, display and poster uses. A fresh air comes to all the glyphs, its windy uppercases are especially suited for display texts and web navigation. Elegant swashes and a clean lowercases also make it suitable for larger paragraphs.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Saira": { + "name": "Saira", + "designer": [ + "Omnibus-Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Saira is a sans serif system. It features a huge range of weights and widths, ready for all kind of typographic challenges. This is the Normal family, which is part of the superfamily along with Semi Condensed, Condensed, and Extra Condensed, each with 9 weights. Saira has been upgraded in 2020 to a variable font with axes for weight and width, adding expanded widths to the superfamily. This typeface was designed by Hector Gatti and developed by the Omnibus Type team. To contribute to the project, visit github.com/Omnibus-Type/Saira", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Saira Condensed": { + "name": "Saira Condensed", + "designer": [ + "Omnibus-Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Saira is a sans serif system. It features a huge range of weights and widths, ready for all kind of typographic challenges. This is the Condensed family, which is part of the superfamily along with Normal, Semi Condensed, and Extra Condensed, each with 9 weights. This typeface was designed by Hector Gatti and developed by the Omnibus Type team. To contribute to the project, visit github.com/Omnibus-Type", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Saira Extra Condensed": { + "name": "Saira Extra Condensed", + "designer": [ + "Omnibus-Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Saira is a sans serif system. It features a huge range of weights and widths, ready for all kind of typographic challenges. This is the Extra Condensed family, which is part of the superfamily along with Normal, Semi Condensed, and Condensed, each with 9 weights. This typeface was designed by Hector Gatti and developed by the Omnibus Type team. To contribute to the project, visit github.com/Omnibus-Type", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Saira Semi Condensed": { + "name": "Saira Semi Condensed", + "designer": [ + "Omnibus-Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Saira is a sans serif system. It features a huge range of weights and widths, ready for all kind of typographic challenges. This is the Semi Condensed family, which is part of the superfamily along with Normal, Condensed, and Extra Condensed, each with 9 weights. This typeface was designed by Hector Gatti and developed by the Omnibus Type team. To contribute to the project, visit github.com/Omnibus-Type", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Saira Stencil": { + "name": "Saira Stencil", + "designer": [ + "Omnibus-Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Saira Stencil is the stencil version of Saira, designed by H\u00e9ctor Gatti and developed by Omnibus-Type Team.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Saira Stencil One": { + "name": "Saira Stencil One", + "designer": [ + "Hector Gatti", + "Omnibus-Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Saira Stencil is the stencil version of Saira, designed by H\u00e9ctor Gatti and developed by Omnibus-Type Team. To contribute, see github.com/Omnibus-Type/Saira/tree/master/SairaStencilOne.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Salsa": { + "name": "Salsa", + "designer": [ + "John Vargas Beltr\u00e1n" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "handwriting" + ], + "description": "Salsa was inspired by the old LP album covers from the 1970s, which is why the name is of the main musical genre of Latin America. Avoiding any stereotypes of grunge, vernacular or decorated styles, the font was designed from the vertical structure of an italic, based on behavior and nature of the flat round brush stroke. Salsa was developed as the final project in the postgraduate programme in Typography at the University of Buenos Aires. Functionally it can be used in titles and short texts, and has been developed with Swash Caps.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Sanchez": { + "name": "Sanchez", + "designer": [ + "Daniel Hernandez" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SLAB_SERIF", + "classifications": [], + "description": "Sanchez is a slab serif typeface family from Chilean type foundry LatinoType.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Sancreek": { + "name": "Sancreek", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Sancreek has been designed for use mostly as a caps-only display webfont, though lowercase characters have also been included. Sancreek is a contemporary take on some of the large wooden poster fonts of the ninteenth century. Sancreek can be used freely across the internet by web browsers on desktop computers, laptops and mobile devices. The November 2023 update features a bigger glyphset and some minor aesthetic modifications. To contribute, see github.com/googlefonts/sancreek.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Sankofa Display": { + "name": "Sankofa Display", + "designer": [ + "Batsirai Madzonga" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Sankofa Display is a captivating African typeface that draws inspiration from a rich tapestry of African art styles, with a particular focus on straight-line geometric designs. This typeface embodies the essence of Africa's diverse cultural heritage, blending elements from various artistic traditions. To contribute, see github.com/batsimadz/Sankofa-Display.", + "primary_script": null, + "article": null, + "minisite_url": "https://www.sankofadisplay.com" + }, + "Sansation": { + "name": "Sansation", + "designer": [ + "Bernd Montag" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "greek", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Sansation is a sans serif typeface family.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Sansita": { + "name": "Sansita", + "designer": [ + "Omnibus-Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Sansita is a tasty new Omnibus Type font designed by Pablo Cosgaya. The flavor of Sansita's lowercase explores the relationship between typography and calligraphy. The elegance of Sansita's uppercase makes this an excellent choice for packaging, brief texts, branding and slogans.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Sansita One": { + "name": "Sansita One", + "designer": [ + "Omnibus-Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Sansita One is a tasty new Omnibus-Type font designed by Pablo Cosgaya. The flavor of Sansita One's lowercase explores the relationship between typography and calligraphy. The elegance of Sansita One's uppercase makes this an excellent choice for packaging, brief texts, branding and slogans.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Sansita Swashed": { + "name": "Sansita Swashed", + "designer": [ + "Omnibus-Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "An ornate version of Sansita, with curvy uppercase letters, certain alternative lowercase letters and new ligatures. Sansita Swashed is designed by Pablo Cosgaya (Omnibus-Type) and developed by Aldo De Losa. To contribute, please see github.com/Omnibus-Type/Sansita-Swashed.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Sarabun": { + "name": "Sarabun", + "designer": [ + "Suppakit Chalermlarp" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "thai", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Sarabun is an open source multi-script webfont that supports both Latin and Thai. It is the \"TH Sarabun New\" font, made available under the Open Font License. The name \"Sarabun\" (\u0e2a\u0e32\u0e23\u0e1a\u0e23\u0e23\u0e13, RTGS: Saraban) means documentary affairs. The font is used in the Government Gazette of Thailand newspaper, and you can read more details about this font project on Wikipedia's National Fonts page.", + "primary_script": "Thai", + "article": null, + "minisite_url": null + }, + "Sarala": { + "name": "Sarala", + "designer": [ + "Andres Torresi" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Sarala is a Devanagari typeface family designed by Andr\u00e9s Torresi and Carolina Giovagnoli for Huerta Tipogr\u00e1fica. It is based on the original Latin typeface Telex, a sans serif typeface for text. It is a humanist sans serif design, conceived to be a web font with nice legibility at normal text sizes. Originally based on grid fitting shapes it became a multi-purpose typeface with low contrast, open counter forms, wide proportions and a touch of freshness. Thanks to Jos\u00e9 Nicol\u00e1s Silva, Vaishnavi Murthy and Erin McLaughlin for their feedback. The Sarala project is led by Andr\u00e9s Torresi, a type designer based in Argentina. To contribute, see github.com/andrestelex/sarala", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Sarina": { + "name": "Sarina", + "designer": [ + "James Grieshaber" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Foundry: Sorkin Type Co Sarina is a display typeface with brush style letterforms. Sarina's medium contrast and wide setting offers a casual breezy feeling. Sarina is appropriate for medium to larger sizes. Source files are available from Google Code. To contribute to the project contact Eben Sorkin.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Sarpanch": { + "name": "Sarpanch", + "designer": [ + "Indian Type Foundry" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Display families with extensive character sets are rare for any script. With Indian typefaces, large character sets are often even less common. The Indian Type Foundry\u2019s font families have been an exception, however. Sarpanch continues this trend. Sarpanch is an Open Source typeface supporting the Devanagari and Latin scripts. It was designed for use in large point sizes and pixel sizes. Sarpanch\u2019s letterforms are made up of strokes with a high contrast. They are also drawn with wide proportions, based on a squared construction principle. Six fonts make up the Sarpanch family, ranging in weight from Regular to Black. As weight increases along the family\u2019s axis, vertical strokes become thicker, but the typeface\u2019s horizontals retain the same thickness across each weight. While the rather wide Regular weight of the family is almost monolinear, the Black weight appears to have a very high degree of contrast. The Regular, Medium and Semibold fonts are recommended for use in short headlines, while Bold, Heavy and Black are intended primarily for setting single words or pairs. At display sizes, Sarpanch works equally well on screen or in print. Each font contains 1035 glyphs and offers full support for the conjuncts and ligatures required by languages written in the Devanagari script. The Medium\u2013Black weights of the Sarpanch family were design by Manushi Parikh at ITF in 2014. Jyotish Sonowal designed the Regular weight. Sarpanch is an excellent choice for use in advertising or for news tickers on television screens (breaking news, etc.) In Hindi, the word Sarpanch means \u2018the head of a village\u2019.", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Sassy Frass": { + "name": "Sassy Frass", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "SassyFrass is a fun little script font with lots of squiggles and giggles, especially in the uppercase forms. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/sassy-frass.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Satisfy": { + "name": "Satisfy", + "designer": [ + "Sideshow" + ], + "license": "apache2", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Looking for a brush script with a little pizazz? This new Sideshow typeface will fill the bill! Satisfy gives you the look of a timeless classic with a unique modern flair. Download this font by designer Squid and you'll be satisfied!", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Savate": { + "name": "Savate", + "designer": [ + "Plomb Type", + "Max Esn\u00e9e" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "Savate is a humanist sans-serif typeface with reverse contrast. Its name, borrowed from the French martial art, reflects the typeface\u2019s sense of motion. Its open, generous curves and assertive forms evoke wide gestures and dynamic rhythm. Designed with both flexibility and impact in mind, Savate comes in a full range of weights from Extralight to Black, with matching italics, making it well-suited for everything from bold headlines to confident, readable text. To contribute, see github.com/maxesnee/savate. This new release is a complete redraw of the original Savate, first published in 2016 by the We.ch collective (Max Esn\u00e9e and Hadrien Bulliat) through Velvetyne. While it stays true to the spirit of the original design, every glyph has been refined to improve rhythm, structure, and overall cohesion. The family has also been significantly expanded, now offering a full palette of styles and expanded language support, including Latin Pan-African, making Savate a versatile tool for a broad range of typographic needs. Your browser does not support the video tag. Your browser does not support the video tag. Your browser does not support the video tag. Your browser does not support the video tag. Your browser does not support the video tag.", + "minisite_url": "https://www.plombtype.com/savate" + }, + "Sawarabi Gothic": { + "name": "Sawarabi Gothic", + "designer": [ + "mshio" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "japanese", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Sawarabi Gothic (\u3055\u308f\u3089\u3073\u30b4\u30b7\u30c3\u30af) is a Japanese font by mshio. Carefully designed for high legibility, it works well in small text sizes. It already has many hiragana, katakana, ruled lines, and so on, but it does not yet have enough kanji glyphs. Only 4,469 kanji are available in this version, and the project is under active development. There is also another related family, Sawarabi Mincho. 6,945 glyphs. Now released under the SIL Open Font License.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Sawarabi Mincho": { + "name": "Sawarabi Mincho", + "designer": [ + "mshio" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "braille", + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Sawarabi Mincho (\u3055\u308f\u3089\u3073\u660e\u671d) is a Japanese font by mshio. With a delicate and beautiful design, it is suitable for text and headline usage. It already has many hiragana, katakana, ruled lines, and so on, and this version includes 3297 kanji glyphs. There is also another related family, Sawarabi Gothic. To contribute to the project, visit osdn.net/projects/sawarabi-fonts/", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "Scada": { + "name": "Scada", + "designer": [ + "Jovanny Lemonad" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "In 2005, Scada was designed as the corporate identity font for the Latvian design studio Scada.lv. In 2011 the design studio decided to make Scada a libre font. Over 6 months the font was reworked, improved and expanded into a family. It has a modern style, specifically designed for small sizes.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Scheherazade": { + "name": "Scheherazade", + "designer": [ + "SIL International" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "arabic", + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Scheherazade is an Arabic font with a design inspired by traditional typefaces such as Monotype Naskh, extended to cover the full Unicode Arabic repertoire. It is named after the heroine of the classic Arabian Nights tale. This font was developed by SIL, and you can learn more about it at scripts.sil.org/Scheherazade Updated August 2015: Update to v2.100 with addition of a Bold style, Unicode 8 characters, and various fixes.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Scheherazade New": { + "name": "Scheherazade New", + "designer": [ + "SIL International" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "arabic", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Scheherazade New is a traditional naskh typeface, supporting all Arabic script characters in Unicode 14.0. It is named after the heroine of the classic Arabian Nights tale. In May 2022, the font has been upgraded, offering a more extensive glyphset. The April 2023 upgrade brings two new weights: Medium and SemiBold. The language support is also improved. This font was developed by SIL, and you can learn more about it at software.sil.org/scheherazade. To contribute, see github.com/silnrsi/font-scheherazade.", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Schibsted Grotesk": { + "name": "Schibsted Grotesk", + "designer": [ + "Bakken & B\u00e6ck", + "Henrik Kongsvoll" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Schibsted Grotesk is a digital-first font family crafted for user interfaces. Taking visual cues from Schibsted's proud history of printed media as well as our pioneering digital nature, Schibsted Grotesk was designed to become an active tool that empowers brand ambassadors and inspires internal and external audiences. Schibsted Grotesk covers the Underware Latin Plus character set, using 4 masters distributed across weights and italics. To contribute, see github.com/schibsted/schibsted-grotesk.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Schoolbell": { + "name": "Schoolbell", + "designer": [ + "Font Diner" + ], + "license": "apache2", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Do you hear it? It's the sweet sound that let's you know when it's time to eat lunch in the cafeteria, head out to recess, or hop on the bus to head home! It's Schoolbell, the delightfully playful handwriting font from the finest lettering artist in the 2nd Grade!", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Scope One": { + "name": "Scope One", + "designer": [ + "Dalton Maag" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Scope One is a light slab serif typeface with elegant expressions that make it broadly useful for many different contexts. The design is optimized for titling and display usage and is ideally used at 14 points and above. The tall vertical proportions of the lowercase mean that it can be used in a way similar to small caps, giving a more refined typographic impression. It supports a broad range of languages using the Latin writing system. The font has been enhanced for good on-screen display quality, and has been tested extensively in a variety of on-screen and print environments. Scope One is a Dalton Maag original design commissioned by Google Fonts for use in presentation slide decks. A foundry specimen is maintained at daltonmaag.github.io/scope-one To contribute, see github.com/daltonmaag/scope-one", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Seaweed Script": { + "name": "Seaweed Script", + "designer": [ + "Neapolitan" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Hear that? That's the sound of tropical ocean breezes as they whistle gently through your laptop! Grab a drink, a hammock under a swaying palm tree and let your hair down as your fingers gently caress the keyboard just like seaweed! Enjoy Seaweed Script when a rustic tropical beachside script is called for and watch out for squid! Designed by Dave 'Squid' Cohen of Neapolitan, a Font Diner brand.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Secular One": { + "name": "Secular One", + "designer": [ + "Michal Sahar" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "hebrew", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Secular One is an original Hebrew and Latin humanistic sans serif typeface with a single weight. At the time of publication (2016) there were not yet many Hebrew sans serif text typefaces. The designer Michal Sahar wanted to create a fresh, \u201ceasy going\u201d design, simple but not neutral, friendly but not flattering or over-styled, straight but not too much\u2026 and highly readable in small sizes and long paragraphs. The Secular letterforms work equally well when used at large sizes where the delicate and eccentric elements are revealed, making it useful for branding purposes as well as typsetting long-form texts. The June 2023 update features a bigger glyphset and some small fixes. The Secular project is led by Michal Sahar, a type designer based in Tel Aviv, Israel. To contribute, see github.com/MichalSahar/Secular", + "primary_script": "Hebr", + "article": null, + "minisite_url": null + }, + "Sedan": { + "name": "Sedan", + "designer": [ + "Sebasti\u00e1n Salazar" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Sedan is a Garalde typeface prized for its timeless elegance, perfect for enhancing publications. With balanced proportions, subtle contrasts, and graceful serifs, Sedan offer both clarity and sophistication. Its versatility makes it ideal for various print materials, from magazines to scholarly journals, ensuring text remains inviting and accessible while exuding classic charm. Sedan embodies the enduring allure of Garalde designs in publishing. Sedan SC is also available, a small caps sister family next to the Roman and Italic Sedan . To contribute, see github.com/googlefonts/sedan .", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Sedan SC": { + "name": "Sedan SC", + "designer": [ + "Sebasti\u00e1n Salazar" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Sedan is a Garalde typeface prized for its timeless elegance, perfect for enhancing publications. With balanced proportions, subtle contrasts, and graceful serifs, Sedan offer both clarity and sophistication. Its versatility makes it ideal for various print materials, from magazines to scholarly journals, ensuring text remains inviting and accessible while exuding classic charm. Sedan embodies the enduring allure of Garalde designs in publishing. Check out the classic Sedan family, with a Regular and Italic styles. To contribute, see github.com/googlefonts/sedan .", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Sedgwick Ave": { + "name": "Sedgwick Ave", + "designer": [ + "Pedro Vergani", + "Kevin Burke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "The Sedgwick Ave project expresses handwritten graffiti letterforms with two designs: This is Sedgwick Ave, ideal for text size usage, and accompanied by Sedgwick Ave Display, intended for larger size usage.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Sedgwick Ave Display": { + "name": "Sedgwick Ave Display", + "designer": [ + "Pedro Vergani", + "Kevin Burke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "The Sedgwick Ave project expresses handwritten graffiti letterforms with two designs: This is Sedgwick Ave Display, intended for larger size usage, accompanied by Sedgwick Ave, ideal for text size usage.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Sen": { + "name": "Sen", + "designer": [ + "Kosal Sen" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Sen \u2013 a Geohumanist sans, is Philatype\u2019s first typeface released under the SIL Open Font License (OFL). Sen is a geometrically constructed sans-serif with a sensible, friendly look. Think of it as a more neutral version of geometric classics such as Avenir or Futura with a humanist touch. It\u2019s unassuming, unique, and most importantly, easy to read. In June 2023, the font is updated as a variable font, going from Regular to ExtraBold. To contribute, please see github.com/philatype/Sen.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Send Flowers": { + "name": "Send Flowers", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Send Flowers is a mono-weight script font with clean connecting strokes and a highly legible style. It has a cute look, but since it is a cursive it has a bit more sophistication that is appropriate for an older audience. It's old school juvenile, with a delicate appeal. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/send-flowers.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Sevillana": { + "name": "Sevillana", + "designer": [ + "Brownfox" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Sevillana is named after a folk music style widespread in Seville (Andalusia) in Spain. The typeface is inspired by the lettering of commemorative plates which can be seen on house walls in Andalusia. Those ceramic plates are handmade and each one is unique. Individual handwriting may vary but the style is always recognizable. Sevillana is a generalized character based on that diversity, a headline typeface that can be used in middle and large sizes, it can be used for restaurant menus, concert posters, different kinds of signage etc. Designed by Olga Umpeleva for Brownfox. To contribute to the project contact Gayaneh Bagdasaryan.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Seymour One": { + "name": "Seymour One", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Seymour One is derived from the earlier webfont Sigmar One, but the forms have also been influenced by late nineteenth and early twentieth century British sans-serif typefaces. The result is a display face that is ideal for bold, unpretentious, and slightly playful display typography. Seymour One is designed to be used conventionally but also as an 'all caps' font. Seymour One is designed to be used freely across the internet by web browsers on desktop computers, laptops and mobile devices. The August 2023 update features a bigger glyphset and some minor aesthetic modifications. To contribute, see github.com/googlefonts/seymourFont.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Shadows Into Light": { + "name": "Shadows Into Light", + "designer": [ + "Kimberly Geswein" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "This clean, neat handwriting font has a feminine feel with nice rounded edges and curves. It is perfect for adding a personalized touch to your project.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Shadows Into Light Two": { + "name": "Shadows Into Light Two", + "designer": [ + "Kimberly Geswein" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "A totally revised and updated version of this popular clean, neat handwriting font. It has a feminine feel with nice rounded edges and curves. It is perfect for adding a personalized touch to your project.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Shafarik": { + "name": "Shafarik", + "designer": [ + "Aleksandr Andreev" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "glagolitic", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "The Shafarik font, named after Pavel Jozef \u0160af\u00e1rik (1795\u20131861), Slovak-born scholar and one of the founders of modern Slavic philology, is a specialized font intended for an academic presentation of Old Church Slavonic (OCS) texts written in either the Cyrillic or Glagolitic alphabets. To contribute, please see github.com/slavonic/Shafarik.", + "primary_script": "Cyrl", + "article": null, + "minisite_url": null + }, + "Shalimar": { + "name": "Shalimar", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Shalimar is an upright script inspired by the calligraphic strokes of a flat nib pen. There are script style capitals that may be substituted by more Roman forms with the stylistic set. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/shalimar.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Shantell Sans": { + "name": "Shantell Sans", + "designer": [ + "Shantell Martin", + "Arrow Type", + "Anya Danilova" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "British visual artist and philosopher Shantell Martin is famous for using words in her artwork in the Oculus at the World Trade Center, in New York City, and for her music and art collaboration with Kendrick Lamar at Art Basel in Miami. Her art has taken over the screens of New York\u2019s Times Square and the Lincoln Center stage, home of the New York City Ballet. Back in school, she was scared of spelling tests. However, outside of school, she felt that words were art and provided emotional relief. A discovery in her early 20s opened her eyes to why reading and writing were so difficult for her, and set in motion her desire to create the To inspire others to have fun with writing and words, she teamed up with Stephen Nixon of Arrow Type to create Shantell Sans. Shantell Martin, Stephen Nixon, and Anya Danilova share their experiences of the making of Shantell Sans. To learn more, visit The Story of Shantell Sans .", + "minisite_url": "https://www.shantellsans.com" + }, + "Shanti": { + "name": "Shanti", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Shanti One is a straightforward sans serif designed to be used freely across the internet by web browsers on desktop computers, laptops and mobile devices. The September 2023 update features a bigger glyphset, fractions and some minor aesthetic modifications. To contribute, see github.com/googlefonts/ShantiFont.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Share": { + "name": "Share", + "designer": [ + "Carrois Apostrophe" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Share is a sans serif family. There are two more related families, Share Tech and Share Tech Mono.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Share Tech": { + "name": "Share Tech", + "designer": [ + "Carrois Apostrophe" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Share Tech is a sans serif, based on the Share family. There is also Share Tech Mono.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Share Tech Mono": { + "name": "Share Tech Mono", + "designer": [ + "Carrois Apostrophe" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "monospace" + ], + "description": "Share Tech Mono is a monospaced sans serif, based on the Share family. There is also Share Tech, a proportionally spaced version. Updated, July 2015: 'fi' ligature issue fixed.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Shippori Antique": { + "name": "Shippori Antique", + "designer": [ + "FONTDASU" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Shippori Antique follows long-established standards for dialogue in manga and was created to provide people who draw manga in Japan a beautiful antique font for free. The Kana follow an antique, Ming Dynasty style design based on Shippori Mincho with thick lines. The Latin was designed in an old sans-serif style. Finally, the Kanji was created by modifying the SIL licensed Genseki Gothic. Shippori Antique is the standard version of the font. Shippori Antique B1 (https://fonts.google.com/specimen/Shippori+Antique+B1) has rounded corners and ink pooling. To contribute to the project, visit github.com/fontdasu/ShipporiAntique", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "Shippori Antique B1": { + "name": "Shippori Antique B1", + "designer": [ + "FONTDASU" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Shippori Antique follows long-established standards for dialogue in manga and was created to provide people who draw manga in Japan a beautiful antique font for free. The Kana follow an antique, Ming Dynasty style design based on Shippori Mincho with thick lines. The Latin was designed in an old sans-serif style. Finally, the Kanji was created by modifying the SIL licensed Genseki Gothic. Shippori Antique B1 features rounded corners and ink pooling. Shippori Antique (https://fonts.google.com/specimen/Shippori+Antique) is the standard version of the font. To contribute to the project, visit github.com/fontdasu/ShipporiAntique", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "Shippori Mincho": { + "name": "Shippori Mincho", + "designer": [ + "FONTDASU" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Shippori Mincho is an old-style Mincho style created to provide novel writers in Japan a beautiful Mincho style for free. It is based on The Tokyo Tsukiji Type Foundry No. 5 Mincho style, which had a great influence on the Japanese Mincho style, which is widely used today. The Regular was originally designed for long-form text setting in novels and the Extra Bold was originally designed for titles and headlines. Eventually it became a family of 5 weights from Regular to Extra Bold. Shippori Mincho is designed to be beautiful even when the characters are enlarged so that they can be used widely from amateurs to editorial designers. Alternate characters are also included for those who are particular about the characters. The Kanji are based on the SIL licensed font, Genryu Mincho. Shippori Mincho is the standard version of the font. Shippori Mincho B1 (https://fonts.google.com/specimen/Shippori+Mincho+B1) has rounded corners and ink pooling. To contribute to the project, visit github.com/fontdasu/ShipporiMincho", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "Shippori Mincho B1": { + "name": "Shippori Mincho B1", + "designer": [ + "FONTDASU" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Shippori Mincho is an old-style Mincho style created to provide novel writers in Japan a beautiful Mincho style for free. It is based on The Tokyo Tsukiji Type Foundry No. 5 Mincho style, which had a great influence on the Japanese Mincho style, which is widely used today. The Regular was originally designed for long-form text setting in novels and the Extra Bold was originally designed for titles and headlines. Eventually it became a family of 5 weights from Regular to Extra Bold. Shippori Mincho is designed to be beautiful even when the characters are enlarged so that they can be used widely from amateurs to editorial designers. Alternate characters are also included for those who are particular about the characters. The Kanji are based on the SIL licensed font, Genryu Mincho. Shippori Mincho is the standard version of the font. Shippori Mincho B1 (https://fonts.google.com/specimen/Shippori+Mincho+B1) has rounded corners and ink pooling. To contribute to the project, visit github.com/fontdasu/ShipporiMincho", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "Shizuru": { + "name": "Shizuru", + "designer": [ + "Shibuya Font" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "japanese", + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "This is a font based on the handwritten sketch by handicapped artists, refined & created by design major students. The unique lines create its exceptional atmosphere. This is one of the work of Shibuya Font project, a collaboration of design major students and handicapped artist living in Shibuya city, officially approved by Shibuya city in Tokyo. The Shibuya Font Project official site is at shibuyafont.jp To contribute to the project, visit github.com/shibuyafont/shizuru-font", + "primary_script": "Hira", + "article": null, + "minisite_url": null + }, + "Shojumaru": { + "name": "Shojumaru", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Shojumaru draws inspiration from a movie poster for a 1957 film titled Sayonara, starring Marlon Brando. It breaks the formula of a chop suey style by mixing chop suey and traditional letterforms to create a powerful and unique letterforms all its own.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Short Stack": { + "name": "Short Stack", + "designer": [ + "James Grieshaber" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Foundry: Sorkin Type Co Short Stack is a low contrast semi-geometric typeface inspired by childish written letters. Short Stack is sturdy, and clear but also whimsical and fun. Short Stack works well from medium text sizes to larger display sizes. Source files are available from Google Code. To contribute to the project contact Eben Sorkin.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Shrikhand": { + "name": "Shrikhand", + "designer": [ + "Jonny Pinhorn" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "gujarati", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Shrikhand supports the Gujarati and Latin writing systems. The name (\u0ab6\u0acd\u0ab0\u0ac0\u0a96\u0a82\u0aa1) is a sweet and creamy Gujarati dessert that is a particular favourite of the designer, Jonny Pinhorn. In the three or four years prior to the initial development of this font in June 2015, Jonny lived in Ahmedabad, Gujarat, working for Indian Type Foundry. During this time India had a profound effect on his design philosophy and general worldview. Shrikhand is the culmination of three years absorbing the colourful and vibrant hand-painted lettering that can be seen on the streets in Gujarat. Big, bold, and unapologetic, Shrikhand is a display type that evolved from discussions with colleagues about how good the Gujarati script looks when it is free to be as curvaceous and expressive as possible. To contribute, see github.com/jonpinhorn/shrikhand", + "primary_script": "Gujr", + "article": null, + "minisite_url": null + }, + "Siemreap": { + "name": "Siemreap", + "designer": [ + "Danh Hong" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "khmer" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "The Siemreap fonts are designed for readable and beautiful rendering of text in the Khmer script, the national language of Cambodia. The designer, Danh Hong, has many years of experience creating fonts for Khmer and other Southeast Asian languages, and is actively involved in the KhmerOS project, dedicated to a vision where Cambodians can learn and use computers in their own language.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Sigmar": { + "name": "Sigmar", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Sigmar is a casual, display specific webfont. It's design is based upon various fonts found in mid twentieth century pulp magazine advertising. It's an improved version of Sigmar One, whose small caps have been replaced by basic lower cases, for the Summer of Type in 2023. To contribute, see github.com/googlefonts/sigmarone.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Sigmar One": { + "name": "Sigmar One", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Sigmar is a casual, display specific webfont. It's design is based upon various fonts found in mid twentieth century pulp magazine advertising.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Signika": { + "name": "Signika", + "designer": [ + "Anna Giedry\u015b" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Signika variable font is a sans-serif with a gentle character, developed for wayfinding, signage, and other media where clarity of information is required. It has a low contrast and tall x-height to improve readability of texts in small sizes as well as in large distances from the reader. Being a typical signage typeface it is inspired by typefaces such as Ronnia, Meta, and Tahoma. The typeface comes with a wide character set supporting Western European languages, Polish, and Czech. The figures are designed as tabular. In July 2023, a GRAD axis is added to solve the optical effects of negative text setting (dark color text on light background). To contribute, see github.com/googlefonts/Signika", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Signika Negative": { + "name": "Signika Negative", + "designer": [ + "Anna Giedry\u015b" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Signika is a sans-serif with a gentle character, developed for wayfinding, signage, and other media where clarity of information is required. It has a low contrast and tall x-height to improve readability of texts in small sizes as well as in large distances from the reader. Being a typical signage typeface it is inspired by typefaces such as Ronnia, Meta, and Tahoma. The typeface comes with a wide character set supporting Western European languages, Polish, and Czech. The figures are designed as tabular. Signika Negative is an alternative version, optimized to solve the effect of juxtaposed positive and negative text setting, where the text in negative tends to look thicker. The source code of Signika is available from Github.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Signika Negative SC": { + "name": "Signika Negative SC", + "designer": [ + "Anna Giedry\u015b" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Signika is a sans-serif with a gentle character, developed for wayfinding, signage, and other media where clarity of information is required. It has a low contrast and tall x-height to improve readability of texts in small sizes as well as in large distances from the reader. Being a typical signage typeface it is inspired by typefaces such as Ronnia, Meta, and Tahoma. The typeface comes with a wide character set supporting Western European languages, Polish, and Czech. The figures are designed as tabular. Signika Negative is an alternative version, optimized to solve the effect of juxtaposed positive and negative text setting, where the text in negative tends to look thicker. The source code of Signika is available from Github.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Signika SC": { + "name": "Signika SC", + "designer": [ + "Anna Giedry\u015b" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Signika variable font is a sans-serif with a gentle character, developed for wayfinding, signage, and other media where clarity of information is required. It has a low contrast and tall x-height to improve readability of texts in small sizes as well as in large distances from the reader. Being a typical signage typeface it is inspired by typefaces such as Ronnia, Meta, and Tahoma. The typeface comes with a wide character set supporting Western European languages, Polish, and Czech. The figures are designed as tabular. The Negative variable axis is optimized to solve for the optical effects of negative text setting, where the text set in negative (light text on a dark background) tends to look slightly thicker than positive text. The source code of Signika is available from Github.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Silkscreen": { + "name": "Silkscreen", + "designer": [ + "Jason Kottke" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Silkscreen is a pixel typeface that was designed for rendering type at small sizes for web graphics. It\u2019s got a chunky, retro-computing look that also works well when you use it big. Silkscreen includes two weights, regular and bold, that looks good on the web, mobile devices, and even in print. Since its release in 1999, it has been used by companies like Flickr, Herman Miller, Volvo, and Adobe, by pop stars like Britney Spears and Carly Rae Jepsen, and in movies like The Bourne Legacy. Learn more at www.kottke.org. To contribute, see github.com/googlefonts/silkscreen.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Simonetta": { + "name": "Simonetta", + "designer": [ + "Brownfox" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "The Simonetta font is named in honour of Simonetta Vespucci. She was considered to be the most beautiful woman in Renaissance Florence and was nicknamed 'La Bella Simonetta.' She was a model for Sandro Botticelli's painting 'The Birth of Venus' and many of his other female characters. The Simonetta font is inspired by Italian Humanistic typefaces, but it is contemporary and has many original features. It has one-sided serifs and soft drops, is slightly slanted (some two degrees) and the Italics have the same slant. The Romans and Italics differ from each other only in their shapes, with the italics being much more calligraphic and angular. Designed by Gayaneh Bagdasaryan for Brownfox. To contribute to the project contact Gayaneh Bagdasaryan.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Single Day": { + "name": "Single Day", + "designer": [ + "DXKorea Inc" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "korean" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Single Day is a Korean and Latin font.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Sintony": { + "name": "Sintony", + "designer": [ + "Eduardo Rodriguez Tunni" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Sintony is a modern sans serif typeface, drawn with a slightly square structure and smooth stroke modulation. Great for long passages of text, he provides any text with a calm and clear feeling.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Sirin Stencil": { + "name": "Sirin Stencil", + "designer": [ + "Cyreal" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Sirin Stencil is a display humanist sans typeface by Olga Karpushina with careful brush-inspired detailing. It is designed for large sizes, but works surprizingly well in small body copy, when its stencil gaps merge. Sirin will work well on colored backgrounds creating an optical 3D effect.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Sitara": { + "name": "Sitara", + "designer": [ + "Neelakash Kshetrimayum" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Sitara is a Devanagari and Latin typeface family, with swift strokes and delicate terminals that flare to a sharp point. The Devanagari glyphs are designed by Neelakash Kshetrimayum. The Latin is from Steve Matteson at Monotype, originally published as Droid Serif. This project is led by Neelakash Kshetrimayum, a type designer based in New Delhi, India, who designs contemporary Indian typeface families. To contribute, see github.com/Neelakash/sitara", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Six Caps": { + "name": "Six Caps", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Six Caps is a highly condensed and tight display font. It is a stripped down and 'normalised' version of the classic grotesk display forms.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Sixtyfour": { + "name": "Sixtyfour", + "designer": [ + "Jens Kut\u00edlek" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Sixtyfour and Workbench fonts are inspired by the article Raster CRT Typography (According to DEC) by Norbert Landsteiner. They are a rework of some old pixel versions of the Commodore 64 and Amiga Workbench fonts the author created years ago. The fonts now include two custom axes: Scanlines, which allows control of the height of the lines and, as a result of this, the amount of vertical space between the lines. And Bleed to change the amount of horizontal bleed of the pixels due to the phosphor latency found in CRT displays. Due to this project's specificity and the fonts' historical origin, they only support a limited set of glyphs. To contribute, see github.com/jenskutilek/homecomputer-fonts", + "primary_script": null, + "article": null, + "minisite_url": "https://jenskutilek.github.io/homecomputer-fonts/documentation/demo-sixtyfour.html" + }, + "Sixtyfour Convergence": { + "name": "Sixtyfour Convergence", + "designer": [ + "Simon Cozens", + "Jens Kut\u00edlek" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "Sixtyfour Convergence is the COLRv1 companion of Sixtyfour a font inspired by the article Raster CRT Typography by Norbert Landsteiner, and is a rework of some old pixel versions of the Commodore 64. Due to this project's specificity and the fonts' historical origin, they only support a limited set of glyphs. This font uses the COLRv1 and CPAL tables. Please visit the gf-guide color page to learn more about Color Fonts technology. To contribute, see github.com/jenskutilek/homecomputer-fonts. Homecomputer Fonts These fonts are inspired by the interface fonts of two classic 1980s computers, the Commodore C64 (Sixtyfour) and Amiga (Workbench). When Jens Kutilek adapted them to the variable font technology, he did not just convert the pixel fonts, but tried to emulate the artifacts of rendering letters on a CRT screen. The above fonts include two custom axes: Scanlines, which allows control of the height of the lines and, as a result of this, the amount of vertical space between the lines. And Bleed to change the amount of horizontal bleed of the pixels due to the phosphor latency found in CRT displays. Sixtyfour Convergence Sixtyfour Convergence is Simon Cozens's COLRv1 take on Sixtyfour, which introduces two additional new custom axes: Horizontal Element Alignment and Vertical Element Alignment. These axes allow the control of the position of three painted layers, reproducing the control of the offset positions of the red, green, and blue colors common on CRT monitors.", + "minisite_url": null + }, + "Skranji": { + "name": "Skranji", + "designer": [ + "Neapolitan" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Like the call of Ricola being yodelled from the top of the Swiss Alps from a satisfied customer, Skranji soothes as it relieves all your design aches. Both primitive and exotic at the same time, Skranji evokes the thunder of Norse gods with the utility of a Swiss Army Knife! Designed by Dave 'Squid' Cohen of Neapolitan (a DBA of Font Diner, Inc.)", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Slabo 13px": { + "name": "Slabo 13px", + "designer": [ + "John Hudson" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SLAB_SERIF", + "classifications": [], + "description": "Slabo is a collection of size-specific fonts for use in online advertising and other web uses. The collection currently includes this font, Slabo 13px, and Slabo 27px. Each font in the collection is fine-tuned for use at the pixel size in its name. The Slabo project is led by Tiro Typeworks, a type design foundry based in Canada. To contribute, see Slabo on GitHub.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Slabo 27px": { + "name": "Slabo 27px", + "designer": [ + "John Hudson" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SLAB_SERIF", + "classifications": [], + "description": "Slabo is a collection of size-specific fonts for use in online advertising and other web uses. The collection currently includes this font, Slabo 27px, and Slabo 13px. Each font in the collection is fine-tuned for use at the pixel size in its name. The Slabo project is led by Tiro Typeworks, a type design foundry based in Canada. To contribute, see Slabo on GitHub.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Slackey": { + "name": "Slackey", + "designer": [ + "Sideshow" + ], + "license": "apache2", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Don't let the name fool you! Slackey really pulls its weight when you need a fun, chunky display font. So next time you have a weighty headlining chore to do, let Slackey do all the heavy lifting! Designed with a good work ethic and plenty of manual labor by Squid.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Slackside One": { + "name": "Slackside One", + "designer": [ + "Maniackers Design" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "japanese", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Newly designed only for Google Fonts: sophisticated handwritten Japanese font. Slackside means loose end. To contribute to the project, visit github.com/ManiackersDesign/slackside", + "primary_script": "Hira", + "article": null, + "minisite_url": null + }, + "Smokum": { + "name": "Smokum", + "designer": [ + "Astigmatic" + ], + "license": "apache2", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Smokum is a western inspired slab-serif font with a little playful swagger to it. It's perfect for headlines and display uses that require a little loosened up country flair, but because of the contrast of thicks and thins, it will perform best as a WebFont at medium to large point sizes.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Smooch": { + "name": "Smooch", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Smooch is a brushy handwritten script font full of speedy personality. It has a contemporary feel often accomplished with stranded brush strokes. It is slightly bolder than other hand-lettered scripts by its creator and has up to five stylistic sets as well as initial and final positional forms expanding its utility. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/smooch.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Smooch Sans": { + "name": "Smooch Sans", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Smooch Sans was originally designed as a truncated font to be used to compliment the Smooch brush script file. It has been updated with an extensive character set and designed as a Variable font to a offer nine weight variations of this clean sans font. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/smooch-sans.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Smythe": { + "name": "Smythe", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Smythe is a reworking and mashing together of various typefaces from the late nineteenth and early twentieth centuries that can be best described as 'Arts and Crafts', or, 'Art Deco'. Smythe also has a touch of Batfink too!", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Sniglet": { + "name": "Sniglet", + "designer": [ + "Multiple Designers" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "A rounded display face that\u2019s great for headlines. Updated September 2013: Originally designed in 2008 by Haley Fiege in Extra-bold. In 2013 Brenda Gallo and Pablo Impallari added 42 new glyphs, kerning, and a whole new Regular weight. To contribute to the project contact Pablo Impallari (impallari@gmail.com)", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Snippet": { + "name": "Snippet", + "designer": [ + "Gesine Todt" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Snippet\u2019s light weight and unusual construction give texts a special flow and make you want to look twice! In headlines Snippet\u2019s many details show and help you create a clean but witty look.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Snowburst One": { + "name": "Snowburst One", + "designer": [ + "Annet Stirling" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Foundry: Sorkin Type Co Snowburst One is a low contrast serifed display typeface inspired by one of Annet Stirling's distinctive styles of lettering. Snowburst One's personality consistently shows in both small and large sizes. Because of the thin stokes this font is best used from medium to large sizes. Despite its surprising forms Snowburst is highly legible. Readers are likely to be both surprised and entertained by its unusual but friendly forms. Source files are available from Google Code. To contribute to the project contact Eben Sorkin.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Sofadi One": { + "name": "Sofadi One", + "designer": [ + "Botjo Nikoltchev" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Sofadi is a fun font that blends jungle thoughts and liquid minds.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Sofia": { + "name": "Sofia", + "designer": [ + "LatinoType" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Sofia designed by Paula Nazal and Daniel Hern\u00e1ndez, is an upright script font with some unconventional ligatures. It is a coquettish, friendly and versatile typeface.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Sofia Sans": { + "name": "Sofia Sans", + "designer": [ + "Lettersoup", + "Botio Nikoltchev", + "Ani Petrova" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Originaly designed as a typeface for the capital city of Bulgaria, Sofia Sans is a comprehensive type system in four widths (Normal, SemiCondensed, Condensed and ExtraCondensed) with extended coverage of the Latin, Greek, and Cyrillic Scripts. Inspired by the early-twentieth-century so-called technical sans serifs typefaces with confident letterforms, a pronounced vertical impetus, and tense curves, Sofia Sans also has nice humanistic details and soft round corners that reminds print work with hot metal typesetting. With narrow proportions and a generous x-height, is a space-saving workhorse that would work well in very diverse environments. Sofia Sans is also a feature-rich OpenType family with a large character set including small caps, several figure styles, arrows, numerals in circles among others. To contribute, see github.com/lettersoup/Sofia-Sans.", + "primary_script": null, + "article": null, + "minisite_url": "https://www.lettersoup.de/sofia-sans/" + }, + "Sofia Sans Condensed": { + "name": "Sofia Sans Condensed", + "designer": [ + "Lettersoup", + "Botio Nikoltchev", + "Ani Petrova" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Originaly designed as a typeface for the capital city of Bulgaria, Sofia Sans is a comprehensive type system in four widths (Normal, SemiCondensed, Condensed and ExtraCondensed) with extended coverage of the Latin, Greek, and Cyrillic Scripts. Inspired by the early-twentieth-century so-called technical sans serifs typefaces with confident letterforms, a pronounced vertical impetus, and tense curves, Sofia Sans also has nice humanistic details and soft round corners that reminds print work with hot metal typesetting. With narrow proportions and a generous x-height, is a space-saving workhorse that would work well in very diverse environments. Sofia Sans is also a feature-rich OpenType family with a large character set including small caps, several figure styles, arrows, numerals in circles among others. To contribute, see github.com/lettersoup/Sofia-Sans.", + "primary_script": null, + "article": null, + "minisite_url": "https://www.lettersoup.de/sofia-sans/" + }, + "Sofia Sans Extra Condensed": { + "name": "Sofia Sans Extra Condensed", + "designer": [ + "Lettersoup", + "Botio Nikoltchev", + "Ani Petrova" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Originaly designed as a typeface for the capital city of Bulgaria, Sofia Sans is a comprehensive type system in four widths (Normal, SemiCondensed, Condensed and ExtraCondensed) with extended coverage of the Latin, Greek, and Cyrillic Scripts. Inspired by the early-twentieth-century so-called technical sans serifs typefaces with confident letterforms, a pronounced vertical impetus, and tense curves, Sofia Sans also has nice humanistic details and soft round corners that reminds print work with hot metal typesetting. With narrow proportions and a generous x-height, is a space-saving workhorse that would work well in very diverse environments. Sofia Sans is also a feature-rich OpenType family with a large character set including small caps, several figure styles, arrows, numerals in circles among others. To contribute, see github.com/lettersoup/Sofia-Sans.", + "primary_script": null, + "article": null, + "minisite_url": "https://www.lettersoup.de/sofia-sans/" + }, + "Sofia Sans Semi Condensed": { + "name": "Sofia Sans Semi Condensed", + "designer": [ + "Lettersoup", + "Botio Nikoltchev", + "Ani Petrova" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Originaly designed as a typeface for the capital city of Bulgaria, Sofia Sans is a comprehensive type system in four widths (Normal, SemiCondensed, Condensed and ExtraCondensed) with extended coverage of the Latin, Greek, and Cyrillic Scripts. Inspired by the early-twentieth-century so-called technical sans serifs typefaces with confident letterforms, a pronounced vertical impetus, and tense curves, Sofia Sans also has nice humanistic details and soft round corners that reminds print work with hot metal typesetting. With narrow proportions and a generous x-height, is a space-saving workhorse that would work well in very diverse environments. Sofia Sans is also a feature-rich OpenType family with a large character set including small caps, several figure styles, arrows, numerals in circles among others. To contribute, see github.com/lettersoup/Sofia-Sans.", + "primary_script": null, + "article": null, + "minisite_url": "https://www.lettersoup.de/sofia-sans/" + }, + "Solitreo": { + "name": "Solitreo", + "designer": [ + "Nathan Gross", + "Bryan Kirschen" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "hebrew", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "This font was developed by the Documenting Judeo-Spanish Project. Documenting Judeo-Spanish is a digital humanities project that began in 2019 under the leadership of Dr. Bryan Kirschen. Recalling his initial fascination with Solitreo and the limited resources available to learn this script, Dr. Kirschen decided to focus this project on the cursive variety that was once common to speakers of Judeo-Spanish around the world. A nearly-extinct alphabet to an endangered language, this style of writing can be found in documents ranging from journal entries and ledgers to personal correspondence and community minutes. Many of these very documents are sitting in basements and attics today and, to the untrained eye, are mistaken for Hebrew. Judeo-Spanish (Ladino) refers to the variety of Spanish that developed among Jewish populations who were expelled from Spain in 1492 and subsequently settled throughout Turkey and the Balkans, then of the Ottoman Empire. These Jews, known as Sephardim, preserved many features of Medieval (varieties of) Spanish, while incorporating linguistic elements from the languages spoken in their surroundings, including: Turkish, Greek, Serbo-Croatian, French, Italian, and Arabic. As a Jewish language, the Spanish of the Sephardim has always been in contact with Hebrew. And while Judeo-Spanish may sound like other Romance languages, in writing, it would have traditionally appeared more similar to a Semitic language. Solitreo refers to the Hebrew-based cursive script once used by Sephardim; it is the cursive variety of the Rashi alphabet. Solitreo, or Soletreo, is derived from Galician/Portuguese, meaning \u2018to spell.\u2019 For many Sephardim, Solitreo was simply known as ganchos, meaning \u2018hooks,\u2019 due to the ligatures that form between letters. This style of writing is distinct from the Ashkenazi-based alphabet used for cursive Hebrew today, making documents in Solitreo undecipherable to the untrained eye. A similar style of writing can also be found in documents written in Judeo-Arabic. Today, Solitreo is a relic of the past, as most writers of the language utilize Roman characters. Most non-Hebrew glyphs in this font were forked from Kalam. To contribute, see github.com/ladinoprojects/solitreo.", + "primary_script": "Hebr", + "article": null, + "minisite_url": null + }, + "Solway": { + "name": "Solway", + "designer": [ + "Mariya Lish", + "The Northern Block" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Solway is a playful slab-serif with a charming and understated tone of voice, inspired by the warmth of community and the idyll of rural-living. It is a contemporary family defined by the soft corners, ball terminals, rounded slabs that give it a welcoming and friendly appeal. Its monoline structure and minimal stroke contrast aspire to cohesion and stability. Available in five weights, it is suitable for a variety of projects. It could find perfect expression within lifestyle brands or nature, travel and foodie blogs. To contribute, see github.com/mashavp/Solway.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Sometype Mono": { + "name": "Sometype Mono", + "designer": [ + "Ryoichi Tsunekawa" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "monospace" + ], + "description": "Sometype Mono is a monospaced font family for coding and tabular layout. It is designed by Ryoichi Tsunekawa, a type designer based in Japan. To contribute, see github.com/googlefonts/sometype-mono.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Song Myung": { + "name": "Song Myung", + "designer": [ + "JIKJI" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "korean" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Song Myung is a Korean and Latin font. The Latin is based on Source Serif 4.", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "Sono": { + "name": "Sono", + "designer": [ + "Tyler Finck" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "monospace" + ], + "description": "Sono is a soft monospace (or proportional!) variable font. It has seven weights: ExtraLight through ExtraBold. The default style is fixed-width (and obviously not kerned), but thanks to the \"mono\" axis, you can add kerning and make the design proportional. To contribute, see github.com/sursly/sono.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Sonsie One": { + "name": "Sonsie One", + "designer": [ + "Riccardo De Franceschi" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Foundry: Sorkin Type Co Sonsie One is a heavy, medium contrast, large x-height script font. It was inspired by hand painted signs seen in Munich. Sonsie One improves on its sources by adding warmth, smoother flow and of touch of funkiness. Sonsie One is best used for display purposes at medium to large sizes. Source files are available from Google Code. To contribute to the project contact Eben Sorkin.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Sora": { + "name": "Sora", + "designer": [ + "Jonathan Barnbrook", + "Juli\u00e1n Moncada" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Sora, meaning sky in Japanese, is a typeface family commissioned for the Sora decentralized autonomous economy focused on empowering projects that benefit society. Soramitsu, the developer of Sora, is a Japanese technology company specializing in blockchain development and well-known for creating the first central bank digital currency. Sora typeface was designed to capture Soramitsu's spirit and heritage resulting in a type family with cues of low-resolution aesthetics and early screen typography but without nostalgia, as every decision was considered towards the crisp digital environment of today. The particularly big x-height combined with evidently generous counters turns the family into a convenient tool for app and web interfaces, where clarity and effectiveness at any size is an imperative. To contribute, see github.com/sora-xor/sora-font", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Sorts Mill Goudy": { + "name": "Sorts Mill Goudy", + "designer": [ + "Barry Schwartz" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "A revival of Frederic Goudy's 'Goudy Oldstyle' with Regular and Italic styles, and extended Latin character coverage.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Sour Gummy": { + "name": "Sour Gummy", + "designer": [ + "Stefie Justprince" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "Sour Gummy Font is a fun and playful typeface that was first created in 2018 and has recently been updated to offer even more versatility and style. This font is perfect for adding a touch of whimsy and character to your designs. The letters are designed to look like they are made of bubbles, with rounded edges and a slightly irregular shape that adds to the playful nature of the font. Each letter is also slightly different, with some bubbles larger than others, creating a dynamic and interesting visual effect. The updated version of Sour Gummy Font now includes a full range of uppercase and lowercase letters, as well as numbers, punctuation, and special characters. This means that you can use this font for a wide range of projects, from headlines and logos to body text and social media posts. Whether you're designing a children's book cover, creating a playful logo for a brand, or just want to add a bit of fun to your designs, Product Bubble Font is the perfect choice. Its bold, bubbly letters are sure to catch the eye and bring a smile to your audience's faces. To contribute, see github.com/eifetx/Sour-Gummy-Fonts.", + "minisite_url": null + }, + "Source Code Pro": { + "name": "Source Code Pro", + "designer": [ + "Paul D. Hunt" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "monospace" + ], + "description": "Source Code was designed by Paul D. Hunt as a companion to Source Sans.This complementary family was adapted from the Source design due to a request to create a monospaced version for coding applications. Source Code preserves the design features and vertical proportions of Source Sans, but alters the glyph widths so that they are uniform across all glyphs and weights. Although this family was designed specifically for coding environments, for which a regular weight will typically suffice, Source Code has been made available in the same weight range as the corresponding Source Sans design.Source Code Pro currently supports a wide range of languages using the Latin script, and includes all the characters in the Adobe Latin 4 glyph set. As an open source project, it is expected that incremental updates will be made over time to extend glyph set coverage and functionality. In 2019, we have updated the family to Roman v2.030 and Italic v1.050. This update now supports Greek, Cyrillic, Vietnamese and Italic styles. To contribute, see github.com/adobe-fonts/source-code-pro.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Source Sans 3": { + "name": "Source Sans 3", + "designer": [ + "Paul D. Hunt" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Source\u00ae Sans Pro, Adobe's first open source typeface family, was designed by Paul D. Hunt. It is a sans serif typeface intended to work well in user interfaces. To contribute, see github.com/adobe-fonts/source-sans", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Source Sans Pro": { + "name": "Source Sans Pro", + "designer": [ + "Paul D. Hunt" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Source\u00ae Sans Pro, Adobe's first open source typeface family, was designed by Paul D. Hunt. It is a sans serif typeface intended to work well in user interfaces.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Source Serif 4": { + "name": "Source Serif 4", + "designer": [ + "Frank Grie\u00dfhammer" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Source Serif 4 is a serif typeface in the transitional style, designed to complement the Source Sans 3 family. The close companionship of Serif and Sans is achieved by a careful match of letter proportions and typographic color. Source Serif is loosely based on the work of Pierre Simon Fournier, and many idiosyncrasies typical to Fournier\u2019s designs (like the bottom serif on the b or the middle serif on the w) are also found in Source Serif. Without being a pure historical revival, Source Serif takes cues from Fournier and reworks them for a modern age. Both typeface families have different personalities because they spring from the hands of different designers: Source Serif was designed by Frank Grie\u00dfhammer, Source Sans was designed by Paul Hunt. Robert Slimbach consulted on both designs, which helped maintain the overall family harmony. Either design feels confident on its own but also works in combination with the other \u2014 just like their designers do. Source Serif continues Adobe\u2019s line of high-quality open source typefaces. Designed for a digital environment, the letter shapes are simplified and highly readable. Its historical roots, combined with expert guidance give the typeface a strong character of its own that will shine when used for extended text on paper or screen. Source Serif is an active Open Source project \u2013 if you are interested in contributing, for more information please visit github.com/adobe/source-serif-pro", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Source Serif Pro": { + "name": "Source Serif Pro", + "designer": [ + "Frank Grie\u00dfhammer" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Source Serif Pro is a serif typeface in the transitional style, designed to complement the Source Sans Pro family. The close companionship of Serif and Sans is achieved by a careful match of letter proportions and typographic color. Source Serif is loosely based on the work of Pierre Simon Fournier, and many idiosyncrasies typical to Fournier\u2019s designs (like the bottom serif on the b or the middle serif on the w) are also found in Source Serif. Without being a pure historical revival, Source Serif takes cues from Fournier and reworks them for a modern age. Both typeface families have different personalities because they spring from the hands of different designers: Source Serif was designed by Frank Grie\u00dfhammer, Source Sans was designed by Paul Hunt. Robert Slimbach consulted on both designs, which helped maintain the overall family harmony. Either design feels confident on its own but also works in combination with the other \u2014 just like their designers do. Source Serif continues Adobe\u2019s line of high-quality open source typefaces. Designed for a digital environment, the letter shapes are simplified and highly readable. Its historical roots, combined with expert guidance give the typeface a strong character of its own that will shine when used for extended text on paper or screen. Source Serif is an active Open Source project \u2013 if you are interested in contributing, please visit source-serif-pro on Github for more information.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Space Grotesk": { + "name": "Space Grotesk", + "designer": [ + "Florian Karsten" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Space Grotesk is a proportional sans-serif typeface variant based on Colophon Foundry's fixed-width Space Mono family (2016). Originally designed by Florian Karsten in 2018, Space Grotesk retains the monospace's idiosyncratic details while optimizing for improved readability at non-display sizes. \u2192 floriankarsten.github.io/space-grotesk Space Grotesk includes Latin Vietnamese, Pinyin, and all Western, Central, and South-Eastern European language support, as well as several OpenType features (old-style and tabular figures, superscript and subscript numerals, fractions, stylistic alternates). To contribute, see github.com/floriankarsten/space-grotesk.", + "primary_script": null, + "article": null, + "minisite_url": "https://floriankarsten.github.io/space-grotesk" + }, + "Space Mono": { + "name": "Space Mono", + "designer": [ + "Colophon Foundry" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "monospace" + ], + "description": null, + "primary_script": null, + "article": "Space Mono is an original fixed-width type family designed by Colophon Foundry for Google Design. It supports a Latin Extended glyph set, enabling typesetting for English and other Western European languages. Developed for editorial use in headline and display typography, the letterforms infuse a geometric foundation and grotesque details with qualities often found in headline typefaces of the 1960s (See: Microgramma, Eurostile), many of which have since been co-opted by science fiction films, television, and literature. Typographic features include old-style figures, superscript and subscript numerals, fractions, center-height and cap-height currency symbols, directional arrows, and multiple stylistic alternates. Colophon Foundry is a London and Los Angeles-based digital type foundry established in 2009. Its members comprise Benjamin Critton (US), Edd Harrington (UK), and Anthony Sheret (UK). The foundry's commissioned work in type design is complemented by work in editorial design, publishing, curation, and pedagogy. Visit colophon-foundry.org To contribute ideas and feedback, see github.com/googlefonts/spacemono Introducing Space Mono a monospaced typeface by Colophon Foundry for Google Fonts. As designers of type, we most often find ourselves composing a monospaced (sometimes called a fixed-width, fixed-pitch, or non-proportional) typeface in the service of building out the styles of an accompanying proportional type family or type system. It\u2019s about adapting the proportional type\u2019s forms and rules, and discovering how those letterforms behave within fixed limits to give the face new texture and capability. But what if that constraint was embraced? What if we set out to create a monospaced typeface that wasn\u2019t simply an extension, but rather something unto itself? To learn more, read Introducing Space Mono a new monospaced typeface by Colophon Foundry for Google Fonts.", + "minisite_url": null + }, + "Special Elite": { + "name": "Special Elite", + "designer": [ + "Astigmatic" + ], + "license": "apache2", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Special Elite mimics the Smith Corona Special Elite Type Number NR6 and Remington Noiseless typewriter models. A little bit of inked up grunge and a little old school analog flavor work together to give you a vintage typewriter typeface for your website and designs.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Special Gothic": { + "name": "Special Gothic", + "designer": [ + "Alistair McCready" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Special Gothic is a multi-width sans serif typeface built as a contemporary reimagining of the raw tenacity offered up by early 20th century Gothic type styles. Special Gothic was created for and in collaboration with Special Group to celebrate a monumental 15 years as an internationally renowned design and advertising studio. For the Expanded and Condensed versions, see Special Gothic Expanded and Special Gothic Condensed. To contribute, see github.com/AlistairMcCready/Special-Gothic.", + "minisite_url": null + }, + "Special Gothic Condensed One": { + "name": "Special Gothic Condensed One", + "designer": [ + "Alistair McCready" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Special Gothic is a multi-width sans serif typeface built as a contemporary reimagining of the raw tenacity offered up by early 20th century Gothic type styles. Special Gothic was created for and in collaboration with Special Group to celebrate a monumental 15 years as an internationally renowned design and advertising studio. For the Normal and Expanded versions, see Special Gothic and Special Gothic Expanded. To contribute, see github.com/AlistairMcCready/Special-Gothic.", + "minisite_url": null + }, + "Special Gothic Expanded One": { + "name": "Special Gothic Expanded One", + "designer": [ + "Alistair McCready" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Special Gothic is a multi-width sans serif typeface built as a contemporary reimagining of the raw tenacity offered up by early 20th century Gothic type styles. Special Gothic was created for and in collaboration with Special Group to celebrate a monumental 15 years as an internationally renowned design and advertising studio. For the Normal and Condensed versions, see Special Gothic and Special Gothic Condensed. To contribute, see github.com/AlistairMcCready/Special-Gothic.", + "minisite_url": null + }, + "Spectral": { + "name": "Spectral", + "designer": [ + "Production Type" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Latn", + "article": "Spectral is a new and versatile serif face available in seven weights of roman and italic, with small caps. Spectral offers an efficient, beautiful design that\u2019s intended primarily for text-rich, screen-first environments and long-form reading. Brought to you by Production Type and commissioned by Google Fonts, Spectral is now free to use across Google Docs, Sheets, and Slides, or in any of your projects. To contribute, see github.com/productiontype/spectral Spectral: A New Screen-First Typeface Production Type introduces their latest commission for Google Fonts Spectral is a new and versatile serif face available in seven weights of roman and italic, with small caps. Intended primarily for text-rich, screen-first environments and long-form reading, Spectral is brought to you by Production Type, commissioned by Google Fonts, and free to use across Google Docs, Sheets, and Slides, or in any of your projects. Screen-first typefaces The history of early digital typefaces, though still fairly recent, has already proven that typeface design doesn\u2019t need to reinvent itself because of technical constraints. One only has to look back over the last 20 years to discover work that forged a viable path. Many early digital types (Trinit\u00e9, Demos, Colorado, and Georgia for example) set a powerful example by being unobtrusive, transparent designs that rely on commonly accepted shapes, while remaining innovative and fit-for-purpose. These giants, on whose shoulders Spectral aspires to stand, form a solid set of accomplished, serious designs. To learn more, read Spectral: A New Screen-First Typeface.", + "minisite_url": null + }, + "Spectral SC": { + "name": "Spectral SC", + "designer": [ + "Production Type" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Spectral is a new and versatile serif face available in seven weights of roman and italic, with small caps. Spectral offers an efficient, beautiful design that\u2019s intended primarily for text-rich, screen-first environments and long-form reading. Brought to you by Production Type and commissioned by Google Fonts, Spectral is now free to use across Google Docs, Sheets, and Slides, or in any of your projects. To contribute, see github.com/productiontype/Spectral.", + "primary_script": "Latn", + "article": null, + "minisite_url": null + }, + "Spicy Rice": { + "name": "Spicy Rice", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Casual and exciting, Spicy Rice has a festive flair to it that works for winter holidays as well as summertime jams. The extra heavy letterforms imbued with a little exotic flavor are waiting for you to bring it to the party!", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Spinnaker": { + "name": "Spinnaker", + "designer": [ + "Elena Albertoni" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Foundry: Sorkin Type Co Spinnaker is based on French and UK lettering found on posters for travel by ship. Spinnaker is a low contrast and slightly wide Sans Serif design. It has a whimsy youthful sense of play to offer, in addition to the expected utility that a sans design commonly offers. Spinnaker is suitable for use in medium to large sizes. Updated in January 2012. Source files are available from Google Code. To contribute to the project contact Eben Sorkin.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Spirax": { + "name": "Spirax", + "designer": [ + "Brenda Gallo" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "In geometry, a spirax is a curved line starting from a central point and moving progressively away and around that point. The Spirax font is inspired in this concept, trying to make you feel that you can go away from your starting point but you\u2019ll never be foreign. Spirax has a pronounced contrast and original curves. It can be used for headlines and shorter texts. Spirax is cute at all sizes! Designed by Brenda Gallo and Gustavo Dipre.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Splash": { + "name": "Splash", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Inspired by the splatters that come from a heavily inked architectural ruling pen gliding along the surface of a highly textured watercolor page \u2014 Splash! Just as water droplets splash the ocean\u2019s shore, no two splashes are exactly alike. The result is wonderfully organic and natural. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/splash.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Spline Sans": { + "name": "Spline Sans", + "designer": [ + "Eben Sorkin", + "Mirko Velimirovi\u0107" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Spline Sans is a grotesque sans serif typeface family, purpose-built for UI interfaces, checkout processes, and paragraphs of text. Space efficiency is accomplished by condensing traditional grotesque proportions. The cool and restrained tone is accented with strategic \"thorn\" traps, which blossom into view when set at larger sizes. Spline Sans is an original typeface initiated by the Spline Team, and designed by Eben Sorkin and Mirko Velimirovi\u0107, with project management by Faride Mereb, testing and design feedback by Gon\u00e7alo Teixeira, and concept by Alejandro Le\u00f3n. Spline Sans supports an extended Latin glyph set, enabling the typesetting of English, Western, Central and Eastern European languages. To contribute ideas and feedback, see github.com/SorkinType/SplineSans", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Spline Sans Mono": { + "name": "Spline Sans Mono", + "designer": [ + "Eben Sorkin", + "Mirko Velimirovi\u0107" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "monospace" + ], + "description": "Spline Sans Mono is a Monospaced Grotesque purpose-built for UI interfaces, checkout processes, and programming. The cool and restrained tone is accented with strategic \"thorn\" traps, which blossom into view when set at larger sizes. Spline Sans Mono is an original typeface initiated by the Spline Team and designed by Eben Sorkin and Mirko Velimirovic. Project manager - Faride Mereb. Testing and design feedback - Gon\u00e7alo Teixeira. Concept - Alejandro Le\u00f3n. Spline Sans Mono supports English, and Western European languages. To contribute ideas and feedback, see github.com/SorkinType/SplineSansMono", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Squada One": { + "name": "Squada One", + "designer": [ + "Joe Prince" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Squada One is the perfect font to make a lasting impression on any webpage. Its bold presence and geometric, condensed form allow for setting in any context. Squada One can be used at any size while still maintaining clarity and smoothness.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Square Peg": { + "name": "Square Peg", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "This happy font is great for scrapping and casual situations. Square Peg has a shaky, rough, and almost mono-weight with slightly heavier horizontal strokes. It's hand written style lends itself to situations that require playful and casual themes. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/square-peg.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Sree Krushnadevaraya": { + "name": "Sree Krushnadevaraya", + "designer": [ + "Purushoth Kumar Guttula" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "telugu" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Sree Krushnadevaraya is a Telugu font suitable for headlines, invitations and posters and is best used in large sizes. It is named after the king who encouraged Telugu literature and poetry through his court, Bhuavana-Vijayam. The Telugu is designed and developed by Purushoth Kumar Guttula in 2013 and made available by Silicon Andhra under the SIL Open Font License v1.1. The Latin is designed by Joana Correia da Silva for Sorkin Type Co, a type foundry in Boston USA, and originally published as Cantata One. The Sree Krushnadevaraya project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India. To contribute, see github.com/appajid/sreekrushnadevaraya.", + "primary_script": "Telu", + "article": null, + "minisite_url": null + }, + "Sriracha": { + "name": "Sriracha", + "designer": [ + "Cadson Demak" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "thai", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Sriracha is a new Thai + Latin handwriting typeface, with an informal loopless + sans serif design. It has 2 stylistic set alternate glyph designs and intelligent OpenType features to recreate the impression of handwriting. Thanks to Pablo Impallari for the initial OpenType handwriting feature development. The Sriracha project is led by Cadson Demak, a type foundry in Thailand. To contribute, see github.com/cadsondemak/sriracha", + "primary_script": "Thai", + "article": null, + "minisite_url": null + }, + "Srisakdi": { + "name": "Srisakdi", + "designer": [ + "Cadson Demak" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "thai", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Srisakdi is a Thai and Latin family which was inspired by the Rattanakosin period. Its hand written appearance works well for articles of a retrospective nature.", + "primary_script": "Thai", + "article": null, + "minisite_url": null + }, + "Staatliches": { + "name": "Staatliches", + "designer": [ + "Brian LaRossa", + "Erica Carras" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Staatliches is a clean cut display face with charmingly unconventional proportions. The alphabet was designed in response to Herbert Bayer\u2019s title lettering on the cover of the first Bauhaus exhibition catalogue, which was published in 1923. It features full sets of capitals, numbers, punctuation, and symbols, in addition to alternate widths, discretionary ligatures, and common Latin accents.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Stalemate": { + "name": "Stalemate", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Stalemate is a script of vintage origins but still modern flair. This script exudes confidence and carefree attitude and makes a bold statement in any design. Designed by Jim Lyles for Astigmatic (AOETI). To contribute to the project contact Brian J. Bonislawsky.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Stalinist One": { + "name": "Stalinist One", + "designer": [ + "Alexey Maslov", + "Jovanny Lemonad" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Imagine a post-apocalyptic world in the future. Imagine hiding in the underground: people, dirty air and despair. To transfer information, they still use fonts. But they have become simple, with a utilitarian and strong spirit. Stalinist is typeface for a post-apocalyptic time. Stalinist is a font made in Moscow at the end of the 21st century. That's the way it is. Stalinist One was designed collaboratively between Alexey Maslov and Jovanny Lemonad. Updated September 2015: Internal metadata corrected.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Stardos Stencil": { + "name": "Stardos Stencil", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Stardos is a stencilled serif font designed to be used a display-only webfont. Stardos Stencil has been designed to be used freely across the internet by web browsers on desktop computers, laptops, mobile devices, and Cloud systems. Stardos Stencil is a stencilled serif font designed to be used a display-only webfont. Stardos Stencil has been designed to be used freely across the internet by web browsers on desktop computers, laptops, mobile devices, and Cloud systems.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Stick": { + "name": "Stick", + "designer": [ + "Fontworks Inc." + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "True to its name, Stick is designed with straight lines that create a cute and playful feel. The pastoral ambience also gives this font wide versatility for use in both paper mediums and digital content. To contribute to the project, visit github.com/fontworks-fonts/Stick", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "Stick No Bills": { + "name": "Stick No Bills", + "designer": [ + "Mooniak" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "sinhala" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Stick No Bills is a stencil style typeface supporting Sinhala and Latin scripts. The Latin typeface was first developed by Mooniak as the bespoke brand typeface for Stick No Bills poster gallery in Galle, Sri Lanka. Mooniak in collaboration with Stick No Bills open sourced the project and designed Sinhala glyph set to match the Latin set. The project is led by Mooniak and is hosted and developed on Github Mooniak welcomes suggestions and contributions to further develop the project.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Stint Ultra Condensed": { + "name": "Stint Ultra Condensed", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SLAB_SERIF", + "classifications": [ + "display" + ], + "description": "Stint Ultra Condensed is an ultra condensed square serif typestyle developed based on the letterforms of the Syncopate Family. While Syncopate boasts extra wide unicase forms, Stint Ultra Condensed goes in the exact opposite direction, featuring narrow letterforms of both the capital and lowercase varieties. This is the opposite of the Stint Ultra Expanded typestyle. Highly legible even in this ultra condensed form, Stint Ultra Condensed is a perfect font for getting in as much information as possible into limited realty websites and designs.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Stint Ultra Expanded": { + "name": "Stint Ultra Expanded", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SLAB_SERIF", + "classifications": [ + "display" + ], + "description": "Stint Ultra Expanded is an ultra expanded square serif typestyle developed based on the letterforms of the Syncopate Family. Syncopate boasts extra wide unicase forms, and Stint Ultra Expanded follows this direction, featuring wide letterforms of both the capital and lowercase varieties. This is the opposite of the Stint Ultra Condensed typestyle. Highly legible and matching the Syncopate family width, Stint Ultra Expanded is a perfect font for powerful headlines and copy when realty on websites and designs is less of a concern. To contribute to the project contact Brian J. Bonislawsky at astigma@astigmatic.com", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Stoke": { + "name": "Stoke", + "designer": [ + "Nicole Fally" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Foundry: Sorkin Type Co Stoke is a semi-wide high contrast serifed text typeface. Stoke is inspired by letters found on 20th century UK posters showing an odd combination of seriousness of form and whimsical proportions and details. Stoke's low x height make it most suitable for use at medium to large sizes. Stoke is a Unicode typeface family that supports languages that use the Latin script and its variants, and could be expanded to support other scripts. More specifically, this release supports the following Unicode ranges: Latin-1, Latin-2: Eastern Europe, Turkish, Macintosh Character Set. Stoke was updated in July 2012 with a slightly darker regular weight to allow ttfautohint to create high quality hinting for Windows. The optimization of the design for screen rendering involved changes to glyph sizes, letter spacing, and serif where bends were reduced to solve rendering problem in Windows XP. The character set was also expanded. Source files are available from Google Code. To contribute to the project contact Eben Sorkin.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Strait": { + "name": "Strait", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "When the space available is small, Strait becomes very useful. A great quality condensed typeface that is suitable for both display and text usage, and with excellent reading performance at 12 point size. The February 2023 update features a bigger glyphset, fractions and some minor aesthetic modifications. To contribute, see github.com/etunni/Strait.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Strong": { + "name": "Strong", + "designer": [ + "Gaslight" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Strong is a clean contemporary geometrical sans with humanist proportions. It is designed mainly for headlines, navigation and short blocks of text over 14 px.Its features like splayed terminals and contour inflections improve the overall dymamics of letterforms, which is especially appreciated in Cyrillic script.Designed by Roman Shchyukin from Gaslight.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Style Script": { + "name": "Style Script", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Style Script is a beautiful upright script with looks that vary from Casual to Formal in appearance. It takes the look and simplicity of 1950s and 60s advertising and combines it with up to date design characteristics. With three main stylistic sets, Plain, Script and Formal, Style Script transforms the Retro look into a versatile, and powerful font that can be used for nostalgic work, or 21st Century design. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/style-script.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Stylish": { + "name": "Stylish", + "designer": [ + "AsiaSoft Inc" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "korean" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Stylish is a Korean and Latin font", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "Sue Ellen Francisco": { + "name": "Sue Ellen Francisco", + "designer": [ + "Kimberly Geswein" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Sue Ellen Francisco is a tall, skinny font based on my own handwriting. It was created in Adobe Illustrator, using a Wacom tablet. It is named after a nickname I used for a friend. It is one of my earlier fonts and is imperfect, but I still enjoy the tall, slender lines.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Suez One": { + "name": "Suez One", + "designer": [ + "Michal Sahar" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "hebrew", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Suez One is an original Hebrew and Latin display serif typeface with a single weight. The Hebrew design for a modern serif is inspired by Hebrew calligraphy. It is intended for use in headline and display typography that needs a strong contemporary style. The Suez project is led by Michal Sahar, a type designer based in Tel Aviv, Israel. To contribute, see github.com/MichalSahar/Suez", + "primary_script": "Hebr", + "article": null, + "minisite_url": null + }, + "Sulphur Point": { + "name": "Sulphur Point", + "designer": [ + "Dale Sattler" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Sulphur Point is a geometric sans serif typeface, with low contrast stems, high x-height, restrained ascenders and descenders and minimal optical adjustments away from pure geometric form. Sulphur Point is intended for both display and copy use. The typeface is the result of an exploration of theories of the political production of space as manifested in the port and recreational marine facilities of Sulphur Point in Tauranga, New Zealand. The Sulphur Point project is led by Dale Sattler, a type designer based in New Zealand. To contribute, see github.com/noponies/sulphur-point", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Sumana": { + "name": "Sumana", + "designer": [ + "Cyreal" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Sumana is a family of Latin and Devanagari fonts for text setting and web usage. Designed by Alexei Vanyashin in 2014-2015 for Cyreal. The Latin counterpart is derived from Lora by Olga Karpushina, Cyreal. Its vertical and horizontal metrics are adjusted to better match with the Devanagari. The meaning of Sumana in Sanskrit is flower, which is the meaning of Lora in Spanish. It was quite a challenge to match the graphical characteristics of each script and took many iterations to finalise the first release. I tried to keep the Devanagari closer to a traditional Indian calligraphic model while flavouring it with graphic solutions derived from Lora's Latin. It is my first attempt to design a Devanagari, and I am thankful to Google Fonts for making this project happen, and to all experts who consulted with me on this project, including: Fiona Ross, Eric McLaughlin, Vaishnavi Murthy, Pria Ravichandran, and Wei Huang. The comments and revision history can be found in this discussion in the Google Fonts forum. This project is led by Cyreal, an international type foundry focused on designing contemporary Latin and Cyrillic typefaces. To contribute, visit github.com/cyrealtype/Sumana", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Sunflower": { + "name": "Sunflower", + "designer": [ + "JIKJISOFT" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "korean" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Sunflower is a Korean and Latin font", + "primary_script": "Hang", + "article": null, + "minisite_url": null + }, + "Sunshiney": { + "name": "Sunshiney", + "designer": [ + "Sideshow" + ], + "license": "apache2", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Sunshiney is a little a ray of hand-crafted goodness that can lighten up the dreariest of domains.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Supermercado One": { + "name": "Supermercado One", + "designer": [ + "James Grieshaber" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Foundry: Sorkin Type Co Supermercado One is a low contrast semi geometric typeface inspired by naive industrial letters. Supermercado One is not a typical mechanical sans because it incorporates unexpected swashes, especially in its capitals. Supermercado One is surprisingly versatile: it is certainly quite distinctive when set at larges sizes but it can also work at fairly small sizes and in blocks of text. Source files are available from Google Code. To contribute to the project contact Eben Sorkin.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Sura": { + "name": "Sura", + "designer": [ + "Carolina Giovagnoli" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Sura is a Devanagari typeface family designed by Carolina Giovagnoli. It is based on the original Latin typeface Andada, a serif typeface for text. Andada is a text font with an organic-slab serif, hybrid style, a solid design of medium stroke contrast. This font has received an award at the 2010 Ibero-America Design Biennial. The Biennial was shown in Spain, Argentina, Chile, El Salvador, Uruguay, Bolivia, Colombia and Venezuela. The Sura project is led by Carolina Giovagnoli, a type designer based in Argentina. To contribute, see github.com/CaroGiovagnoli/sura", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Suranna": { + "name": "Suranna", + "designer": [ + "Purushoth Kumar Guttula" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "telugu" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Suranna is a Telugu font developed mainly for the use in news publications. It has a unique shape due its heavy weight at the bottom of letters, and it includes many conjunct glyphs. Suranna is named after the Telugu poet from the court of the king Krishnadevaraya, and was one of the Astadiggajalu (literally eight legends) there. The Telugu is designed and developed by Purushoth Kumar Guttula in 2013 and made available by Silicon Andhra under the SIL Open Font License v1.1. The Latin is designed by Cyreal, a type foundry in Moscow Russia, and originally published as Prata. The Suranna project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India. To contribute, see github.com/appajid/suranna", + "primary_script": "Telu", + "article": null, + "minisite_url": null + }, + "Suravaram": { + "name": "Suravaram", + "designer": [ + "Purushoth Kumar Guttula" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "telugu" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Suravaram is a brush script font, suitable for headings, posters, invitations and anywhere you want to use a handwriting style. It is named after Suravaram Gurajada, whose literature and poetry enriched the Telugu people. The Telugu is designed and developed by Purushoth Kumar Guttula in 2013 and made available by Silicon Andhra under the SIL Open Font License v1.1. The Latin is designed by Vernon Adams and originally published as Tienne. The Suravaram project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India. To contribute, see github.com/appajid/suravaram", + "primary_script": "Telu", + "article": null, + "minisite_url": null + }, + "Suwannaphum": { + "name": "Suwannaphum", + "designer": [ + "Danh Hong" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "khmer", + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Suwannaphum is a Khmer font for body text, that pairs well with Latin serif fonts. To contribute, see github.com/danhhong/Suwannaphum.", + "primary_script": "Khmr", + "article": null, + "minisite_url": null + }, + "Swanky and Moo Moo": { + "name": "Swanky and Moo Moo", + "designer": [ + "Kimberly Geswein" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Swanky and Moo Moo is based on the handwriting of a young mom. I love the uniqueness of the letters and the personality it conveys. The name comes from the writer\u2019s family nicknames.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Syncopate": { + "name": "Syncopate", + "designer": [ + "Astigmatic" + ], + "license": "apache2", + "category": "SANS_SERIF", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Syncopate was designed in 2010 as a headline and display typeface. Light in weight with a wide body width, it is a unicase design where the traditional lowercase x-height has been abandoned and a single uppercase height rules the design of all of the alpha and numeric glyphs. Some uppercase glyphs are copied to their lowercase slots, where other lowercase glyphs such as the a, e, and r, are scaled up to uppercase heights. This motif allows for a vast array of setting possibilities. Though intended for display, Syncopate does work well for limited text runs. The letter forms are a modern and stylish sans serif inspired by the many trendy sans serif typefaces that are so prevalent today. The lighter weight and wide body impart a certain level of elegance, while the unicase approach keeps the look lively and fresh. A true bold was added in April 2011.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Syne": { + "name": "Syne", + "designer": [ + "Bonjour Monde", + "Lucas Descroix", + "George Triantafyllakos" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "greek", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "The Syne family was originally designed in 2017 for the Art Center \"Synesth\u00e9sie\", based in Saint-Denis \u2014 a suburb of Paris. The Art Center aims to gather diverse artistic personalities in order to create new and enriching situations. Based on that idea, Syne is an exploration of atypical associations of weights and styles. Syne Regular is the starting point of the family. It is quite an archetypal geometric sans-serif, giving the art center a practical asset for their daily use. When getting bolder, the typeface also gets wider, forcing radical graphic design choices. Checkout the other two members of this heteroclite family: Syne Mono and Syne Tactile. A Greek script designed by George Triantafyllakos has been added in March 2022. Syne was conceptualized by Bonjour Monde and designed by Lucas Descroix with the help of Arman Mohtadji. To contribute, see gitlab.com/bonjour-monde/fonderie/syne-typeface", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Syne Mono": { + "name": "Syne Mono", + "designer": [ + "Bonjour Monde", + "Lucas Descroix" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "monospace" + ], + "description": "The Syne family was originally designed in 2017 for the Art Center \"Synesth\u00e9sie\", based in Saint-Denis \u2014 a suburb of Paris. The Art Center aims to gather diverse artistic personalities in order to create new and enriching situations. Based on that idea, Syne is an exploration of atypical associations of weights and styles. Syne Mono is another take on letting go of control. Based on Syne Regular, it has been processed by Bonjour Monde\u2019s DataFace tool, automatically switching on-curve points into off-curve ones and vice-versa. Checkout the other two members of this heteroclite family: Syne and Syne Tactile. Syne was conceptualized by Bonjour Monde and designed by Lucas Descroix with the help of Arman Mohtadji. To contribute, see gitlab.com/bonjour-monde/fonderie/syne-typeface", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Syne Tactile": { + "name": "Syne Tactile", + "designer": [ + "Bonjour Monde", + "Lucas Descroix" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "The Syne family was originally designed in 2017 for the Art Center \"Synesth\u00e9sie\", based in Saint-Denis \u2014 a suburb of Paris. The Art Center aims to gather diverse artistic personalities in order to create new and enriching situations. Based on that idea, Syne is an exploration of atypical associations of weights and styles. Syne Tactile shares its x-height and optical weight with Syne Regular. The unusual exercice of trackpad-calligraphy, in association with handwriting models from the Renaissance, gives the font a rough yet flourished look. Checkout the other two members of this heteroclite family: Syne and Syne Mono. Syne was conceptualized by Bonjour Monde and designed by Lucas Descroix with the help of Arman Mohtadji. To contribute, see gitlab.com/bonjour-monde/fonderie/syne-typeface", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Tac One": { + "name": "Tac One", + "designer": [ + "Afrotype", + "Seyi Olusanya", + "Eyiyemi Adegbite", + "David Udoh", + "Mirko Velimirovi\u0107" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "math", + "symbols", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "Tac One is the initial release of a single style, bold weight, sans serif typeface project that is inspired by the wordmark of one of the most significant festivals in Africa's post-colonial history, Festac '77. As a inspired revival, it expands upon the six lowercase letters, single quotes and numeral 7 in the festival's wordmark, and the result is a contemporary font with comprehensive language support for all African languages that are commonly written with the Latin writing system. Tac is the second project from Afrotype. To contribute, see github.com/Afrotype/tac", + "minisite_url": null + }, + "Tagesschrift": { + "name": "Tagesschrift", + "designer": [ + "Yanone" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Tagesschrift (\u201cday-font\u201d) is the result of a one-day type design experiment. It was written with a broad-nib pen, digitized, and adjusted all in a single day. The mixture of the quirky but still traditional appearance of this casual Antiqua suggests Tagesschrift to be used in a broad range of packaging and advertising applications. To contribute, please see github.com/yanone/tagesschrift.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Tai Heritage Pro": { + "name": "Tai Heritage Pro", + "designer": [ + "SIL International" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "tai-viet", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Tavt", + "article": "Tai Heritage Pro is an open source font designed to reflect the traditional hand-written style of the Tai Viet script. The font is Unicode-encoded, based on The Unicode Standard version 5.2 or later, and is available in regular and bold weights, with both OpenType and Graphite rendering. Learn more at software.sil.org/taiheritage. To contribute, see github.com/silnrsi/font-taiheritagepro. SIL International recently released three typefaces for lesser-served writing systems (Tai Viet, Yi, Lepcha) used in Asia. SIL has also created Andika, which is specially designed to maximize legibility for new readers. SIL and lesser-served languages SIL International has a team of type designers who specialize in creating typefaces for lesser-served or non-dominant language communities. These are communities that exist alongside larger, more prominent language communities such as Chinese, English, or Arabic. These relatively smaller communities may have their own script, or they may have sounds in their language that are not represented in the script used by the majority language. Some non-dominant languages are endangered. According to UNESCO, about 40% of the estimated 7,000 languages are at risk of extinction. Without typefaces, these language communities can't survive online. To learn more, read New SIL Typefaces: Expanding type for legibility and lesser-served languages", + "minisite_url": null + }, + "Tajawal": { + "name": "Tajawal", + "designer": [ + "Boutros Fonts", + "Mourad Boutros", + "Soulaf Khalifeh" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "arabic", + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Tajawal is a distinctive low contrast Arabic and sans serif Latin typeface family in 7 weights was created and designed by Boutros\u2122 following a modern geometric style while still respecting the calligraphy rules of the Arabic script. Its fluid geometry makes it the perfect choice to use in both print and web applications, and alongside other Latin typefaces. To contribute, see github.com/googlefonts/tajawal", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Tangerine": { + "name": "Tangerine", + "designer": [ + "Toshi Omagari" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Tangerine is a calligraphic typeface inspired by many italic chancery hands from the 16th and 17th centuries. Its tall ascender, the most distinct characteristic of this type, takes a wide line space between lines and gives a graceful texture. Use Tangerine for titles or short texts at large sizes because of the short height of lowercase letters. Tangerine was named after a woman who encouraged Toshi to begin this work.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Tapestry": { + "name": "Tapestry", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Tapestry is a Roman calligraphic family with a slight rustic and country appearance. Its thick and thin strokes emulate the strokes of a flat nib pen. The capital letters are inspired by Roman serif forms, whilst the extra thin movements in the lowercase letters compliment the capitals and allows Tapestry to dance on the page. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/tapestry.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Taprom": { + "name": "Taprom", + "designer": [ + "Danh Hong", + "Neapolitan" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "khmer", + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Taprom is a Khmer font for body text. The Khmer design is inspired by a popular style of Khmer handwriting letterforms. The Latin design is a copy of Seaweed Script, by Neapolitan. To contribute, see github.com/danhhong/Taprom.", + "primary_script": "Khmr", + "article": null, + "minisite_url": null + }, + "Tauri": { + "name": "Tauri", + "designer": [ + "Yvonne Sch\u00fcttler" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Foundry: Sorkin Type Co Tauri is a semi condensed sans typeface with a sense of restraint, clarity and rigor. Tauri's unique qualities do not shout and instead emerge slowly and organically as it is used. Tauri is useful from small to medium sizes but has enough subtle detail to be used at large sizes as well if it is more tightly spaced. Source files are available from Google Code. To contribute to the project contact Eben Sorkin.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Taviraj": { + "name": "Taviraj", + "designer": [ + "Cadson Demak" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "thai", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Taviraj is a serif Latin and looped Thai typeface that has a wide structure that ensures readability and legibility. It is well-suited for formal usage. Thai letters have thick and thin strokes, similar to the Latin, together with rounded and airy looped terminals. Taviraj is a 9 weight family that includes italics. Taviraj is a Thai word that refers to the last two kings of Krungsri Ayutthaya, the former capital of Thailand. People also metaphorically refer to Taviraj as the fall of a dynasty, and that is the reason why it appeared in the poem written by King Rama V regarding the situation of Siam being threatened by French expansionism, with his majesty expressing his sorrow towards the possibility of the end of his era. A traditional Thai style of typeface is called \u201cfarangses,\u201d which means french, and Taviraj is in this genre. This contradiction highlights its origin. A similarity between some glyphs such as \u0e01 \u0e16 \u0e20 \u0e24 \u0e26 and \u0e0e \u0e0f is something to take into consideration because it might lead to confusion when typesetting very short texts. Taviraj takes a specific approach when dealing with the thick and thin strokes of Thai glyphs. Other type designers of Thai fonts may like to use this approach as a reference. Formal looped Thai typefaces have delicate details so care must be taken when expanding them to heavier weights, to retain all the details. The size and position of Thai vowel and tone marks has been managed carefully because they are all relevant to readability, legibility, and overall texture. The Taviraj project is led by Cadson Demak, a type foundry in Thailand. To contribute, see github.com/cadsondemak/taviraj", + "primary_script": "Thai", + "article": null, + "minisite_url": null + }, + "Teachers": { + "name": "Teachers", + "designer": [ + "Alfredo Marco Pradil", + "Chank Diesel" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "greek-ext", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "The Teachers font is an educational font family created for use by publishers, teachers, students, and parents of children in grades K through 6. It is a clean geometric sans serif font intended to represent the letterforms of the alphabet as American children are taught to draw them in grade school. The font family was thoughtfully brought to life by a team of educators, designers and editors in 2023 for use in magazines and books, but is also well suited for class worksheets, newsletters, websites and other instructional and educational purposes. The Teachers font comes in 8 styles: Regular, SemiBold, Bold, and ExtraBold, with Italics. It is also available in variable font format with an adjustable weight axis, allowing designers more control over the font's display. The Teachers fonts and refined character sets were assembled by font designer Chank Diesel, making edits and updates to the previously existing opensource fonts Glacial Indifference (Regular and Bold) by Alfredo Marco Pradil of Hanken Design Co. To contribute, see github.com/chankfonts/Teachers-fonts.", + "minisite_url": null + }, + "Teko": { + "name": "Teko", + "designer": [ + "Indian Type Foundry" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Teko is an Open Source typeface that currently supports the Devanagari and Latin scripts. This font family has been created for use in headlines and other display-sized text on screen. Five font styles make up the initial release. Display families with extensive character sets are rare for any script. With Indian typefaces, however, large character sets are even less common. ITF\u2019s designs are an exception. The Teko typeface features letterforms with low stroke contrast, square proportions and a structure that appears visually simple. The Regular, Medium and Semibold fonts are recommended for use in long headlines, while Bold is intended primarily for setting just one or two words. The Light is a beautiful variant that may be put to exceptionally good use in large headlines on websites. At display sizes, Teko works equally well on screen or in print. Each font contains 1090 glyphs, offering full support for the conjuncts and ligatures required by languages written with the Devanagari script. Teko is an excellent choice for use in advertising or for news tickers on television screens (breaking news, etc.) Manushi Parikh designed the Teko typeface for the Indian Type Foundry, who published it in 2014. In 2023, Marc Foley converted the family to a variable font. To contribute, see github.com/googlefonts/teko.", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Tektur": { + "name": "Tektur", + "designer": [ + "Adam Jagosz" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Tektur is a constructed typeface featuring octagonal outlines and rectangular counters. This rudimentary principle is applied where rounds are typically found, but most of the diagonals are left intact which helps preserve good readability and a familiar stance. The x-height is set high and ascenders are aligned with the cap height allowing for compact typesetting. To contribute, see github.com/hyvyys/Tektur", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Telex": { + "name": "Telex", + "designer": [ + "Huerta Tipogr\u00e1fica" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Telex is a humanist sans serif conceived to be a web font with nice legibility at normal text sizes. Originally based on grid fitting shapes it became a multi-purpose typeface with low contrast, open counter forms, wide proportions and a touch of freshness. Designed by Andr\u00e9s Torresi for Huerta Tipogr\u00e1fica.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Tenali Ramakrishna": { + "name": "Tenali Ramakrishna", + "designer": [ + "Appaji Ambarisha Darbha" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "telugu" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Tenali Ramakrishna is an Open Source typeface developed for use in news publications and is suitable for text, headings, posters, and invitations. The Telugu is designed by Appaji Ambarisha Darbha in 2013 and made available by Silicon Andhra under the SIL Open Font License v1.1. The Latin is designed by Wojciech Kalinowski and originally published as Classica. The Tenali Ramakrishna project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India. To contribute, see github.com/appajid/tenaliramakrishna", + "primary_script": "Telu", + "article": null, + "minisite_url": null + }, + "Tenor Sans": { + "name": "Tenor Sans", + "designer": [ + "Denis Masharov" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Tenor Sans is a humanist sans-serif typeface designed by Denis Masharov. Intended for the setting of body text, it can also be applied to headlines. Optimized for print and web, it has excellent legibility characteristics in its letterforms. It contains an extended Latin and extended Cyrillic alphabets, Western and Central European, Cyrillic, Turkish, Baltic, Icelandic and Celtic.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Text Me One": { + "name": "Text Me One", + "designer": [ + "Julia Petretta" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Text Me One is a monolinear font that plays with the shapes of open counters and un-connecting lines. A relatively large x-height and prominent in-strokes and out-strokes aid legibility. Its flavour is playful, with a hint of pop, and is ideal for large format lettering or continuous body text. To contribute to the project contact Julia Petretta.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Texturina": { + "name": "Texturina", + "designer": [ + "Guillermo Torres", + "Omnibus-Type" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Texturina is a highly applicable typeface with the richness of Blackletter, yet maintaining fluidity by combining broken and softened curves. Texturina is designed by Guillermo Torres. To contribute, see github.com/Omnibus-Type/Texturina.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Thabit": { + "name": "Thabit", + "designer": [ + "Khaled Hosny" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "arabic", + "latin" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Thabit (from Arabic \u062b\u0627\u0628\u062a; fixed) is a fixed-width OpenType font family that supports Arabic script. It is developed by Arabeyes.org as part of the Khotot project by Khaled Hosny", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Thasadith": { + "name": "Thasadith", + "designer": [ + "Cadson Demak" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "thai", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Thasadith is a Thai and Latin family. It's a humanist sans serif with rounded corners. It was originally developed as part of the Srisakdi family.", + "primary_script": "Thai", + "article": null, + "minisite_url": null + }, + "The Girl Next Door": { + "name": "The Girl Next Door", + "designer": [ + "Kimberly Geswein" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "'the girl next door' is based on the handwriting of a middle school geography teacher. From her personality to her handwriting, she is the typical girl next door - she puts you at ease in every situation and is perfectly comfortable and confident in who she is. Her handwriting reflects that and is readable, neat, and yet comfortable and welcoming.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "The Nautigal": { + "name": "The Nautigal", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Inspired by the hand lettering design for a friend\u2019s yacht, this contemporary script style, The Nautigal is fluid yet formal with beautiful connectors. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/the-nautigal.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Tienne": { + "name": "Tienne", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Tienne is a display and text serif webfont designed to be used freely across the internet by web browsers on desktop computers, laptops and mobile devices. It was designed by 'remixing' Droid Serif and Artifika, two other fonts in the Google Font Directory that are available under the SIL Open Font License which allows for remixing fonts with interpolation techniques.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Tillana": { + "name": "Tillana", + "designer": [ + "Indian Type Foundry" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Tillana is a refreshingly informal family of typefaces for Devanagari and Latin. The fonts were first published by the Indian Type Foundry as an open source project in 2014. Coming in at 1,021 glyphs per weight, Tillana has all of the characters necessary to set a variety of European languages, as well as Indian languages like Hindi, Marathi, Nepali, and more. The Tillana family includes five styles, which range in weight from Regular through Extra Bold. Tillana\u2019s Latin do not connect; this part of the family is a non-joining script type. The Devanagari part is one of the few \u201ctrue cursive\u201d designs currently available for the script. Characters from both writing systems appear as if they were fluidly handwritten, particularly the Devanagari. Tillana\u2019s letterforms are slanted at a 10 degree angle. The strokes are show visible contrast, and the dynamic counter forms are one of the design\u2019s most prominent features. The forms involve many loops and hooks and most of the knots are loops rather than closed, black forms. All vertical strokes in both scripts have swelling at their tops and bottoms, and the Devanagari characters\u2019 central vertical strokes almost always break through the headline. Handwriting artefacts are present in the Latin letters, too, such as hook on the descender of the lowercase q. Tillana\u2019s Devanagari base character height falls vertically between the Latin upper and lowercase letter heights. The Latin characters have a small x-height and long ascenders and descenders. Lipi Raval designed the Devanagari components of Tillana, and worked together with Jonny Pinhorn on the Latin. This project is led by Indian Type Foundry, a type foundry based in Ahmedabad, Gujurat, India, who design contemporary Indian typeface families. To contribute, see github.com/itfoundry/tillana", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Tilt Neon": { + "name": "Tilt Neon", + "designer": [ + "Andy Clymer" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "Tilt is a family of type inspired by the dimensional lettering found in storefront signage. It\u2019s comprised of three related variable font styles that you might find in a shop window \u2014 Tilt Neon, Tilt Prism, and Tilt Warp. All three are based around the same letter model of a sign painter\u2019s geometric sans serif, similar to the typefaces Futura or Avant Garde, but with the kinds of details you might expect to see when the letter is built up with a brush. The three styles are designed and built as variable fonts. They allow users to rotate the orientation of their glyphs with \u201cRotation in X\u201d and \u201cRotation in Y\u201d axes. The rotation is limited to \u00b145\u00b0 so that the letterforms never rotate past a readable range. To contribute, see github.com/googlefonts/Tilt-Fonts. The most common axes used in variable fonts are Italic, Optical Size, Slant, Weight, and Width. And while you can sometimes get creative at the extremes of these axes, they're more often used to finesse type. For example, with Weight, you don't have to settle on what the type designer designated as the Bold style, you can tweak it to be a bit lighter or heavier so it's perfect for you. Variable fonts also open up many possibilities for creative expression! And Google Fonts is adding a bunch of fonts to your palette with new axes to get your juices flowing. First up are the Tilt fonts by Andy Clymer, Tilt Neon, Tilt Prism, and Tilt Warp: Initially sparked by the experience of seeing a neon sign from the side, Clymer was inspired to create fonts that allow the orientation of their glyphs to be rotated horizontally and vertically. \"With variable fonts, I thought it was kind of amazing how the physical form of a common sans-serif could inadvertently blend into something that looked like graffiti lettering,\" says Clymer. All three fonts are takes on dimensional storefront signage and are controlled by Rotation in X (HROT), and Rotation in Y (VROT) variable axes. The rotation is limited to \u00b145\u00b0 so that the letterforms are always within a readable range. To learn more, visit:Get ready for a windfall of new axes, starting with Tilt Neon, Tilt Prism, and Tilt Warp Tilt minisite", + "minisite_url": "https://fonts.withgoogle.com/tilt" + }, + "Tilt Prism": { + "name": "Tilt Prism", + "designer": [ + "Andy Clymer" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "Tilt is a family of type inspired by the dimensional lettering found in storefront signage. It\u2019s comprised of three related variable font styles that you might find in a shop window \u2014 Tilt Neon, Tilt Prism, and Tilt Warp. All three are based around the same letter model of a sign painter\u2019s geometric sans serif, similar to the typefaces Futura or Avant Garde, but with the kinds of details you might expect to see when the letter is built up with a brush. The three styles are designed and built as variable fonts. They allow users to rotate the orientation of their glyphs with \u201cRotation in X\u201d and \u201cRotation in Y\u201d axes. The rotation is limited to \u00b145\u00b0 so that the letterforms never rotate past a readable range. To contribute, see github.com/googlefonts/Tilt-Fonts. The most common axes used in variable fonts are Italic, Optical Size, Slant, Weight, and Width. And while you can sometimes get creative at the extremes of these axes, they're more often used to finesse type. For example, with Weight, you don't have to settle on what the type designer designated as the Bold style, you can tweak it to be a bit lighter or heavier so it's perfect for you. Variable fonts also open up many possibilities for creative expression! And Google Fonts is adding a bunch of fonts to your palette with new axes to get your juices flowing. First up are the Tilt fonts by Andy Clymer, Tilt Neon, Tilt Prism, and Tilt Warp: Initially sparked by the experience of seeing a neon sign from the side, Clymer was inspired to create fonts that allow the orientation of their glyphs to be rotated horizontally and vertically. \"With variable fonts, I thought it was kind of amazing how the physical form of a common sans-serif could inadvertently blend into something that looked like graffiti lettering,\" says Clymer. All three fonts are takes on dimensional storefront signage and are controlled by Rotation in X (HROT), and Rotation in Y (VROT) variable axes. The rotation is limited to \u00b145\u00b0 so that the letterforms are always within a readable range. To learn more, visit:Get ready for a windfall of new axes, starting with Tilt Neon, Tilt Prism, and Tilt Warp Tilt minisite", + "minisite_url": "https://fonts.withgoogle.com/tilt" + }, + "Tilt Warp": { + "name": "Tilt Warp", + "designer": [ + "Andy Clymer" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "Tilt is a family of type inspired by the dimensional lettering found in storefront signage. It\u2019s comprised of three related variable font styles that you might find in a shop window \u2014 Tilt Neon, Tilt Prism, and Tilt Warp. All three are based around the same letter model of a sign painter\u2019s geometric sans serif, similar to the typefaces Futura or Avant Garde, but with the kinds of details you might expect to see when the letter is built up with a brush. The three styles are designed and built as variable fonts. They allow users to rotate the orientation of their glyphs with \u201cRotation in X\u201d and \u201cRotation in Y\u201d axes. The rotation is limited to \u00b145\u00b0 so that the letterforms never rotate past a readable range. To contribute, see github.com/googlefonts/Tilt-Fonts. The most common axes used in variable fonts are Italic, Optical Size, Slant, Weight, and Width. And while you can sometimes get creative at the extremes of these axes, they're more often used to finesse type. For example, with Weight, you don't have to settle on what the type designer designated as the Bold style, you can tweak it to be a bit lighter or heavier so it's perfect for you. Variable fonts also open up many possibilities for creative expression! And Google Fonts is adding a bunch of fonts to your palette with new axes to get your juices flowing. First up are the Tilt fonts by Andy Clymer, Tilt Neon, Tilt Prism, and Tilt Warp: Initially sparked by the experience of seeing a neon sign from the side, Clymer was inspired to create fonts that allow the orientation of their glyphs to be rotated horizontally and vertically. \"With variable fonts, I thought it was kind of amazing how the physical form of a common sans-serif could inadvertently blend into something that looked like graffiti lettering,\" says Clymer. All three fonts are takes on dimensional storefront signage and are controlled by Rotation in X (HROT), and Rotation in Y (VROT) variable axes. The rotation is limited to \u00b145\u00b0 so that the letterforms are always within a readable range. To learn more, visit:Get ready for a windfall of new axes, starting with Tilt Neon, Tilt Prism, and Tilt Warp Tilt minisite", + "minisite_url": "https://fonts.withgoogle.com/tilt" + }, + "Timmana": { + "name": "Timmana", + "designer": [ + "Appaji Ambarisha Darbha" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "telugu" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Timmana is a Telugu display typeface, mainly suitable for headings, posters and decorative invitations. As a web font it should be used in very large pixel sizes, while in print the design may be used in a broader range of sizes, perhaps even as small as at 16pt. Designed by Appaji Ambarisha Darbha in 2013 and made available by Silicon Andhra under the SIL Open Font License v1.1. The Timmana project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India. To contribute, see github.com/appajid/timmana", + "primary_script": "Telu", + "article": null, + "minisite_url": null + }, + "Tinos": { + "name": "Tinos", + "designer": [ + "Steve Matteson" + ], + "license": "apache2", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "hebrew", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Tinos was designed by Steve Matteson as an innovative, refreshing serif design that is metrically compatible with Times New Roman\u2122. Tinos offers improved on-screen readability characteristics and the pan-European WGL character set and solves the needs of developers looking for width-compatible fonts to address document portability across platforms. Updated in May 2013 with improved hinting and released under the Apache 2.0 license.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Tiny5": { + "name": "Tiny5", + "designer": [ + "Stefan Schmidt" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "tiny5 is a variable-width, 5-pixel font playing with the concept of least amount of information while producing both legible and aesthetically pleasing text. It is inspired by the graphing calculators and digital gadgets of the 1980s-90s, where the constraints of limited pixel space demanded efficient and minimalist design. It can be used for invoking a retro or nostalgic feel, for conveying the idea of minimalism, or for efficiently presenting information on small displays. tiny5 supports the Google Fonts Latin Kernel, Latin Core, Latin Plus, Latin African, Greek Core, Cyrillic Core and Cyrillic Plus character set. To contribute, see github.com/Gissio/font_tiny5.", + "minisite_url": null + }, + "Tiro Bangla": { + "name": "Tiro Bangla", + "designer": [ + "Tiro Typeworks", + "John Hudson", + "Fiona Ross", + "Neelakash Kshetrimayum" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "bengali", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Beng", + "article": "Tiro Bangla has its origins in a typeface designed for the Murty Classical Library of India book series, so is especially suited to traditional literary publishing but also made with the needs of today\u2019s multiple print and screen media in mind. The design follows manuscript traditions of letterform construction, and was inspired by the proportions and overall texture of handset metal type used by leading Kolkata publishing houses in pre-mechanical typography. For the Open Font License release, Tiro Bangla has been extended to support additional characters, and features a new italic companion. Each font also includes a Latin subset including diacritics for transcription of Indian languages. Tiro Bangla was designed by John Hudson and Fiona Ross. The italic was adapted by Neelakash Kshetrimayum. To contribute, see github.com/TiroTypeworks/Indigo. Modern Tiro Indic collection for classical South Asian texts The beauty and challenges of bridging the old and the new Two type designers separated by an eight-hour time difference, an ocean, and pandemic travel bans collaborated over video calls and email to make a cohesive set of fonts in 8 South Asian languages. In 2012, Harvard University Press commissioned Fiona Ross and John Hudson, through Tiro Typeworks, to design typefaces for the Murty Classical Library of India book series. The publisher needed to reprint ancient Indian literary, historical, and religious texts, including Vedic and early Sanskrit works. Since these old texts had been printed using traditional letterforms and early Indian typography techniques, the new fonts needed to retain some of the traditional style of the old texts, yet be clear and legible in modern print and digital media. In 2019 Google Fonts approached Tiro to make an extended and updated version of the Murty Fonts to be released as open source fonts in the Tiro Indic collection, offering users traditional text styles suitable for a variety of uses. Study the classics and language structure Before designing the typefaces, it was important to research classical texts and understand the unique characteristics of the languages. \u201cWe looked at very lovely manuscripts or early Indian printed materials from the 18th or 19th Centuries,\u201d said John Hudson. To learn more, read Modern Tiro Indic collection for classical South Asian texts.", + "minisite_url": null + }, + "Tiro Devanagari Hindi": { + "name": "Tiro Devanagari Hindi", + "designer": [ + "Tiro Typeworks", + "John Hudson", + "Fiona Ross", + "Paul Hanslow" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Deva", + "article": "Tiro Devanagari Hindi has its origins in a typeface designed for the Murty Classical Library of India book series, so is especially suited to traditional literary publishing but also made with the needs of today\u2019s multiple print and screen media in mind. The Tiro Devanagari design applies a contemporary approach to the traditional styling of 19th and 20th Century metal types exemplified in those of the renowned Nirnaya Sagar Press, and is characterised by broader proportions, more generous counters, and strong diagonal strokes and terminals. The Hindi font balances traditional and modern forms of conjuncts. For the Open Font License release, Tiro Devanagari Hindi has been extended to support additional characters, and features a new italic companion. Each font also includes a Latin subset including diacritics for transcription of Indian languages. Tiro Devanagari Hindi was designed by John Hudson and Fiona Ross. The italic was adapted by Paul Hanslow. To contribute, see github.com/TiroTypeworks/Indigo. Modern Tiro Indic collection for classical South Asian texts The beauty and challenges of bridging the old and the new Two type designers separated by an eight-hour time difference, an ocean, and pandemic travel bans collaborated over video calls and email to make a cohesive set of fonts in 8 South Asian languages. In 2012, Harvard University Press commissioned Fiona Ross and John Hudson, through Tiro Typeworks, to design typefaces for the Murty Classical Library of India book series. The publisher needed to reprint ancient Indian literary, historical, and religious texts, including Vedic and early Sanskrit works. Since these old texts had been printed using traditional letterforms and early Indian typography techniques, the new fonts needed to retain some of the traditional style of the old texts, yet be clear and legible in modern print and digital media. In 2019 Google Fonts approached Tiro to make an extended and updated version of the Murty Fonts to be released as open source fonts in the Tiro Indic collection, offering users traditional text styles suitable for a variety of uses. Study the classics and language structure Before designing the typefaces, it was important to research classical texts and understand the unique characteristics of the languages. \u201cWe looked at very lovely manuscripts or early Indian printed materials from the 18th or 19th Centuries,\u201d said John Hudson. To learn more, read Modern Tiro Indic collection for classical South Asian texts.", + "minisite_url": null + }, + "Tiro Devanagari Marathi": { + "name": "Tiro Devanagari Marathi", + "designer": [ + "Tiro Typeworks", + "John Hudson", + "Fiona Ross", + "Paul Hanslow" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Deva", + "article": "Tiro Devanagari Marathi has its origins in a typeface designed for the Murty Classical Library of India book series, so is especially suited to traditional literary publishing but also made with the needs of today\u2019s multiple print and screen media in mind. The Tiro Devanagari design applies a contemporary approach to the traditional styling of 19th and 20th Century metal types exemplified in those of the renowned Nirnaya Sagar Press, and is characterised by broader proportions, more generous counters, and strong diagonal strokes and terminals. The Marathi font favours traditional, vertical forms of many conjuncts as still found in Marathi literary publishing. For the Open Font License release, Tiro Devanagari Marathi has been extended to support additional characters, and features a new italic companion. Each font also includes a Latin subset including diacritics for transcription of Indian languages. Tiro Devanagari Marathi was designed by John Hudson and Fiona Ross. The italic was adapted by Paul Hanslow. To contribute, see github.com/TiroTypeworks/Indigo. Modern Tiro Indic collection for classical South Asian texts The beauty and challenges of bridging the old and the new Two type designers separated by an eight-hour time difference, an ocean, and pandemic travel bans collaborated over video calls and email to make a cohesive set of fonts in 8 South Asian languages. In 2012, Harvard University Press commissioned Fiona Ross and John Hudson, through Tiro Typeworks, to design typefaces for the Murty Classical Library of India book series. The publisher needed to reprint ancient Indian literary, historical, and religious texts, including Vedic and early Sanskrit works. Since these old texts had been printed using traditional letterforms and early Indian typography techniques, the new fonts needed to retain some of the traditional style of the old texts, yet be clear and legible in modern print and digital media. In 2019 Google Fonts approached Tiro to make an extended and updated version of the Murty Fonts to be released as open source fonts in the Tiro Indic collection, offering users traditional text styles suitable for a variety of uses. Study the classics and language structure Before designing the typefaces, it was important to research classical texts and understand the unique characteristics of the languages. \u201cWe looked at very lovely manuscripts or early Indian printed materials from the 18th or 19th Centuries,\u201d said John Hudson. To learn more, read Modern Tiro Indic collection for classical South Asian texts.", + "minisite_url": null + }, + "Tiro Devanagari Sanskrit": { + "name": "Tiro Devanagari Sanskrit", + "designer": [ + "Tiro Typeworks", + "John Hudson", + "Fiona Ross", + "Paul Hanslow" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Deva", + "article": "Tiro Devanagari Sanskrit has its origins in a typeface designed for the Murty Classical Library of India book series, so is especially suited to traditional literary publishing but also made with the needs of today\u2019s multiple print and screen media in mind. The Tiro Devanagari design applies a contemporary approach to the traditional styling of 19th and 20th Century metal types exemplified in those of the renowned Nirnaya Sagar Press, and is characterised by broader proportions, more generous counters, and strong diagonal strokes and terminals. The Sanskrit font favours traditional forms of conjuncts. For the Open Font License release, Tiro Devanagari Sanskrit has been extended to support additional characters, including signs for Vedic texts, and features a new italic companion. Each font also includes a Latin subset including diacritics for transcription of Indian languages. Tiro Devanagari Sanskrit was designed by John Hudson and Fiona Ross. The italic was adapted by Paul Hanslow. To contribute, see github.com/TiroTypeworks/Indigo. Modern Tiro Indic collection for classical South Asian texts The beauty and challenges of bridging the old and the new Two type designers separated by an eight-hour time difference, an ocean, and pandemic travel bans collaborated over video calls and email to make a cohesive set of fonts in 8 South Asian languages. In 2012, Harvard University Press commissioned Fiona Ross and John Hudson, through Tiro Typeworks, to design typefaces for the Murty Classical Library of India book series. The publisher needed to reprint ancient Indian literary, historical, and religious texts, including Vedic and early Sanskrit works. Since these old texts had been printed using traditional letterforms and early Indian typography techniques, the new fonts needed to retain some of the traditional style of the old texts, yet be clear and legible in modern print and digital media. In 2019 Google Fonts approached Tiro to make an extended and updated version of the Murty Fonts to be released as open source fonts in the Tiro Indic collection, offering users traditional text styles suitable for a variety of uses. Study the classics and language structure Before designing the typefaces, it was important to research classical texts and understand the unique characteristics of the languages. \u201cWe looked at very lovely manuscripts or early Indian printed materials from the 18th or 19th Centuries,\u201d said John Hudson. To learn more, read Modern Tiro Indic collection for classical South Asian texts.", + "minisite_url": null + }, + "Tiro Gurmukhi": { + "name": "Tiro Gurmukhi", + "designer": [ + "Tiro Typeworks", + "John Hudson", + "Fiona Ross", + "Paul Hanslow" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "gurmukhi", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Guru", + "article": "Tiro Gurmukhi has its origins in a typeface designed for the Murty Classical Library of India book series, so is especially suited to traditional literary publishing but also made with the needs of today\u2019s multiple print and screen media in mind. The design reintroduces the stroke modulation of traditional Punjabi manuscript styles that is absent from the monolinear typefaces that became conventional for the script in the 20th Century. This gives Tiro Gurmukhi a strong traditional flavour while also something fresh in the context of modern typography. For the Open Font License release, Tiro Gurmukhi has been extended to support additional characters, and features a new italic companion. Each font also includes a Latin subset including diacritics for transcription of Indian languages. Tiro Gurmukhi was designed by John Hudson and Fiona Ross. The italic was adapted by Paul Hanslow. To contribute, see github.com/TiroTypeworks/Indigo. Modern Tiro Indic collection for classical South Asian texts The beauty and challenges of bridging the old and the new Two type designers separated by an eight-hour time difference, an ocean, and pandemic travel bans collaborated over video calls and email to make a cohesive set of fonts in 8 South Asian languages. In 2012, Harvard University Press commissioned Fiona Ross and John Hudson, through Tiro Typeworks, to design typefaces for the Murty Classical Library of India book series. The publisher needed to reprint ancient Indian literary, historical, and religious texts, including Vedic and early Sanskrit works. Since these old texts had been printed using traditional letterforms and early Indian typography techniques, the new fonts needed to retain some of the traditional style of the old texts, yet be clear and legible in modern print and digital media. In 2019 Google Fonts approached Tiro to make an extended and updated version of the Murty Fonts to be released as open source fonts in the Tiro Indic collection, offering users traditional text styles suitable for a variety of uses. Study the classics and language structure Before designing the typefaces, it was important to research classical texts and understand the unique characteristics of the languages. \u201cWe looked at very lovely manuscripts or early Indian printed materials from the 18th or 19th Centuries,\u201d said John Hudson. To learn more, read Modern Tiro Indic collection for classical South Asian texts.", + "minisite_url": null + }, + "Tiro Kannada": { + "name": "Tiro Kannada", + "designer": [ + "Tiro Typeworks", + "John Hudson", + "Fiona Ross", + "Kaja S\u0142ojewska" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "kannada", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Knda", + "article": "Tiro Kannada has its origins in a typeface designed for the Murty Classical Library of India book series, so is especially suited to traditional literary publishing but also made with the needs of today\u2019s multiple print and screen media in mind. The design takes inspiration from several sources: the crisp, open counters of the 19th Century types of the renowned Basel Mission Press; the styling of ligatures in types of the Gujarat Type Foundry from the 1930s; and the dynamic stroke angles of unattributed types found in a 20th Century Kannada textbook. Tiro Kannada features generously proportioned subscript letters for enhanced legibility. For the Open Font License release, Tiro Kannada has been extended to support additional characters, and features a new italic companion. Each font also includes a Latin subset including diacritics for transcription of Indian languages. Tiro Kannada was designed by John Hudson and Fiona Ross. The italic was adapted by Kaja S\u0142ojewska. To contribute, see github.com/TiroTypeworks/Indigo. Modern Tiro Indic collection for classical South Asian texts The beauty and challenges of bridging the old and the new Two type designers separated by an eight-hour time difference, an ocean, and pandemic travel bans collaborated over video calls and email to make a cohesive set of fonts in 8 South Asian languages. In 2012, Harvard University Press commissioned Fiona Ross and John Hudson, through Tiro Typeworks, to design typefaces for the Murty Classical Library of India book series. The publisher needed to reprint ancient Indian literary, historical, and religious texts, including Vedic and early Sanskrit works. Since these old texts had been printed using traditional letterforms and early Indian typography techniques, the new fonts needed to retain some of the traditional style of the old texts, yet be clear and legible in modern print and digital media. In 2019 Google Fonts approached Tiro to make an extended and updated version of the Murty Fonts to be released as open source fonts in the Tiro Indic collection, offering users traditional text styles suitable for a variety of uses. Study the classics and language structure Before designing the typefaces, it was important to research classical texts and understand the unique characteristics of the languages. \u201cWe looked at very lovely manuscripts or early Indian printed materials from the 18th or 19th Centuries,\u201d said John Hudson. To learn more, read Modern Tiro Indic collection for classical South Asian texts.", + "minisite_url": null + }, + "Tiro Tamil": { + "name": "Tiro Tamil", + "designer": [ + "Tiro Typeworks", + "Fernando Mello", + "Fiona Ross", + "Kaja S\u0142ojewska" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "tamil" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Taml", + "article": "Tiro Tamil has its origins in a typeface designed for the Murty Classical Library of India book series, so is especially suited to traditional literary publishing but also made with the needs of today\u2019s multiple print and screen media in mind. The design takes inspiration from Tamil metal types developed in Madras (Chennai) in the 19th and early 20th Century, which were influenced by both traditional palm leaf manuscripts and contemporary writing. The stroke modulation makes for a dynamic design for modern typography, while traditional forms of ligatures are accessible via OpenType Layout features. For the Open Font License release, Tiro Tamil has been extended to support additional characters, and features a new italic companion suitable for traditional slanted Tamil typography. Each font also includes a Latin subset including diacritics for transcription of Indian languages. Tiro Tamil was designed by Fernando Mello and Fiona Ross. The italic was adapted by Kaja S\u0142ojewska. To contribute, see github.com/TiroTypeworks/Indigo. Modern Tiro Indic collection for classical South Asian texts The beauty and challenges of bridging the old and the new Two type designers separated by an eight-hour time difference, an ocean, and pandemic travel bans collaborated over video calls and email to make a cohesive set of fonts in 8 South Asian languages. In 2012, Harvard University Press commissioned Fiona Ross and John Hudson, through Tiro Typeworks, to design typefaces for the Murty Classical Library of India book series. The publisher needed to reprint ancient Indian literary, historical, and religious texts, including Vedic and early Sanskrit works. Since these old texts had been printed using traditional letterforms and early Indian typography techniques, the new fonts needed to retain some of the traditional style of the old texts, yet be clear and legible in modern print and digital media. In 2019 Google Fonts approached Tiro to make an extended and updated version of the Murty Fonts to be released as open source fonts in the Tiro Indic collection, offering users traditional text styles suitable for a variety of uses. Study the classics and language structure Before designing the typefaces, it was important to research classical texts and understand the unique characteristics of the languages. \u201cWe looked at very lovely manuscripts or early Indian printed materials from the 18th or 19th Centuries,\u201d said John Hudson. To learn more, read Modern Tiro Indic collection for classical South Asian texts.", + "minisite_url": null + }, + "Tiro Telugu": { + "name": "Tiro Telugu", + "designer": [ + "Tiro Typeworks", + "John Hudson", + "Fiona Ross", + "Kaja S\u0142ojewska" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "telugu" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Tiro Telugu has its origins in a typeface designed for the Murty Classical Library of India book series, so is especially suited to traditional literary publishing but also made with the needs of today\u2019s multiple print and screen media in mind. The design combines the proportions of Telugu manuscript tradition, notably in the generous proportions of subscript letters to aid legibility with the pronounced stroke modulation and shaping of counters and finials inspired by the elegant metal types of the Swatantra Type Foundry. Tiro Telugu uses extensive contextual layout behaviour to support arbitrary conjuncts, making it suitable for Sanskrit and Pali as well as Telugu language texts. For the Open Font License release, Tiro Telugu has been extended to support additional characters, and features a new italic companion. Each font also includes a Latin subset including diacritics for transcription of Indian languages. Tiro Telugu was designed by John Hudson and Fiona Ross. The italic was adapted by Kaja S\u0142ojewska. To contribute, see github.com/TiroTypeworks/Indigo. To learn more, read Modern Tiro Indic collection for classical South Asian texts.", + "primary_script": "Telu", + "article": null, + "minisite_url": null + }, + "Titan One": { + "name": "Titan One", + "designer": [ + "Rodrigo Fuenzalida" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Titan One is a really fat display type with a happy and cheerful personality. It takes most of its essence from hand lettering with big brushes. It is designed to be used mainly on headers and short texts.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Titillium Web": { + "name": "Titillium Web", + "designer": [ + "Accademia di Belle Arti di Urbino" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Titillium is born inside the Accademia di Belle Arti di Urbino as a didactic project Course Type design of the Master of Visual Design Campi Visivi. The aim of the project is the creation of a collective fonts released under OFL. Each academic year, a dozen students work on the project, developing it further and solving problems. Any type designer interested in the amendment or revision of Titillium is invited to co-operate with us, or develop their own variants of the typeface according to the terms specified in the Open Font license. We also ask all graphic designers who use Titillium in their projects to email us some examples of the typeface family in use, in order to prepare a case histories database. Three years after the birth of Titillium, the project is still evolving, and even we don\u2019t know what it will become in the future. Special thanks go to: Prof. Luciano Perondi, design and curation Prof. Marcello Signorile, coordination Prof. Manuel Zanettin, web project supervision Diego Giusti, design of the first prototype", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Tomorrow": { + "name": "Tomorrow", + "designer": [ + "Tony de Marco", + "Monica Rizzolli" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Tomorrow is a geometric family ranging from a neutral Thin weight to a vibrant contrast-based Black. It is an excellent fit for small sizes and big headlines. Easy to read and hard to forget. The Tomorrow project is led by Just in Type, a type design foundry based in Brazil. To contribute, see github.com/MonicaRizzolli/Tomorrow", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Tourney": { + "name": "Tourney", + "designer": [ + "Tyler Finck", + "ETC" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Tourney is a collaboration of tech and sport. At least, that is where the inspiration came from. Tourney would feel at home on a space ship or in a stadium. The lightest weight of Tourney (100) is almost an outline and that \"stroke\" thickens as the weights increase. 900 is completely solid. To contribute, see github.com/Etcetera-Type-Co/Tourney.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Trade Winds": { + "name": "Trade Winds", + "designer": [ + "Sideshow" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Ahoy, matey! Prepare to set sail on the high seas! Let TradeWinds guide you to exotic ports of call where your next adventure begins. This breezy font by Squid and Sideshow will blow you away!", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Train One": { + "name": "Train One", + "designer": [ + "Fontworks Inc." + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "japanese", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Train is a gothic-style typeface made with an outer and inner line. It is open and vibrant, and its strong first impression makes it suitable for logos and titles. It is distributed under the name \"Railway\" in Japan by FontWorks. To contribute to the project, visit github.com/fontworks-fonts/Train", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "Triodion": { + "name": "Triodion", + "designer": [ + "Aleksandr Andreev" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Triodion is a contemporary Church Slavonic font that reproduces the typeface most commonly used in liturgical books published in St. Petersburg and Moscow at the end of the 19th and beginning of the 20th century and the current editions printed in Moscow by the Publishing House of the Moscow Patriarchate. To contribute, please see github.com/slavonic/Triodion.", + "primary_script": "Cyrl", + "article": null, + "minisite_url": null + }, + "Trirong": { + "name": "Trirong", + "designer": [ + "Cadson Demak" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "thai", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Trirong means \u201ctricolor flag\u201d in Thai, and represents the flag of Thailand. A serif Latin and looped Thai typeface, it is characterized by thick and thin strokes, and its narrow and tall structure echoes that of traditional Thai typefaces. It saves space while preserving readability and legibility with its oval-shape looped terminal. This looped Thai and Transitional serif Latin works well in formal contexts. The similarity between some glyphs such as \u0e01 \u0e16 \u0e20 \u0e24 \u0e26, and \u0e0e and \u0e0f is something to take into consideration because it might lead to confusion when typesetting very short texts. Trirong takes a specific approach in how it deals with the thick and thin strokes in Thai glyphs. Other type designers of Thai fonts may like to use this approach as a reference. Formal looped Thai typefaces have delicate details, so it is important for type designers to take care when extending them into heavy weights and avoid obscuring important details. The sizes and positions of vowels and tone marks need to be managed carefully too, because they are all relevant to readability, legibility, and overall texture. The Trirong project is led by Cadson Demak, a type foundry in Thailand. To contribute, see github.com/cadsondemak/trirong", + "primary_script": "Thai", + "article": null, + "minisite_url": null + }, + "Trispace": { + "name": "Trispace", + "designer": [ + "Tyler Finck", + "ETC" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Trispace is a typeface where all letters occupy one of three possible widths. Monospace inspired, but with some proportional touches. Trispace is designed by Tyler Finck (ETC). To contribute see github.com/Etcetera-Type-Co/Trispace", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Trocchi": { + "name": "Trocchi", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Trocchi is a design derived from a number of old faces from the English typecutter Vincent Figgins (1766-1844) including Nebiolo\u2019s \u2018Egiziano\u2019, and Caslon & Co\u2019s \u2018Antique No.4\u2032 and \u2018Ionic No.2\u2032. Trocchi derivates from these earlier designs to produce a more casual slab serif. Trocchi is designed for use both as text and display type. The font is named after the Scottish novelist Alexander Trocchi.To contribute to the project contact Vernon Adams and see Trocchi on GitHub.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Trochut": { + "name": "Trochut", + "designer": [ + "Andreu Balius" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Trochut is a funny geometric typeface developed by Andreu Balius as an homage to Joan Trochut Blanchart (1920-1980) from its Bisonte type specimen. Useful for your cool magazine stuff, it also works quite well on posters, book jackets and other display uses on the web. Trochut currently includes Regular, Italic and Bold styles. More are available from TypeRepublic.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Truculenta": { + "name": "Truculenta", + "designer": [ + "Omnibus-Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Truculenta is an irregular sans serif typeface based on mid-century lettering works, yet with a little twist. This quirky grotesque is a variable font with three axes (weight, width and optical size), allowing a wide range of text sizes without losing readability. This vibrant typeface is highly suitable for packaging, branding, book covers, illustrated editions, and film titles. Truculenta was designed by Ivan Castro, Eva Sanz and Omnibus-Type Team. To contribute, see github.com/Omnibus-Type/Truculenta.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Trykker": { + "name": "Trykker", + "designer": [ + "Magnus Gaarde" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Foundry: Sorkin Type Co Trykker is a high contrast serifed text face. Trykker has a pleasant old fashioned elegance derived from on 16th century text faces. Trykker can be used from small sizes to larger display settings. Source files are available from Google Code. To contribute to the project contact Eben Sorkin.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Tsukimi Rounded": { + "name": "Tsukimi Rounded", + "designer": [ + "Takashi Funayama" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Tsukimi Rounded is kana font that is based san-go(Japanese traditional go-number sized type, #3) in Tsukiji Type Foundry\u2019s specimen books. Original san-go type is Mincho style but Tsukimi Rounded is sans-serif typeface with rounded terminals. To contribute to the project, visit github.com/mt-funa/Tsukimi-Rounded", + "primary_script": "Hira", + "article": null, + "minisite_url": null + }, + "Tuffy": { + "name": "Tuffy", + "designer": [ + "Thatcher Ulrich" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext", + "phoenician" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Tuffy is a grotesque sans-serif type.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Tulpen One": { + "name": "Tulpen One", + "designer": [ + "Naima Ben Ayed" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Tulpen is a tall sans serif type, suitable for display uses in headlines and other large text.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Turret Road": { + "name": "Turret Road", + "designer": [ + "Dale Sattler" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Turret Road is a geometric sans serif typeface, with very low contrast, high x-height, high glyph height, and playful diacritics. Turret Road delves into eugenics, solar evolution, science fiction and homeward conversations. For more information, see its project overview. To contribute, see github.com/noponies/Turret-Road.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Twinkle Star": { + "name": "Twinkle Star", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Twinkle Star is a cute and fun juvenile script. It comes in two stylistic styles: A Script with a more curvy quality and a casual style with more children writing resemblance. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/twinkle-star.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ubuntu": { + "name": "Ubuntu", + "designer": [ + "Dalton Maag" + ], + "license": "ufl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "The Ubuntu Font Family are a set of matching new libre/open fonts in development during 2010-2011. The development is being funded by Canonical Ltd on behalf the wider Free Software community and the Ubuntu project. The technical font design work and implementation is being undertaken by Dalton Maag. Both the final font Truetype/OpenType files and the design files used to produce the font family are distributed under an open licence and you are expressly encouraged to experiment, modify, share and improve. The new Ubuntu Font Family was started to enable the personality of Ubuntu to be seen and felt in every menu, button and dialog. The typeface is sans-serif, uses OpenType features and is manually hinted for clarity on desktop and mobile computing screens. The scope of the Ubuntu Font Family includes all the languages used by the various Ubuntu users around the world in tune with Ubuntu's philosophy which states that every user should be able to use their software in the language of their choice. So the Ubuntu Font Family project will be extended to cover many more written languages. Ubuntu and Canonical are registered trademarks of Canonical Ltd.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ubuntu Condensed": { + "name": "Ubuntu Condensed", + "designer": [ + "Dalton Maag" + ], + "license": "ufl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "The Ubuntu Font Family are a set of matching new libre/open fonts in development during 2010-2011. The development is being funded by Canonical Ltd on behalf the wider Free Software community and the Ubuntu project. The technical font design work and implementation is being undertaken by Dalton Maag. Both the final font Truetype/OpenType files and the design files used to produce the font family are distributed under an open licence and you are expressly encouraged to experiment, modify, share and improve. The new Ubuntu Font Family was started to enable the personality of Ubuntu to be seen and felt in every menu, button and dialog. The typeface is sans-serif, uses OpenType features and is manually hinted for clarity on desktop and mobile computing screens. The scope of the Ubuntu Font Family includes all the languages used by the various Ubuntu users around the world in tune with Ubuntu's philosophy which states that every user should be able to use their software in the language of their choice. So the Ubuntu Font Family project will be extended to cover many more written languages. Ubuntu and Canonical are registered trademarks of Canonical Ltd. Updated August 2014: All styles were updated to 0.83 to fix a problem where some characters were not displayed as expected in some OS X applications.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ubuntu Mono": { + "name": "Ubuntu Mono", + "designer": [ + "Dalton Maag" + ], + "license": "ufl", + "category": "MONOSPACE", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "monospace" + ], + "description": "The Ubuntu Font Family are a set of matching new libre/open fonts in development during 2010-2011. The development is being funded by Canonical Ltd on behalf the wider Free Software community and the Ubuntu project. The technical font design work and implementation is being undertaken by Dalton Maag. Both the final font Truetype/OpenType files and the design files used to produce the font family are distributed under an open licence and you are expressly encouraged to experiment, modify, share and improve. The new Ubuntu Font Family was started to enable the personality of Ubuntu to be seen and felt in every menu, button and dialog. The typeface is sans-serif, uses OpenType features and is manually hinted for clarity on desktop and mobile computing screens. The scope of the Ubuntu Font Family includes all the languages used by the various Ubuntu users around the world in tune with Ubuntu's philosophy which states that every user should be able to use their software in the language of their choice. So the Ubuntu Font Family project will be extended to cover many more written languages. Ubuntu and Canonical are registered trademarks of Canonical Ltd.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ubuntu Sans": { + "name": "Ubuntu Sans", + "designer": [ + "Dalton Maag", + "David Jonathan Ross", + "Dual Type" + ], + "license": "ufl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "The Ubuntu Font Family are a set of matching new libre/open fonts in development during 2010-2011, with further expansion work and bug fixing in 2015 and 2022-2023. The development is being funded by Canonical Ltd on behalf the wider Free Software community and the Ubuntu project. The technical font design work and implementation has been undertaken by Dalton Maag, Type Network, DJR, and Dual Type. Both the final font Truetype/OpenType files and the design files used to produce the font family are distributed under an open licence and you are expressly encouraged to experiment, modify, share and improve. The new Ubuntu Font Family was started to enable the personality of Ubuntu to be seen and felt in every menu, button and dialog. The scope of the Ubuntu Font Family includes all the languages used by the various Ubuntu users around the world in tune with Ubuntu's philosophy which states that every user should be able to use their software in the language of their choice. So the Ubuntu Font Family project will be extended to cover many more written languages. Ubuntu and Canonical are registered trademarks of Canonical Ltd. To contribute, see github.com/canonical/Ubuntu-Sans-fonts.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ubuntu Sans Mono": { + "name": "Ubuntu Sans Mono", + "designer": [ + "Dalton Maag" + ], + "license": "ufl", + "category": "MONOSPACE", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "monospace" + ], + "description": "The Ubuntu Font Family are a set of matching new libre/open fonts in development during 2010-2011, with further expansion work and bug fixing in 2015 and 2022-2023. The development is being funded by Canonical Ltd on behalf the wider Free Software community and the Ubuntu project. The technical font design work and implementation has been undertaken by Dalton Maag, Type Network, DJR, and Dual Type. Both the final font Truetype/OpenType files and the design files used to produce the font family are distributed under an open licence and you are expressly encouraged to experiment, modify, share and improve. The new Ubuntu Font Family was started to enable the personality of Ubuntu to be seen and felt in every menu, button and dialog. The scope of the Ubuntu Font Family includes all the languages used by the various Ubuntu users around the world in tune with Ubuntu's philosophy which states that every user should be able to use their software in the language of their choice. So the Ubuntu Font Family project will be extended to cover many more written languages. Ubuntu and Canonical are registered trademarks of Canonical Ltd. To contribute, see github.com/canonical/Ubuntu-Sans-Mono-fonts.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Uchen": { + "name": "Uchen", + "designer": [ + "Christopher J. Fynn" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "tibetan" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Uchen is a free, Unicode compatible, Tibetan script font designed in Uchen style, it is suitable for use in desktop publishing. Created for the Dzongkha Development Commission. Uchen is also available here.", + "primary_script": "Tibt", + "article": null, + "minisite_url": null + }, + "Ultra": { + "name": "Ultra", + "designer": [ + "Astigmatic" + ], + "license": "apache2", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Ultra is an ultra bold slab typeface with nods to wood type styles like Clarendon and Egyptian. Strong and dramatic letterforms for titling, a serious, yet friendly, and easily legible typestyle. Perfect for power headlines and titling for impact.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Unbounded": { + "name": "Unbounded", + "designer": [ + "NaN" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Unbounded is possibly the first open source, freely available and on-chain funded font in the world, thanks to the Polkadot treasury. Unbounded by both name and nature, it is available in eight display weights ranging from Light to Black as a variable font. The typeface supports both Latin and Cyrillic scripts with over 1300 individual glyphs, including a collection of symbols and a unique figure building system. In addition the sizeable glyph set accommodates for hundreds of languages worldwide. Unbounded is the product of a joint collaboration between Studio Koto, NaN, Parity Technologies and Web3 Foundation for Polkadot Network. To contribute, please see github.com/googlefonts/unbounded.", + "primary_script": null, + "article": null, + "minisite_url": "https://unbounded.polkadot.network/" + }, + "Uncial Antiqua": { + "name": "Uncial Antiqua", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Uncial Antiqua is a hybrid typeface which combines the speedier penned styles of Uncial and Half Uncial letterforms together in a formal text representation. Signature letterforms to the Uncial & Half Uncial styles are not sacrificed in this compilation, yet readability is surprisingly maintained when read in context.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Underdog": { + "name": "Underdog", + "designer": [ + "Sergey Steblina", + "Jovanny Lemonad" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Underdog is an informal typeface with broken corner lines. It can serve many different purposes, in posters, magazine headlines or on food packaging. It changes its mood as the context of use changes: it can be playful in a childish design, feel punk in musical posters, unceremonious in fashion magazines or aggressive in a warning poster. The inspiration for this typeface comes from hand-made signs seen on the street, and also the lettering found in musical culture. All shapes, lines and corners look like they are improvised, yet each of them has common rules to make the whole typeface work together, in both short words and longer sentences. The typeface was designed by Sergey Steblina, and the font was technically engineered and published by Jovanny Lemonad.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Unica One": { + "name": "Unica One", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Unica One is a condensed unicase sans serif style. Good performance for composing headlines and short texts. Readbility and simplicity are some of the virtues of this unique typeface. Since Junuary 2023, the glyphset is completed and and the font has a bigger language support To contribute, see github.com/etunni/unica.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "UnifrakturCook": { + "name": "UnifrakturCook", + "designer": [ + "j. 'mach' wust" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "UnifrakturCook is a blackletter font. It is based on Peter Wiegel\u2019s font Koch fette deutsche Schrift which is in turn based on a 1910 typeface by Rudolf Koch. While the glyph design of Peter Wiegel\u2019s font has hardly been changed at all, UnifrakturCook uses smart font technologies for displaying the font\u2019s ligatures (OpenType, Apple Advanced Typography and SIL Graphite). An experimental feature is the distinction of good blackletter typography between required ligatures \u2039ch, ck, \u017ft, tz\u203a that must be kept when letterspacing is increased, and regular ligatures (for instance, \u2039fi, fl\u203a) that are broken up when letterspacing is increased. Using the ligatures: Whenever you type a sequence such as \u2039tz\u203a, it will automatically be displayed as a ligature. When you want to oppress a ligature, for instance in the German word \u00abZeitzone\u00bb \u2018time zone\u2019 that should have no tz-ligature, then you put a zero width non-joiner between the \u2039t\u203a and the \u2039z\u203a or, alternatively, you write \u00abZeit‌zone\u00bb in the HTML code. Unfortunately, this will only work on a browser that is capable of displaying ligatures. Of course, UnifrakturMaguntia provides the character \u2039\u017f\u203a (U+017F LATIN SMALL LETTER LONG S)! UnifrakturCook is optimized for @font-face linking on the internet by combining standards compliance with a permissive license. UnifrakturCook has first been published in 2010 at UnifrakturCook. It has been edited with FontForge, the libre outline font editor. OpenType features have been added with FontForge directly. AAT features have been added with ftxenhancer of the Apple Font Tools. Graphite has been added with the Graphite Compiler. For more information about AAT and Graphite, you may want to check out the Free Tengwar Font Project: Adding Graphite and AAT to a font.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "UnifrakturMaguntia": { + "name": "UnifrakturMaguntia", + "designer": [ + "j. 'mach' wust" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "UnifrakturMaguntia is based on Peter Wiegel\u2019s font Berthold Mainzer Fraktur which is in turn based on a 1901 typeface by Carl Albert Fahrenwaldt. While the glyph design of Peter Wiegel\u2019s font has hardly been changed at all, UnifrakturMaguntia uses smart font technologies for displaying the font\u2019s ligatures (OpenType, Apple Advanced Typography and SIL Graphite). An experimental feature is the distinction of good blackletter typography between required ligatures \u2039ch, ck, \u017ft, tz\u203a that must be kept when letterspacing is increased, and regular ligatures (for instance, \u2039fi, fl\u203a) that are broken up when letterspacing is increased.UnifrakturMaguntia is optimized for @font-face linking on the internet by combining standards compliance with a permissive license.UnifrakturMaguntia has first been published in 2010 at UnifrakturMaguntia. It has been edited with FontForge, the libre outline font editor. OpenType features have been added with FontForge directly. AAT features have been added with ftxenhancer of the Apple Font Tools. Graphite has been added with the Graphite Compiler. For more information about AAT and Graphite, you may want to check out the Free Tengwar Font Project: Adding Graphite and AAT to a font.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Unkempt": { + "name": "Unkempt", + "designer": [ + "Sideshow" + ], + "license": "apache2", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Unkempt is lacking in order and neatness, and began with hand-lettering. This off-kilter gem is definitely different than a traditional regimented typeface.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Unlock": { + "name": "Unlock", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Unlock is a geometric typeface with vertical stress, short descenders and a significant \"x\" height . Basic shapes from rectangles, some with rounded corners (the only presence of curves), completely rectangular counterpounchs and innovative solutions for the joints, make Unlock has a unique style. Their rough appearance, reminiscent of the old types of wood although the design of many of the signs we associate also a futuristic design. Unlock is ideal for the composition of headlines and short texts but its design provides for the possibility of using it in small sizes. The February 2023 update features a bigger glyphset, fractions and some minor aesthetic modifications. To contribute, see github.com/etunni/unlock.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Unna": { + "name": "Unna", + "designer": [ + "Omnibus-Type" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Unna has a soft look that is expressed through delicated serifs and strong stems, thus accentuating the typical neoclassical vertical texture. The type designer, Jorge de Buen, was inspired to name this design with the surname of his mother.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Uoq Mun Then Khung": { + "name": "Uoq Mun Then Khung", + "designer": [ + "Moonlit Owen" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "chinese-traditional", + "cyrillic", + "latin", + "symbols2" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Hant", + "article": "UoqMunThenKhung is a modified version of the FontKai Kaisei project, adapting the Kanji character set for Traditional Chinese typesetting. It is a calligraphic, high-contrast design with a clean and fresh feel that makes it optimal for formal settings, even with a friendly character. To contribute to the project, please visit github.com/MoonlitOwen/ThenKhung.", + "minisite_url": null + }, + "UoqMunThenKhung": { + "name": "UoqMunThenKhung", + "designer": [ + "Moonlit Owen" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "chinese-traditional", + "cyrillic", + "latin", + "symbols2" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Hant", + "article": "UoqMunThenKhung is a modified version of the FontKai Kaisei project, adapting the Kanji character set for Traditional Chinese typesetting. It is a calligraphic, high-contrast design with a clean and fresh feel that makes it optimal for formal settings, even with a friendly character. To contribute to the project, please visit github.com/MoonlitOwen/ThenKhung.", + "minisite_url": null + }, + "Updock": { + "name": "Updock", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "What's Updock? Other than a famous query by an even more famous bunny, it's a beautiful script font with a nearly upright stress. Updock is an extremely legible formal script with clean connectors and a variety of of discretionary ligatures. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/updock.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Urbanist": { + "name": "Urbanist", + "designer": [ + "Corey Hu" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "Urbanist is a low-contrast, geometric sans-serif inspired by Modernist typography and design. The project was launched by Corey Hu in 2020 with 9 weights and accompanying italics. Conceived from elementary shapes, Urbanist's neutrality makes it a versatile display font for print and digital mediums. It is currently available as a variable font with a weight axis. To contribute, see github.com/coreyhu/Urbanist. New font family: Urbanist by Corey Hu Urbanist is a low-contrast, geometric sans-serif inspired by Modernist typography and design. The project was launched by Corey Hu in 2020 with 9 weights and accompanying italics. Conceived from elementary shapes, Urbanist's neutrality makes it a versatile display font for print and digital mediums. It is currently available as a variable font with a weight axis: https://fonts.google.com/specimen/Urbanist To learn more, read New font family: Urbanist by Corey Hu.", + "minisite_url": null + }, + "VT323": { + "name": "VT323", + "designer": [ + "Peter Hull" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "monospace" + ], + "description": "This font was created from the glyphs of the DEC VT320 text terminal, which I used in college, and for which I have retained an unaccountable nostalgia. I used a variety of tools, including Gimp, Python/PIL, and of course, FontForge. The VT320 glyphs were designed with a nonrectangular pixel aspect ratio to fit the way the terminal scanned the CRT, so for this VT323 variation I had Python munge the locations and attempt to emulate the way the electron beam actually illuminated the phosphor and smeared the pixels horizontally on the terminal's CRT, so it looks more like what the actual glyph looked like on the screen. Python then drew the proper pixels into a 1:1 pixel grid as a monochrome PNG, which FontForge autoscanned into outlines. I have attempted to support most of the glyphs available on the VT320, but that is a limited set to begin with, so please don't be disappointed that I haven't supported Esperanto or Riograndenser Hunsr\u00fcckisch or whatever. There is another earlier variation called \"VT321\" that uses a more standard 1:1 pixel drawing technique, if you want to grab that as well. I personally like VT323 better, and actually use it as my terminal font when cruising on the command line.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Vampiro One": { + "name": "Vampiro One", + "designer": [ + "Riccardo De Franceschi" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Foundry: Sorkin Type Co Vampiro One is a low contrast script font. It was inspired by the 20th century Italian tradition of monoline scripts. Vampiro One is best used for display purposes at medium to large sizes. To contribute to the project contact Eben Sorkin. Updated September 2015: Internal metadata corrected.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Varela": { + "name": "Varela", + "designer": [ + "Joe Prince" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Varela is a modern sans-serif font that blends styles of many great typefaces. Its uniqueness stems from vertical cuts on lowercase letters such as \"a, c, e, g, s\" and uppercase letters such as \"C, G, J, S\". Because it is extremely clean and minimalistic in design, it is able to sit well in body text at small sizes, or be used for headlines and menu items. Varela is a great font for anything containing text or content.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Varela Round": { + "name": "Varela Round", + "designer": [ + "Joe Prince" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "hebrew", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Varela Round is based on the well known font Varela. Its rounded corners make it perfect for a soft feel and work great at any size. It is suitable for headlines and printed collateral, and maintains its distinct properties amongst other objects. Varela Round is a great font for any website.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Varta": { + "name": "Varta", + "designer": [ + "Joana Correia", + "Viktoriya Grabowska", + "Eben Sorkin" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Varta is a sans serif family that fuses warm humanity with bright clarity and professional crispness whos congenial personality emerges at larger sizes. It is a variable font that has been designed to render well down to surprisingly small sizes and on both low and high-quality screens, which provides a broad range of utility. Its features make it well suited to a variety of tasks, including sign systems, editorial design, packaging, and extended reading on screens. To contribute, see https://github.com/SorkinType/Varta Varta is published by Sorkin Type.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Vast Shadow": { + "name": "Vast Shadow", + "designer": [ + "Nicole Fally" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SLAB_SERIF", + "classifications": [ + "display" + ], + "description": "Foundry: Sorkin Type Co Vast is a Victorian slab serif advertising type. Vast has a feeling of sturdy solidity combined with just a little bit of refinement. Because Vast Shadow has a thin shadow that won't display well at small sizes we recommend that you use it from 32px and larger. Source files are available from Google Code. To contribute to the project contact Eben Sorkin.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Vazirmatn": { + "name": "Vazirmatn", + "designer": [ + "Saber Rastikerdar" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "arabic", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Vazirmatn is a Persian/Arabic font project that started in 2015 under the name Vazir with the idea of a new simple and legible typeface suitable for web pages and applications. Thanks to DejaVu Sans font (v2.35) published in public domain there was a free software base to start the Vazir project. Although Vazir was a completely different typeface, still the original software was common. For the Latin glyphset, Vazirmatn is combined with Roboto. The last release in June 2022, fixes some bugs, improves the design, and offers a more expanded glyphset. Check out the font's website! To contribute, see github.com/rastikerdar/vazirmatn.", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Vesper Libre": { + "name": "Vesper Libre", + "designer": [ + "Mota Italic" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Vesper has a classical foundation, but with an entirely modern appearance, making reading comfortable, but never boring. Vesper's Devanagari design was started by Rob Keller in 2006 and inspired Vesper's Latin letterforms. This process was featured in a I Love Typography article in 2009. The Devanagari character set was completed in 2014 through a collaboration with Kimya Gandhi. Vesper Libre is a special web version that has been optimized for online use. Tiny details have been simplified and the character set is reduced for the perfect balance of beautiful web typography with fast page loading. Update, April 2015: A major revision was made that adjusted the character set, OpenType features and vertical merics. The Vesper Libre project is led by Mota Italic, a type design foundry based in Mumbai, India. To contribute, see github.com/motaitalic/vesper-libre", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Viaoda Libre": { + "name": "Viaoda Libre", + "designer": [ + "Gydient", + "Vi\u1ec7tAnh Nguy\u1ec5n" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Viaoda Libre is a display family inspired by Vietnamese cultural symbolism. Its design feels traditional yet it features some modern elements. Viaoda Libre works well in large titles and subtitles. We're actively working on the family. We hope to improve the Vietnamese in future releases. Contact at gydient.com Contribute at github.com/bettergui/ViaodaLibre", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Vibes": { + "name": "Vibes", + "designer": [ + "AbdElmomen Kadhim (blueMix)" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "arabic", + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Vibes is a typeface designed for Arabic, as well as English languages. It was designed to be a mixture that radiates energy, flexibility, and cuteness. It is specially designed to be used for title texts. Acknowledgements goes to Nadine Chahine, where this work wouldn't incepted without her help. To contribute, see github.com/bluemix/vibes-typeface.", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Vibur": { + "name": "Vibur", + "designer": [ + "Johan Kallas" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Vibur is a font based on handwriting. Author of the typeface Johan Kallas set out to create a display font from his own handwriting by making it more pronounced and re-modelling the strokes - making it nicer than his actual handwriting is - that can be used for various typesetting contexts. It comes with numerous ligatures that can be activated with OpenType features. The curvy style is best combined with playful and bright designs.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Victor Mono": { + "name": "Victor Mono", + "designer": [ + "Rune Bj\u00f8rner\u00e5s" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "monospace" + ], + "description": "Victor Mono is a monospaced font with optional semi-connected cursive italics and programming symbol ligatures. The typeface is slender, crisp and narrow, with a large x-height and clear punctuation, making it legible and ideal for code. The typeface was created to meet specific requirements for code and programming: narrow enough to fit a lot of text wide enough to be scannable strict, geometric and readable regular style more friendly and flowing italics programming symbol ligatures To contribute, see github.com/rubjo/victor-mono-font", + "primary_script": null, + "article": null, + "minisite_url": "https://rubjo.github.io/victor-mono" + }, + "Vidaloka": { + "name": "Vidaloka", + "designer": [ + "Cyreal" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Vidaloka is a Didone display typeface for headlines and short blocks of text. Because of its high contrast it will work best from 16px and above. The main features are curlified drops and sloped terminals. Tail of Q has a distinctive baroque inspired form. Vidaloka is designed by Alexei Vanyashin and Olga Karpushina.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Viga": { + "name": "Viga", + "designer": [ + "Fontstage" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Viga is a sans serif with a good performance on screen. Its anatomy gives it a great personality and also makes it useful for reading on screen.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Vina Sans": { + "name": "Vina Sans", + "designer": [ + "Nguyen Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Vina Sans is an open-source font inspired by the letters on street signs, flyers, and posters found throughout Vietnam. In addition, the font also incorporates an element of font errors that appear a lot on publications with a low level of perfection. To contribute, please visit github.com/nguyentype/vinasans.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Voces": { + "name": "Voces", + "designer": [ + "Ana Paula Megda", + "Pablo Ugerman" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Voces is a new graphic solution for the glyphs of the International Phonetic Alphabet (IPA), considering the specific use-case of bilingual dictionaries. For this purpose, the typeface was conceived as a sans serif with gradual strokes, generous counterforms, a large \"x\" height, and short ascenders and descenders. These features attempt to solve the problems of spatial economy and print fidelity that dictionary typesetting presents. Ink traps were applied with consideration for the aesthetic and functional requirements. Voces was selected for exhibition in Tipos Latinos 2010. Voces is designed by Ana Paula Megda and Pablo Ugerman. To contribute to the project contact them at info@ugrdesign.com.ar Updated January 2016: The non-breaking space character is now empty and set to the same width as the space character.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Volkhov": { + "name": "Volkhov", + "designer": [ + "Cyreal" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Volkhov is a low-contrast seriffed typeface with a robust character, intended for providing a motivating reading experience. As a four-weight family it is well-suited for complex text environments being economic and legible, contemporary and prominent. Many of its design solutions relate to this purpose: large open counters, rather short descenders, and brutal asymmetric serifs. Spacing in Bold is slightly increased compared to the normal weight, because the bold mass is mostly grown inwards. The Italic has a steep angle and a distinctive calligraphically reminiscent character, as a counterpart to the rigorous Regular. Designed by Ivan Petrov.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Vollkorn": { + "name": "Vollkorn", + "designer": [ + "Friedrich Althausen" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Vollkorn came into being as the first typeface design by Friedrich Althausen. First published in 2005 under a Creative Commons license, it was soon downloaded thousands of times and used in all kinds of web and print projects. It intends to be a quiet, modest and high quality text face for bread and butter use. Unlike many text typefaces from the Renaissance period until now, it has dark and meaty serifs and a bouncing and healthy look. It might be used in body copy, or just as well for headlines and titles. \u00bbVollkorn\u00ab (pronounced \u00bbFollkorn\u00ab) is German for \u00bbwholemeal\u00ab which refers to the old term \u00bbBrotschrift\u00ab. It stood for the small fonts for every day use in hand setting times. In May 2020, it was updated to be a Variable Font with a \"Weight\" axis in both Roman and Italic. The Vollkorn project is led by Friedrich Althausen, a typeface designer in Germany. To contribute, see github.com/FAlthausen/Vollkorn-Typeface", + "primary_script": null, + "article": null, + "minisite_url": "http://vollkorn-typeface.com/" + }, + "Vollkorn SC": { + "name": "Vollkorn SC", + "designer": [ + "Friedrich Althausen" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Vollkorn came into being as my first type designing attempt. I published the Regular in 2005 under a Creative-Commons-License. Until the counter finally collapsed two years later it had been downloaded thousands of times and used for web and print matters. It intends to be a quiet, modest and well working text face for bread and butter use. Unlike its examples in the book faces from the renaissance until today, it has dark and meaty serifs and a bouncing and healthy look. It might be used as body type as well as for headlines or titles. \u00bbVollkorn\u00ab (pronounced \u00bbFollkorn\u00ab) is German for \u00bbwholemeal\u00ab which refers to the old term \u00bbBrotschrift\u00ab. It stood for the small fonts for every day use in hand setting times. This is the Small Cap sister family to the main Vollkorn family.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Voltaire": { + "name": "Voltaire", + "designer": [ + "Yvonne Sch\u00fcttler" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Voltaire is a low-contrast condensed semi-geometric style sans-serif. Voltaire is highly readable and will work from medium text sizes all the way up to larger display settings. Voltaire was inspired by 20th century Swedish posters whose letters have similar forms. Latest upgrade from January 2023 expands the Latin script language coverage and kerning added. To contribute, see github.com/SorkinType/Voltaire .", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Vujahday Script": { + "name": "Vujahday Script", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Vujaday! That eerie feeling that nothing like this has ever happened before. This script font comes with both a plain and a script stylistic set. Its rough edge adds to the handwritten feel. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/vujahday.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "WDXL Lubrifont JP N": { + "name": "WDXL Lubrifont JP N", + "designer": [ + "NightFurySL2001" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "japanese", + "latin", + "latin-ext", + "symbols2" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Jpan", + "article": "WDXL Lubrifont is a Chinese display font that emphasize on a compact yet welcoming experience, expanded for daily Chinese typography with professional typesetting in mind. To contribute to the project or raise an issue, please visit the GitHub repository.", + "minisite_url": null + }, + "WDXL Lubrifont SC": { + "name": "WDXL Lubrifont SC", + "designer": [ + "NightFurySL2001" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "chinese-simplified", + "cyrillic", + "latin", + "latin-ext", + "symbols2" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Hans", + "article": "WDXL Lubrifont is a Chinese display font that emphasize on a compact yet welcoming experience, expanded for daily Chinese typography with professional typesetting in mind. To contribute to the project or raise an issue, please visit the GitHub repository.", + "minisite_url": null + }, + "WDXL Lubrifont TC": { + "name": "WDXL Lubrifont TC", + "designer": [ + "NightFurySL2001" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "chinese-traditional", + "cyrillic", + "latin", + "latin-ext", + "symbols2" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Hant", + "article": "WDXL Lubrifont is a Chinese display font that emphasize on a compact yet welcoming experience, expanded for daily Chinese typography with professional typesetting in mind. To contribute to the project or raise an issue, please visit the GitHub repository.", + "minisite_url": null + }, + "Waiting for the Sunrise": { + "name": "Waiting for the Sunrise", + "designer": [ + "Kimberly Geswein" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Waiting for the Sunrise is based on the handwriting of a high school student. The title comes from the song Lift Me Up by The Afters. Although this font was created during a time of darkness in my life, it is a cheery, perky font. It is a reminder to me of the joy that comes after mourning.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Wallpoet": { + "name": "Wallpoet", + "designer": [ + "Lars Berggren" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Wallpoet is inspired by the often political, short, sometimes provocative, sometimes funny or both, messages found on city walls, sprayed by some anonymous agent. Words, images or both! The idea behind the font is making a font with a bit of punch, but still easy to use for template graffiti. Print, cut & spray - being the key concept. That's why it has no curves and off course is a stencil font. With the font, Lars wants to pay respect to the urban guerilla scene, which has inspired him so often with it's total disrespect for the traditional and ingenious ability to break out of the traditional box.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Walter Turncoat": { + "name": "Walter Turncoat", + "designer": [ + "Sideshow" + ], + "license": "apache2", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Contrary to popular lore, Walter Turncoat was NOT a traitor executed during the Revolutionary War. Actually, Walter spent his days carefully executing new typefaces doing his part to help establish a free press! Ever the patriot, Squid honors old Walter with this spiffy font sure to bring out the Yankee Doodle in you. * All characters described above are fictitious with the possible exception of Squid, whose existence remains an ongoing debate. Nevertheless you should check out his other fonts.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Warnes": { + "name": "Warnes", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "The retro look of this typeface reminds us of the metal badges used in the past to show car model names. The family name \u201cWarnes\u201d is the name of a street in the city of Buenos Aires where all the shops are garages selling spare parts. The February 2023 update features a bigger glyphset, fractions and some minor aesthetic modifications. To contribute, see github.com/etunni/warnes.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Water Brush": { + "name": "Water Brush", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "It's cool and refreshing. Water Brush is a contemporary script style. The dry brush texture is indicative of a camel hair brush filled with color on a watercolor textured paper. The characters are loose and expressive\u2014 perfect for casual and sophisticated situations. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/water-brush.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Waterfall": { + "name": "Waterfall", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Waterfall is a calligraphic script that combines elements of traditional hand lettered italic form with more formal, elegant script connecting characters. It's both beautiful and contemporary. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/waterfall.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Wavefont": { + "name": "Wavefont", + "designer": [ + "Dmitry Ivanov" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [], + "stroke": null, + "classifications": [ + "symbols", + "display" + ], + "description": "Wavefont is a variable font with Weight, Round, and Vertical Alignment axes for rendering data like waveforms, spectrums, diagrams, and bars. Wavefont bars correspond to values from 0 to 100, assigned to different characters: 0-9 chars are for simplified manual input with step 10 (bar height = number). a-z/A-Z for manual input with step 2, softened at edges a and Z (bar height = number of letter). U+0100-017F for 0..127 values with step 1. letter-spacing CSS property with ch units is useful to adjust distance between bars, 1ch === 1 bar width. To contribute, see github.com/dy/wavefont", + "primary_script": null, + "article": null, + "minisite_url": "https://dy.github.io/wavefont/scripts/" + }, + "Wellfleet": { + "name": "Wellfleet", + "designer": [ + "Riccardo De Franceschi" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SLAB_SERIF", + "classifications": [], + "description": "Foundry: Sorkin Type Co Wellfleet is a versatile low-contrast slab serif text typeface with a a bouncy and upbeat feeling. It was inspired by German poster lettering. Despite having display letters as a source of inspiration, Wellfleet is functional in a wide range of sizes. Source files are available from Google Code. To contribute to the project contact Eben Sorkin.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Wendy One": { + "name": "Wendy One", + "designer": [ + "Alejandro Inler" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Wendy is loosely inspired by the STABILO logotype, a brand that works as a conceptual and aesthetic reference. It evokes in me design values, form and style. The challenge was take a logotype consisting of seven letters as a starting point to develop an alphabet. I liked the idea of the original logo for the beauty of its forms: original and risky. I liked to continue the work of someone whose development was arrested at another time, to animate these characters, giving them new life through the design of a typeface that finds the balance between the old and new forms. The font was developed by Alejandro Inler in conjunction with Julieta Ulanovsky.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Whisper": { + "name": "Whisper", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Designed in the early nineties, it still holds up well as a contemporary calligraphic script with non-Roman script capitals. It has an a strong italic with angular strokes and a warm, flowing look. Use Whisper for situations that call for a strong elegance. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/whisper.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "WindSong": { + "name": "WindSong", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "WindSong is a beautiful elongated script with multiple stylistic sets that gives a powerful solution to the design needs of the graphic design professional. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/windsong.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Winky Rough": { + "name": "Winky Rough", + "designer": [ + "Typofactur" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "Winky Rough is the roughed variant of Winky Sans (https://github.com/typofactur/winkysans) imitating dried ink on rough paper. Winky Rough is a variable font with a weight axis that ranges from Light (300) to Black (900) and has matching italic styles. But be careful! Like flowing ink on paper the forms grows in all directions. While the slim weights might have been written with a fineliner, the black style look like ink blots from a broken pen. To contribute, see github.com/typofactur/winkyrough.", + "minisite_url": null + }, + "Winky Sans": { + "name": "Winky Sans", + "designer": [ + "Typofactur" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "Winky Sans looks like the sober, grown-up cousin of Comic Sans. Informal and personable, but not silly. Based on Aniva Sans, the letter shapes are rounded and thickened at the endings, and little irregularities were added, wich results in the impression of handwriting. Winky Sans is a variable font with a weight axis that ranges from Light (300) to Black (900). But be careful! Like flowing ink on paper the forms grows in all directions. While the slim weights might have been written with a fineliner, the black style look like ink blots from a broken pen. The Rough styles imitate dried ink on rough paper. To contribute, see github.com/typofactur/winkysans.", + "minisite_url": null + }, + "Wire One": { + "name": "Wire One", + "designer": [ + "Cyreal" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Wire One is a condensed monoline sans brought to you by Alexei Vanyashin and Gayaneh Bagdasaryan from Cyreal Type Foundry. Its modular-based characters are flavored with a sense of art nouveau. Nearly hairline thickness suggests usage for body text above 12px. While at display sizes it reveals its tiny dot terminals to create a sharp mood in headlines. It is recommended to adjust letter-spacing for sizes below 30px to 0.033em and up. For 12 px we recommend the value of 0.085em. To contribute, see github.com/cyrealtype/Wire-One.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Wittgenstein": { + "name": "Wittgenstein", + "designer": [ + "J\u00f6rg Drees" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "The font interprets the serifs with clear, sharp forms. Based on the quote from Ludwig Wittgenstein that what can be said can be said clearly, it bears his name. The style consists of a normal and a bold version, which can be expanded over time. To contribute, see github.com/jrgdrs/Wittgenstein. Discover the Elegance of Wittgenstein Font Precision and Modernity in Every Stroke Introducing Wittgenstein, a typeface that redefines serif typography with clarity and sophistication. Inspired by the philosophy of Ludwig Wittgenstein, who recognized that what can be said can be said clearly, this font embodies his ethos with its sharp, well-defined form. Why Wittgenstein Stands Out Clarity in Design: Each letter is meticulously crafted with clear, sharp serifs that are more than just decorative\u2014they command attention. Versatile Styles: Available in five weights, from Regular to Black, and in italics, Wittgenstein adapts to any project. Its variable fonts with weight axis provide flexibility for diverse design needs. Historical Elegance: This modern interpretation of Georg Trump's Mediaeval Old Style font and Walter Diethelm's Antiqua from the 1950s offers a broad-nib touch with contemporary flair. Exceptional Readability: Ideal for high-volume texts and bold headlines, Wittgenstein ensures high readability and clarity, whether on digital screens or printed materials. Perfect for Your Next Project Wittgenstein is an ideal choice for editorial layouts, corporate branding, or any design requiring a sharp, professional edge. It effortlessly blends modern aesthetics with timeless elegance, making it a versatile addition to any designer's toolkit. Download and Enjoy Embrace the precision and beauty of Wittgenstein Font, and elevate your design projects with Wittgenstein's distinctive charm.", + "minisite_url": null + }, + "Wix Madefor Display": { + "name": "Wix Madefor Display", + "designer": [ + "Dalton Maag" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Wix Madefor is a compact font family of three weights for display setting, and four text weights for use in user interfaces. The text fonts also have matching italics, with shapes rooted in cursive forms, despite the typeface\u2019s geometric structure, allowing Wix to have different expressions, from functional to more playful. The typeface was designed to carry subtle features with an engaging and clean appearance. To contribute, see github.com/wix/wixmadefor.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Wix Madefor Text": { + "name": "Wix Madefor Text", + "designer": [ + "Dalton Maag" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Wix Madefor is a compact font family of five weights for display setting, and four text weights for use in user interfaces. The text fonts also have matching italics, with shapes rooted in cursive forms, despite the typeface's geometric structure, allowing Wix to have different expressions, from functional to more playful. The typeface was designed to carry subtle features with an engaging and clean appearance. To contribute, see github.com/wix/wixmadefor.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Work Sans": { + "name": "Work Sans", + "designer": [ + "Wei Huang" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Work Sans is a typeface family based loosely on early Grotesques, such as those by Stephenson Blake, Miller & Richard and Bauerschen Giesserei. The Regular weight and others in the middle of the family are optimised for on-screen text usage at medium-sizes (14px-48px) and can also be used in print design. The fonts closer to the extreme weights are designed more for display use both on the web and in print. Overall, features are simplified and optimised for screen resolutions; for example, diacritic marks are larger than how they would be in print. A version optimised for desktop applications is available from the Work Sans github project page. The Work Sans project is led by Wei Huang, a type designer from Australia. To contribute, see github.com/weiweihuanghuang/Work-Sans Updated August 2015: All styles were updated to v1.40 to change the Thin (100) style to be the same as 'HairLine' in previous versions - even thinner! This avoids the complication of a second \"Hairline\" family. The ExtraLight (200) and Light (300) styles also changed accordingly. Reflow will occur from previous versions on these weights. Updated February 2020: Family has been upgraded to a variable font family.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Workbench": { + "name": "Workbench", + "designer": [ + "Jens Kut\u00edlek" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "latin", + "math", + "symbols" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Workbench and Sixtyfour fonts are inspired by the article Raster CRT Typography (According to DEC) by Norbert Landsteiner. They are a rework of some old pixel versions of the Commodore 64 and Amiga Workbench fonts the author created years ago. The fonts now include two custom axes: Scanlines, which allows control of the height of the lines and, as a result of this, the amount of vertical space between the lines. And Bleed to change the amount of horizontal bleed of the pixels due to the phosphor latency found in CRT displays. Due to this project's specificity and the fonts' historical origin, they only support a limited set of glyphs. To contribute, see github.com/jenskutilek/homecomputer-fonts", + "primary_script": null, + "article": null, + "minisite_url": "https://jenskutilek.github.io/homecomputer-fonts/documentation/demo-workbench.html" + }, + "Xanh Mono": { + "name": "Xanh Mono", + "designer": [ + "Yellow Type", + "L\u00e2m B\u1ea3o", + "Duy Dao" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "monospace" + ], + "description": "Xanh Mono is a mono-serif typeface, designed by Lam Bao and Duy Dao. In Vietnamese, \u201cXanh\u201d has a lot of meanings, including blue; green; young; etc. We believe that Xanh Mono will not only present a fresh and gentle look, but also a stylish and unique approach for both reading and display purposes. Xanh Mono l\u00e0 m\u1ed9t m\u1eb7t ch\u1eef mono c\u00f3 ch\u00e2n, \u0111\u01b0\u1ee3c thi\u1ebft k\u1ebf b\u1edfi L\u00e2m B\u1ea3o v\u00e0 Duy \u0110\u00e0o t\u1eeb x\u01b0\u1edfng \u0111\u00fac ch\u1eef k\u0129 thu\u1eadt s\u1ed1 \u0111\u1ea7u ti\u00ean t\u1ea1i Vi\u1ec7t Nam, c\u00f2n \u0111\u01b0\u1ee3c bi\u1ebft \u0111\u1ebfn l\u00e0 Yellow Type Foundry. Xanh Mono theo s\u1ef1 l\u1eafng \u0111\u1ecdng, nh\u1eb9 nh\u00e0ng nh\u01b0ng v\u1eabn \u0111\u1ee7 c\u00e1 t\u00ednh \u0111\u1ec3 v\u1eeba s\u1eed d\u1ee5ng cho tr\u1ea3i nghi\u1ec7m \u0111\u1ecdc v\u00e0 ti\u00eau \u0111\u1ec1 l\u1edbn.B\u1ea3o v\u00e0 Duy hy v\u1ecdng Xanh Mono s\u1ebd l\u00e0 s\u1ef1 l\u1ef1a ch\u1ecdn ph\u00f4ng ch\u1eef tuy\u1ec7t v\u1eddi d\u00e0nh cho b\u1ea1n. To contribute see https://github.com/yellow-type-foundry/xanhmono.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Yaldevi": { + "name": "Yaldevi", + "designer": [ + "Mooniak" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "sinhala" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Yaldevi is a narrow font intended for titles and short texts in the web supporing Latin and Sinhala scripts. Condensed shapes and dimensions make it possible to fit more text in a line. The x-height of Latin and body height of Sinhala is generous, and has short ascenders and descenders, increasing the space efficiency. It has a somewhat neutral personality with a touch of soft and smooth curves that add some whimsy. Yaldevi will perform well when used in headlines, subheads and shorter text blocks such as pull quotes. Sinhala glyphs have some peculiarities and experimental shapes that were invented to perform well as a display face while belonging in the formal text typeface category. Make sure you check out all these features before using it. The project is led by Mooniak Latin set is designed by Sol Matas. Initial development and release was funded by Google Fonts in 2015. Project sources are hosted and developed on Github and Mooniak welcomes suggestions and contributions to the development.", + "primary_script": "Sinh", + "article": null, + "minisite_url": null + }, + "Yaldevi Colombo": { + "name": "Yaldevi Colombo", + "designer": [ + "Mooniak" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "sinhala" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Yaldevi is designed for display use, such as headlines, subheads, and short paragraphs, such as pull quotes. The almost neutral personality has a touch of whimsicality with the soft and smooth curves. The lighter weights are pleasingly beautiful and stylish, making it a delightful headline font. Slightly condensed shapes and dimensions make it possible to fit more text into single lines. The name means \u2018Princes of Jaffna\u2019 in Tamil and Sinhala, and is taken from the name of the intercity train in Sri Lanka that runs between Colombo and the Northern city of Jaffna. Yaldevi Colombo includes Sinhala and Latin glyphs, and some peculiar and experimental shapes that were invented to enhance the performance as a display typeface. Yaldevi Jaffna includes Tamil and Latin glyphs, and is designed with open counters and an overall friendly feel. Both are available in 6 weights, ExtraLight to ExtraBold, and can be used together in multilingual projects as they share the same vertical metrics. The Sinhala is designed by Denzil Rajitha, the Tamil by Pathum Egodawatta and Kosala Senevirathne, and the Latin by Sol Matas. To learn more, see github.com/mooniak/yaldevi-fonts", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Yanone Kaffeesatz": { + "name": "Yanone Kaffeesatz", + "designer": [ + "Yanone", + "Cyreal" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "math", + "symbols", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "\"Yanone Kaffeesatz\" was first published in 2004 and is Yanone\u2019s first ever finished typeface. Its Bold is reminiscent of 1920s coffee house typography, while the rather thin fonts bridge the gap to present times. Lacking self confidence and knowledge about the type scene, Yanone decided to publish the family for free under a Creative Commons License. A decision that should turn out one of the best he ever made. It has been downloaded over 100,000 times to date, and you can witness Kaffeesatz use on German fresh-water gyms, Dubai mall promos and New Zealand McDonalds ads. And of course on coffee and foodstuff packaging and caf\u00e9 design around the globe. In 2009 he reworked much of the typeface and it got published in FontShop\u2019s FontFont Library under the new name FF Kava. You can read more about it in an extensive article by Yves Peters on FontFeed. Updated in December 2013 with Cyrillic, designed by Sol Matas and Juan Pablo del Peral at Huerta Tipogr\u00e1fica. To contribute, see github.com/yanone/kaffeesatz.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Yantramanav": { + "name": "Yantramanav", + "designer": [ + "Erin McLaughlin" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Yantramanav (\u092f\u0902\u0924\u094d\u0930\u092e\u093e\u0928\u0935) is a Devanagari typeface family designed by Erin McLaughlin. The style and weights of Yantramanav's Devanagari were designed as a compliment to Roboto, a Latin family designed by Christian Robertson. This project is led by Erin McLaughlin, an independent typeface designer, font developer, and consultant who specializes in Indic fonts. To contribute, see github.com/erinmclaughlin/Yantramanav", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Yarndings 12": { + "name": "Yarndings 12", + "designer": [ + "Sarah Cadigan-Fried" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "math", + "symbols" + ], + "stroke": null, + "classifications": [ + "symbols", + "display" + ], + "description": "The Soft Type Collection is designed for knitters to chart out their typographic projects. Yarndings is an ornamental typeface inspired by a mix of typographic ornamentation, traditional Fair Isle & Nordic knitting patterns, and dingbat fonts from the 1990's. Each typeface has a \u201cRegular\u201d and \u201cCharted\u201d version, and some include multiple scales so you can fit type on your knits, no matter the project's size. Check out the charted version Yarndings 12 Charted. In this collection, the number following the typeface's name indicates the height of the capital letters for that typeface. To contribute, see github.com/scfried/soft-type-yarndings.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Yarndings 12 Charted": { + "name": "Yarndings 12 Charted", + "designer": [ + "Sarah Cadigan-Fried" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "math", + "symbols" + ], + "stroke": null, + "classifications": [ + "symbols", + "display" + ], + "description": "The Soft Type Collection is designed for knitters to chart out their typographic projects. Yarndings is an ornamental typeface inspired by a mix of typographic ornamentation, traditional Fair Isle & Nordic knitting patterns, and dingbat fonts from the 1990's. Each typeface has a \u201cRegular\u201d and \u201cCharted\u201d version, and some include multiple scales so you can fit type on your knits, no matter the project's size. Check out the non-charted version Yarndings 12. In this collection, the number following the typeface's name indicates the height of the capital letters for that typeface. To contribute, see github.com/scfried/soft-type-yarndings.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Yarndings 20": { + "name": "Yarndings 20", + "designer": [ + "Sarah Cadigan-Fried" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "math", + "symbols" + ], + "stroke": null, + "classifications": [ + "symbols", + "display" + ], + "description": "The Soft Type Collection is designed for knitters to chart out their typographic projects. Yarndings is an ornamental typeface inspired by a mix of typographic ornamentation, traditional Fair Isle & Nordic knitting patterns, and dingbat fonts from the 1990's. Each typeface has a \u201cRegular\u201d and \u201cCharted\u201d version, and some include multiple scales so you can fit type on your knits, no matter the project's size. Check out the charted version Yarndings 20 Charted. In this collection, the number following the typeface's name indicates the height of the capital letters for that typeface. To contribute, see github.com/scfried/soft-type-yarndings.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Yarndings 20 Charted": { + "name": "Yarndings 20 Charted", + "designer": [ + "Sarah Cadigan-Fried" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "math", + "symbols" + ], + "stroke": null, + "classifications": [ + "symbols", + "display" + ], + "description": "The Soft Type Collection is designed for knitters to chart out their typographic projects. Yarndings is an ornamental typeface inspired by a mix of typographic ornamentation, traditional Fair Isle & Nordic knitting patterns, and dingbat fonts from the 1990's. Each typeface has a \u201cRegular\u201d and \u201cCharted\u201d version, and some include multiple scales so you can fit type on your knits, no matter the project's size. Check out the non-charted version Yarndings 20. In this collection, the number following the typeface's name indicates the height of the capital letters for that typeface. To contribute, see github.com/scfried/soft-type-yarndings.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Yatra One": { + "name": "Yatra One", + "designer": [ + "Catherine Leigh Schmidt" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Yatra One is a Devanagari and Latin libre font inspired by the hand-painted signage of the Mumbai local railway. This heavy weight high-contrast display face preserves the idiosyncratic character of brush-painted signage by featuring angular cuts and open knots. Notably, the Latin adopts a Devanagari brush angle. A Mumbai native, Yatra offers basic Marathi alternates. The Yatra One project is led by Catherine Leigh Schmidt, a type designer based in the USA. To contribute, see github.com/cathschmidt/yatra-one", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Yellowtail": { + "name": "Yellowtail", + "designer": [ + "Astigmatic" + ], + "license": "apache2", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Yellowtail is an old school flavored flat brush script typeface of medium weight. It's mix of connecting and non-connecting letterforms lend to its unique look and legibility. Yellowtail nods to classic 1930's typestyles like Gillies Gothic & Kaufmann, yet has the loose visual cadence of sign painter scripts.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Yeon Sung": { + "name": "Yeon Sung", + "designer": [ + "Woowahan brothers" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "korean", + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "BM YEONSUNG is a Korean and Latin font.", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "Yeseva One": { + "name": "Yeseva One", + "designer": [ + "Jovanny Lemonad" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "A serif display type that is very feminine. I think that this is the only type in the world with such a feminine essence. Yeseva's name is from the phrase \"Yes, Eva.\" As a sign of complete agreement between a man and a woman. I dedicate this font to my beloved wife.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Yesteryear": { + "name": "Yesteryear", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Yesteryear is a flat nib connecting script font loosely based on the title screen from the 1942 film \"The Palm Beach Story\". Taking on a slightly sharper feel than its source, it evokes comparisons to chrome scripts of vintage automobilia.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Yinmar": { + "name": "Yinmar", + "designer": [ + "Danh Hong" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "myanmar" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Yinmar is designed for readable and beautiful rendering of text in the Myanmar script. The designer, Danh Hong, has many years of experience creating fonts for Khmer and other Southeast Asian languages, and is actively involved in the KhmerOS project, dedicated to a vision where Cambodians can learn and use computers in their own language.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Yomogi": { + "name": "Yomogi", + "designer": [ + "Satsuyako" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "cyrillic", + "japanese", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Yomogi is extra thin hand writing font that is easy to read and makes a strong impression. It includes Google Latin Plus, hiragana, katakana, JIS level 1 and 2 kanji glyphs. The design of the letters combined cuteness and readability, and it is made into a monospaced font that could also be used in the vertical writing style. To contribute to the project, visit github.com/satsuyako/YomogiFont", + "primary_script": "Hira", + "article": null, + "minisite_url": null + }, + "Young Serif": { + "name": "Young Serif", + "designer": [ + "Bastien Sozeau" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Young Serif is a heavy weight old style serif typeface, taking inspiration from Plantin Infant or ITC Italian Old Style. The lowercase b and f feature rounded curves, adding a tender and generous quality to this font. To contribute, please see github.com/noirblancrouge/YoungSerif.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Yrsa": { + "name": "Yrsa", + "designer": [ + "Rosetta", + "Anna Giedry\u015b", + "David B\u0159ezina" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Intended for continuous reading on the web (longer articles in online news, magazines, blogs), Yrsa supports over 92 languages. A special consideration was given to Central and East European languages and proper shaping of their accents. A version that also supports 2 languages in the Gujarati script (Gujarati and Kachchi), is available as Rasa. In terms of glyphs included Rasa is a superset of Yrsa and includes the complete Latin, but in Rasa the Latin may be adjusted to support the primary Gujarati font. It is a deliberate experiment in remixing existing typefaces: The Latin part began with Eben Sorkin's Merriweather. The Gujarati began with David B\u0159ezina\u2019s Skolar Gujarati. To contribute, see github.com/rosettatype/yrsa.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ysabeau": { + "name": "Ysabeau", + "designer": [ + "Christian Thalmann" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "latin", + "latin-ext", + "math", + "symbols", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Ysabeau combines the familiar timeless letterforms of the Garamond legacy with the unencumbered crispness of a clean low-contrast sans serif. Unlike other humanist sans, Ysabeau retains the confident wide stride and unapologetic extenders of the world's favorite book face for unmitigated reading comfort. Try it on your e-reader and never look back! Pair it with EB Garamond or Cormorant for a perfect match, or blow it up to page-filling sizes and revel in its elegance. Ysabeau offers extensive Latin, Greek and Cyrillic. To contribute, see github.com/CatharsisFonts/Ysabeau.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ysabeau Infant": { + "name": "Ysabeau Infant", + "designer": [ + "Christian Thalmann" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "latin", + "latin-ext", + "math", + "symbols", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Ysabeau combines the familiar timeless letterforms of the Garamond legacy with the unencumbered crispness of a clean low-contrast sans serif. Unlike other humanist sans, Ysabeau retains the confident wide stride and unapologetic extenders of the world's favorite book face for unmitigated reading comfort. Try it on your e-reader and never look back! Pair it with EB Garamond or Cormorant for a perfect match, or blow it up to page-filling sizes and revel in its elegance. Ysabeau offers extensive Latin, Greek and Cyrillic. To contribute, see github.com/CatharsisFonts/Ysabeau.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ysabeau Office": { + "name": "Ysabeau Office", + "designer": [ + "Christian Thalmann" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "latin", + "latin-ext", + "math", + "symbols", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Ysabeau combines the familiar timeless letterforms of the Garamond legacy with the unencumbered crispness of a clean low-contrast sans serif. Unlike other humanist sans, Ysabeau retains the confident wide stride and unapologetic extenders of the world's favorite book face for unmitigated reading comfort. Try it on your e-reader and never look back! Pair it with EB Garamond or Cormorant for a perfect match, or blow it up to page-filling sizes and revel in its elegance. Ysabeau offers extensive Latin, Greek and Cyrillic. To contribute, see github.com/CatharsisFonts/Ysabeau.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ysabeau SC": { + "name": "Ysabeau SC", + "designer": [ + "Christian Thalmann" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "latin", + "latin-ext", + "math", + "symbols", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Ysabeau combines the familiar timeless letterforms of the Garamond legacy with the unencumbered crispness of a clean low-contrast sans serif. Unlike other humanist sans, Ysabeau retains the confident wide stride and unapologetic extenders of the world's favorite book face for unmitigated reading comfort. Try it on your e-reader and never look back! Pair it with EB Garamond or Cormorant for a perfect match, or blow it up to page-filling sizes and revel in its elegance. Ysabeau offers extensive Latin, Greek and Cyrillic. To contribute, see github.com/CatharsisFonts/Ysabeau.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Yuji Boku": { + "name": "Yuji Boku", + "designer": [ + "Kinuta Font Factory" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "\"Yuji\" is a series of fonts digitizing handwriting by the calligrapher Yuji Kataoka. Yuji Boku is a new and joyful design. It has both simplicity and warmth. Fonts in the Yuji Family: Yuji Mai Yuji Syuku To contribute to the project, visit github.com/Kinutafontfactory/Yuji", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "Yuji Hentaigana Akari": { + "name": "Yuji Hentaigana Akari", + "designer": [ + "Kinuta Font Factory" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "japanese", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "\"Yuji\" is a series of fonts digitizing handwriting by the calligrapher Yuji Kataoka. Akari is a \"Hentaigana\" font which contains stylistic alternate versions of the standard Hiragana set that were abandoned in 1900 during a script reform. As there are no Hentaigana for Katakana, no Katakana are included. Latin is all-caps / small caps. Fonts in the Yuji Family: Yuji Hentaigana Akebono Yuji Boku Yuji Mai Yuji Syuku To contribute to the project, visit github.com/Kinutafontfactory/Yuji", + "primary_script": "Hira", + "article": null, + "minisite_url": null + }, + "Yuji Hentaigana Akebono": { + "name": "Yuji Hentaigana Akebono", + "designer": [ + "Kinuta Font Factory" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "japanese", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "\"Yuji\" is a series of fonts digitizing handwriting by the calligrapher Yuji Kataoka. Akebono is a \"Hentaigana\" font which contains stylistic alternate versions of the standard Hiragana set that were abandoned in 1900 during a script reform. As there are no Hentaigana for Katakana, no Katakana are included. Latin is all-caps / small caps. Fonts in the Yuji Family: Yuji Hentaigana Akari Yuji Boku Yuji Mai Yuji Syuku To contribute to the project, visit github.com/Kinutafontfactory/Yuji", + "primary_script": "Hira", + "article": null, + "minisite_url": null + }, + "Yuji Mai": { + "name": "Yuji Mai", + "designer": [ + "Kinuta Font Factory" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "\"Yuji\" is a series of fonts digitizing handwriting by the calligrapher Yuji Kataoka. Yuji Mai expresses a free, unrestrained, emotional beauty. The Latin alphabets were written to match the kana strokes. Fonts in the Yuji Family: Yuji Boku Yuji Syuku To contribute to the project, visit github.com/Kinutafontfactory/Yuji", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "Yuji Syuku": { + "name": "Yuji Syuku", + "designer": [ + "Kinuta Font Factory" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "\"Yuji\" is a series of fonts digitizing handwriting by the calligrapher Yuji Kataoka. Yuji Syuku has tradition and dignity, but is also approachable. This design can be widely accepted by the general public. Fonts in the Yuji Family: Yuji Boku Yuji Mai To contribute to the project, visit github.com/Kinutafontfactory/Yuji", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "Yusei Magic": { + "name": "Yusei Magic", + "designer": [ + "Tanukizamurai" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Yusei Magic is a font based on handwritten letters written with permanent marker. It has a thick vertical stroke and a thin horizontal stroke, so it is highly visible. The design of the letters has both the strength of bold lines and the softness of spaciousness. Highly recommended for handwriting on blackboards and pop art designs. To contribute to the project, visit github.com/tanukifont/YuseiMagic", + "primary_script": "Japn", + "article": null, + "minisite_url": null + }, + "ZCOOL KuaiLe": { + "name": "ZCOOL KuaiLe", + "designer": [ + "Liu Bingke", + "Yang Kang", + "Wu Shaojie" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "chinese-simplified", + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "ZCool Kuaile was created by a team of font design trainees under the leadership of typographer Liu Bingke. First, Liu created the character shape framework and design standards; then, a group of over 100 typography apprentices participated in building out the character set. Finally, Liu and other designers from his workshop, including Yang Kang and Wu Shaojie, edited and adjusted the characters to unify the design.", + "primary_script": "Hans", + "article": null, + "minisite_url": null + }, + "ZCOOL QingKe HuangYou": { + "name": "ZCOOL QingKe HuangYou", + "designer": [ + "Zheng Qingke" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "chinese-simplified", + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "ZCool QingKe HuangYou was designed and produced by Zheng Qingke, and donated to the ZCOOL font project for public use. It features innovative character shapes and rounded lines, with right angles adjusted to a rounded 4pt corner radius. The lower right corner of the radicals are notched at a 45 degree angle, which raises the visual center of the font, effectively solving readability issues due to stroke crossing.", + "primary_script": "Hans", + "article": null, + "minisite_url": null + }, + "ZCOOL XiaoWei": { + "name": "ZCOOL XiaoWei", + "designer": [ + "Li Dawei" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "chinese-simplified", + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "ZCOOL XiaoWei was contributed to the ZCOOL font project by designer Li Dawei and the team at Zuozi, who created the typeface as a gift for David\u2019s daughter, \u201cLittle Fern\u201d, on her third birthday. It is intended to help fill the dearth of logo-ready Chinese display fonts. The brush strokes are agile and recognizable, with spacing optimized to display at small or large sizes.", + "primary_script": "Hans", + "article": null, + "minisite_url": null + }, + "Zain": { + "name": "Zain", + "designer": [ + "Boutros Fonts" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "arabic", + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Zain Group (zain.com) is a leading provider of innovative technologies and digital lifestyle communications operating in eight markets across the Middle East and Africa. The objectives behind the Zain range of typefaces were to create a unique modern range (8 weights: ExtraLight, Light, Regular, Italic, Bold, ExtraBold, Black and LightItalic ) that supports Arabic and Latin languages as well as Urdu, Farsi, Kurdish, Indonesian and Tagalog. It's suitable for headlines, sub-headings and body text, respecting Arabic calligraphy and cultural rules with maximum legibility. A key design objective has been the harmony between the Latin and the Arabic and its suitability for all communications needs, whether in print or on the web. To contribute, please see github.com/googlefonts/zain.", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Zen Antique": { + "name": "Zen Antique", + "designer": [ + "Yoshimichi Ohira" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "greek", + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Jpan", + "article": "Zen Antique features two kinds of Antique Japanese with Kanji. The impression of the weights (thickness) of strokes are different among characters\u2014Hiragana and Latin alphabets are slightly lighter, while Katakana and Kanji are slightly heavier, which gives the unique rhythm and taste in this font. Zen Antique Soft has a slightly rounded effect on the corners. To contribute to the project, visit github.com/googlefonts/zen-antique Zen Antique \u306b\u306f\u3001\u53e4\u98a8\u306a\u96f0\u56f2\u6c17\u306e\u4e8c\u7a2e\u985e\u306e\u6f22\u5b57\u3092\u542b\u3080\u65e5\u672c\u8a9e\u66f8\u4f53\u304c\u3042\u308a\u307e\u3059\u3002 \u6587\u5b57\u306b\u3088\u3063\u3066\u753b\u7dda\u306e\u592a\u3055\u306b\u5909\u5316\u304c\u3042\u308a\u3001\u3072\u3089\u304c\u306a\u3068\u6b27\u6587\u306f\u7d30\u3081\u3001\u30ab\u30bf\u30ab\u30ca\u3068\u6f22\u5b57\u306f\u592a\u3081\u3067\u3001\u30d5\u30a9\u30f3\u30c8\u306b\u72ec\u7279\u306e\u30ea\u30ba\u30e0\u3068\u5473\u308f\u3044\u3092\u4e0e\u3048\u3066\u3044\u307e\u3059\u3002 \u307e\u305f\u3001 Zen Antique Soft \u3067\u306f\u3001\u89d2\u304c\u5c11\u3057\u4e38\u304f\u306a\u3063\u3066\u3044\u307e\u3059\u3002 \u3053\u306e\u30d7\u30ed\u30b8\u30a7\u30af\u30c8\u306b\u53c2\u52a0\u3057\u3066\u8ca2\u732e\u3057\u305f\u3044\u65b9\u306f\u3001\u6b21\u306e URL \u3092\u3054\u53c2\u7167\u304f\u3060\u3055\u3044\u3002github.com/googlefonts/zen-antique Say Hello to our big new Japanese collection with Zen Fonts: Learn about the complex beauty of Japanese fonts In 2019, Google Fonts started an ambitious project to expand its font library with a variety of typeface designs for Japanese. At that point Google Fonts had fewer than 10 Japanese families, most of which were basic Mincho (serif) and gothic (sans) designs. Since then the collection of Japanese fonts within the library has grown, now with 38 font families from 18 designers, in a variety of styles \u2013 from formal text types to fun display fonts. All these Japanese fonts are now live on Google Fonts for anyone to test out and use in any project. The Zen Fonts collection is the largest set of Japanese fonts on Google Fonts As part of this larger effort to expand Japanese offerings, Google Fonts collaborated with type designer Yoshimichi Ohira to open his prestigious collection of Zen Fonts typefaces to the public. With 23 Japanese and three Latin fonts in various styles of mincho (serif), gothic (sans serif), maru (rounded), and display styles, the Zen Fonts collection is now the largest set of Japanese fonts in Google Fonts\u2019 expansive library, and is also available in Adobe Fonts. Check out The Story of Zen Fonts - interview with Yoshimichi Ohira to learn more. To learn more, read:Say Hello to our big new Japanese collection with Zen Fonts (English)The Story of Zen Fonts - interview with Yoshimichi Ohira (English)Zen\u30d5\u30a9\u30f3\u30c8: \u65b0\u3057\u3044\u65e5\u672c\u8a9e\u30d5\u30a9\u30f3\u30c8\u30b3\u30ec\u30af\u30b7\u30e7\u30f3\u306e\u767b\u5834 - \u65e5\u672c\u8a9e\u30d5\u30a9\u30f3\u30c8\u306e\u8907\u96d1\u306a\u7f8e\u3057\u3055\u306b\u3064\u3044\u3066 - (Japanese)Zen\u30d5\u30a9\u30f3\u30c8\u306e\u304a\u306f\u306a\u3057\uff1a\u5927\u5e73\u5584\u9053\u3055\u3093\u3068\u306e\u30a4\u30f3\u30bf\u30d3\u30e5\u30fc (Japanese)", + "minisite_url": null + }, + "Zen Antique Soft": { + "name": "Zen Antique Soft", + "designer": [ + "Yoshimichi Ohira" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "greek", + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Jpan", + "article": "Zen Antique features two kinds of Antique Japanese with Kanji. The impression of the weights (thickness) of strokes are different among characters\u2014Hiragana and Latin alphabets are slightly lighter, while Katakana and Kanji are slightly heavier, which gives the unique rhythm and taste in this font. This is Zen Antique Soft, a version of Zen Antique with a slightly rounded effect on the corners. To contribute to the project, visit github.com/googlefonts/zen-antique Zen Antique \u306b\u306f\u3001\u53e4\u98a8\u306a\u96f0\u56f2\u6c17\u306e\u4e8c\u7a2e\u985e\u306e\u6f22\u5b57\u3092\u542b\u3080\u65e5\u672c\u8a9e\u66f8\u4f53\u304c\u3042\u308a\u307e\u3059\u3002 \u6587\u5b57\u306b\u3088\u3063\u3066\u753b\u7dda\u306e\u592a\u3055\u306b\u5909\u5316\u304c\u3042\u308a\u3001\u3072\u3089\u304c\u306a\u3068\u6b27\u6587\u306f\u7d30\u3081\u3001\u30ab\u30bf\u30ab\u30ca\u3068\u6f22\u5b57\u306f\u592a\u3081\u3067\u3001\u30d5\u30a9\u30f3\u30c8\u306b\u72ec\u7279\u306e\u30ea\u30ba\u30e0\u3068\u5473\u308f\u3044\u3092\u4e0e\u3048\u3066\u3044\u307e\u3059\u3002 \u307e\u305f\u3001Zen Antique Soft \u3067\u306f\u3001\u89d2\u304c\u5c11\u3057\u4e38\u304f\u306a\u3063\u3066\u3044\u307e\u3059\u3002 \u3053\u306e\u30d7\u30ed\u30b8\u30a7\u30af\u30c8\u306b\u53c2\u52a0\u3057\u3066\u8ca2\u732e\u3057\u305f\u3044\u65b9\u306f\u3001\u6b21\u306e URL \u3092\u3054\u53c2\u7167\u304f\u3060\u3055\u3044\u3002github.com/googlefonts/zen-antique Say Hello to our big new Japanese collection with Zen Fonts: Learn about the complex beauty of Japanese fonts In 2019, Google Fonts started an ambitious project to expand its font library with a variety of typeface designs for Japanese. At that point Google Fonts had fewer than 10 Japanese families, most of which were basic Mincho (serif) and gothic (sans) designs. Since then the collection of Japanese fonts within the library has grown, now with 38 font families from 18 designers, in a variety of styles \u2013 from formal text types to fun display fonts. All these Japanese fonts are now live on Google Fonts for anyone to test out and use in any project. The Zen Fonts collection is the largest set of Japanese fonts on Google Fonts As part of this larger effort to expand Japanese offerings, Google Fonts collaborated with type designer Yoshimichi Ohira to open his prestigious collection of Zen Fonts typefaces to the public. With 23 Japanese and three Latin fonts in various styles of mincho (serif), gothic (sans serif), maru (rounded), and display styles, the Zen Fonts collection is now the largest set of Japanese fonts in Google Fonts\u2019 expansive library, and is also available in Adobe Fonts. Check out The Story of Zen Fonts - interview with Yoshimichi Ohira to learn more. To learn more, read:Say Hello to our big new Japanese collection with Zen Fonts (English)The Story of Zen Fonts - interview with Yoshimichi Ohira (English)Zen\u30d5\u30a9\u30f3\u30c8: \u65b0\u3057\u3044\u65e5\u672c\u8a9e\u30d5\u30a9\u30f3\u30c8\u30b3\u30ec\u30af\u30b7\u30e7\u30f3\u306e\u767b\u5834 - \u65e5\u672c\u8a9e\u30d5\u30a9\u30f3\u30c8\u306e\u8907\u96d1\u306a\u7f8e\u3057\u3055\u306b\u3064\u3044\u3066 - (Japanese)Zen\u30d5\u30a9\u30f3\u30c8\u306e\u304a\u306f\u306a\u3057\uff1a\u5927\u5e73\u5584\u9053\u3055\u3093\u3068\u306e\u30a4\u30f3\u30bf\u30d3\u30e5\u30fc (Japanese)", + "minisite_url": null + }, + "Zen Dots": { + "name": "Zen Dots", + "designer": [ + "Yoshimichi Ohira" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "Zen Dots Family is one of three Latin fonts designed by Yoshimichi Ohira, as part of the Zen Fonts collection. Zen Dots was designed with a futuristic vision and inspired by the different eras in science fiction films. To contribute, see github.com/googlefonts/zen-dots. Say Hello to our big new Japanese collection with Zen Fonts: Learn about the complex beauty of Japanese fonts In 2019, Google Fonts started an ambitious project to expand its font library with a variety of typeface designs for Japanese. At that point Google Fonts had fewer than 10 Japanese families, most of which were basic Mincho (serif) and gothic (sans) designs. Since then the collection of Japanese fonts within the library has grown, now with 38 font families from 18 designers, in a variety of styles \u2013 from formal text types to fun display fonts. All these Japanese fonts are now live on Google Fonts for anyone to test out and use in any project. The Zen Fonts collection is the largest set of Japanese fonts on Google Fonts As part of this larger effort to expand Japanese offerings, Google Fonts collaborated with type designer Yoshimichi Ohira to open his prestigious collection of Zen Fonts typefaces to the public. With 23 Japanese and three Latin fonts in various styles of mincho (serif), gothic (sans serif), maru (rounded), and display styles, the Zen Fonts collection is now the largest set of Japanese fonts in Google Fonts\u2019 expansive library, and is also available in Adobe Fonts. Check out The Story of Zen Fonts - interview with Yoshimichi Ohira to learn more. To learn more, read:Say Hello to our big new Japanese collection with Zen Fonts (English)The Story of Zen Fonts - interview with Yoshimichi Ohira (English)Zen\u30d5\u30a9\u30f3\u30c8: \u65b0\u3057\u3044\u65e5\u672c\u8a9e\u30d5\u30a9\u30f3\u30c8\u30b3\u30ec\u30af\u30b7\u30e7\u30f3\u306e\u767b\u5834 - \u65e5\u672c\u8a9e\u30d5\u30a9\u30f3\u30c8\u306e\u8907\u96d1\u306a\u7f8e\u3057\u3055\u306b\u3064\u3044\u3066 - (Japanese)Zen\u30d5\u30a9\u30f3\u30c8\u306e\u304a\u306f\u306a\u3057\uff1a\u5927\u5e73\u5584\u9053\u3055\u3093\u3068\u306e\u30a4\u30f3\u30bf\u30d3\u30e5\u30fc (Japanese)", + "minisite_url": null + }, + "Zen Kaku Gothic Antique": { + "name": "Zen Kaku Gothic Antique", + "designer": [ + "Yoshimichi Ohira" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Jpan", + "article": "Zen Kaku Gothic New is a contemporary Japanese gothic (san serif) typeface family. With this font, you can express fine typesetting without any professional detailed arrangements. Because of the unique yet simple design, it gives naturally high legibility. Easy to use and read. Zen Kaku Gothic Antique is a classical yet simple and stylish version. Highly legible due to orthodox letterform design, and great for various usage, from title to text, and even captions. To contribute to the project, visit github.com/googlefonts/zen-kakugothic Zen Kaku Gothic New \u306f\u30d9\u30fc\u30b7\u30c3\u30af\u306a\u65e5\u672c\u8a9e\u306e\u30b5\u30f3\u30bb\u30ea\u30d5(\u30b4\u30b7\u30c3\u30af\u4f53)\u30d5\u30a1\u30df\u30ea\u30fc\u3067\u3059\u3002 \u3053\u306e\u66f8\u4f53\u3092\u7528\u3044\u308c\u3070\u3001\u7279\u306b\u5c02\u9580\u5bb6\u306e\u3088\u3046\u306a\u7d30\u304b\u3044\u4f5c\u696d\u3092\u3057\u306a\u304f\u3066\u3082\u3001\u9ad8\u54c1\u4f4d\u306a\u6587\u5b57\u7d44\u3092\u5b9f\u73fe\u3059\u308b\u3053\u3068\u304c\u3067\u304d\u307e\u3059\u3002 \u72ec\u81ea\u306e\u30b7\u30f3\u30d7\u30eb\u306a\u30c7\u30b6\u30a4\u30f3\u304c\u81ea\u7136\u306a\u8aad\u307f\u3084\u3059\u3055\u3092\u3082\u305f\u3089\u3057\u307e\u3059\u3002 \u4f7f\u3044\u3084\u3059\u304f\u8aad\u307f\u3084\u3059\u3044\u66f8\u4f53\u3067\u3059\u3002 Zen Kaku Gothic Antique \u306f\u53e4\u5178\u7684\u3067\u3001\u3057\u304b\u3082\u30b7\u30f3\u30d7\u30eb\u3067\u6d12\u843d\u305f\u30b5\u30f3\u30bb\u30ea\u30d5\u66f8\u4f53\u306e\u30d5\u30a1\u30df\u30ea\u30fc\u3067\u3059\u3002 \u6587\u5b57\u306e\u30c7\u30b6\u30a4\u30f3\u304c\u30aa\u30fc\u30bd\u30c9\u30c3\u30af\u30b9\u3067\u3001\u304d\u308f\u3081\u3066\u5224\u8aad\u3057\u3084\u3059\u3044\u66f8\u4f53\u3067\u3059\u3002 \u30bf\u30a4\u30c8\u30eb\u304b\u3089\u672c\u6587\u3001\u30ad\u30e3\u30d7\u30b7\u30e7\u30f3\u307e\u3067\u3001\u3055\u307e\u3056\u307e\u306a\u7528\u9014\u3067\u52b9\u679c\u7684\u306b\u3054\u5229\u7528\u3044\u305f\u3060\u3051\u307e\u3059\u3002 \u3053\u306e\u30d7\u30ed\u30b8\u30a7\u30af\u30c8\u306b\u53c2\u52a0\u3057\u3066\u8ca2\u732e\u3057\u305f\u3044\u65b9\u306f\u3001\u6b21\u306e URL \u3092\u3054\u53c2\u7167\u304f\u3060\u3055\u3044 github.com/googlefonts/zen-kakugothic Say Hello to our big new Japanese collection with Zen Fonts: Learn about the complex beauty of Japanese fonts In 2019, Google Fonts started an ambitious project to expand its font library with a variety of typeface designs for Japanese. At that point Google Fonts had fewer than 10 Japanese families, most of which were basic Mincho (serif) and gothic (sans) designs. Since then the collection of Japanese fonts within the library has grown, now with 38 font families from 18 designers, in a variety of styles \u2013 from formal text types to fun display fonts. All these Japanese fonts are now live on Google Fonts for anyone to test out and use in any project. The Zen Fonts collection is the largest set of Japanese fonts on Google Fonts As part of this larger effort to expand Japanese offerings, Google Fonts collaborated with type designer Yoshimichi Ohira to open his prestigious collection of Zen Fonts typefaces to the public. With 23 Japanese and three Latin fonts in various styles of mincho (serif), gothic (sans serif), maru (rounded), and display styles, the Zen Fonts collection is now the largest set of Japanese fonts in Google Fonts\u2019 expansive library, and is also available in Adobe Fonts. Check out The Story of Zen Fonts - interview with Yoshimichi Ohira to learn more. To learn more, read:Say Hello to our big new Japanese collection with Zen Fonts (English)The Story of Zen Fonts - interview with Yoshimichi Ohira (English)Zen\u30d5\u30a9\u30f3\u30c8: \u65b0\u3057\u3044\u65e5\u672c\u8a9e\u30d5\u30a9\u30f3\u30c8\u30b3\u30ec\u30af\u30b7\u30e7\u30f3\u306e\u767b\u5834 - \u65e5\u672c\u8a9e\u30d5\u30a9\u30f3\u30c8\u306e\u8907\u96d1\u306a\u7f8e\u3057\u3055\u306b\u3064\u3044\u3066 - (Japanese)Zen\u30d5\u30a9\u30f3\u30c8\u306e\u304a\u306f\u306a\u3057\uff1a\u5927\u5e73\u5584\u9053\u3055\u3093\u3068\u306e\u30a4\u30f3\u30bf\u30d3\u30e5\u30fc (Japanese)", + "minisite_url": null + }, + "Zen Kaku Gothic New": { + "name": "Zen Kaku Gothic New", + "designer": [ + "Yoshimichi Ohira" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Jpan", + "article": "Zen Kaku Gothic New is a contemporary Japanese gothic (san serif) typeface family. With this font, you can express fine typesetting without any professional detailed arrangements. Because of the unique yet simple design, it gives naturally high legibility. Easy to use and read. Zen Kaku Gothic Antique is a classical yet simple and stylish version. Highly legible due to orthodox letterform design, and great for various usage, from title to text, and even captions. To contribute to the project, visit github.com/googlefonts/zen-kakugothic Zen Kaku Gothic New \u306f\u30d9\u30fc\u30b7\u30c3\u30af\u306a\u65e5\u672c\u8a9e\u306e\u30b5\u30f3\u30bb\u30ea\u30d5(\u30b4\u30b7\u30c3\u30af\u4f53)\u30d5\u30a1\u30df\u30ea\u30fc\u3067\u3059\u3002 \u3053\u306e\u66f8\u4f53\u3092\u7528\u3044\u308c\u3070\u3001\u7279\u306b\u5c02\u9580\u5bb6\u306e\u3088\u3046\u306a\u7d30\u304b\u3044\u4f5c\u696d\u3092\u3057\u306a\u304f\u3066\u3082\u3001\u9ad8\u54c1\u4f4d\u306a\u6587\u5b57\u7d44\u3092\u5b9f\u73fe\u3059\u308b\u3053\u3068\u304c\u3067\u304d\u307e\u3059\u3002 \u72ec\u81ea\u306e\u30b7\u30f3\u30d7\u30eb\u306a\u30c7\u30b6\u30a4\u30f3\u304c\u81ea\u7136\u306a\u8aad\u307f\u3084\u3059\u3055\u3092\u3082\u305f\u3089\u3057\u307e\u3059\u3002 \u4f7f\u3044\u3084\u3059\u304f\u8aad\u307f\u3084\u3059\u3044\u66f8\u4f53\u3067\u3059\u3002 Zen Kaku Gothic Antique \u306f\u53e4\u5178\u7684\u3067\u3001\u3057\u304b\u3082\u30b7\u30f3\u30d7\u30eb\u3067\u6d12\u843d\u305f\u30b5\u30f3\u30bb\u30ea\u30d5\u66f8\u4f53\u306e\u30d5\u30a1\u30df\u30ea\u30fc\u3067\u3059\u3002 \u6587\u5b57\u306e\u30c7\u30b6\u30a4\u30f3\u304c\u30aa\u30fc\u30bd\u30c9\u30c3\u30af\u30b9\u3067\u3001\u304d\u308f\u3081\u3066\u5224\u8aad\u3057\u3084\u3059\u3044\u66f8\u4f53\u3067\u3059\u3002 \u30bf\u30a4\u30c8\u30eb\u304b\u3089\u672c\u6587\u3001\u30ad\u30e3\u30d7\u30b7\u30e7\u30f3\u307e\u3067\u3001\u3055\u307e\u3056\u307e\u306a\u7528\u9014\u3067\u52b9\u679c\u7684\u306b\u3054\u5229\u7528\u3044\u305f\u3060\u3051\u307e\u3059\u3002 \u3053\u306e\u30d7\u30ed\u30b8\u30a7\u30af\u30c8\u306b\u53c2\u52a0\u3057\u3066\u8ca2\u732e\u3057\u305f\u3044\u65b9\u306f\u3001\u6b21\u306e URL \u3092\u3054\u53c2\u7167\u304f\u3060\u3055\u3044 github.com/googlefonts/zen-kakugothic Say Hello to our big new Japanese collection with Zen Fonts: Learn about the complex beauty of Japanese fonts In 2019, Google Fonts started an ambitious project to expand its font library with a variety of typeface designs for Japanese. At that point Google Fonts had fewer than 10 Japanese families, most of which were basic Mincho (serif) and gothic (sans) designs. Since then the collection of Japanese fonts within the library has grown, now with 38 font families from 18 designers, in a variety of styles \u2013 from formal text types to fun display fonts. All these Japanese fonts are now live on Google Fonts for anyone to test out and use in any project. The Zen Fonts collection is the largest set of Japanese fonts on Google Fonts As part of this larger effort to expand Japanese offerings, Google Fonts collaborated with type designer Yoshimichi Ohira to open his prestigious collection of Zen Fonts typefaces to the public. With 23 Japanese and three Latin fonts in various styles of mincho (serif), gothic (sans serif), maru (rounded), and display styles, the Zen Fonts collection is now the largest set of Japanese fonts in Google Fonts\u2019 expansive library, and is also available in Adobe Fonts. Check out The Story of Zen Fonts - interview with Yoshimichi Ohira to learn more. To learn more, read:Say Hello to our big new Japanese collection with Zen Fonts (English)The Story of Zen Fonts - interview with Yoshimichi Ohira (English)Zen\u30d5\u30a9\u30f3\u30c8: \u65b0\u3057\u3044\u65e5\u672c\u8a9e\u30d5\u30a9\u30f3\u30c8\u30b3\u30ec\u30af\u30b7\u30e7\u30f3\u306e\u767b\u5834 - \u65e5\u672c\u8a9e\u30d5\u30a9\u30f3\u30c8\u306e\u8907\u96d1\u306a\u7f8e\u3057\u3055\u306b\u3064\u3044\u3066 - (Japanese)Zen\u30d5\u30a9\u30f3\u30c8\u306e\u304a\u306f\u306a\u3057\uff1a\u5927\u5e73\u5584\u9053\u3055\u3093\u3068\u306e\u30a4\u30f3\u30bf\u30d3\u30e5\u30fc (Japanese)", + "minisite_url": null + }, + "Zen Kurenaido": { + "name": "Zen Kurenaido", + "designer": [ + "Yoshimichi Ohira" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "greek", + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Jpan", + "article": "Zen Kurenaido is a Japanese font with a handwritten feeling. The brush-like elements are omitted from the design, leaving only the bones of the letter, resulting in an impression of ballpoint handwriting. To contribute to the project, visit github.com/googlefonts/zen-kurenaido Zen Kurenaido \u306f\u624b\u66f8\u304d\u306e\u6301\u3061\u5473\u3092\u6d3b\u304b\u3057\u305f\u65b0\u3057\u3044\u65e5\u672c\u8a9e\u66f8\u4f53\u306e\u30c7\u30b6\u30a4\u30f3\u3067\u3059 \u6bdb\u7b46\u7684\u306a\u8981\u7d20\u304c\u53d6\u308a\u9664\u304b\u308c\u3001\u6587\u5b57\u306e\u9aa8\u683c\u3060\u3051\u304c\u6b8b\u3055\u308c\u3066\u3044\u308b\u306e\u3067\u3001\u30dc\u30fc\u30eb\u30da\u30f3\u3067\u66f8\u3044\u305f\u3088\u3046\u306a\u5370\u8c61\u3092\u4e0e\u3048\u308b\u30d5\u30a9\u30f3\u30c8\u3067\u3059\u3002 \u3053\u306e\u30d7\u30ed\u30b8\u30a7\u30af\u30c8\u306b\u53c2\u52a0\u3057\u3066\u8ca2\u732e\u3057\u305f\u3044\u65b9\u306f\u3001\u6b21\u306e URL \u3092\u3054\u53c2\u7167\u304f\u3060\u3055\u3044 github.com/googlefonts/zen-kurenaido\u3002 Say Hello to our big new Japanese collection with Zen Fonts: Learn about the complex beauty of Japanese fonts In 2019, Google Fonts started an ambitious project to expand its font library with a variety of typeface designs for Japanese. At that point Google Fonts had fewer than 10 Japanese families, most of which were basic Mincho (serif) and gothic (sans) designs. Since then the collection of Japanese fonts within the library has grown, now with 38 font families from 18 designers, in a variety of styles \u2013 from formal text types to fun display fonts. All these Japanese fonts are now live on Google Fonts for anyone to test out and use in any project. The Zen Fonts collection is the largest set of Japanese fonts on Google Fonts As part of this larger effort to expand Japanese offerings, Google Fonts collaborated with type designer Yoshimichi Ohira to open his prestigious collection of Zen Fonts typefaces to the public. With 23 Japanese and three Latin fonts in various styles of mincho (serif), gothic (sans serif), maru (rounded), and display styles, the Zen Fonts collection is now the largest set of Japanese fonts in Google Fonts\u2019 expansive library, and is also available in Adobe Fonts. Check out The Story of Zen Fonts - interview with Yoshimichi Ohira to learn more. To learn more, read:Say Hello to our big new Japanese collection with Zen Fonts (English)The Story of Zen Fonts - interview with Yoshimichi Ohira (English)Zen\u30d5\u30a9\u30f3\u30c8: \u65b0\u3057\u3044\u65e5\u672c\u8a9e\u30d5\u30a9\u30f3\u30c8\u30b3\u30ec\u30af\u30b7\u30e7\u30f3\u306e\u767b\u5834 - \u65e5\u672c\u8a9e\u30d5\u30a9\u30f3\u30c8\u306e\u8907\u96d1\u306a\u7f8e\u3057\u3055\u306b\u3064\u3044\u3066 - (Japanese)Zen\u30d5\u30a9\u30f3\u30c8\u306e\u304a\u306f\u306a\u3057\uff1a\u5927\u5e73\u5584\u9053\u3055\u3093\u3068\u306e\u30a4\u30f3\u30bf\u30d3\u30e5\u30fc (Japanese)", + "minisite_url": null + }, + "Zen Loop": { + "name": "Zen Loop", + "designer": [ + "Yoshimichi Ohira" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": null, + "primary_script": null, + "article": "Zen Loop Family is one of three Latin fonts designed by Yoshimichi Ohira, as part of Zen Fonts collection. Japanese kana characters contain many loops. Zen Loop and Zen Loop Italic incorporates this visual aspect into a Latin font. The font looks as though it was shaped out of a thin wire, and almost depicts the movements of a living organism. To contribute, see github.com/googlefonts/zen-loop Say Hello to our big new Japanese collection with Zen Fonts: Learn about the complex beauty of Japanese fonts In 2019, Google Fonts started an ambitious project to expand its font library with a variety of typeface designs for Japanese. At that point Google Fonts had fewer than 10 Japanese families, most of which were basic Mincho (serif) and gothic (sans) designs. Since then the collection of Japanese fonts within the library has grown, now with 38 font families from 18 designers, in a variety of styles \u2013 from formal text types to fun display fonts. All these Japanese fonts are now live on Google Fonts for anyone to test out and use in any project. The Zen Fonts collection is the largest set of Japanese fonts on Google Fonts As part of this larger effort to expand Japanese offerings, Google Fonts collaborated with type designer Yoshimichi Ohira to open his prestigious collection of Zen Fonts typefaces to the public. With 23 Japanese and three Latin fonts in various styles of mincho (serif), gothic (sans serif), maru (rounded), and display styles, the Zen Fonts collection is now the largest set of Japanese fonts in Google Fonts\u2019 expansive library, and is also available in Adobe Fonts. Check out The Story of Zen Fonts - interview with Yoshimichi Ohira to learn more. To learn more, read:Say Hello to our big new Japanese collection with Zen Fonts (English)The Story of Zen Fonts - interview with Yoshimichi Ohira (English)Zen\u30d5\u30a9\u30f3\u30c8: \u65b0\u3057\u3044\u65e5\u672c\u8a9e\u30d5\u30a9\u30f3\u30c8\u30b3\u30ec\u30af\u30b7\u30e7\u30f3\u306e\u767b\u5834 - \u65e5\u672c\u8a9e\u30d5\u30a9\u30f3\u30c8\u306e\u8907\u96d1\u306a\u7f8e\u3057\u3055\u306b\u3064\u3044\u3066 - (Japanese)Zen\u30d5\u30a9\u30f3\u30c8\u306e\u304a\u306f\u306a\u3057\uff1a\u5927\u5e73\u5584\u9053\u3055\u3093\u3068\u306e\u30a4\u30f3\u30bf\u30d3\u30e5\u30fc (Japanese)", + "minisite_url": null + }, + "Zen Maru Gothic": { + "name": "Zen Maru Gothic", + "designer": [ + "Yoshimichi Ohira" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "greek", + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": "Jpan", + "article": "Zen Maru Gothic is a rounded san serif family that gives a soft and natural impression due to the deep rounds in the corners. Because of this unique soft impression the thin weight is also easy to use in any scenes. Cute and fashionable, soft and easy for any communications. To contribute to the project, visit https://github.com/googlefonts/zen-marugothic Zen Maru Gothic\u306f\u3001\u89d2\u306e\u6df1\u3044\u4e38\u307f\u306b\u3088\u3063\u3066\u30bd\u30d5\u30c8\u3067\u30ca\u30c1\u30e5\u30e9\u30eb\u306a\u5370\u8c61\u3092\u4e0e\u3048\u308b\u4e38\u30b4\u30b7\u30c3\u30af\u4f53\u3067\u3059\u3002\u3053\u306e\u7279\u6709\u306e\u30bd\u30d5\u30c8\u306a\u5370\u8c61\u306b\u3088\u308a\u3001\u7d30\u3044\u30a6\u30a8\u30a4\u30c8\u306f\u3069\u306e\u3088\u3046\u306a\u30b7\u30fc\u30f3\u306b\u3082\u4f3c\u5408\u3044\u307e\u3059\u3002\u30ad\u30e5\u30fc\u30c8\u3067\u30aa\u30b7\u30e3\u30ec\u306a\u3053\u306e\u30d5\u30a9\u30f3\u30c8\u306f\u3001\u69d8\u3005\u306a\u5834\u9762\u3067\u67d4\u3089\u304b\u304f\u3075\u3093\u308f\u308a\u3068\u3057\u305f\u30b3\u30df\u30e5\u30cb\u30b1\u30fc\u30b7\u30e7\u30f3\u306b\u6d3b\u7528\u3067\u304d\u307e\u3059\u3002 \u3053\u306e\u30d7\u30ed\u30b8\u30a7\u30af\u30c8\u306b\u53c2\u52a0\u3059\u308b\u306b\u306f\u3001\u3053\u3061\u3089\u306e\u30ea\u30f3\u30af\u3078 https://github.com/googlefonts/zen-marugothic Say Hello to our big new Japanese collection with Zen Fonts: Learn about the complex beauty of Japanese fonts In 2019, Google Fonts started an ambitious project to expand its font library with a variety of typeface designs for Japanese. At that point Google Fonts had fewer than 10 Japanese families, most of which were basic Mincho (serif) and gothic (sans) designs. Since then the collection of Japanese fonts within the library has grown, now with 38 font families from 18 designers, in a variety of styles \u2013 from formal text types to fun display fonts. All these Japanese fonts are now live on Google Fonts for anyone to test out and use in any project. The Zen Fonts collection is the largest set of Japanese fonts on Google Fonts As part of this larger effort to expand Japanese offerings, Google Fonts collaborated with type designer Yoshimichi Ohira to open his prestigious collection of Zen Fonts typefaces to the public. With 23 Japanese and three Latin fonts in various styles of mincho (serif), gothic (sans serif), maru (rounded), and display styles, the Zen Fonts collection is now the largest set of Japanese fonts in Google Fonts\u2019 expansive library, and is also available in Adobe Fonts. Check out The Story of Zen Fonts - interview with Yoshimichi Ohira to learn more. To learn more, read:Say Hello to our big new Japanese collection with Zen Fonts (English)The Story of Zen Fonts - interview with Yoshimichi Ohira (English)Zen\u30d5\u30a9\u30f3\u30c8: \u65b0\u3057\u3044\u65e5\u672c\u8a9e\u30d5\u30a9\u30f3\u30c8\u30b3\u30ec\u30af\u30b7\u30e7\u30f3\u306e\u767b\u5834 - \u65e5\u672c\u8a9e\u30d5\u30a9\u30f3\u30c8\u306e\u8907\u96d1\u306a\u7f8e\u3057\u3055\u306b\u3064\u3044\u3066 - (Japanese)Zen\u30d5\u30a9\u30f3\u30c8\u306e\u304a\u306f\u306a\u3057\uff1a\u5927\u5e73\u5584\u9053\u3055\u3093\u3068\u306e\u30a4\u30f3\u30bf\u30d3\u30e5\u30fc (Japanese)", + "minisite_url": null + }, + "Zen Old Mincho": { + "name": "Zen Old Mincho", + "designer": [ + "Yoshimichi Ohira" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "greek", + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Jpan", + "article": "Zen Old Mincho is a Japanese mincho (serif) typeface with a classic design. This font family started with the regular (400) weight, and bold and black weights were added due to huge demand. The wide range of weights means while the design is intended for text usage, it also works well in large sizes. To contribute to the project, visit github.com/googlefonts/zen-oldmincho Zen Old Mincho \u306f\u30d9\u30fc\u30b7\u30c3\u30af\u306a\u672c\u6587\u7528\u306e\u65e5\u672c\u8a9e\u660e\u671d\u4f53\u30d5\u30a1\u30df\u30ea\u30fc\u3067\u3059 \u3053\u306e\u30d5\u30a9\u30f3\u30c8\u30d5\u30a1\u30df\u30ea\u30fc\u306b\u306f\u3001\u306f\u3058\u3081\u306f\u300cRegular\u300d\u306e\u592a\u3055\u3057\u304b\u3042\u308a\u307e\u305b\u3093\u3067\u3057\u305f\u304c\u3001\u591a\u304f\u306e\u8981\u671b\u306b\u304a\u5fdc\u3048\u3057\u3066\u3001\u4ed6\u306e\u30a6\u30a7\u30a4\u30c8\u3082\u8ffd\u52a0\u3057\u307e\u3057\u305f\u3002\u4f7f\u3048\u308b\u592a\u3055\u306e\u7bc4\u56f2\u304c\u5e83\u3044\u305f\u3081\u3001\u672c\u6587\u7528\u3060\u3051\u3067\u306a\u304f\u3001\u305d\u306e\u4ed6\u3055 \u307e\u3056\u307e\u306a\u5834\u9762\u3084\u30e1\u30c7\u30a3\u30a2\u3067\u3054\u5229\u7528\u3044\u305f\u3060\u3051\u307e\u3059\u3002 \u3053\u306e\u30d7\u30ed\u30b8\u30a7\u30af\u30c8\u306b\u53c2\u52a0\u3057\u3066\u8ca2\u732e\u3057\u305f\u3044\u65b9\u306f\u3001\u6b21\u306e URL \u3092\u3054\u53c2\u7167\u304f\u3060\u3055\u3044\u3002 github.com/googlefonts/zen-oldmincho Say Hello to our big new Japanese collection with Zen Fonts: Learn about the complex beauty of Japanese fonts In 2019, Google Fonts started an ambitious project to expand its font library with a variety of typeface designs for Japanese. At that point Google Fonts had fewer than 10 Japanese families, most of which were basic Mincho (serif) and gothic (sans) designs. Since then the collection of Japanese fonts within the library has grown, now with 38 font families from 18 designers, in a variety of styles \u2013 from formal text types to fun display fonts. All these Japanese fonts are now live on Google Fonts for anyone to test out and use in any project. The Zen Fonts collection is the largest set of Japanese fonts on Google Fonts As part of this larger effort to expand Japanese offerings, Google Fonts collaborated with type designer Yoshimichi Ohira to open his prestigious collection of Zen Fonts typefaces to the public. With 23 Japanese and three Latin fonts in various styles of mincho (serif), gothic (sans serif), maru (rounded), and display styles, the Zen Fonts collection is now the largest set of Japanese fonts in Google Fonts\u2019 expansive library, and is also available in Adobe Fonts. Check out The Story of Zen Fonts - interview with Yoshimichi Ohira to learn more. To learn more, read:Say Hello to our big new Japanese collection with Zen Fonts (English)The Story of Zen Fonts - interview with Yoshimichi Ohira (English)Zen\u30d5\u30a9\u30f3\u30c8: \u65b0\u3057\u3044\u65e5\u672c\u8a9e\u30d5\u30a9\u30f3\u30c8\u30b3\u30ec\u30af\u30b7\u30e7\u30f3\u306e\u767b\u5834 - \u65e5\u672c\u8a9e\u30d5\u30a9\u30f3\u30c8\u306e\u8907\u96d1\u306a\u7f8e\u3057\u3055\u306b\u3064\u3044\u3066 - (Japanese)Zen\u30d5\u30a9\u30f3\u30c8\u306e\u304a\u306f\u306a\u3057\uff1a\u5927\u5e73\u5584\u9053\u3055\u3093\u3068\u306e\u30a4\u30f3\u30bf\u30d3\u30e5\u30fc (Japanese)", + "minisite_url": null + }, + "Zen Tokyo Zoo": { + "name": "Zen Tokyo Zoo", + "designer": [ + "Yoshimichi Ohira" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "Zen Loop Family is one of three Latin fonts designed by Yoshimichi Ohira, as part of the Zen Fonts collection. Tokyo Zoo was originally designed for an animal exhibition. The stripes suggest zoo cages but overall it\u2019s a fun and stylish design. To contribute, see github.com/googlefonts/zen-tokyo-zoo. Say Hello to our big new Japanese collection with Zen Fonts: Learn about the complex beauty of Japanese fonts In 2019, Google Fonts started an ambitious project to expand its font library with a variety of typeface designs for Japanese. At that point Google Fonts had fewer than 10 Japanese families, most of which were basic Mincho (serif) and gothic (sans) designs. Since then the collection of Japanese fonts within the library has grown, now with 38 font families from 18 designers, in a variety of styles \u2013 from formal text types to fun display fonts. All these Japanese fonts are now live on Google Fonts for anyone to test out and use in any project. The Zen Fonts collection is the largest set of Japanese fonts on Google Fonts As part of this larger effort to expand Japanese offerings, Google Fonts collaborated with type designer Yoshimichi Ohira to open his prestigious collection of Zen Fonts typefaces to the public. With 23 Japanese and three Latin fonts in various styles of mincho (serif), gothic (sans serif), maru (rounded), and display styles, the Zen Fonts collection is now the largest set of Japanese fonts in Google Fonts\u2019 expansive library, and is also available in Adobe Fonts. Check out The Story of Zen Fonts - interview with Yoshimichi Ohira to learn more. To learn more, read:Say Hello to our big new Japanese collection with Zen Fonts (English)The Story of Zen Fonts - interview with Yoshimichi Ohira (English)Zen\u30d5\u30a9\u30f3\u30c8: \u65b0\u3057\u3044\u65e5\u672c\u8a9e\u30d5\u30a9\u30f3\u30c8\u30b3\u30ec\u30af\u30b7\u30e7\u30f3\u306e\u767b\u5834 - \u65e5\u672c\u8a9e\u30d5\u30a9\u30f3\u30c8\u306e\u8907\u96d1\u306a\u7f8e\u3057\u3055\u306b\u3064\u3044\u3066 - (Japanese)Zen\u30d5\u30a9\u30f3\u30c8\u306e\u304a\u306f\u306a\u3057\uff1a\u5927\u5e73\u5584\u9053\u3055\u3093\u3068\u306e\u30a4\u30f3\u30bf\u30d3\u30e5\u30fc (Japanese)", + "minisite_url": null + }, + "Zeyada": { + "name": "Zeyada", + "designer": [ + "Kimberly Geswein" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Zeyada is based on the handwriting of a warm and generous young mom. Her family sponsors an amazing Ethiopian young woman named Zeyada and pays for her to continue to be in school. This font has curls and curves and is not a typical cursive, nor a typical print. It is slightly connected, but not a traditional script in any way.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Zhi Mang Xing": { + "name": "Zhi Mang Xing", + "designer": [ + "Wei Zhimang" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "chinese-simplified", + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "ZhiMang is a classic running script based on the handwritten calligraphy of Wei Zhimang. Running script is a semi-cursive style in which strokes within the character run together, but the characters themselves remain separated. In its singularity and richness, ZhiMang is reminiscent of works by celebrated calligrapher Wu Changshuo.", + "primary_script": "Hans", + "article": null, + "minisite_url": null + }, + "Zilla Slab": { + "name": "Zilla Slab", + "designer": [ + "Typotheque" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Zilla Slab is Mozilla's core typeface, used for the Mozilla wordmark, headlines and throughout their designs. A contemporary slab serif, based on Typotheque's Tesla, it is constructed with smooth curves and true italics, which gives text an unexpectedly sophisticated industrial look and a friendly approachability in all weights. Designed by Typotheque, this project is led by Mozilla. To contribute, see github.com/mozilla/zilla-slab", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Zilla Slab Highlight": { + "name": "Zilla Slab Highlight", + "designer": [ + "Typotheque" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SLAB_SERIF", + "classifications": [], + "description": "Zilla Slab is Mozilla's core typeface, used for the Mozilla wordmark, headlines and throughout their designs. A contemporary slab serif, based on Typotheque's Tesla, it is constructed with smooth curves and true italics, which gives text an unexpectedly sophisticated industrial look and a friendly approachability in all weights. This is the Highlight sister family. Designed by Typotheque, this project is led by Mozilla. To contribute, see github.com/mozilla/zilla-slab", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "jsMath cmbx10": { + "name": "jsMath cmbx10", + "designer": [ + "Donald Knuth" + ], + "license": "apache2", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "These are fonts to support the jsMath package. They're based on data from the original Computer Modern fonts shipped with TeX, but with their own quirky encoding.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "jsMath cmex10": { + "name": "jsMath cmex10", + "designer": [ + "Donald Knuth" + ], + "license": "apache2", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "These are fonts to support the jsMath package. They're based on data from the original Computer Modern fonts shipped with TeX, but with their own quirky encoding.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "jsMath cmmi10": { + "name": "jsMath cmmi10", + "designer": [ + "Donald Knuth" + ], + "license": "apache2", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "These are fonts to support the jsMath package. They're based on data from the original Computer Modern fonts shipped with TeX, but with their own quirky encoding.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "jsMath cmr10": { + "name": "jsMath cmr10", + "designer": [ + "Donald Knuth" + ], + "license": "apache2", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "These are fonts to support the jsMath package. They're based on data from the original Computer Modern fonts shipped with TeX, but with their own quirky encoding.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "jsMath cmsy10": { + "name": "jsMath cmsy10", + "designer": [ + "Donald Knuth" + ], + "license": "apache2", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "These are fonts to support the jsMath package. They're based on data from the original Computer Modern fonts shipped with TeX, but with their own quirky encoding.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "jsMath cmti10": { + "name": "jsMath cmti10", + "designer": [ + "Donald Knuth" + ], + "license": "apache2", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "These are fonts to support the jsMath package. They're based on data from the original Computer Modern fonts shipped with TeX, but with their own quirky encoding.", + "primary_script": null, + "article": null, + "minisite_url": null + } + }, + "axisregistry": { + "slnt": { + "tag": "slnt", + "display_name": "Slant", + "min_value": -90.0, + "default_value": 0.0, + "max_value": 90.0, + "precision": 0, + "fallback": [ + { + "name": "Default", + "value": 0.0 + } + ], + "fallback_only": false, + "description": "Adjust the style from upright to slanted. Negative values produce right-leaning forms, also known to typographers as an 'oblique' style. Positive values produce left-leaning forms, also called a 'backslanted' or 'reverse oblique' style." + }, + "ARRR": { + "tag": "ARRR", + "display_name": "AR Retinal Resolution", + "min_value": 10.0, + "default_value": 10.0, + "max_value": 60.0, + "precision": 0, + "fallback": [ + { + "name": "Default", + "value": 10.0 + } + ], + "fallback_only": false, + "description": " Resolution-specific enhancements in AR/VR typefaces to optimize rendering across the different resolutions of the headsets making designs accessible and easy to read." + }, + "BLED": { + "tag": "BLED", + "display_name": "Bleed", + "min_value": 0.0, + "default_value": 0.0, + "max_value": 100.0, + "precision": 0, + "fallback": [ + { + "name": "Default", + "value": 0.0 + } + ], + "fallback_only": false, + "description": "Bleed adjusts the overall darkness in the typographic color of strokes or other forms, without any changes in overall width, line breaks, or page layout. Negative values make the font appearance lighter, while positive values make it darker, similarly to ink bleed or dot gain on paper." + }, + "BNCE": { + "tag": "BNCE", + "display_name": "Bounce", + "min_value": -100.0, + "default_value": 0.0, + "max_value": 100.0, + "precision": 0, + "fallback": [ + { + "name": "Default", + "value": 0.0 + } + ], + "fallback_only": false, + "description": "Shift glyphs up and down in the Y dimension, resulting in an uneven, bouncy baseline." + }, + "CASL": { + "tag": "CASL", + "display_name": "Casual", + "min_value": 0.0, + "default_value": 0.0, + "max_value": 1.0, + "precision": -2, + "fallback": [ + { + "name": "Linear", + "value": 0.0 + }, + { + "name": "Casual", + "value": 1.0 + } + ], + "fallback_only": false, + "description": "Along this axis, letterforms adjust in stroke curvature, contrast, and terminals to go from a sturdy, rational 'Linear' style to a friendly, energetic 'Casual' style." + }, + "CRSV": { + "tag": "CRSV", + "display_name": "Cursive", + "min_value": 0.0, + "default_value": 0.5, + "max_value": 1.0, + "precision": -1, + "fallback": [ + { + "name": "Roman", + "value": 0.0 + }, + { + "name": "Auto", + "value": 0.5 + }, + { + "name": "Cursive", + "value": 1.0 + } + ], + "fallback_only": true, + "description": "Controls the substitution of cursive forms along the Slant axis. 'Off' (0) maintains Roman letterforms such as a double-storey a and g, 'Auto' (0.5) allows for Cursive substitution, and 'On' (1) asserts cursive forms even in upright text with a Slant of 0." + }, + "EDPT": { + "tag": "EDPT", + "display_name": "Extrusion Depth", + "min_value": 0.0, + "default_value": 100.0, + "max_value": 1000.0, + "precision": 0, + "fallback": [ + { + "name": "Default", + "value": 100.0 + } + ], + "fallback_only": false, + "description": "Controls the 3D depth on contours." + }, + "EHLT": { + "tag": "EHLT", + "display_name": "Edge Highlight", + "min_value": 0.0, + "default_value": 12.0, + "max_value": 1000.0, + "precision": 0, + "fallback": [ + { + "name": "Default", + "value": 12.0 + } + ], + "fallback_only": false, + "description": "Controls thickness of edge highlight details." + }, + "ELGR": { + "tag": "ELGR", + "display_name": "Element Grid", + "min_value": 1.0, + "default_value": 1.0, + "max_value": 2.0, + "precision": -1, + "fallback": [ + { + "name": "Default", + "value": 1.0 + } + ], + "fallback_only": false, + "description": "In modular fonts, where glyphs are composed using multiple copies of the same element, this axis controls how many elements are used per one grid unit." + }, + "ELSH": { + "tag": "ELSH", + "display_name": "Element Shape", + "min_value": 0.0, + "default_value": 0.0, + "max_value": 100.0, + "precision": -1, + "fallback": [ + { + "name": "Default", + "value": 0.0 + } + ], + "fallback_only": false, + "description": "In modular fonts, where glyphs are composed using multiple copies of the same element, this axis controls the shape of the element" + }, + "ELXP": { + "tag": "ELXP", + "display_name": "Element Expansion", + "min_value": 0.0, + "default_value": 0.0, + "max_value": 100.0, + "precision": 0, + "fallback": [ + { + "name": "Default", + "value": 0.0 + } + ], + "fallback_only": false, + "description": "As the Element Expansion axis progresses, the elements move apart." + }, + "FILL": { + "tag": "FILL", + "display_name": "Fill", + "min_value": 0.0, + "default_value": 0.0, + "max_value": 1.0, + "precision": -2, + "fallback": [ + { + "name": "Normal", + "value": 0.0 + }, + { + "name": "Filled", + "value": 1.0 + } + ], + "fallback_only": false, + "description": "Fill in transparent forms with opaque ones. Sometimes interior opaque forms become transparent, to maintain contrasting shapes. This can be useful in animation or interaction to convey a state transition. Ranges from 0 (no treatment) to 1 (completely filled)." + }, + "FLAR": { + "tag": "FLAR", + "display_name": "Flare", + "min_value": 0.0, + "default_value": 0.0, + "max_value": 100.0, + "precision": 0, + "fallback": [ + { + "name": "Default", + "value": 0.0 + } + ], + "fallback_only": false, + "description": "As the flare axis grows, the stem terminals go from straight (0%) to develop a swelling (100%)." + }, + "GRAD": { + "tag": "GRAD", + "display_name": "Grade", + "min_value": -1000.0, + "default_value": 0.0, + "max_value": 1000.0, + "precision": 0, + "fallback": [ + { + "name": "Normal", + "value": 0.0 + } + ], + "fallback_only": false, + "description": "Finesse the style from lighter to bolder in typographic color, by varying stroke thicknesses or other forms, without any changes overall width, inter-letter spacing, or kerning, so there are no changes to line breaks or page layout. Negative grade makes the style lighter, while positive grade makes it bolder. The units are the same as in the Weight axis." + }, + "HEXP": { + "tag": "HEXP", + "display_name": "Hyper Expansion", + "min_value": 0.0, + "default_value": 0.0, + "max_value": 100.0, + "precision": -1, + "fallback": [ + { + "name": "Default", + "value": 0.0 + } + ], + "fallback_only": false, + "description": "Expansion of inner and outer space of glyphs." + }, + "INFM": { + "tag": "INFM", + "display_name": "Informality", + "min_value": 0.0, + "default_value": 0.0, + "max_value": 100.0, + "precision": 0, + "fallback": [ + { + "name": "Default", + "value": 0.0 + } + ], + "fallback_only": false, + "description": "Adjusts overall design from formal and traditional (0%) to informal and unconventional (up to 100%)." + }, + "MONO": { + "tag": "MONO", + "display_name": "Monospace", + "min_value": 0.0, + "default_value": 0.0, + "max_value": 1.0, + "precision": -2, + "fallback": [ + { + "name": "Proportional", + "value": 0.0 + }, + { + "name": "Monospace", + "value": 1.0 + } + ], + "fallback_only": false, + "description": "Adjust the style from proportional (natural widths, default) to monospace (fixed width). Monospace is when all glyphs have the same total character width, and more wide or narrow letter proportions to fill the space such as a narrower 'w' or wider 'r.' Proportionally spaced fonts have letters drawn with more typical proportions, and each glyph takes up a unique amount of space on a line." + }, + "MORF": { + "tag": "MORF", + "display_name": "Morph", + "min_value": 0.0, + "default_value": 0.0, + "max_value": 60.0, + "precision": 0, + "fallback": [ + { + "name": "Default", + "value": 0.0 + } + ], + "fallback_only": false, + "description": "Letterforms morph: Changing in unconventional ways, that don't alter other attributes, like width or weight. The range from 0 to 60 can be understood as seconds." + }, + "MUTA": { + "tag": "MUTA", + "display_name": "Mutation", + "min_value": 0.0, + "default_value": 0.0, + "max_value": 60.0, + "precision": 0, + "fallback": [ + { + "name": "Default", + "value": 0.0 + } + ], + "fallback_only": false, + "description": "As the mutation axis progresses, in seconds, letterforms morph \u2014 changing in ways that don't change their other attributes like width or weight." + }, + "ROND": { + "tag": "ROND", + "display_name": "Roundness", + "min_value": 0.0, + "default_value": 0.0, + "max_value": 100.0, + "precision": 0, + "fallback": [ + { + "name": "Default", + "value": 0.0 + } + ], + "fallback_only": false, + "description": "Adjust shapes from angular defaults (0%) to become increasingly rounded (up to 100%)." + }, + "SCAN": { + "tag": "SCAN", + "display_name": "Scanlines", + "min_value": -100.0, + "default_value": 0.0, + "max_value": 100.0, + "precision": 0, + "fallback": [ + { + "name": "Default", + "value": 0.0 + } + ], + "fallback_only": false, + "description": "Break up shapes into horizontal segments without any changes in overall width, letter spacing, or kerning, so there are no line breaks or page layout changes. Negative values make the scanlines thinner, and positive values make them thicker." + }, + "SHLN": { + "tag": "SHLN", + "display_name": "Shadow Length", + "min_value": 0.0, + "default_value": 50.0, + "max_value": 100.0, + "precision": -1, + "fallback": [ + { + "name": "Default", + "value": 50.0 + } + ], + "fallback_only": false, + "description": "Adjusts the font's shadow length from no shadow visible (0 %) to a maximum shadow applied (100%) relative to each family design." + }, + "SHRP": { + "tag": "SHRP", + "display_name": "Sharpness", + "min_value": 0.0, + "default_value": 0.0, + "max_value": 100.0, + "precision": 0, + "fallback": [ + { + "name": "Default", + "value": 0.0 + } + ], + "fallback_only": false, + "description": "Adjust shapes from angular or blunt default shapes (0%) to become increasingly sharped forms (up to 100%)." + }, + "SOFT": { + "tag": "SOFT", + "display_name": "Softness", + "min_value": 0.0, + "default_value": 0.0, + "max_value": 100.0, + "precision": -1, + "fallback": [ + { + "name": "Sharp", + "value": 0.0 + }, + { + "name": "Soft", + "value": 50.0 + }, + { + "name": "SuperSoft", + "value": 100.0 + } + ], + "fallback_only": false, + "description": "Letterforms become more soft and rounded." + }, + "SPAC": { + "tag": "SPAC", + "display_name": "Spacing", + "min_value": -100.0, + "default_value": 0.0, + "max_value": 100.0, + "precision": -1, + "fallback": [ + { + "name": "Default", + "value": 0.0 + } + ], + "fallback_only": false, + "description": "Adjusts the overall letter spacing of a font. The range is a relative percentage change from the family\u2019s default spacing, so the default value is 0." + }, + "SZP1": { + "tag": "SZP1", + "display_name": "Size of Paint 1", + "min_value": -100.0, + "default_value": 0.0, + "max_value": 100.0, + "precision": 0, + "fallback": [ + { + "name": "Default", + "value": 0.0 + } + ], + "fallback_only": false, + "description": "Modifies the size of a paint element going from an initial size (0) to positive values that increase the size (100%) or negative values that shrink it down (-100%). Reducing the size can create transparency." + }, + "SZP2": { + "tag": "SZP2", + "display_name": "Size of Paint 2", + "min_value": -100.0, + "default_value": 0.0, + "max_value": 100.0, + "precision": 0, + "fallback": [ + { + "name": "Default", + "value": 0.0 + } + ], + "fallback_only": false, + "description": "Modifies the size of a paint element going from an initial size (0) to positive values that increase the size (100%) or negative values that shrink it down (-100%). Reducing the size can create transparency. Paint 2 is in front of Paint 1." + }, + "VOLM": { + "tag": "VOLM", + "display_name": "Volume", + "min_value": 0.0, + "default_value": 0.0, + "max_value": 100.0, + "precision": 0, + "fallback": [ + { + "name": "Default", + "value": 0.0 + } + ], + "fallback_only": false, + "description": "Expands and exaggerates details of a typeface to emphasize the personality. Understood in a percentage amount, it goes from a neutral state (0%) to a maximum level (100%)." + }, + "WONK": { + "tag": "WONK", + "display_name": "Wonky", + "min_value": 0.0, + "default_value": 0.0, + "max_value": 1.0, + "precision": 0, + "fallback": [ + { + "name": "NonWonky", + "value": 0.0 + }, + { + "name": "Wonky", + "value": 1.0 + } + ], + "fallback_only": true, + "description": "Toggle the substitution of wonky forms. 'Off' (0) maintains more conventional letterforms, while 'On' (1) maintains wonky letterforms, such as leaning stems in roman, or flagged ascenders in italic. These forms are also controlled by Optical Size." + }, + "XELA": { + "tag": "XELA", + "display_name": "Horizontal Element Alignment", + "min_value": -100.0, + "default_value": 0.0, + "max_value": 100.0, + "precision": 0, + "fallback": [ + { + "name": "Default", + "value": 0.0 + } + ], + "fallback_only": false, + "description": "Align glyph elements from their default position (0%), usually the baseline, to a rightmost (100%) or leftmost (-100%) position." + }, + "XOPQ": { + "tag": "XOPQ", + "display_name": "X opaque", + "min_value": -1000.0, + "default_value": 88.0, + "max_value": 2000.0, + "precision": 0, + "fallback": [ + { + "name": "Normal", + "value": 88.0 + } + ], + "fallback_only": false, + "description": "Assigns a 'black' per mille value to each instance of the design space." + }, + "XPN1": { + "tag": "XPN1", + "display_name": "Horizontal Position of Paint 1", + "min_value": -100.0, + "default_value": 0.0, + "max_value": 100.0, + "precision": 0, + "fallback": [ + { + "name": "Default", + "value": 0.0 + } + ], + "fallback_only": false, + "description": "The position of the paint moves left and right. Negative values move to the left and positive values move to the right, in the X dimension. Paint 1 is behind Paint 2." + }, + "XPN2": { + "tag": "XPN2", + "display_name": "Horizontal Position of Paint 2", + "min_value": -100.0, + "default_value": 0.0, + "max_value": 100.0, + "precision": 0, + "fallback": [ + { + "name": "Default", + "value": 0.0 + } + ], + "fallback_only": false, + "description": "The position of the paint moves left and right. Negative values move to the left and positive values move to the right, in the X dimension. Paint 2 is in front of Paint 1." + }, + "XROT": { + "tag": "XROT", + "display_name": "Rotation in X", + "min_value": -180.0, + "default_value": 0.0, + "max_value": 180.0, + "precision": 0, + "fallback": [ + { + "name": "Default", + "value": 0.0 + } + ], + "fallback_only": false, + "description": "Glyphs rotate left and right, negative values to the left and positive values to the right, in the X dimension." + }, + "XTFI": { + "tag": "XTFI", + "display_name": "X transparent figures", + "min_value": -1000.0, + "default_value": 400.0, + "max_value": 2000.0, + "precision": 0, + "fallback": [ + { + "name": "Normal", + "value": 400.0 + } + ], + "fallback_only": false, + "description": "Assigns a 'white' per mille value to each instance of the design space." + }, + "XTRA": { + "tag": "XTRA", + "display_name": "X transparent", + "min_value": -1000.0, + "default_value": 400.0, + "max_value": 2000.0, + "precision": 0, + "fallback": [ + { + "name": "Normal", + "value": 400.0 + } + ], + "fallback_only": false, + "description": "Assigns a 'white'\u201d' per mille value to each instance of the design space." + }, + "YEAR": { + "tag": "YEAR", + "display_name": "Year", + "min_value": -4000.0, + "default_value": 2000.0, + "max_value": 4000.0, + "precision": 0, + "fallback": [ + { + "name": "Default", + "value": 2000.0 + } + ], + "fallback_only": false, + "description": "Axis that shows in a metaphoric way the effect of time on a chosen topic." + }, + "YELA": { + "tag": "YELA", + "display_name": "Vertical Element Alignment", + "min_value": -100.0, + "default_value": 0.0, + "max_value": 100.0, + "precision": 0, + "fallback": [ + { + "name": "Default", + "value": 0.0 + } + ], + "fallback_only": false, + "description": "Align glyphs elements from their default position (0%), usually the baseline, to an upper (100%) or lower (-100%) position." + }, + "YEXT": { + "tag": "YEXT", + "display_name": "Vertical Extension", + "min_value": 0.0, + "default_value": 0.0, + "max_value": 100.0, + "precision": 0, + "fallback": [ + { + "name": "Default", + "value": 0.0 + } + ], + "fallback_only": false, + "description": "The axis extends glyphs in the Y dimension, such as the Cap Height, Ascender and Descender lengths. This is a relative axis, starting at 0% and going to the typeface's individual maximum extent at 100%." + }, + "YOPQ": { + "tag": "YOPQ", + "display_name": "Y opaque", + "min_value": -1000.0, + "default_value": 116.0, + "max_value": 2000.0, + "precision": 0, + "fallback": [ + { + "name": "Normal", + "value": 116.0 + } + ], + "fallback_only": false, + "description": "Assigns a 'black' per mille value to each instance of the design space." + }, + "YPN1": { + "tag": "YPN1", + "display_name": "Vertical Position of Paint 1", + "min_value": -100.0, + "default_value": 0.0, + "max_value": 100.0, + "precision": 0, + "fallback": [ + { + "name": "Default", + "value": 0.0 + } + ], + "fallback_only": false, + "description": "The position of the paint moves up and down. Negative values move down and positive values move up. Paint 1 is behind Paint 2." + }, + "YPN2": { + "tag": "YPN2", + "display_name": "Vertical Position of Paint 2", + "min_value": -100.0, + "default_value": 0.0, + "max_value": 100.0, + "precision": 0, + "fallback": [ + { + "name": "Default", + "value": 0.0 + } + ], + "fallback_only": false, + "description": "The position of the paint moves up and down. Negative values move down and positive values move up. Paint 2 is in front of Paint 1." + }, + "YROT": { + "tag": "YROT", + "display_name": "Rotation in Y", + "min_value": -180.0, + "default_value": 0.0, + "max_value": 180.0, + "precision": 0, + "fallback": [ + { + "name": "Default", + "value": 0.0 + } + ], + "fallback_only": false, + "description": "Glyphs rotate up and down, negative values tilt down and positive values tilt up, in the Y dimension." + }, + "YTAS": { + "tag": "YTAS", + "display_name": "Y transparent ascender", + "min_value": 0.0, + "default_value": 750.0, + "max_value": 1000.0, + "precision": 0, + "fallback": [ + { + "name": "Normal", + "value": 750.0 + } + ], + "fallback_only": false, + "description": "Assigns a 'white' per mille value to each instance of the design space." + }, + "YTDE": { + "tag": "YTDE", + "display_name": "Y transparent descender", + "min_value": -1000.0, + "default_value": -250.0, + "max_value": 0.0, + "precision": 0, + "fallback": [ + { + "name": "Normal", + "value": -250.0 + } + ], + "fallback_only": false, + "description": "Assigns a 'white' per mille value to each instance of the design space." + }, + "YTFI": { + "tag": "YTFI", + "display_name": "Y transparent figures", + "min_value": -1000.0, + "default_value": 600.0, + "max_value": 2000.0, + "precision": 0, + "fallback": [ + { + "name": "Normal", + "value": 600.0 + } + ], + "fallback_only": false, + "description": "Assigns a 'white' per mille value to each instance of the design space." + }, + "YTLC": { + "tag": "YTLC", + "display_name": "Y transparent lowercase", + "min_value": 0.0, + "default_value": 500.0, + "max_value": 1000.0, + "precision": 0, + "fallback": [ + { + "name": "Normal", + "value": 500.0 + } + ], + "fallback_only": false, + "description": "Assigns a 'white' per mille value to each instance of the design space." + }, + "YTUC": { + "tag": "YTUC", + "display_name": "Y transparent uppercase", + "min_value": 0.0, + "default_value": 725.0, + "max_value": 1000.0, + "precision": 0, + "fallback": [ + { + "name": "Normal", + "value": 725.0 + } + ], + "fallback_only": false, + "description": "Assigns a 'white' per mille value to each instance of the design space." + }, + "ZROT": { + "tag": "ZROT", + "display_name": "Rotation in Z", + "min_value": -180.0, + "default_value": 0.0, + "max_value": 180.0, + "precision": 0, + "fallback": [ + { + "name": "Default", + "value": 0.0 + } + ], + "fallback_only": false, + "description": "Glyphs rotate left and right, negative values to the left and positive values to the right, in the Z dimension." + }, + "ital": { + "tag": "ital", + "display_name": "Italic", + "min_value": 0.0, + "default_value": 0.0, + "max_value": 1.0, + "precision": 0, + "fallback": [ + { + "name": "Roman", + "value": 0.0 + }, + { + "name": "Italic", + "value": 1.0 + } + ], + "fallback_only": true, + "description": "Adjust the style from roman to italic. This can be provided as a continuous range within a single font file, like most axes, or as a toggle between two roman and italic files that form a family as a pair." + }, + "opsz": { + "tag": "opsz", + "display_name": "Optical Size", + "min_value": 5.0, + "default_value": 14.0, + "max_value": 1200.0, + "precision": -1, + "fallback": [ + { + "name": "6pt", + "value": 6.0 + }, + { + "name": "7pt", + "value": 7.0 + }, + { + "name": "8pt", + "value": 8.0 + }, + { + "name": "9pt", + "value": 9.0 + }, + { + "name": "10pt", + "value": 10.0 + }, + { + "name": "11pt", + "value": 11.0 + }, + { + "name": "12pt", + "value": 12.0 + }, + { + "name": "14pt", + "value": 14.0 + }, + { + "name": "16pt", + "value": 16.0 + }, + { + "name": "17pt", + "value": 17.0 + }, + { + "name": "18pt", + "value": 18.0 + }, + { + "name": "20pt", + "value": 20.0 + }, + { + "name": "24pt", + "value": 24.0 + }, + { + "name": "28pt", + "value": 28.0 + }, + { + "name": "36pt", + "value": 36.0 + }, + { + "name": "48pt", + "value": 48.0 + }, + { + "name": "60pt", + "value": 60.0 + }, + { + "name": "72pt", + "value": 72.0 + }, + { + "name": "96pt", + "value": 96.0 + }, + { + "name": "120pt", + "value": 120.0 + }, + { + "name": "144pt", + "value": 144.0 + } + ], + "fallback_only": false, + "description": "Adapt the style to specific text sizes. At smaller sizes, letters typically become optimized for more legibility. At larger sizes, optimized for headlines, with more extreme weights and widths. In CSS this axis is activated automatically when it is available." + }, + "wdth": { + "tag": "wdth", + "display_name": "Width", + "min_value": 25.0, + "default_value": 100.0, + "max_value": 200.0, + "precision": -1, + "fallback": [ + { + "name": "SuperCondensed", + "value": 25.0 + }, + { + "name": "UltraCondensed", + "value": 50.0 + }, + { + "name": "ExtraCondensed", + "value": 62.5 + }, + { + "name": "Condensed", + "value": 75.0 + }, + { + "name": "SemiCondensed", + "value": 87.5 + }, + { + "name": "Normal", + "value": 100.0 + }, + { + "name": "SemiExpanded", + "value": 112.5 + }, + { + "name": "Expanded", + "value": 125.0 + }, + { + "name": "ExtraExpanded", + "value": 150.0 + }, + { + "name": "UltraExpanded", + "value": 200.0 + } + ], + "fallback_only": false, + "description": "Adjust the style from narrower to wider, by varying the proportions of counters, strokes, spacing and kerning, and other aspects of the type. This typically changes the typographic color in a subtle way, and so may be used in conjunction with Weight and Grade axes." + }, + "wght": { + "tag": "wght", + "display_name": "Weight", + "min_value": 1.0, + "default_value": 400.0, + "max_value": 1000.0, + "precision": 0, + "fallback": [ + { + "name": "Thin", + "value": 100.0 + }, + { + "name": "ExtraLight", + "value": 200.0 + }, + { + "name": "Light", + "value": 300.0 + }, + { + "name": "Regular", + "value": 400.0 + }, + { + "name": "Medium", + "value": 500.0 + }, + { + "name": "SemiBold", + "value": 600.0 + }, + { + "name": "Bold", + "value": 700.0 + }, + { + "name": "ExtraBold", + "value": 800.0 + }, + { + "name": "Black", + "value": 900.0 + } + ], + "fallback_only": false, + "description": "Adjust the style from lighter to bolder in typographic color, by varying stroke thicknesses or other forms. This typically changes overall width, and so may be used in conjunction with axes for Width and Grade (if present)." + } + } + }, + "sandbox": { + "name": "sandbox", + "url": "https://fonts.sandbox.google.com/metadata/fonts", + "dl_url": "https://fonts.sandbox.google.com/download?family={}", + "version_url": "https://fonts.sandbox.google.com/metadata/versions", + "families": { + "ABeeZee": { + "name": "ABeeZee", + "version": "Version 1.003; ttfautohint (v1.8.3)" + }, + "ADLaM Display": { + "name": "ADLaM Display", + "version": "Version 2.000; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.28]" + }, + "AR One Sans": { + "name": "AR One Sans", + "version": "Version 1.001;gftools[0.9.33]" + }, + "Abel": { + "name": "Abel", + "version": "Version 1.003" + }, + "Abhaya Libre": { + "name": "Abhaya Libre", + "version": "Version 1.050 ; ttfautohint (v1.6)" + }, + "Aboreto": { + "name": "Aboreto", + "version": "Version 1.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Abril Fatface": { + "name": "Abril Fatface", + "version": "Version 1.001" + }, + "Abyssinica SIL": { + "name": "Abyssinica SIL", + "version": "Version 2.300" + }, + "Aclonica": { + "name": "Aclonica", + "version": "Version 1.001" + }, + "Acme": { + "name": "Acme", + "version": "Version 1.002" + }, + "Actor": { + "name": "Actor", + "version": "Version 1.001" + }, + "Adamina": { + "name": "Adamina", + "version": "Version 1.013" + }, + "Advent Pro": { + "name": "Advent Pro", + "version": "Version 3.000" + }, + "Afacad": { + "name": "Afacad", + "version": "Version 1.000" + }, + "Afacad Flux": { + "name": "Afacad Flux", + "version": "Version 1.100" + }, + "Agbalumo": { + "name": "Agbalumo", + "version": "Version 2.000; ttfautohint (v1.8.4.7-5d5b)" + }, + "Agdasima": { + "name": "Agdasima", + "version": "Version 2.002" + }, + "Agu Display": { + "name": "Agu Display", + "version": "Version 1.103" + }, + "Aguafina Script": { + "name": "Aguafina Script", + "version": "Version 1.000" + }, + "Akatab": { + "name": "Akatab", + "version": "Version 4.000" + }, + "Akaya Kanadaka": { + "name": "Akaya Kanadaka", + "version": "Version 1.002; ttfautohint (v1.8.3)" + }, + "Akaya Telivigala": { + "name": "Akaya Telivigala", + "version": "Version 1.002; ttfautohint (v1.8.3)" + }, + "Akronim": { + "name": "Akronim", + "version": "Version 1.002" + }, + "Akshar": { + "name": "Akshar", + "version": "Version 1.100" + }, + "Aladin": { + "name": "Aladin", + "version": "Version 1.000" + }, + "Alata": { + "name": "Alata", + "version": "Version 1.005; ttfautohint (v1.8.4.7-5d5b)" + }, + "Alatsi": { + "name": "Alatsi", + "version": "Version 1.008; ttfautohint (v1.8.4.7-5d5b)" + }, + "Albert Sans": { + "name": "Albert Sans", + "version": "Version 1.025" + }, + "Aldrich": { + "name": "Aldrich", + "version": "Version 1.002 2011" + }, + "Alef": { + "name": "Alef", + "version": "Version 1.002;PS 001.002;hotconv 1.0.56;makeotf.lib2.0.21325" + }, + "Alegreya": { + "name": "Alegreya", + "version": "Version 2.009" + }, + "Alegreya SC": { + "name": "Alegreya SC", + "version": "Version 2.003; ttfautohint (v1.6)" + }, + "Alegreya Sans": { + "name": "Alegreya Sans", + "version": "Version 2.004; ttfautohint (v1.6)" + }, + "Alegreya Sans SC": { + "name": "Alegreya Sans SC", + "version": "Version 2.003; ttfautohint (v1.6)" + }, + "Aleo": { + "name": "Aleo", + "version": "Version 2.001;gftools[0.9.29]" + }, + "Alex Brush": { + "name": "Alex Brush", + "version": "Version 1.111; ttfautohint (v1.8.4.7-5d5b)" + }, + "Alexandria": { + "name": "Alexandria", + "version": "Version 5.100" + }, + "Alfa Slab One": { + "name": "Alfa Slab One", + "version": "Version 2.000" + }, + "Alice": { + "name": "Alice", + "version": "Version 2.003; ttfautohint (v1.8.3)" + }, + "Alike": { + "name": "Alike", + "version": "Version 1.301; ttfautohint (v1.8.4.7-5d5b)" + }, + "Alike Angular": { + "name": "Alike Angular", + "version": "Version 1.300; ttfautohint (v1.8.4.7-5d5b)" + }, + "Alkalami": { + "name": "Alkalami", + "version": "Version 3.000" + }, + "Alkatra": { + "name": "Alkatra", + "version": "Version 1.100;gftools[0.9.22]" + }, + "Allan": { + "name": "Allan", + "version": "Version 1.002" + }, + "Allerta": { + "name": "Allerta", + "version": "Version 1.0 " + }, + "Allerta Stencil": { + "name": "Allerta Stencil", + "version": "Version 1.02 " + }, + "Allison": { + "name": "Allison", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Allura": { + "name": "Allura", + "version": "Version 1.110" + }, + "Almarai": { + "name": "Almarai", + "version": "Version 1.10" + }, + "Almendra": { + "name": "Almendra", + "version": "Version 1.004" + }, + "Almendra Display": { + "name": "Almendra Display", + "version": "Version 1.004" + }, + "Almendra SC": { + "name": "Almendra SC", + "version": "Version 1.002" + }, + "Alumni Sans": { + "name": "Alumni Sans", + "version": "Version 1.018" + }, + "Alumni Sans Collegiate One": { + "name": "Alumni Sans Collegiate One", + "version": "Version 1.100" + }, + "Alumni Sans Inline One": { + "name": "Alumni Sans Inline One", + "version": "Version 1.100; ttfautohint (v1.8.3)" + }, + "Alumni Sans Pinstripe": { + "name": "Alumni Sans Pinstripe", + "version": "Version 1.010; ttfautohint (v1.8.4.7-5d5b)" + }, + "Alumni Sans SC": { + "name": "Alumni Sans SC", + "version": "Version 1.018" + }, + "Amarante": { + "name": "Amarante", + "version": "Version 1.001" + }, + "Amaranth": { + "name": "Amaranth", + "version": "Version 1.001" + }, + "Amatic SC": { + "name": "Amatic SC", + "version": "Version 2.505" + }, + "Amethysta": { + "name": "Amethysta", + "version": "Version 1.003" + }, + "Amiko": { + "name": "Amiko", + "version": "Version 1.001; ttfautohint (v1.3)" + }, + "Amiri": { + "name": "Amiri", + "version": "Version 1.000" + }, + "Amiri Quran": { + "name": "Amiri Quran", + "version": "0.117-H1" + }, + "Amita": { + "name": "Amita", + "version": "Version 1.004" + }, + "Anaheim": { + "name": "Anaheim", + "version": "Version 2.001" + }, + "Ancizar Sans": { + "name": "Ancizar Sans", + "version": "Version 8.100" + }, + "Ancizar Serif": { + "name": "Ancizar Serif", + "version": "Version 8.100" + }, + "Andada Pro": { + "name": "Andada Pro", + "version": "Version 3.003" + }, + "Andika": { + "name": "Andika", + "version": "Version 6.101" + }, + "Anek Bangla": { + "name": "Anek Bangla", + "version": "Version 1.003" + }, + "Anek Devanagari": { + "name": "Anek Devanagari", + "version": "Version 1.003" + }, + "Anek Gujarati": { + "name": "Anek Gujarati", + "version": "Version 1.003" + }, + "Anek Gurmukhi": { + "name": "Anek Gurmukhi", + "version": "Version 1.003" + }, + "Anek Kannada": { + "name": "Anek Kannada", + "version": "Version 1.003" + }, + "Anek Latin": { + "name": "Anek Latin", + "version": "Version 1.003" + }, + "Anek Malayalam": { + "name": "Anek Malayalam", + "version": "Version 1.003" + }, + "Anek Odia": { + "name": "Anek Odia", + "version": "Version 1.003" + }, + "Anek Tamil": { + "name": "Anek Tamil", + "version": "Version 1.003" + }, + "Anek Telugu": { + "name": "Anek Telugu", + "version": "Version 1.003" + }, + "Angkor": { + "name": "Angkor", + "version": "Version 8.000; ttfautohint (v1.8.3)" + }, + "Annapurna SIL": { + "name": "Annapurna SIL", + "version": "Version 2.000" + }, + "Annie Use Your Telescope": { + "name": "Annie Use Your Telescope", + "version": "Version 1.003 2001" + }, + "Anonymous Pro": { + "name": "Anonymous Pro", + "version": "Version 1.003" + }, + "Anta": { + "name": "Anta", + "version": "Version 1.000; ttfautohint (v1.8.4.7-5d5b)" + }, + "Antic": { + "name": "Antic", + "version": "Version 1.0012 " + }, + "Antic Didone": { + "name": "Antic Didone", + "version": "Version 2.001" + }, + "Antic Slab": { + "name": "Antic Slab", + "version": "Version 001.002 " + }, + "Anton": { + "name": "Anton", + "version": "Version 2.116; ttfautohint (v1.8.3)" + }, + "Anton SC": { + "name": "Anton SC", + "version": "Version 2.116; ttfautohint (v1.8.4.7-5d5b)" + }, + "Antonio": { + "name": "Antonio", + "version": "Version 1.002" + }, + "Anuphan": { + "name": "Anuphan", + "version": "Version 3.002" + }, + "Anybody": { + "name": "Anybody", + "version": "Version 1.113;gftools[0.9.25]" + }, + "Aoboshi One": { + "name": "Aoboshi One", + "version": "Version 1.000; ttfautohint (v1.8.3)" + }, + "Arapey": { + "name": "Arapey", + "version": "Version 1.002" + }, + "Arbutus": { + "name": "Arbutus", + "version": "Version 1.003" + }, + "Arbutus Slab": { + "name": "Arbutus Slab", + "version": "Version 1.002; ttfautohint (v0.92) -l 10 -r 16 -G 200 -x 7 -w \"GD\"" + }, + "Architects Daughter": { + "name": "Architects Daughter", + "version": "Version 1.003 2010" + }, + "Archivo": { + "name": "Archivo", + "version": "Version 2.001" + }, + "Archivo Black": { + "name": "Archivo Black", + "version": "Version 1.006" + }, + "Archivo Narrow": { + "name": "Archivo Narrow", + "version": "Version 3.002" + }, + "Are You Serious": { + "name": "Are You Serious", + "version": "Version 1.100" + }, + "Aref Ruqaa": { + "name": "Aref Ruqaa", + "version": "Version 1.003" + }, + "Aref Ruqaa Ink": { + "name": "Aref Ruqaa Ink", + "version": "Version 1.005" + }, + "Arima": { + "name": "Arima", + "version": "Version 1.101;gftools[0.9.23]" + }, + "Arimo": { + "name": "Arimo", + "version": "Version 1.33" + }, + "Arizonia": { + "name": "Arizonia", + "version": "Version 1.010; ttfautohint (v1.8.4.7-5d5b)" + }, + "Armata": { + "name": "Armata", + "version": "Version 1.003" + }, + "Arsenal": { + "name": "Arsenal", + "version": "Version 2.000" + }, + "Arsenal SC": { + "name": "Arsenal SC", + "version": "Version 2.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Artifika": { + "name": "Artifika", + "version": "Version 1.102; ttfautohint (v1.8.4.7-5d5b)" + }, + "Arvo": { + "name": "Arvo", + "version": "Version 1.006 2010 beta release; ttfautohint (v1.8.2)" + }, + "Arya": { + "name": "Arya", + "version": "Version 1.002" + }, + "Asap": { + "name": "Asap", + "version": "Version 3.002" + }, + "Asap Condensed": { + "name": "Asap Condensed", + "version": "Version 3.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Asar": { + "name": "Asar", + "version": "Version 1.003; ttfautohint (v1.3) -l 8 -r 50 -G 0 -x 0 -H 45 -D deva -f latn -m \"\" -w gG -t -X \"\"" + }, + "Asset": { + "name": "Asset", + "version": "Version 1.003; ttfautohint (v1.8.4.7-5d5b)" + }, + "Assistant": { + "name": "Assistant", + "version": "Version 3.000" + }, + "Asta Sans": { + "name": "Asta Sans", + "version": "Version 1.000" + }, + "Astloch": { + "name": "Astloch", + "version": "Version 1.002" + }, + "Asul": { + "name": "Asul", + "version": "Version 1.002" + }, + "Athiti": { + "name": "Athiti", + "version": "Version 1.033" + }, + "Atkinson Hyperlegible": { + "name": "Atkinson Hyperlegible", + "version": "Version 1.006; ttfautohint (v1.8.3)" + }, + "Atkinson Hyperlegible Mono": { + "name": "Atkinson Hyperlegible Mono", + "version": "Version 2.001" + }, + "Atkinson Hyperlegible Next": { + "name": "Atkinson Hyperlegible Next", + "version": "Version 2.001" + }, + "Atma": { + "name": "Atma", + "version": "Version 1.102;PS 1.100;hotconv 1.0.86;makeotf.lib2.5.63406" + }, + "Atomic Age": { + "name": "Atomic Age", + "version": "Version 1.008; ttfautohint (v1.4.1) -l 6 -r 46 -G 0 -x 0 -H 200 -D latn -f none -m \"\" -w g -X \"\"" + }, + "Aubrey": { + "name": "Aubrey", + "version": "Version 1.102; ttfautohint (v1.8.3)" + }, + "Audiowide": { + "name": "Audiowide", + "version": "Version 1.003" + }, + "Autour One": { + "name": "Autour One", + "version": "Version 1.007; ttfautohint (v0.92) -l 24 -r 24 -G 200 -x 7 -w \"GD\"" + }, + "Average": { + "name": "Average", + "version": "Version 1.003; ttfautohint (v1.8.4.7-5d5b)" + }, + "Average Sans": { + "name": "Average Sans", + "version": "Version 1.002" + }, + "Averia Gruesa Libre": { + "name": "Averia Gruesa Libre", + "version": "Version 1.002" + }, + "Averia Libre": { + "name": "Averia Libre", + "version": "Version 1.002" + }, + "Averia Sans Libre": { + "name": "Averia Sans Libre", + "version": "Version 1.002" + }, + "Averia Serif Libre": { + "name": "Averia Serif Libre", + "version": "Version 1.002" + }, + "Azeret Mono": { + "name": "Azeret Mono", + "version": "Version 1.002" + }, + "B612": { + "name": "B612", + "version": "Version 1.008" + }, + "B612 Mono": { + "name": "B612 Mono", + "version": "Version 1.008" + }, + "BIZ UDGothic": { + "name": "BIZ UDGothic", + "version": "Version 1.05" + }, + "BIZ UDMincho": { + "name": "BIZ UDMincho", + "version": "Version 1.06" + }, + "BIZ UDPGothic": { + "name": "BIZ UDPGothic", + "version": "Version 1.051" + }, + "BIZ UDPMincho": { + "name": "BIZ UDPMincho", + "version": "Version 1.06" + }, + "Babylonica": { + "name": "Babylonica", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Bacasime Antique": { + "name": "Bacasime Antique", + "version": "Version 2.000" + }, + "Bad Script": { + "name": "Bad Script", + "version": "Version 2.000; ttfautohint (v1.8.4.7-5d5b)" + }, + "Badeen Display": { + "name": "Badeen Display", + "version": "Version 1.000; ttfautohint (v1.8.4.7-5d5b)" + }, + "Bagel Fat One": { + "name": "Bagel Fat One", + "version": "Version 1.000; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.28]" + }, + "Bahiana": { + "name": "Bahiana", + "version": "Version 1.005" + }, + "Bahianita": { + "name": "Bahianita", + "version": "Version 1.008" + }, + "Bai Jamjuree": { + "name": "Bai Jamjuree", + "version": "Version 1.000; ttfautohint (v1.6)" + }, + "Bakbak One": { + "name": "Bakbak One", + "version": "Version 1.003; ttfautohint (v1.8.3)" + }, + "Ballet": { + "name": "Ballet", + "version": "Version 1.100" + }, + "Baloo 2": { + "name": "Baloo 2", + "version": "Version 1.700" + }, + "Baloo Bhai 2": { + "name": "Baloo Bhai 2", + "version": "Version 1.700" + }, + "Baloo Bhaijaan 2": { + "name": "Baloo Bhaijaan 2", + "version": "Version 1.701" + }, + "Baloo Bhaina 2": { + "name": "Baloo Bhaina 2", + "version": "Version 1.700" + }, + "Baloo Chettan 2": { + "name": "Baloo Chettan 2", + "version": "Version 1.700" + }, + "Baloo Da 2": { + "name": "Baloo Da 2", + "version": "Version 1.700" + }, + "Baloo Paaji 2": { + "name": "Baloo Paaji 2", + "version": "Version 1.700" + }, + "Baloo Tamma 2": { + "name": "Baloo Tamma 2", + "version": "Version 1.700" + }, + "Baloo Tammudu 2": { + "name": "Baloo Tammudu 2", + "version": "Version 1.700" + }, + "Baloo Thambi 2": { + "name": "Baloo Thambi 2", + "version": "Version 1.700" + }, + "Balsamiq Sans": { + "name": "Balsamiq Sans", + "version": "Version 1.020; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.26]" + }, + "Balthazar": { + "name": "Balthazar", + "version": "Version 1.000" + }, + "Bangers": { + "name": "Bangers", + "version": "Version 2.100; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.31]" + }, + "Barlow": { + "name": "Barlow", + "version": "Version 1.408" + }, + "Barlow Condensed": { + "name": "Barlow Condensed", + "version": "Version 1.408" + }, + "Barlow Semi Condensed": { + "name": "Barlow Semi Condensed", + "version": "Version 1.408" + }, + "Barriecito": { + "name": "Barriecito", + "version": "Version 1.001" + }, + "Barrio": { + "name": "Barrio", + "version": "Version 1.005" + }, + "Basic": { + "name": "Basic", + "version": "Version 1.003; ttfautohint (v1.1) -l 6 -r 16 -G 0 -x 16 -D latn -f none -w \"\"" + }, + "Baskervville": { + "name": "Baskervville", + "version": "Version 1.100" + }, + "Baskervville SC": { + "name": "Baskervville SC", + "version": "Version 1.100" + }, + "Battambang": { + "name": "Battambang", + "version": "Version 8.002; ttfautohint (v1.8.3)" + }, + "Baumans": { + "name": "Baumans", + "version": "Version 001.002" + }, + "Bayon": { + "name": "Bayon", + "version": "Version 8.001; ttfautohint (v1.8.3)" + }, + "Be Vietnam Pro": { + "name": "Be Vietnam Pro", + "version": "Version 1.002; ttfautohint (v1.8.3)" + }, + "Beau Rivage": { + "name": "Beau Rivage", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Bebas Neue": { + "name": "Bebas Neue", + "version": "Version 2.000" + }, + "Beiruti": { + "name": "Beiruti", + "version": "Version 1.41" + }, + "Belanosima": { + "name": "Belanosima", + "version": "Version 2.000" + }, + "Belgrano": { + "name": "Belgrano", + "version": "Version 1.003" + }, + "Bellefair": { + "name": "Bellefair", + "version": "Version 1.003" + }, + "Belleza": { + "name": "Belleza", + "version": "Version 1.003; ttfautohint (v1.8.4.7-5d5b)" + }, + "Bellota": { + "name": "Bellota", + "version": "Version 4.001" + }, + "Bellota Text": { + "name": "Bellota Text", + "version": "Version 4.001" + }, + "BenchNine": { + "name": "BenchNine", + "version": "Version 1 ; ttfautohint (v0.92.18-e454-dirty) -l 8 -r 50 -G 200 -x 0 -w \"g\"" + }, + "Benne": { + "name": "Benne", + "version": "Version 1.001" + }, + "Bentham": { + "name": "Bentham", + "version": "Version 002.002 " + }, + "Berkshire Swash": { + "name": "Berkshire Swash", + "version": "Version 1.001" + }, + "Besley": { + "name": "Besley", + "version": "Version 2.001" + }, + "Beth Ellen": { + "name": "Beth Ellen", + "version": "Version 2.000" + }, + "Bevan": { + "name": "Bevan", + "version": "Version 2.100; ttfautohint (v1.8.3)" + }, + "BhuTuka Expanded One": { + "name": "BhuTuka Expanded One", + "version": "Version 1.000; ttfautohint (v1.8.3)" + }, + "Big Shoulders": { + "name": "Big Shoulders", + "version": "Version 2.002" + }, + "Big Shoulders Inline": { + "name": "Big Shoulders Inline", + "version": "Version 2.002" + }, + "Big Shoulders Stencil": { + "name": "Big Shoulders Stencil", + "version": "Version 2.001" + }, + "Bigelow Rules": { + "name": "Bigelow Rules", + "version": "Version 1.001" + }, + "Bigshot One": { + "name": "Bigshot One", + "version": "Version 1.001" + }, + "Bilbo": { + "name": "Bilbo", + "version": "Version 1.100" + }, + "Bilbo Swash Caps": { + "name": "Bilbo Swash Caps", + "version": "Version 1.003" + }, + "BioRhyme": { + "name": "BioRhyme", + "version": "Version 1.600;gftools[0.9.33]" + }, + "BioRhyme Expanded": { + "name": "BioRhyme Expanded", + "version": "Version 1.000" + }, + "Birthstone": { + "name": "Birthstone", + "version": "Version 1.013; ttfautohint (v1.8.3)" + }, + "Birthstone Bounce": { + "name": "Birthstone Bounce", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Biryani": { + "name": "Biryani", + "version": "Version 1.004; ttfautohint (v1.1) -l 5 -r 5 -G 72 -x 0 -D latn -f none -w gGD -W -c" + }, + "Bitcount": { + "name": "Bitcount", + "version": "Version 1.0" + }, + "Bitcount Grid Double": { + "name": "Bitcount Grid Double", + "version": "Version 1.001" + }, + "Bitcount Grid Single": { + "name": "Bitcount Grid Single", + "version": "Version 1.0" + }, + "Bitcount Prop Double": { + "name": "Bitcount Prop Double", + "version": "Version 1.0" + }, + "Bitcount Prop Single": { + "name": "Bitcount Prop Single", + "version": "Version 1.0" + }, + "Bitcount Single": { + "name": "Bitcount Single", + "version": "Version 1.0" + }, + "Bitter": { + "name": "Bitter", + "version": "Version 3.021" + }, + "Black And White Picture": { + "name": "Black And White Picture", + "version": "Version 1.64" + }, + "Black Han Sans": { + "name": "Black Han Sans", + "version": "Version 1.001" + }, + "Black Ops One": { + "name": "Black Ops One", + "version": "Version 1.004; ttfautohint (v1.8.4.7-5d5b)" + }, + "Blaka": { + "name": "Blaka", + "version": "Version 1.003; ttfautohint (v1.8.4.7-5d5b)" + }, + "Blaka Hollow": { + "name": "Blaka Hollow", + "version": "Version 1.003; ttfautohint (v1.8.4.7-5d5b)" + }, + "Blaka Ink": { + "name": "Blaka Ink", + "version": "Version 1.003; ttfautohint (v1.8.4.7-5d5b)" + }, + "Blinker": { + "name": "Blinker", + "version": "Version 1.015;PS 1.15;hotconv 1.0.88;makeotf.lib2.5.647800" + }, + "Bodoni Moda": { + "name": "Bodoni Moda", + "version": "Version 2.005" + }, + "Bodoni Moda SC": { + "name": "Bodoni Moda SC", + "version": "Version 2.005" + }, + "Bokor": { + "name": "Bokor", + "version": "Version 8.002; ttfautohint (v1.8.3)" + }, + "Boldonse": { + "name": "Boldonse", + "version": "Version 1.000; ttfautohint (v1.8.4.7-5d5b)" + }, + "Bona Nova": { + "name": "Bona Nova", + "version": "Version 4.001; ttfautohint (v1.8.3)" + }, + "Bona Nova SC": { + "name": "Bona Nova SC", + "version": "Version 4.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Bonbon": { + "name": "Bonbon", + "version": "Version 1.001" + }, + "Bonheur Royale": { + "name": "Bonheur Royale", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Boogaloo": { + "name": "Boogaloo", + "version": "Version 1.002" + }, + "Borel": { + "name": "Borel", + "version": "Version 1.005; ttfautohint (v1.8.4.7-5d5b)" + }, + "Bowlby One": { + "name": "Bowlby One", + "version": "Version 1.001" + }, + "Bowlby One SC": { + "name": "Bowlby One SC", + "version": "Version 1.2" + }, + "Braah One": { + "name": "Braah One", + "version": "Version 1.001; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.29]" + }, + "Brawler": { + "name": "Brawler", + "version": "Version 1.101; ttfautohint (v1.8.3)" + }, + "Bree Serif": { + "name": "Bree Serif", + "version": "Version 1.002" + }, + "Bricolage Grotesque": { + "name": "Bricolage Grotesque", + "version": "Version 1.001;gftools[0.9.33.dev8+g029e19f]" + }, + "Bruno Ace": { + "name": "Bruno Ace", + "version": "Version 1.100; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.27]" + }, + "Bruno Ace SC": { + "name": "Bruno Ace SC", + "version": "Version 1.100; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.27]" + }, + "Brygada 1918": { + "name": "Brygada 1918", + "version": "Version 3.006" + }, + "Bubblegum Sans": { + "name": "Bubblegum Sans", + "version": "Version 1.001" + }, + "Bubbler One": { + "name": "Bubbler One", + "version": "Version 1.003" + }, + "Buda": { + "name": "Buda", + "version": "Version 1.003 " + }, + "Buenard": { + "name": "Buenard", + "version": "Version 2.000" + }, + "Bungee": { + "name": "Bungee", + "version": "Version 2.000" + }, + "Bungee Hairline": { + "name": "Bungee Hairline", + "version": "Version 2.000" + }, + "Bungee Hairline CFF Test": { + "name": "Bungee Hairline CFF Test", + "version": "Version 1.000;PS 1.0;hotconv 1.0.72;makeotf.lib2.5.5900" + }, + "Bungee Inline": { + "name": "Bungee Inline", + "version": "Version 2.000" + }, + "Bungee Outline": { + "name": "Bungee Outline", + "version": "Version 2.000" + }, + "Bungee Shade": { + "name": "Bungee Shade", + "version": "Version 2.000" + }, + "Bungee Spice": { + "name": "Bungee Spice", + "version": "Version 2.000" + }, + "Bungee Tint": { + "name": "Bungee Tint", + "version": "Version 2.001" + }, + "Butcherman": { + "name": "Butcherman", + "version": "Version 001.004 " + }, + "Butterfly Kids": { + "name": "Butterfly Kids", + "version": "Version 1.001" + }, + "Bytesized": { + "name": "Bytesized", + "version": "Version 1.000" + }, + "Cabin": { + "name": "Cabin", + "version": "Version 3.001" + }, + "Cabin Condensed": { + "name": "Cabin Condensed", + "version": "Version 2.200" + }, + "Cabin Sketch": { + "name": "Cabin Sketch", + "version": "Version 1.100" + }, + "Cactus Classical Serif": { + "name": "Cactus Classical Serif", + "version": "Version 1.001" + }, + "Caesar Dressing": { + "name": "Caesar Dressing", + "version": "Version 1.000" + }, + "Cagliostro": { + "name": "Cagliostro", + "version": "Version " + }, + "Cairo": { + "name": "Cairo", + "version": "Version 3.130;gftools[0.9.24]" + }, + "Cairo Play": { + "name": "Cairo Play", + "version": "Version 3.130;gftools[0.9.24]" + }, + "Cal Sans": { + "name": "Cal Sans", + "version": "Version 1.000; ttfautohint (v1.8.4.7-5d5b)" + }, + "Caladea": { + "name": "Caladea", + "version": "Version 1.001" + }, + "Calistoga": { + "name": "Calistoga", + "version": "Version 1.010; ttfautohint (v1.8.4.7-5d5b)" + }, + "Calligraffitti": { + "name": "Calligraffitti", + "version": "Version 1.002" + }, + "Cambay": { + "name": "Cambay", + "version": "Version 1.181;PS 001.181;hotconv 1.0.70;makeotf.lib2.5.58329" + }, + "Cambo": { + "name": "Cambo", + "version": "Version 2.001" + }, + "Candal": { + "name": "Candal", + "version": "Version 1.000" + }, + "Cantarell": { + "name": "Cantarell", + "version": "Version 1.004" + }, + "Cantata One": { + "name": "Cantata One", + "version": "Version 1.002" + }, + "Cantora One": { + "name": "Cantora One", + "version": "Version 1.002; ttfautohint (v0.8) -G 200 -r 50" + }, + "Caprasimo": { + "name": "Caprasimo", + "version": "Version 1.001" + }, + "Capriola": { + "name": "Capriola", + "version": "Version 1.007" + }, + "Caramel": { + "name": "Caramel", + "version": "Version 1.010" + }, + "Carattere": { + "name": "Carattere", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Cardo": { + "name": "Cardo", + "version": "Version 1.0451" + }, + "Carlito": { + "name": "Carlito", + "version": "Version 1.104" + }, + "Carme": { + "name": "Carme", + "version": "1.000" + }, + "Carrois Gothic": { + "name": "Carrois Gothic", + "version": "Version 1.002" + }, + "Carrois Gothic SC": { + "name": "Carrois Gothic SC", + "version": "Version 1.002" + }, + "Carter One": { + "name": "Carter One", + "version": "Version 1.000" + }, + "Cascadia Code": { + "name": "Cascadia Code", + "version": "Version 2407.024" + }, + "Cascadia Mono": { + "name": "Cascadia Mono", + "version": "Version 2407.024" + }, + "Castoro": { + "name": "Castoro", + "version": "Version 2.04" + }, + "Castoro Titling": { + "name": "Castoro Titling", + "version": "Version 2.04" + }, + "Catamaran": { + "name": "Catamaran", + "version": "Version 2.000" + }, + "Caudex": { + "name": "Caudex", + "version": "Version 1.01 " + }, + "Caveat": { + "name": "Caveat", + "version": "Version 2.000" + }, + "Caveat Brush": { + "name": "Caveat Brush", + "version": "Version 1.096; ttfautohint (v1.3)" + }, + "Cedarville Cursive": { + "name": "Cedarville Cursive", + "version": "Version 1.001 2010" + }, + "Ceviche One": { + "name": "Ceviche One", + "version": "Version 1.002" + }, + "Chakra Petch": { + "name": "Chakra Petch", + "version": "Version 1.000; ttfautohint (v1.6)" + }, + "Changa": { + "name": "Changa", + "version": "Version 3.003" + }, + "Changa One": { + "name": "Changa One", + "version": "Version 1.003" + }, + "Chango": { + "name": "Chango", + "version": "Version 1.001" + }, + "Charis SIL": { + "name": "Charis SIL", + "version": "Version 6.101" + }, + "Charm": { + "name": "Charm", + "version": "Version 1.001" + }, + "Charmonman": { + "name": "Charmonman", + "version": "Version 1.000; ttfautohint (v1.6)" + }, + "Chathura": { + "name": "Chathura", + "version": "Version 1.002 2016" + }, + "Chau Philomene One": { + "name": "Chau Philomene One", + "version": "Version 1.002" + }, + "Chela One": { + "name": "Chela One", + "version": "Version 1.001" + }, + "Chelsea Market": { + "name": "Chelsea Market", + "version": "Version 1.001" + }, + "Chenla": { + "name": "Chenla", + "version": "Version 6.00 December 28, 2010" + }, + "Cherish": { + "name": "Cherish", + "version": "Version 1.005" + }, + "Cherry Bomb One": { + "name": "Cherry Bomb One", + "version": "Version 4.100; ttfautohint (v1.8.3)" + }, + "Cherry Cream Soda": { + "name": "Cherry Cream Soda", + "version": "Version 1.001" + }, + "Cherry Swash": { + "name": "Cherry Swash", + "version": "Version 1.001" + }, + "Chewy": { + "name": "Chewy", + "version": "Version 1.001" + }, + "Chicle": { + "name": "Chicle", + "version": "Version 1.000" + }, + "Chilanka": { + "name": "Chilanka", + "version": "Version 1.600" + }, + "Chiron Hei HK": { + "name": "Chiron Hei HK", + "version": "Version 2.525" + }, + "Chiron Sung HK": { + "name": "Chiron Sung HK", + "version": "Version 1.019" + }, + "Chivo": { + "name": "Chivo", + "version": "Version 2.002" + }, + "Chivo Mono": { + "name": "Chivo Mono", + "version": "Version 1.008" + }, + "Chocolate Classical Sans": { + "name": "Chocolate Classical Sans", + "version": "Version 1.005" + }, + "Chokokutai": { + "name": "Chokokutai", + "version": "Version 1.000; ttfautohint (v1.8.3)" + }, + "Chonburi": { + "name": "Chonburi", + "version": "Version 1.000g" + }, + "Cinzel": { + "name": "Cinzel", + "version": "Version 2.000" + }, + "Cinzel Decorative": { + "name": "Cinzel Decorative", + "version": "Version 1.002;PS 001.002;hotconv 1.0.56;makeotf.lib2.0.21325" + }, + "Clicker Script": { + "name": "Clicker Script", + "version": "Version 1.000" + }, + "Climate Crisis": { + "name": "Climate Crisis", + "version": "Version 1.003" + }, + "Coda": { + "name": "Coda", + "version": "Version 2.001; ttfautohint (v0.8) -r 50 -G 200 -x" + }, + "Codystar": { + "name": "Codystar", + "version": "Version 1.000" + }, + "Coiny": { + "name": "Coiny", + "version": "Version 001.001" + }, + "Combo": { + "name": "Combo", + "version": "Version 1.001" + }, + "Comfortaa": { + "name": "Comfortaa", + "version": "Version 3.105" + }, + "Comforter": { + "name": "Comforter", + "version": "Version 1.013; ttfautohint (v1.8.3)" + }, + "Comforter Brush": { + "name": "Comforter Brush", + "version": "Version 1.013" + }, + "Comic Neue": { + "name": "Comic Neue", + "version": "Version 2.003" + }, + "Comic Relief": { + "name": "Comic Relief", + "version": "Version 1.200; ttfautohint (v1.8.4.7-5d5b)" + }, + "Coming Soon": { + "name": "Coming Soon", + "version": "Version 1.002" + }, + "Comme": { + "name": "Comme", + "version": "Version 1.000;gftools[0.9.27]" + }, + "Commissioner": { + "name": "Commissioner", + "version": "Version 1.001;gftools[0.9.23]" + }, + "Concert One": { + "name": "Concert One", + "version": "Version 1.004" + }, + "Condiment": { + "name": "Condiment", + "version": "Version 1.001" + }, + "Content": { + "name": "Content", + "version": "Version 6.00 December 28, 2010" + }, + "Contrail One": { + "name": "Contrail One", + "version": "Version 1.003" + }, + "Convergence": { + "name": "Convergence", + "version": "Version 1.002" + }, + "Cookie": { + "name": "Cookie", + "version": "Version 1.004" + }, + "Copse": { + "name": "Copse", + "version": "Version 1.000" + }, + "Coral Pixels": { + "name": "Coral Pixels", + "version": "Version 1.000; ttfautohint (v1.8.4.7-5d5b)" + }, + "Corben": { + "name": "Corben", + "version": "Version 1.101" + }, + "Corinthia": { + "name": "Corinthia", + "version": "Version 1.013; ttfautohint (v1.8.3)" + }, + "Cormorant": { + "name": "Cormorant", + "version": "Version 4.000" + }, + "Cormorant Garamond": { + "name": "Cormorant Garamond", + "version": "Version 4.001" + }, + "Cormorant Infant": { + "name": "Cormorant Infant", + "version": "Version 4.001" + }, + "Cormorant SC": { + "name": "Cormorant SC", + "version": "Version 4.000" + }, + "Cormorant Unicase": { + "name": "Cormorant Unicase", + "version": "Version 4.000" + }, + "Cormorant Upright": { + "name": "Cormorant Upright", + "version": "Version 3.302" + }, + "Courgette": { + "name": "Courgette", + "version": "Version 1.002" + }, + "Courier Prime": { + "name": "Courier Prime", + "version": "Version 3.018" + }, + "Cousine": { + "name": "Cousine", + "version": "Version 1.21" + }, + "Coustard": { + "name": "Coustard", + "version": "Version 1.001" + }, + "Covered By Your Grace": { + "name": "Covered By Your Grace", + "version": "1.0" + }, + "Crafty Girls": { + "name": "Crafty Girls", + "version": "Version 1.001" + }, + "Creepster": { + "name": "Creepster", + "version": "Version 1.002" + }, + "Crete Round": { + "name": "Crete Round", + "version": "Version 1.001" + }, + "Crimson Pro": { + "name": "Crimson Pro", + "version": "Version 1.003" + }, + "Crimson Text": { + "name": "Crimson Text", + "version": "Version 1.100; ttfautohint (v1.8.4)" + }, + "Croissant One": { + "name": "Croissant One", + "version": "Version 1.001" + }, + "Crushed": { + "name": "Crushed", + "version": "Version 001.001" + }, + "Cuprum": { + "name": "Cuprum", + "version": "Version 3.000" + }, + "Cute Font": { + "name": "Cute Font", + "version": "Version 1.00" + }, + "Cutive": { + "name": "Cutive", + "version": "Version 1.100; ttfautohint (v1.8.4.7-5d5b)" + }, + "Cutive Mono": { + "name": "Cutive Mono", + "version": "Version 1.110; ttfautohint (v1.8.4.7-5d5b)" + }, + "DM Mono": { + "name": "DM Mono", + "version": "Version 1.000; ttfautohint (v1.8.2.53-6de2)" + }, + "DM Sans": { + "name": "DM Sans", + "version": "Version 4.004;gftools[0.9.30]" + }, + "DM Serif Display": { + "name": "DM Serif Display", + "version": "Version 5.200; ttfautohint (v1.8.3)" + }, + "DM Serif Text": { + "name": "DM Serif Text", + "version": "Version 5.200; ttfautohint (v1.8.3)" + }, + "Dai Banna SIL": { + "name": "Dai Banna SIL", + "version": "Version 4.000" + }, + "Damion": { + "name": "Damion", + "version": "Version 1.100; ttfautohint (v1.8.4.7-5d5b)" + }, + "Dancing Script": { + "name": "Dancing Script", + "version": "Version 2.001" + }, + "Danfo": { + "name": "Danfo", + "version": "Version 1.000" + }, + "Dangrek": { + "name": "Dangrek", + "version": "Version 8.001; ttfautohint (v1.8.3)" + }, + "Darker Grotesque": { + "name": "Darker Grotesque", + "version": "Version 1.000;gftools[0.9.28]" + }, + "Darumadrop One": { + "name": "Darumadrop One", + "version": "Version 1.000" + }, + "David Libre": { + "name": "David Libre", + "version": "Version 1.100; ttfautohint (v1.8.4.7-5d5b)" + }, + "Dawning of a New Day": { + "name": "Dawning of a New Day", + "version": "Version 1.002 2010" + }, + "Days One": { + "name": "Days One", + "version": "Version 1.002" + }, + "Dekko": { + "name": "Dekko", + "version": "Version 1.001; ttfautohint (v1.1) -l 8 -r 50 -G 0 -x 0 -D deva -f latn -w gG -W" + }, + "Dela Gothic One": { + "name": "Dela Gothic One", + "version": "Version 1.005" + }, + "Delicious Handrawn": { + "name": "Delicious Handrawn", + "version": "Version 1.002; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.27]" + }, + "Delius": { + "name": "Delius", + "version": "Version 1.001" + }, + "Delius Swash Caps": { + "name": "Delius Swash Caps", + "version": "Version 1.002" + }, + "Delius Unicase": { + "name": "Delius Unicase", + "version": "Version 1.002" + }, + "Della Respira": { + "name": "Della Respira", + "version": "Version 0.201" + }, + "Denk One": { + "name": "Denk One", + "version": "Version 1.004; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.23]" + }, + "Devonshire": { + "name": "Devonshire", + "version": "Version 1.001" + }, + "Dhurjati": { + "name": "Dhurjati", + "version": "Version 1.0.5; ttfautohint (v1.2.25-373a) -l 7 -r 28 -G 50 -x 13 -D telu -f latn -w G -X \"\"" + }, + "Didact Gothic": { + "name": "Didact Gothic", + "version": "Version 2.101" + }, + "Diphylleia": { + "name": "Diphylleia", + "version": "Version 1.000; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.28]" + }, + "Diplomata": { + "name": "Diplomata", + "version": "Version 1.002; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.23]" + }, + "Diplomata SC": { + "name": "Diplomata SC", + "version": "Version 1.002; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.23]" + }, + "Do Hyeon": { + "name": "Do Hyeon", + "version": "Version 1.001" + }, + "Dokdo": { + "name": "Dokdo", + "version": "Version 2.00" + }, + "Domine": { + "name": "Domine", + "version": "Version 2.000" + }, + "Donegal One": { + "name": "Donegal One", + "version": "Version 1.004" + }, + "Dongle": { + "name": "Dongle", + "version": "Version 2.000" + }, + "Doppio One": { + "name": "Doppio One", + "version": "Version 1.002" + }, + "Dorsa": { + "name": "Dorsa", + "version": "Version 1.002 " + }, + "Dosis": { + "name": "Dosis", + "version": "Version 3.002" + }, + "DotGothic16": { + "name": "DotGothic16", + "version": "Version 1.100" + }, + "Doto": { + "name": "Doto", + "version": "Version 1.000" + }, + "Dr Sugiyama": { + "name": "Dr Sugiyama", + "version": "Version 1.000" + }, + "Duru Sans": { + "name": "Duru Sans", + "version": "Version 1.002" + }, + "DynaPuff": { + "name": "DynaPuff", + "version": "Version 2.000" + }, + "Dynalight": { + "name": "Dynalight", + "version": "Version 1.000" + }, + "EB Garamond": { + "name": "EB Garamond", + "version": "Version 1.001" + }, + "Eagle Lake": { + "name": "Eagle Lake", + "version": "Version 1.000" + }, + "East Sea Dokdo": { + "name": "East Sea Dokdo", + "version": "Version 1.00" + }, + "Eater": { + "name": "Eater", + "version": "Version 001.002 " + }, + "Economica": { + "name": "Economica", + "version": "Version 1.101" + }, + "Eczar": { + "name": "Eczar", + "version": "Version 2.000" + }, + "Edu AU VIC WA NT Arrows": { + "name": "Edu AU VIC WA NT Arrows", + "version": "Version 1.001" + }, + "Edu AU VIC WA NT Dots": { + "name": "Edu AU VIC WA NT Dots", + "version": "Version 1.001" + }, + "Edu AU VIC WA NT Guides": { + "name": "Edu AU VIC WA NT Guides", + "version": "Version 1.001" + }, + "Edu AU VIC WA NT Hand": { + "name": "Edu AU VIC WA NT Hand", + "version": "Version 1.001" + }, + "Edu AU VIC WA NT Pre": { + "name": "Edu AU VIC WA NT Pre", + "version": "Version 1.001" + }, + "Edu NSW ACT Cursive": { + "name": "Edu NSW ACT Cursive", + "version": "Version 2.000" + }, + "Edu NSW ACT Foundation": { + "name": "Edu NSW ACT Foundation", + "version": "Version 1.003" + }, + "Edu NSW ACT Hand": { + "name": "Edu NSW ACT Hand", + "version": "Version 2.000" + }, + "Edu NSW ACT Hand Pre": { + "name": "Edu NSW ACT Hand Pre", + "version": "Version 2.000" + }, + "Edu QLD Beginner": { + "name": "Edu QLD Beginner", + "version": "Version 1.003" + }, + "Edu QLD Hand": { + "name": "Edu QLD Hand", + "version": "Version 2.000" + }, + "Edu SA Beginner": { + "name": "Edu SA Beginner", + "version": "Version 1.003" + }, + "Edu SA Hand": { + "name": "Edu SA Hand", + "version": "Version 2.000" + }, + "Edu TAS Beginner": { + "name": "Edu TAS Beginner", + "version": "Version 1.003" + }, + "Edu VIC WA NT Beginner": { + "name": "Edu VIC WA NT Beginner", + "version": "Version 1.003" + }, + "Edu VIC WA NT Hand": { + "name": "Edu VIC WA NT Hand", + "version": "Version 1.000" + }, + "Edu VIC WA NT Hand Pre": { + "name": "Edu VIC WA NT Hand Pre", + "version": "Version 1.000" + }, + "El Messiri": { + "name": "El Messiri", + "version": "Version 2.020" + }, + "Electrolize": { + "name": "Electrolize", + "version": "Version 1.002" + }, + "Elsie": { + "name": "Elsie", + "version": "1.003" + }, + "Elsie Swash Caps": { + "name": "Elsie Swash Caps", + "version": "1.003" + }, + "Emblema One": { + "name": "Emblema One", + "version": "Version 1.003" + }, + "Emilys Candy": { + "name": "Emilys Candy", + "version": "Version 1.000" + }, + "Encode Sans": { + "name": "Encode Sans", + "version": "Version 3.002" + }, + "Encode Sans Condensed": { + "name": "Encode Sans Condensed", + "version": "Version 2.000" + }, + "Encode Sans Expanded": { + "name": "Encode Sans Expanded", + "version": "Version 2.000" + }, + "Encode Sans SC": { + "name": "Encode Sans SC", + "version": "Version 3.002" + }, + "Encode Sans Semi Condensed": { + "name": "Encode Sans Semi Condensed", + "version": "Version 2.000" + }, + "Encode Sans Semi Expanded": { + "name": "Encode Sans Semi Expanded", + "version": "Version 2.000" + }, + "Engagement": { + "name": "Engagement", + "version": "Version 1.000" + }, + "Englebert": { + "name": "Englebert", + "version": "Version 1.010" + }, + "Enriqueta": { + "name": "Enriqueta", + "version": "Version 2.000" + }, + "Ephesis": { + "name": "Ephesis", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Epilogue": { + "name": "Epilogue", + "version": "Version 2.112" + }, + "Epunda Sans": { + "name": "Epunda Sans", + "version": "Version 2.204" + }, + "Erica One": { + "name": "Erica One", + "version": "Version 1.003" + }, + "Esteban": { + "name": "Esteban", + "version": "Version 1.002" + }, + "Estonia": { + "name": "Estonia", + "version": "Version 1.014; ttfautohint (v1.8.3)" + }, + "Euphoria Script": { + "name": "Euphoria Script", + "version": "Version 1.002" + }, + "Ewert": { + "name": "Ewert", + "version": "Version 1.001" + }, + "Exile": { + "name": "Exile", + "version": "Version 1.000; ttfautohint (v1.8.4.7-5d5b)" + }, + "Exo": { + "name": "Exo", + "version": "Version 2.001" + }, + "Exo 2": { + "name": "Exo 2", + "version": "Version 2.010" + }, + "Expletus Sans": { + "name": "Expletus Sans", + "version": "Version 7.500" + }, + "Explora": { + "name": "Explora", + "version": "Version 1.010" + }, + "Faculty Glyphic": { + "name": "Faculty Glyphic", + "version": "Version 1.004; ttfautohint (v1.8.4.7-5d5b)" + }, + "Fahkwang": { + "name": "Fahkwang", + "version": "Version 1.000; ttfautohint (v1.6)" + }, + "Familjen Grotesk": { + "name": "Familjen Grotesk", + "version": "Version 2.002" + }, + "Fanwood Text": { + "name": "Fanwood Text", + "version": "Version 1.1001 " + }, + "Farro": { + "name": "Farro", + "version": "Version 1.101" + }, + "Farsan": { + "name": "Farsan", + "version": "Version 1.001g;PS 1.001;hotconv 1.0.86;makeotf.lib2.5.63406 DEVELOPMENT" + }, + "Fascinate": { + "name": "Fascinate", + "version": "Version 1.000" + }, + "Fascinate Inline": { + "name": "Fascinate Inline", + "version": "Version 1.000" + }, + "Faster One": { + "name": "Faster One", + "version": "Version 1.003; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.23]" + }, + "Fasthand": { + "name": "Fasthand", + "version": "Version 8.002; ttfautohint (v1.8.3)" + }, + "Fauna One": { + "name": "Fauna One", + "version": "Version 2.001; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.23]" + }, + "Faustina": { + "name": "Faustina", + "version": "Version 1.200" + }, + "Federant": { + "name": "Federant", + "version": "Version 1.011; ttfautohint (v1.4.1)" + }, + "Federo": { + "name": "Federo", + "version": "Version 1.000" + }, + "Felipa": { + "name": "Felipa", + "version": "Version 1.001" + }, + "Fenix": { + "name": "Fenix", + "version": "004.301" + }, + "Festive": { + "name": "Festive", + "version": "Version 1.101; ttfautohint (v1.8.3)" + }, + "Figtree": { + "name": "Figtree", + "version": "Version 2.002" + }, + "Finger Paint": { + "name": "Finger Paint", + "version": "Version 1.002" + }, + "Finlandica": { + "name": "Finlandica", + "version": "Version 1.064" + }, + "Fira Code": { + "name": "Fira Code", + "version": "Version 5.002" + }, + "Fira Mono": { + "name": "Fira Mono", + "version": "Version 3.206" + }, + "Fira Sans": { + "name": "Fira Sans", + "version": "Version 4.203" + }, + "Fira Sans 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+ "Fondamento": { + "name": "Fondamento", + "version": "Version 1.000" + }, + "Fontdiner Swanky": { + "name": "Fontdiner Swanky", + "version": "Version 1.001" + }, + "Forum": { + "name": "Forum", + "version": "Version 1.000" + }, + "Fragment Mono": { + "name": "Fragment Mono", + "version": "Version 1.011; ttfautohint (v1.8.4.7-5d5b)" + }, + "Francois One": { + "name": "Francois One", + "version": "Version 2.000" + }, + "Frank Ruhl Libre": { + "name": "Frank Ruhl Libre", + "version": "Version 6.004" + }, + "Fraunces": { + "name": "Fraunces", + "version": "Version 1.000;[b76b70a41]" + }, + "Freckle Face": { + "name": "Freckle Face", + "version": "Version 1.000" + }, + "Fredericka the Great": { + "name": "Fredericka the Great", + "version": "Version 1.001" + }, + "Fredoka": { + "name": "Fredoka", + "version": "Version 2.001" + }, + "Freehand": { + "name": "Freehand", + "version": "Version 8.002; ttfautohint (v1.8.3)" + }, + "Freeman": { + "name": "Freeman", + "version": "Version 1.000; ttfautohint (v1.8.4.7-5d5b)" + }, + "Fresca": { + "name": "Fresca", + "version": "Version 1.001" + }, + "Frijole": { + "name": "Frijole", + "version": "Version 1.000" + }, + "Fruity Girl": { + "name": "Fruity Girl", + "version": "Version 001.000" + }, + "Fruktur": { + "name": "Fruktur", + "version": "Version 1.008; ttfautohint (v1.8.4.7-5d5b)" + }, + "Fugaz One": { + "name": "Fugaz One", + "version": "Version 1.002" + }, + "Fuggles": { + "name": "Fuggles", + "version": "Version 1.100; ttfautohint (v1.8.3)" + }, + "Funnel Display": { + "name": "Funnel Display", + "version": "Version 1.000" + }, + "Funnel Sans": { + "name": "Funnel Sans", + "version": "Version 1.000" + }, + "Fustat": { + "name": "Fustat", + "version": "Version 1.010" + }, + "Fuzzy Bubbles": { + "name": "Fuzzy Bubbles", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "GFS Didot": { + "name": "GFS Didot", + "version": "Version 1.0 " + }, + "GFS Neohellenic": { + "name": "GFS Neohellenic", + "version": "Version 1.0 " + }, + "Ga Maamli": { + "name": "Ga Maamli", + "version": "Version 1.000; ttfautohint (v1.8.4.7-5d5b)" + }, + "Gabarito": { + "name": "Gabarito", + "version": "Version 1.000" + }, + "Gabriela": { + "name": "Gabriela", + "version": "Version 2.001;gftools[0.9.26]" + }, + "Gaegu": { + "name": "Gaegu", + "version": "Version 1.00" + }, + "Gafata": { + "name": "Gafata", + "version": "Version 4.002" + }, + "Gajraj One": { + "name": "Gajraj One", + "version": "Version 1.000" + }, + "Galada": { + "name": "Galada", + "version": "Version 1.261;PS 1.261;hotconv 1.0.86;makeotf.lib2.5.63406" + }, + "Galdeano": { + "name": "Galdeano", + "version": "Version 1.001" + }, + "Galindo": { + "name": "Galindo", + "version": "Version 1.000" + }, + "Gamja Flower": { + "name": "Gamja Flower", + "version": "Version 3.00;build 20171102" + }, + "Gantari": { + "name": "Gantari", + "version": "Version 1.000" + }, + "Gasoek One": { + "name": "Gasoek One", + "version": "Version 1.000; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.29]" + }, + "Gayathri": { + "name": "Gayathri", + "version": "Version 1.000" + }, + "Geist": { + "name": "Geist", + "version": "Version 1.401" + }, + "Geist Mono": { + "name": "Geist Mono", + "version": "Version 1.401" + }, + "Gelasio": { + "name": "Gelasio", + "version": "Version 1.008" + }, + "Gemunu Libre": { + "name": "Gemunu Libre", + "version": "Version 1.100" + }, + "Genos": { + "name": "Genos", + "version": "Version 1.010" + }, + "Gentium Book Plus": { + "name": "Gentium Book Plus", + "version": "Version 6.101" + }, + "Gentium Plus": { + "name": "Gentium Plus", + "version": "Version 6.101" + }, + "Geo": { + "name": "Geo", + "version": "Version 001.2 " + }, + "Geologica": { + "name": "Geologica", + "version": "Version 1.010;gftools[0.9.28]" + }, + "Georama": { + "name": "Georama", + "version": "Version 1.001" + }, + "Geostar": { + "name": "Geostar", + "version": "Version 1.002" + }, + "Geostar Fill": { + "name": "Geostar Fill", + "version": "Version 1.002" + }, + "Germania One": { + "name": "Germania One", + "version": "Version 1.001" + }, + "Gideon Roman": { + "name": "Gideon Roman", + "version": "Version 2.010" + }, + "Gidole": { + "name": "Gidole", + "version": "Version 2.100; ttfautohint (v1.8.4.7-5d5b)" + }, + "Gidugu": { + "name": "Gidugu", + "version": "Version 2.000; ttfautohint (v1.8.4.7-5d5b)" + }, + "Gilda Display": { + "name": "Gilda Display", + "version": "Version 1.002; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.22]" + }, + "Girassol": { + "name": "Girassol", + "version": "Version 1.004" + }, + "Give You Glory": { + "name": "Give You Glory", + "version": "Version 1.002" + }, + "Glass Antiqua": { + "name": "Glass Antiqua", + "version": "1.001" + }, + "Glegoo": { + "name": "Glegoo", + "version": "Version 2.0.1; ttfautohint (v0.9) -r 48 -G 60" + }, + "Gloock": { + "name": "Gloock", + "version": "Version 1.000; ttfautohint (v1.8.4.7-5d5b)" + }, + "Gloria Hallelujah": { + "name": "Gloria Hallelujah", + "version": "Version 1.004 2010" + }, + "Glory": { + "name": "Glory", + "version": "Version 1.011" + }, + "Gluten": { + "name": "Gluten", + "version": "Version 1.300" + }, + "Goblin One": { + "name": "Goblin One", + "version": "Version 1.001" + }, + "Gochi Hand": { + "name": "Gochi Hand", + "version": "Version 1.001" + }, + "Goldman": { + "name": "Goldman", + "version": "Version 1.000; ttfautohint (v1.8.3)" + }, + "Golos Text": { + "name": "Golos Text", + "version": "Version 2.004" + }, + "Gorditas": { + "name": "Gorditas", + "version": "Version 1.001" + }, + "Gothic A1": { + "name": "Gothic A1", + "version": "Version 2.50" + }, + "Gotu": { + "name": "Gotu", + "version": "Version 2.320;hotconv 1.0.109;makeotfexe 2.5.65596; ttfautohint (v1.8.1)" + }, + "Goudy Bookletter 1911": { + "name": "Goudy Bookletter 1911", + "version": "Version 2010.07.03 " + }, + "Gowun Batang": { + "name": "Gowun Batang", + "version": "Version 2.000" + }, + "Gowun Dodum": { + "name": "Gowun Dodum", + "version": "Version 2.000" + }, + "Graduate": { + "name": "Graduate", + "version": "Version 1.001" + }, + "Grand Hotel": { + "name": "Grand Hotel", + "version": "Version 001.000" + }, + "Grandiflora One": { + "name": "Grandiflora One", + "version": "Version 1.000; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.28]" + }, + "Grandstander": { + "name": "Grandstander", + "version": "Version 1.200" + }, + "Grape Nuts": { + "name": "Grape Nuts", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Gravitas One": { + "name": "Gravitas One", + "version": "Version 1.001" + }, + "Great Vibes": { + "name": "Great Vibes", + "version": "Version 1.103; ttfautohint (v1.8.4.7-5d5b)" + }, + "Grechen Fuemen": { + "name": "Grechen Fuemen", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Grenze": { + "name": "Grenze", + "version": "Version 1.002; ttfautohint (v1.8)" + }, + "Grenze Gotisch": { + "name": "Grenze Gotisch", + "version": "Version 1.002" + }, + "Grey Qo": { + "name": "Grey Qo", + "version": "Version 2.010" + }, + "Griffy": { + "name": "Griffy", + "version": "Version 1.000" + }, + "Gruppo": { + "name": "Gruppo", + "version": "Version 1.001; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.28]" + }, + "Gudea": { + "name": "Gudea", + "version": "Version 1.003" + }, + "Gugi": { + "name": "Gugi", + "version": "Version 3.00" + }, + "Gulzar": { + "name": "Gulzar", + "version": "Version 1.000;[7b34f74]; ttfautohint (v1.8.4)" + }, + "Gupter": { + "name": "Gupter", + "version": "Version 1.000" + }, + "Gurajada": { + "name": "Gurajada", + "version": "Version 1.0.3; ttfautohint (v1.2.42-39fb)" + }, + "Gwendolyn": { + "name": "Gwendolyn", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Habibi": { + "name": "Habibi", + "version": "Version 1.001" + }, + "Hachi Maru Pop": { + "name": "Hachi Maru Pop", + "version": "Version 1.300" + }, + "Hahmlet": { + "name": "Hahmlet", + "version": "Version 1.002" + }, + "Halant": { + "name": "Halant", + "version": "Version 1.101;PS 1.0;hotconv 1.0.78;makeotf.lib2.5.61930; ttfautohint (v1.1) -l 8 -r 50 -G 200 -x 14 -D latn -f deva -w gGD -W -c" + }, + "Hammersmith One": { + "name": "Hammersmith One", + "version": "Version 1.003" + }, + "Hanalei": { + "name": "Hanalei", + "version": "Version 1.000" + }, + "Hanalei Fill": { + "name": "Hanalei Fill", + "version": "Version 1.000" + }, + "Handjet": { + "name": "Handjet", + "version": "Version 2.003" + }, + "Handlee": { + "name": "Handlee", + "version": "Version 1.001" + }, + "Hanken Grotesk": { + "name": "Hanken Grotesk", + "version": "Version 3.013" + }, + "Hanuman": { + "name": "Hanuman", + "version": "Version 9.000" + }, + "Happy Monkey": { + "name": "Happy Monkey", + "version": "Version 1.001" + }, + "Harmattan": { + "name": "Harmattan", + "version": "Version 4.300" + }, + "Headland One": { + "name": "Headland One", + "version": "Version 1.002" + }, + "Hedvig Letters Sans": { + "name": "Hedvig Letters Sans", + "version": "Version 1.000; ttfautohint (v1.8.4.7-5d5b)" + }, + "Hedvig Letters Serif": { + "name": "Hedvig Letters Serif", + "version": "Version 1.000" + }, + "Heebo": { + "name": "Heebo", + "version": "Version 3.100" + }, + "Henny Penny": { + "name": "Henny Penny", + "version": "Version 1.001" + }, + "Hepta Slab": { + "name": "Hepta Slab", + "version": "Version 1.102" + }, + "Herr Von Muellerhoff": { + "name": "Herr Von Muellerhoff", + "version": "Version 1.000" + }, + "Hi Melody": { + "name": "Hi Melody", + "version": "Version 3.00" + }, + "Hina Mincho": { + "name": "Hina Mincho", + "version": "Version 1.100" + }, + "Hind": { + "name": "Hind", + "version": "Version 2.001;PS 1.0;hotconv 1.0.79;makeotf.lib2.5.61930; ttfautohint (v1.5.33-1714) -l 8 -r 50 -G 200 -x 13 -D latn -f deva -w G -W -c -X \"\"" + }, + "Hind Guntur": { + "name": "Hind Guntur", + "version": "Version 1.002;PS 1.0;hotconv 1.0.86;makeotf.lib2.5.63406; ttfautohint (v1.8.2) -l 8 -r 50 -G 200 -x 13 -D telu -f latn -a qsq -W -X \"\"" + }, + "Hind Madurai": { + "name": "Hind Madurai", + "version": "Version 1.001;PS 1.0;hotconv 1.0.86;makeotf.lib2.5.63406; ttfautohint (v1.5.33-1714) -l 8 -r 50 -G 200 -x 13 -D latn -f taml -w G -W -c -X \"\"" + }, + "Hind Mysuru": { + "name": "Hind Mysuru", + "version": "Version 0.703;PS 1.0;hotconv 1.0.86;makeotf.lib2.5.63406" + }, + "Hind Siliguri": { + "name": "Hind Siliguri", + "version": "Version 1.001;PS 1.0;hotconv 1.0.86;makeotf.lib2.5.63406; ttfautohint (v1.5.33-1714) -l 8 -r 50 -G 200 -x 13 -D latn -f beng -w G -W -c -X \"\"" + }, + "Hind Vadodara": { + "name": "Hind Vadodara", + "version": "Version 1.001;PS 1.0;hotconv 1.0.86;makeotf.lib2.5.63406; ttfautohint (v1.5.33-1714) -l 8 -r 50 -G 200 -x 13 -D latn -f gujr -w G -W -c -X \"\"" + }, + "Holtwood One SC": { + "name": "Holtwood One SC", + "version": "Version 1.100; ttfautohint (v1.8.4.7-5d5b)" + }, + "Homemade Apple": { + "name": "Homemade Apple", + "version": "Version 1.001" + }, + "Homenaje": { + "name": "Homenaje", + "version": "Version 1.100" + }, + "Honk": { + "name": "Honk", + "version": "Version 1.000" + }, + "Host Grotesk": { + "name": "Host Grotesk", + "version": "Version 1.003" + }, + "Hubballi": { + "name": "Hubballi", + "version": "Version 1.000; ttfautohint (v1.8.3)" + }, + "Hubot Sans": { + "name": "Hubot Sans", + "version": "Version 2.000" + }, + "Huninn": { + "name": "Huninn", + "version": "Version 1.003" + }, + "Hurricane": { + "name": "Hurricane", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "IBM Plex Mono": { + "name": "IBM Plex Mono", + "version": "Version 2.3" + }, + "IBM Plex Sans": { + "name": "IBM Plex Sans", + "version": "Version 3.201" + }, + "IBM Plex Sans Arabic": { + "name": "IBM Plex Sans Arabic", + "version": "Version 1.101" + }, + "IBM Plex Sans Condensed": { + "name": "IBM Plex Sans Condensed", + "version": "Version 1.3" + }, + "IBM Plex Sans Devanagari": { + "name": "IBM Plex Sans Devanagari", + "version": "Version 1.1" + }, + "IBM Plex Sans Hebrew": { + "name": "IBM Plex Sans Hebrew", + "version": "Version 1.2" + }, + "IBM Plex Sans JP": { + "name": "IBM Plex Sans JP", + "version": "Version 1.001" + }, + "IBM Plex Sans KR": { + "name": "IBM Plex Sans KR", + "version": "Version 1.001" + }, + "IBM Plex Sans Thai": { + "name": "IBM Plex Sans Thai", + "version": "Version 1.1" + }, + "IBM Plex Sans Thai Looped": { + "name": "IBM Plex Sans Thai Looped", + "version": "Version 1.1" + }, + "IBM Plex Serif": { + "name": "IBM Plex Serif", + "version": "Version 2.6" + }, + "IM Fell DW Pica": { + "name": "IM FELL DW Pica", + "version": "3.00" + }, + "IM Fell DW Pica SC": { + "name": "IM FELL DW Pica SC", + "version": "3.00" + }, + "IM Fell Double Pica": { + "name": "IM FELL Double Pica", + "version": "3.00" + }, + "IM Fell Double Pica SC": { + "name": "IM FELL Double Pica SC", + "version": "3.00" + }, + "IM Fell English": { + "name": "IM FELL English", + "version": "3.00" + }, + "IM Fell English SC": { + "name": "IM FELL English SC", + "version": "3.00" + }, + "IM Fell French Canon": { + "name": "IM FELL French Canon", + "version": "3.00" + }, + "IM Fell French Canon SC": { + "name": "IM Fell French Canon SC", + "version": "3.00" + }, + "IM Fell Great Primer": { + "name": "IM FELL Great Primer", + "version": "3.00" + }, + "IM Fell Great Primer SC": { + "name": "IM FELL Great Primer SC", + "version": "3.00" + }, + "Iansui": { + "name": "Iansui", + "version": "Version 1.012" + }, + "Ibarra Real Nova": { + "name": "Ibarra Real Nova", + "version": "Version 2.000" + }, + "Iceberg": { + "name": "Iceberg", + "version": "Version 1.002" + }, + "Iceland": { + "name": "Iceland", + "version": "Version 1.001" + }, + "Imbue": { + "name": "Imbue", + "version": "Version 1.102" + }, + "Imperial Script": { + "name": "Imperial Script", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Imprima": { + "name": "Imprima", + "version": "Version 1.002; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.23]" + }, + "Inclusive Sans": { + "name": "Inclusive Sans", + "version": "Version 2.004" + }, + "Inconsolata": { + "name": "Inconsolata", + "version": "Version 3.001" + }, + "Inder": { + "name": "Inder", + "version": "Version 1.001" + }, + "Indie Flower": { + "name": "Indie Flower", + "version": "Version 1.001 2010" + }, + "Ingrid Darling": { + "name": "Ingrid Darling", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Inika": { + "name": "Inika", + "version": "Version 1.001" + }, + "Inknut Antiqua": { + "name": "Inknut Antiqua", + "version": "Version 1.003; ttfautohint (v1.8.2) -l 8 -r 50 -G 200 -x 14 -D latn -f none -a qsq -W -X \"\"" + }, + "Inria Sans": { + "name": "Inria Sans", + "version": "Version 1.2; ttfautohint (v1.8.3)" + }, + "Inria Serif": { + "name": "Inria Serif", + "version": "Version 1.000; ttfautohint (v1.8.3)" + }, + "Inspiration": { + "name": "Inspiration", + "version": "Version 2.010; ttfautohint (v1.8.3)" + }, + "Instrument Sans": { + "name": "Instrument Sans", + "version": "Version 1.000;gftools[0.9.28]" + }, + "Instrument Serif": { + "name": "Instrument Serif", + "version": "Version 1.000; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.27]" + }, + "Intel One Mono": { + "name": "Intel One Mono", + "version": "Version 1.400;hotconv 1.1.0;makeotfexe 2.6.0;FJTRelease1.4" + }, + "Inter": { + "name": "Inter", + "version": "Version 4.001;git-66647c0bb" + }, + "Inter Tight": { + "name": "Inter Tight", + "version": "Version 3.004" + }, + "Irish Grover": { + "name": "Irish Grover", + "version": "Version 1.001" + }, + "Island Moments": { + "name": "Island Moments", + "version": "Version 1.010" + }, + "Istok Web": { + "name": "Istok Web", + "version": "Version 1.0.2g" + }, + "Italiana": { + "name": "Italiana", + "version": "Version 001.001 " + }, + "Italianno": { + "name": "Italianno", + "version": "Version 1.100; ttfautohint (v1.8.3)" + }, + "Itim": { + "name": "Itim", + "version": "Version 1.002g" + }, + "Jacquard 12": { + "name": "Jacquard 12", + "version": "Version 1.002; ttfautohint (v1.8.4.7-5d5b)" + }, + "Jacquard 12 Charted": { + "name": "Jacquard 12 Charted", + "version": "Version 1.002" + }, + "Jacquard 24": { + "name": "Jacquard 24", + "version": "Version 1.002; ttfautohint (v1.8.4.7-5d5b)" + }, + "Jacquard 24 Charted": { + "name": "Jacquard 24 Charted", + "version": "Version 1.002" + }, + "Jacquarda Bastarda 9": { + "name": "Jacquarda Bastarda 9", + "version": "Version 1.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Jacquarda Bastarda 9 Charted": { + "name": "Jacquarda Bastarda 9 Charted", + "version": "Version 1.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Jacques Francois": { + "name": "Jacques Francois", + "version": "Version 1.003" + }, + "Jacques Francois Shadow": { + "name": "Jacques Francois Shadow", + "version": "Version 1.003" + }, + "Jaini": { + "name": "Jaini", + "version": "Version 2.000; ttfautohint (v1.8.4.7-5d5b)" + }, + "Jaini Purva": { + "name": "Jaini Purva", + "version": "Version 2.000; ttfautohint (v1.8.4.7-5d5b)" + }, + "Jaldi": { + "name": "Jaldi", + "version": "Version 1.007" + }, + "Jaro": { + "name": "Jaro", + "version": "Version 1.000" + }, + "Jersey 10": { + "name": "Jersey 10", + "version": "Version 1.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Jersey 10 Charted": { + "name": "Jersey 10 Charted", + "version": "Version 1.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Jersey 15": { + "name": "Jersey 15", + "version": "Version 1.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Jersey 15 Charted": { + "name": "Jersey 15 Charted", + "version": "Version 1.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Jersey 20": { + "name": "Jersey 20", + "version": "Version 1.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Jersey 20 Charted": { + "name": "Jersey 20 Charted", + "version": "Version 1.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Jersey 25": { + "name": "Jersey 25", + "version": "Version 1.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Jersey 25 Charted": { + "name": "Jersey 25 Charted", + "version": "Version 1.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "JetBrains Mono": { + "name": "JetBrains Mono", + "version": "Version 2.211" + }, + "Jim Nightshade": { + "name": "Jim Nightshade", + "version": "Version 1.000" + }, + "Joan": { + "name": "Joan", + "version": "Version 1.001; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.30]" + }, + "Jockey One": { + "name": "Jockey One", + "version": "Version 1.002" + }, + "Jolly Lodger": { + "name": "Jolly Lodger", + "version": "Version 1.000" + }, + "Jomhuria": { + "name": "Jomhuria", + "version": "Version 1.0010 " + }, + "Jomolhari": { + "name": "Jomolhari", + "version": "Version 1.000" + }, + "Josefin Sans": { + "name": "Josefin Sans", + "version": "Version 2.001" + }, + "Josefin Slab": { + "name": "Josefin Slab", + "version": "Version 2.100" + }, + "Jost": { + "name": "Jost", + "version": "Version 3.710" + }, + "Joti One": { + "name": "Joti One", + "version": "Version 1.002; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.24]" + }, + "Jua": { + "name": "Jua", + "version": "Version 1.001" + }, + "Judson": { + "name": "Judson", + "version": "Version 20110429 " + }, + "Julee": { + "name": "Julee", + "version": "Version 1.002; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.23]" + }, + "Julius Sans One": { + "name": "Julius Sans One", + "version": "Version 1.002; ttfautohint (v1.3)" + }, + "Junge": { + "name": "Junge", + "version": "Version 1.002" + }, + "Jura": { + "name": "Jura", + "version": "Version 5.106" + }, + "Just Another Hand": { + "name": "Just Another Hand", + "version": "Version 1.001" + }, + "Just Me Again Down Here": { + "name": "Just Me Again Down Here", + "version": "Version 1.002 2007" + }, + "K2D": { + "name": "K2D", + "version": "Version 1.000; ttfautohint (v1.6)" + }, + "Kablammo": { + "name": "Kablammo", + "version": "Version 1.002" + }, + "Kadwa": { + "name": "Kadwa", + "version": "Version 1.001;PS 001.000;hotconv 1.0.70;makeotf.lib2.5.58329 DEVELOPMENT; ttfautohint (v1.00) -l 8 -r 50 -G 200 -x 14 -D latn -f none -w G" + }, + "Kaisei Decol": { + "name": "Kaisei Decol", + "version": "Version 5.003" + }, + "Kaisei HarunoUmi": { + "name": "Kaisei HarunoUmi", + "version": "Version 5.003" + }, + "Kaisei Opti": { + "name": "Kaisei Opti", + "version": "Version 5.003" + }, + "Kaisei Tokumin": { + "name": "Kaisei Tokumin", + "version": "Version 5.003" + }, + "Kalam": { + "name": "Kalam", + "version": "Version 2.001;PS 1.0;hotconv 1.0.79;makeotf.lib2.5.61930; ttfautohint (v1.3)" + }, + "Kalnia": { + "name": "Kalnia", + "version": "Version 1.105" + }, + "Kalnia Glaze": { + "name": "Kalnia Glaze", + "version": "Version 1.110" + }, + "Kameron": { + "name": "Kameron", + "version": "Version 1.100" + }, + "Kanchenjunga": { + "name": "Kanchenjunga", + "version": "Version 2.001" + }, + "Kanit": { + "name": "Kanit", + "version": "Version 2.000; ttfautohint (v1.8.3)" + }, + "Kantumruy Pro": { + "name": "Kantumruy Pro", + "version": "Version 1.002" + }, + "Kapakana": { + "name": "Kapakana", + "version": "Version 1.002" + }, + "Karantina": { + "name": "Karantina", + "version": "Version 1.000; ttfautohint (v1.8.3)" + }, + "Karla": { + "name": "Karla", + "version": "Version 2.004;gftools[0.9.33]" + }, + "Karla Tamil Inclined": { + "name": "Karla Tamil Inclined", + "version": "Version 1.001" + }, + "Karla Tamil Upright": { + "name": "Karla Tamil Upright", + "version": "Version 1.001" + }, + "Karma": { + "name": "Karma", + "version": "Version 1.202;PS 1.0;hotconv 1.0.78;makeotf.lib2.5.61930; ttfautohint (v1.1) -l 7 -r 28 -G 50 -x 13 -D latn -f deva -w G" + }, + "Katibeh": { + "name": "Katibeh", + "version": "Version 1.0010g" + }, + "Kaushan Script": { + "name": "Kaushan Script", + "version": "Version 1.002" + }, + "Kavivanar": { + "name": "Kavivanar", + "version": "Version 1.88" + }, + "Kavoon": { + "name": "Kavoon", + "version": "Version 1.004; ttfautohint (v1.4.1)" + }, + "Kay Pho Du": { + "name": "Kay Pho Du", + "version": "Version 3.000" + }, + "Kdam Thmor Pro": { + "name": "Kdam Thmor Pro", + "version": "Version 1.003; ttfautohint (v1.8.4.7-5d5b)" + }, + "Keania One": { + "name": "Keania One", + "version": "Version 1.003" + }, + "Kelly Slab": { + "name": "Kelly Slab", + "version": "Version 1.001" + }, + "Kenia": { + "name": "Kenia", + "version": "Version 1.001" + }, + "Khand": { + "name": "Khand", + "version": "Version 1.102;PS 1.0;hotconv 1.0.78;makeotf.lib2.5.61930; ttfautohint (v1.8.3)" + }, + "Khmer": { + "name": "Khmer", + "version": "Version 2.00 February 8, 2013" + }, + "Khula": { + "name": "Khula", + "version": "Version 1.002;PS 1.0;hotconv 1.0.72;makeotf.lib2.5.5900; ttfautohint (v1.8.2) -l 8 -r 50 -G 200 -x 14 -D deva -f latn -a qsq -W -X \"\"" + }, + "Kings": { + "name": "Kings", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Kirang Haerang": { + "name": "Kirang Haerang", + "version": "Version 1.001" + }, + "Kite One": { + "name": "Kite One", + "version": "Version 1.002; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.23]" + }, + "Kiwi Maru": { + "name": "Kiwi Maru", + "version": "Version 1.100" + }, + "Klee One": { + "name": "Klee One", + "version": "Version 1.100" + }, + "Knewave": { + "name": "Knewave", + "version": "Version 1.001" + }, + "KoHo": { + "name": "KoHo", + "version": "Version 1.000; ttfautohint (v1.6)" + }, + "Kodchasan": { + "name": "Kodchasan", + "version": "Version 1.000; ttfautohint (v1.6)" + }, + "Kode Mono": { + "name": "Kode Mono", + "version": "Version 1.206;gftools[0.9.28]" + }, + "Koh Santepheap": { + "name": "Koh Santepheap", + "version": "Version 2.002; ttfautohint (v1.8.3)" + }, + "Kolker Brush": { + "name": "Kolker Brush", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Konkhmer Sleokchher": { + "name": "Konkhmer Sleokchher", + "version": "Version 1.000; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.23]" + }, + "Kosugi": { + "name": "Kosugi", + "version": "Version 4.002" + }, + "Kosugi Maru": { + "name": "Kosugi Maru", + "version": "Version 4.002" + }, + "Kotta One": { + "name": "Kotta One", + "version": "Version 1.001" + }, + "Koulen": { + "name": "Koulen", + "version": "Version 8.000; ttfautohint (v1.8.3)" + }, + "Kranky": { + "name": "Kranky", + "version": "Version 1.001" + }, + "Kreon": { + "name": "Kreon", + "version": "Version 2.002" + }, + "Kristi": { + "name": "Kristi", + "version": "Version 1.004 " + }, + "Krona One": { + "name": "Krona One", + "version": "Version 1.003" + }, + "Krub": { + "name": "Krub", + "version": "Version 1.000; ttfautohint (v1.6)" + }, + "Kufam": { + "name": "Kufam", + "version": "Version 1.301; ttfautohint (v1.8.3)" + }, + "Kulim Park": { + "name": "Kulim Park", + "version": "Version 1.000; ttfautohint (v1.8.3)" + }, + "Kumar One": { + "name": "Kumar One", + "version": "Version 1.001;PS 1.001;hotconv 1.0.88;makeotf.lib2.5.647800" + }, + "Kumar One Outline": { + "name": "Kumar One Outline", + "version": "Version 1.000;PS 1.000;hotconv 1.0.88;makeotf.lib2.5.647800" + }, + "Kumbh Sans": { + "name": "Kumbh Sans", + "version": "Version 1.005" + }, + "Kurale": { + "name": "Kurale", + "version": "Version 2.000" + }, + "LXGW Marker Gothic": { + "name": "LXGW Marker Gothic", + "version": "Version 1.001" + }, + "LXGW WenKai Mono TC": { + "name": "LXGW WenKai Mono TC", + "version": "Version 1.330" + }, + "LXGW WenKai TC": { + "name": "LXGW WenKai TC", + "version": "Version 1.330" + }, + "La Belle Aurore": { + "name": "La Belle Aurore", + "version": "Version 1.001 2001" + }, + "Labrada": { + "name": "Labrada", + "version": "Version 1.000" + }, + "Lacquer": { + "name": "Lacquer", + "version": "Version 1.100" + }, + "Laila": { + "name": "Laila", + "version": "Version 1.302;PS 1.0;hotconv 1.0.78;makeotf.lib2.5.61930; ttfautohint (v1.1) -l 8 -r 50 -G 200 -x 14 -D latn -f deva -w gGD -W -c" + }, + "Lakki Reddy": { + "name": "Lakki Reddy", + "version": "Version 1.0.4; ttfautohint (v1.2.42-39fb)" + }, + "Lalezar": { + "name": "Lalezar", + "version": "Version 1.004" + }, + "Lancelot": { + "name": "Lancelot", + "version": "1.004" + }, + "Langar": { + "name": "Langar", + "version": "Version 1.001; ttfautohint (v1.8.3)" + }, + "Lateef": { + "name": "Lateef", + "version": "Version 4.300" + }, + "Lato": { + "name": "Lato", + "version": "Version 1.104; Western+Polish opensource" + }, + "Lavishly Yours": { + "name": "Lavishly Yours", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "League Gothic": { + "name": "League Gothic", + "version": "Version 2.001" + }, + "League Script": { + "name": "League Script", + "version": "Version 1.001 " + }, + "League Spartan": { + "name": "League Spartan", + "version": "Version 2.002" + }, + "Leckerli One": { + "name": "Leckerli One", + "version": "Version 1.001" + }, + "Ledger": { + "name": "Ledger", + "version": "1.003" + }, + "Lekton": { + "name": "Lekton", + "version": "Version 34.000" + }, + "Lemon": { + "name": "Lemon", + "version": "Version 1.003; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.24]" + }, + "Lemonada": { + "name": "Lemonada", + "version": "Version 4.005" + }, + "Lexend": { + "name": "Lexend", + "version": "Version 1.007" + }, + "Lexend Deca": { + "name": "Lexend Deca", + "version": "Version 1.007" + }, + "Lexend Exa": { + "name": "Lexend Exa", + "version": "Version 1.007" + }, + "Lexend Giga": { + "name": "Lexend Giga", + "version": "Version 1.007" + }, + "Lexend Mega": { + "name": "Lexend Mega", + "version": "Version 1.007" + }, + "Lexend Peta": { + "name": "Lexend Peta", + "version": "Version 1.007" + }, + "Lexend Tera": { + "name": "Lexend Tera", + "version": "Version 1.007" + }, + "Lexend Zetta": { + "name": "Lexend Zetta", + "version": "Version 1.007" + }, + "Libertinus Math": { + "name": "Libertinus Math", + "version": "Version 7.051;RELEASE" + }, + "Libertinus Mono": { + "name": "Libertinus Mono", + "version": "Version 7.051;RELEASE" + }, + "Libre Barcode 128": { + "name": "Libre Barcode 128", + "version": "Version 1.005; ttfautohint (v1.8.3)" + }, + "Libre Barcode 128 Text": { + "name": "Libre Barcode 128 Text", + "version": "Version 1.005; ttfautohint (v1.8.3)" + }, + "Libre Barcode 39": { + "name": "Libre Barcode 39", + "version": "Version 1.005; ttfautohint (v1.8.3)" + }, + "Libre Barcode 39 Extended": { + "name": "Libre Barcode 39 Extended", + "version": "Version 1.005; ttfautohint (v1.8.3)" + }, + "Libre Barcode 39 Extended Text": { + "name": "Libre Barcode 39 Extended Text", + "version": "Version 1.005; ttfautohint (v1.8.3)" + }, + "Libre Barcode 39 Text": { + "name": "Libre Barcode 39 Text", + "version": "Version 1.005; ttfautohint (v1.8.3)" + }, + "Libre Barcode EAN13 Text": { + "name": "Libre Barcode EAN13 Text", + "version": "Version 1.008; ttfautohint (v1.8.3)" + }, + "Libre Baskerville": { + "name": "Libre Baskerville", + "version": "Version 1.051; ttfautohint (v1.8.4.7-5d5b)" + }, + "Libre Bodoni": { + "name": "Libre Bodoni", + "version": "Version 2.005;gftools[0.9.23]" + }, + "Libre Caslon Display": { + "name": "Libre Caslon Display", + "version": "Version 1.100; ttfautohint (v1.6) -l 8 -r 50 -G 200 -x 14 -D latn -f none -w G -X \"\"" + }, + "Libre Caslon Text": { + "name": "Libre Caslon Text", + "version": "Version 2.000" + }, + "Libre Franklin": { + "name": "Libre Franklin", + "version": "Version 3.000" + }, + "Licorice": { + "name": "Licorice", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Life Savers": { + "name": "Life Savers", + "version": "Version 3.100; ttfautohint (v1.8.4.7-5d5b)" + }, + "Lilita One": { + "name": "Lilita One", + "version": "Version 1.002" + }, + "Lily Script One": { + "name": "Lily Script One", + "version": "Version 1.002;PS 001.001;hotconv 1.0.70;makeotf.lib2.5.58329" + }, + "Limelight": { + "name": "Limelight", + "version": "Version 1.002" + }, + "Linden Hill": { + "name": "Linden Hill", + "version": "Version 1.202 " + }, + "Linefont": { + "name": "Linefont", + "version": "Version 3.002;gftools[0.9.33]" + }, + "Lisu Bosa": { + "name": "Lisu Bosa", + "version": "Version 2.000" + }, + "Liter": { + "name": "Liter", + "version": "Version 1.004; ttfautohint (v1.8.4.7-5d5b)" + }, + "Literata": { + "name": "Literata", + "version": "Version 3.103;gftools[0.9.29]" + }, + "Liu Jian Mao Cao": { + "name": "Liu Jian Mao Cao", + "version": "Version 1.003" + }, + "Livvic": { + "name": "Livvic", + "version": "Version 1.001; ttfautohint (v1.8.2)" + }, + "Lobster": { + "name": "Lobster", + "version": "Version 2.100" + }, + "Lobster Two": { + "name": "Lobster Two", + "version": "Version 1.006" + }, + "Londrina Outline": { + "name": "Londrina Outline", + "version": "Version 1.002" + }, + "Londrina Shadow": { + "name": "Londrina Shadow", + "version": "Version 1.002" + }, + "Londrina Sketch": { + "name": "Londrina Sketch", + "version": "Version 1.002" + }, + "Londrina Solid": { + "name": "Londrina Solid", + "version": "Version 1.002" + }, + "Long Cang": { + "name": "Long Cang", + "version": "Version 2.001" + }, + "Lora": { + "name": "Lora", + "version": "Version 3.008" + }, + "Love Light": { + "name": "Love Light", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Love Ya Like A Sister": { + "name": "Love Ya Like A Sister", + "version": "Version 1.002 2007" + }, + "Loved by the King": { + "name": "Loved by the King", + "version": "Version 1.002 2006" + }, + "Lovers Quarrel": { + "name": "Lovers Quarrel", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Luckiest Guy": { + "name": "Luckiest Guy", + "version": "Version 1.001" + }, + "Lugrasimo": { + "name": "Lugrasimo", + "version": "Version 1.001" + }, + "Lumanosimo": { + "name": "Lumanosimo", + "version": "Version 1.010" + }, + "Lunasima": { + "name": "Lunasima", + "version": "Version 2.009" + }, + "Lusitana": { + "name": "Lusitana", + "version": "Version 1.001" + }, + "Lustria": { + "name": "Lustria", + "version": "Version 001.001" + }, + "Luxurious Roman": { + "name": "Luxurious Roman", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Luxurious Script": { + "name": "Luxurious Script", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "M PLUS 1": { + "name": "M PLUS 1", + "version": "Version 1.001" + }, + "M PLUS 1 Code": { + "name": "M PLUS 1 Code", + "version": "Version 1.005" + }, + "M PLUS 1p": { + "name": "M PLUS 1p", + "version": "Version 1.062" + }, + "M PLUS 2": { + "name": "M PLUS 2", + "version": "Version 1.001" + }, + "M PLUS Code Latin": { + "name": "M PLUS Code Latin", + "version": "Version 1.005; ttfautohint (v1.8.3)" + }, + "M PLUS Rounded 1c": { + "name": "M PLUS Rounded 1c", + "version": "Version 1.059.20150529" + }, + "Ma Shan Zheng": { + "name": "Ma Shan Zheng", + "version": "Version 2.001" + }, + "Macondo": { + "name": "Macondo", + "version": "Version 2.001" + }, + "Macondo Swash Caps": { + "name": "Macondo Swash Caps", + "version": "Version 2.001" + }, + "Mada": { + "name": "Mada", + "version": "Version 1.5" + }, + "Madimi One": { + "name": "Madimi One", + "version": "Version 1.000; ttfautohint (v1.8.4.7-5d5b)" + }, + "Magra": { + "name": "Magra", + "version": "Version 1.001" + }, + "Maiden Orange": { + "name": "Maiden Orange", + "version": "Version 1.001" + }, + "Maitree": { + "name": "Maitree", + "version": "Version 1.003" + }, + "Major Mono Display": { + "name": "Major Mono Display", + "version": "Version 2.000; ttfautohint (v1.8) -l 8 -r 50 -G 200 -x 14 -D latn -f none -a qsq -X \"\"" + }, + "Mako": { + "name": "Mako", + "version": "Version 1.100; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.33]" + }, + "Mali": { + "name": "Mali", + "version": "Version 1.000; ttfautohint (v1.6)" + }, + "Mallanna": { + "name": "Mallanna", + "version": "Version 1.0.4; ttfautohint (vUNKNOWN) -l 7 -r 28 -G 50 -x 13 -D telu -f telu -w G -X \"\"" + }, + "Maname": { + "name": "Maname", + "version": "Version 1.002; ttfautohint (v1.8.4.7-5d5b)" + }, + "Mandali": { + "name": "Mandali", + "version": "Version 1.0.5; ttfautohint (v1.2.25-373a) -l 7 -r 28 -G 50 -x 13 -D telu -f latn -w G -X \"\"" + }, + "Manjari": { + "name": "Manjari", + "version": "Version 2.000" + }, + "Manrope": { + "name": "Manrope", + "version": "Version 4.504" + }, + "Mansalva": { + "name": "Mansalva", + "version": "Version 2.112; ttfautohint (v1.8.4.7-5d5b)" + }, + "Manuale": { + "name": "Manuale", + "version": "Version 1.002" + }, + "Manufacturing Consent": { + "name": "Manufacturing Consent", + "version": "Version 3.000; ttfautohint (v1.8.4.7-5d5b)" + }, + "Marcellus": { + "name": "Marcellus", + "version": "Version 1.000" + }, + "Marcellus SC": { + "name": "Marcellus SC", + "version": "Version 1.001" + }, + "Marck Script": { + "name": "Marck Script", + "version": "Version 1.002" + }, + "Margarine": { + "name": "Margarine", + "version": "Version 1.000" + }, + "Marhey": { + "name": "Marhey", + "version": "Version 1.000" + }, + "Markazi Text": { + "name": "Markazi Text", + "version": "Version 1.001" + }, + "Marko One": { + "name": "Marko One", + "version": "Version 1.003" + }, + "Marmelad": { + "name": "Marmelad", + "version": "Version 1.110; ttfautohint (v1.8.4.7-5d5b)" + }, + "Martel": { + "name": "Martel", + "version": "Version 1.001; ttfautohint (v1.1) -l 5 -r 5 -G 72 -x 0 -D latn -f none -w gGD -W -c" + }, + "Martel Sans": { + "name": "Martel Sans", + "version": "Version 1.002; ttfautohint (v1.1) -l 5 -r 5 -G 72 -x 0 -D latn -f none -w gGD -W -c" + }, + "Martian Mono": { + "name": "Martian Mono", + "version": "Version 1.000" + }, + "Marvel": { + "name": "Marvel", + "version": "Version 1.001" + }, + "Matangi": { + "name": "Matangi", + "version": "Version 3.002" + }, + "Mate": { + "name": "Mate", + "version": "Version 1.003; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.24]" + }, + "Mate SC": { + "name": "Mate SC", + "version": "Version 1.003; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.24]" + }, + "Matemasie": { + "name": "Matemasie", + "version": "Version 1.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Maven Pro": { + "name": "Maven Pro", + "version": "Version 2.103" + }, + "McLaren": { + "name": "McLaren", + "version": "Version 1.000" + }, + "Mea Culpa": { + "name": "Mea Culpa", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Meddon": { + "name": "Meddon", + "version": "Version 1.000" + }, + "MedievalSharp": { + "name": "MedievalSharp", + "version": "Version 1.0" + }, + "Medula One": { + "name": "Medula One", + "version": "Version 1.002" + }, + "Meera Inimai": { + "name": "Meera Inimai", + "version": "2.0.0+20160526" + }, + "Megrim": { + "name": "Megrim", + "version": "Version 20110427 " + }, + "Meie Script": { + "name": "Meie Script", + "version": "Version 1.001" + }, + "Menbere": { + "name": "Menbere", + "version": "Version 1.000" + }, + "Meow Script": { + "name": "Meow Script", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Merienda": { + "name": "Merienda", + "version": "Version 2.001" + }, + "Merriweather": { + "name": "Merriweather", + "version": "Version 2.100" + }, + "Merriweather Sans": { + "name": "Merriweather Sans", + "version": "Version 2.001" + }, + "Metal": { + "name": "Metal", + "version": "Version 8.002; ttfautohint (v1.8.3)" + }, + "Metal Mania": { + "name": "Metal Mania", + "version": "Version 1.002" + }, + "Metamorphous": { + "name": "Metamorphous", + "version": "Version 1.001" + }, + "Metrophobic": { + "name": "Metrophobic", + "version": "Version 3.200; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.23]" + }, + "Michroma": { + "name": "Michroma", + "version": "Version 1.100; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.29]" + }, + "Micro 5": { + "name": "Micro 5", + "version": "Version 1.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Micro 5 Charted": { + "name": "Micro 5 Charted", + "version": "Version 1.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Milonga": { + "name": "Milonga", + "version": "Version 1.000; ttfautohint (v0.93) -l 8 -r 50 -G 200 -x 14 -w \"G\"" + }, + "Miltonian": { + "name": "Miltonian", + "version": "Version 1.008" + }, + "Miltonian Tattoo": { + "name": "Miltonian Tattoo", + "version": "Version 1.008" + }, + "Mina": { + "name": "Mina", + "version": "Version 1.000" + }, + "Mingzat": { + "name": "Mingzat", + "version": "Version 1.100" + }, + "Miniver": { + "name": "Miniver", + "version": "Version 1.000" + }, + "Miriam Libre": { + "name": "Miriam Libre", + "version": "Version 2.000" + }, + "Mirza": { + "name": "Mirza", + "version": "Version 1.0010g" + }, + "Miss Fajardose": { + "name": "Miss Fajardose", + "version": "Version 1.000" + }, + "Mitr": { + "name": "Mitr", + "version": "Version 1.001" + }, + "Mochiy Pop One": { + "name": "Mochiy Pop One", + "version": "Version 2.000" + }, + "Mochiy Pop P One": { + "name": "Mochiy Pop P One", + "version": "Version 2.000" + }, + "Modak": { + "name": "Modak", + "version": "Version 1.036;PS Version 1.000;hotconv 1.0.79;makeotf.lib2.5.61930; ttfautohint (v1.2.42-39fb)" + }, + "Modern Antiqua": { + "name": "Modern Antiqua", + "version": "Version 1.0" + }, + "Moderustic": { + "name": "Moderustic", + "version": "Version 2.120" + }, + "Mogra": { + "name": "Mogra", + "version": "Version 1.002" + }, + "Mohave": { + "name": "Mohave", + "version": "Version 2.003" + }, + "Moirai One": { + "name": "Moirai One", + "version": "Version 1.000; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.29]" + }, + "Molengo": { + "name": "Molengo", + "version": "Version 0.11; ttfautohint (v0.8) -G 32 -r 16 -x" + }, + "Molle": { + "name": "Molle", + "version": "Version 1.001; ttfautohint (v0.92) -l 12 -r 12 -G 200 -x 10 -w \"g\"" + }, + "Mona Sans": { + "name": "Mona Sans", + "version": "Version 2.000" + }, + "Monda": { + "name": "Monda", + "version": "Version 2.200" + }, + "Monofett": { + "name": "Monofett", + "version": "Version 1.100; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.28]" + }, + "Monomakh": { + "name": "Monomakh", + "version": "Version 1.200; ttfautohint (v1.8.4.7-5d5b)" + }, + "Monomaniac One": { + "name": "Monomaniac One", + "version": "Version 1.000; ttfautohint (v1.8.3)" + }, + "Monoton": { + "name": "Monoton", + "version": "Version 1.000" + }, + "Monsieur La Doulaise": { + "name": "Monsieur La Doulaise", + "version": "Version 1.000" + }, + "Montaga": { + "name": "Montaga", + "version": "Version 1.001" + }, + "Montagu Slab": { + "name": "Montagu Slab", + "version": "Version 1.000" + }, + "MonteCarlo": { + "name": "MonteCarlo", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Montez": { + "name": "Montez", + "version": "Version 1.001" + }, + "Montserrat": { + "name": "Montserrat", + "version": "Version 9.000" + }, + "Montserrat Alternates": { + "name": "Montserrat Alternates", + "version": "Version 7.200" + }, + "Montserrat Underline": { + "name": "Montserrat Underline", + "version": "Version 9.000" + }, + "Moo Lah Lah": { + "name": "Moo Lah Lah", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Mooli": { + "name": "Mooli", + "version": "Version 1.000; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.33]" + }, + "Moon Dance": { + "name": "Moon Dance", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Moul": { + "name": "Moul", + "version": "Version 8.002; ttfautohint (v1.8.3)" + }, + "Moulpali": { + "name": "Moulpali", + "version": "Version 8.002; ttfautohint (v1.8.3)" + }, + "Mountains of Christmas": { + "name": "Mountains of Christmas", + "version": "Version 1.003" + }, + "Mouse Memoirs": { + "name": "Mouse Memoirs", + "version": "Version 1.000" + }, + "Mr Bedfort": { + "name": "Mr Bedfort", + "version": "Version 1.000" + }, + "Mr Dafoe": { + "name": "Mr Dafoe", + "version": "Version 1.000" + }, + "Mr De Haviland": { + "name": "Mr De Haviland", + "version": "Version 1.000" + }, + "Mrs Saint Delafield": { + "name": "Mrs Saint Delafield", + "version": "Version 1.001" + }, + "Mrs Sheppards": { + "name": "Mrs Sheppards", + "version": "Version 1.000" + }, + "Ms Madi": { + "name": "Ms Madi", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Mukta": { + "name": "Mukta", + "version": "Version 2.538;PS 1.002;hotconv 16.6.51;makeotf.lib2.5.65220; ttfautohint (v1.6)" + }, + "Mukta Mahee": { + "name": "Mukta Mahee", + "version": "Version 2.538;PS 1.000;hotconv 16.6.51;makeotf.lib2.5.65220; ttfautohint (v1.6)" + }, + "Mukta Malar": { + "name": "Mukta Malar", + "version": "Version 2.538;PS 1.000;hotconv 16.6.51;makeotf.lib2.5.65220; ttfautohint (v1.6)" + }, + "Mukta Vaani": { + "name": "Mukta Vaani", + "version": "Version 2.538;PS 1.000;hotconv 16.6.51;makeotf.lib2.5.65220; ttfautohint (v1.6)" + }, + "Mulish": { + "name": "Mulish", + "version": "Version 3.603" + }, + "Murecho": { + "name": "Murecho", + "version": "Version 1.010" + }, + "MuseoModerno": { + "name": "MuseoModerno", + "version": "Version 1.003" + }, + "My Soul": { + "name": "My Soul", + "version": "Version 1.010; ttfautohint (v1.8.4.7-5d5b)" + }, + "Mynerve": { + "name": "Mynerve", + "version": "Version 1.000; ttfautohint (v1.8.4.7-5d5b)" + }, + "Mystery Quest": { + "name": "Mystery Quest", + "version": "Version 1.000" + }, + "NTR": { + "name": "NTR", + "version": "Version 1.0.5; ttfautohint (v1.2.25-373a) -l 7 -r 28 -G 50 -x 13 -D telu -f latn -w G -X \"\"" + }, + "Nabla": { + "name": "Nabla", + "version": "Version 1.003" + }, + "Namdhinggo": { + "name": "Namdhinggo", + "version": "Version 3.001" + }, + "Nanum Brush Script": { + "name": "Nanum Brush Script", + "version": "Version 1.100;PS 1;hotconv 1.0.57;makeotf.lib2.0.21895" + }, + "Nanum Gothic": { + "name": "Nanum Gothic", + "version": "Version 3.020;PS 1;hotconv 1.0.57;makeotf.lib2.0.21895" + }, + "Nanum Gothic Coding": { + "name": "Nanum Gothic Coding", + "version": "Version 2.000;PS 1;hotconv 1.0.49;makeotf.lib2.0.14853" + }, + "Nanum Myeongjo": { + "name": "Nanum Myeongjo", + "version": "Version 2.032;PS 1;hotconv 1.0.56;makeotf.lib2.0.21325" + }, + "Nanum Pen Script": { + "name": "Nanum Pen Script", + "version": "Version 1.10" + }, + "Narnoor": { + "name": "Narnoor", + "version": "Version 3.000" + }, + "National Park": { + "name": "National Park", + "version": "Version 1.009" + }, + "Neonderthaw": { + "name": "Neonderthaw", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Nerko One": { + "name": "Nerko One", + "version": "Version 1.101" + }, + "Neucha": { + "name": "Neucha", + "version": "Version 001.001" + }, + "Neuton": { + "name": "Neuton", + "version": "Version 1.560" + }, + "New Amsterdam": { + "name": "New Amsterdam", + "version": "Version 1.000; ttfautohint (v1.8.4.7-5d5b)" + }, + "New Rocker": { + "name": "New Rocker", + "version": "Version 1.000; ttfautohint (v0.93) -l 8 -r 50 -G 200 -x 14 -w \"G\"" + }, + "New Tegomin": { + "name": "New Tegomin", + "version": "Version 1.000" + }, + "News Cycle": { + "name": "News Cycle", + "version": "Version 0.5.1" + }, + "Newsreader": { + "name": "Newsreader", + "version": "Version 1.003" + }, + "Niconne": { + "name": "Niconne", + "version": "Version 1.002" + }, + "Niramit": { + "name": "Niramit", + "version": "Version 1.001; ttfautohint (v1.6)" + }, + "Nixie One": { + "name": "Nixie One", + "version": "Version 1.004" + }, + "Nobile": { + "name": "Nobile", + "version": "Version 001.001" + }, + "Nokora": { + "name": "Nokora", + "version": "Version 9.000" + }, + "Norican": { + "name": "Norican", + "version": "Version 1.100; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.33]" + }, + "Nosifer": { + "name": "Nosifer", + "version": "Version 001.002 " + }, + "Notable": { + "name": "Notable", + "version": "Version 1.100" + }, + "Nothing You Could Do": { + "name": "Nothing You Could Do", + "version": "Version 1.005" + }, + "Noticia Text": { + "name": "Noticia Text", + "version": "Version 1.003" + }, + "Noto Color Emoji": { + "name": "Noto Color Emoji", + "version": "Version 2.048;GOOG;noto-emoji:20250612:c7a259fc809502bcb45d983f6a78f94dfceb1fbe" + }, + "Noto Emoji": { + "name": "Noto Emoji", + "version": "Version 3.003" + }, + "Noto Kufi Arabic": { + "name": "Noto Kufi Arabic", + "version": "Version 2.109" + }, + "Noto Music": { + "name": "Noto Music", + "version": "Version 2.003; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Naskh Arabic": { + "name": "Noto Naskh Arabic", + "version": "Version 2.018" + }, + "Noto Nastaliq Urdu": { + "name": "Noto Nastaliq Urdu", + "version": "Version 3.007" + }, + "Noto Rashi Hebrew": { + "name": "Noto Rashi Hebrew", + "version": "Version 1.007" + }, + "Noto Sans": { + "name": "Noto Sans", + "version": "Version 2.015" + }, + "Noto Sans Adlam": { + "name": "Noto Sans Adlam", + "version": "Version 3.001" + }, + "Noto Sans Adlam Unjoined": { + "name": "Noto Sans Adlam Unjoined", + "version": "Version 3.003" + }, + "Noto Sans Anatolian Hieroglyphs": { + "name": "Noto Sans Anatolian Hieroglyphs", + "version": "Version 2.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Arabic": { + "name": "Noto Sans Arabic", + "version": "Version 2.012" + }, + "Noto Sans Armenian": { + "name": "Noto Sans Armenian", + "version": "Version 2.008" + }, + "Noto Sans Avestan": { + "name": "Noto Sans Avestan", + "version": "Version 2.003; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Balinese": { + "name": "Noto Sans Balinese", + "version": "Version 2.003" + }, + "Noto Sans Bamum": { + "name": "Noto Sans Bamum", + "version": "Version 2.002" + }, + "Noto Sans Bassa Vah": { + "name": "Noto Sans Bassa Vah", + "version": "Version 2.002" + }, + "Noto Sans Batak": { + "name": "Noto Sans Batak", + "version": "Version 2.003; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Bengali": { + "name": "Noto Sans Bengali", + "version": "Version 2.003" + }, + "Noto Sans Bhaiksuki": { + "name": "Noto Sans Bhaiksuki", + "version": "Version 2.002; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Brahmi": { + "name": "Noto Sans Brahmi", + "version": "Version 2.004; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Buginese": { + "name": "Noto Sans Buginese", + "version": "Version 2.002; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Buhid": { + "name": "Noto Sans Buhid", + "version": "Version 2.001" + }, + "Noto Sans Canadian Aboriginal": { + "name": "Noto Sans Canadian Aboriginal", + "version": "Version 2.004" + }, + "Noto Sans Carian": { + "name": "Noto Sans Carian", + "version": "Version 2.002; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Caucasian Albanian": { + "name": "Noto Sans Caucasian Albanian", + "version": "Version 2.005; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Chakma": { + "name": "Noto Sans Chakma", + "version": "Version 2.003; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Cham": { + "name": "Noto Sans Cham", + "version": "Version 2.005" + }, + "Noto Sans Cherokee": { + "name": "Noto Sans Cherokee", + "version": "Version 2.001" + }, + "Noto Sans Chorasmian": { + "name": "Noto Sans Chorasmian", + "version": "Version 1.004; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Coptic": { + "name": "Noto Sans Coptic", + "version": "Version 2.004; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Cuneiform": { + "name": "Noto Sans Cuneiform", + "version": "Version 2.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Cypriot": { + "name": "Noto Sans Cypriot", + "version": "Version 2.003; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Cypro Minoan": { + "name": "Noto Sans Cypro Minoan", + "version": "Version 1.503; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Deseret": { + "name": "Noto Sans Deseret", + "version": "Version 2.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Devanagari": { + "name": "Noto Sans Devanagari", + "version": "Version 2.006" + }, + "Noto Sans Display": { + "name": "Noto Sans Display", + "version": "Version 2.003" + }, + "Noto Sans Duployan": { + "name": "Noto Sans Duployan", + "version": "Version 3.002" + }, + "Noto Sans Egyptian Hieroglyphs": { + "name": "Noto Sans Egyptian Hieroglyphs", + "version": "Version 2.002; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Elbasan": { + "name": "Noto Sans Elbasan", + "version": "Version 2.004; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Elymaic": { + "name": "Noto Sans Elymaic", + "version": "Version 1.002; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Ethiopic": { + "name": "Noto Sans Ethiopic", + "version": "Version 2.102" + }, + "Noto Sans Georgian": { + "name": "Noto Sans Georgian", + "version": "Version 2.005" + }, + "Noto Sans Glagolitic": { + "name": "Noto Sans Glagolitic", + "version": "Version 2.004; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Gothic": { + "name": "Noto Sans Gothic", + "version": "Version 2.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Grantha": { + "name": "Noto Sans Grantha", + "version": "Version 2.005; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Gujarati": { + "name": "Noto Sans Gujarati", + "version": "Version 2.106" + }, + "Noto Sans Gunjala Gondi": { + "name": "Noto Sans Gunjala Gondi", + "version": "Version 1.004" + }, + "Noto Sans Gurmukhi": { + "name": "Noto Sans Gurmukhi", + "version": "Version 2.004" + }, + "Noto Sans HK": { + "name": "Noto Sans HK", + "version": "Version 2.004-H2;hotconv 1.0.118;makeotfexe 2.5.65603" + }, + "Noto Sans Hanifi Rohingya": { + "name": "Noto Sans Hanifi Rohingya", + "version": "Version 2.102" + }, + "Noto Sans Hanunoo": { + "name": "Noto Sans Hanunoo", + "version": "Version 2.004; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Hatran": { + "name": "Noto Sans Hatran", + "version": "Version 2.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Hebrew": { + "name": "Noto Sans Hebrew", + "version": "Version 3.001" + }, + "Noto Sans Imperial Aramaic": { + "name": "Noto Sans Imperial Aramaic", + "version": "Version 2.002; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Indic Siyaq Numbers": { + "name": "Noto Sans Indic Siyaq Numbers", + "version": "Version 2.002; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Inscriptional Pahlavi": { + "name": "Noto Sans Inscriptional Pahlavi", + "version": "Version 2.004; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Inscriptional Parthian": { + "name": "Noto Sans Inscriptional Parthian", + "version": "Version 2.004; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans JP": { + "name": "Noto Sans JP", + "version": "Version 2.004-H2;hotconv 1.0.118;makeotfexe 2.5.65603" + }, + "Noto Sans Javanese": { + "name": "Noto Sans Javanese", + "version": "Version 2.005" + }, + "Noto Sans KR": { + "name": "Noto Sans KR", + "version": "Version 2.004-H2;hotconv 1.0.118;makeotfexe 2.5.65603" + }, + "Noto Sans Kaithi": { + "name": "Noto Sans Kaithi", + "version": "Version 2.006; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Kannada": { + "name": "Noto Sans Kannada", + "version": "Version 2.005" + }, + "Noto Sans Kawi": { + "name": "Noto Sans Kawi", + "version": "Version 1.000" + }, + "Noto Sans Kayah Li": { + "name": "Noto Sans Kayah Li", + "version": "Version 2.002" + }, + "Noto Sans Kharoshthi": { + "name": "Noto Sans Kharoshthi", + "version": "Version 2.004; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Khmer": { + "name": "Noto Sans Khmer", + "version": "Version 2.004" + }, + "Noto Sans Khojki": { + "name": "Noto Sans Khojki", + "version": "Version 2.005; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Khudawadi": { + "name": "Noto Sans Khudawadi", + "version": "Version 2.004; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Lao": { + "name": "Noto Sans Lao", + "version": "Version 2.003" + }, + "Noto Sans Lao Looped": { + "name": "Noto Sans Lao Looped", + "version": "Version 1.002" + }, + "Noto Sans Lepcha": { + "name": "Noto Sans Lepcha", + "version": "Version 2.006; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Limbu": { + "name": "Noto Sans Limbu", + "version": "Version 2.005; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Linear A": { + "name": "Noto Sans Linear A", + "version": "Version 2.002; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Linear B": { + "name": "Noto Sans Linear B", + "version": "Version 2.002; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Lisu": { + "name": "Noto Sans Lisu", + "version": "Version 2.102" + }, + "Noto Sans Lycian": { + "name": "Noto Sans Lycian", + "version": "Version 2.002; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Lydian": { + "name": "Noto Sans Lydian", + "version": "Version 2.002; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Mahajani": { + "name": "Noto Sans Mahajani", + "version": "Version 2.003; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Malayalam": { + "name": "Noto Sans Malayalam", + "version": "Version 2.104" + }, + "Noto Sans Mandaic": { + "name": "Noto Sans Mandaic", + "version": "Version 2.003; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Manichaean": { + "name": "Noto Sans Manichaean", + "version": "Version 2.005; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Marchen": { + "name": "Noto Sans Marchen", + "version": "Version 2.004; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Masaram Gondi": { + "name": "Noto Sans Masaram Gondi", + "version": "Version 1.004; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Math": { + "name": "Noto Sans Math", + "version": "Version 3.000; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Mayan Numerals": { + "name": "Noto Sans Mayan Numerals", + "version": "Version 2.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Medefaidrin": { + "name": "Noto Sans Medefaidrin", + "version": "Version 1.002" + }, + "Noto Sans Meetei Mayek": { + "name": "Noto Sans Meetei Mayek", + "version": "Version 2.002" + }, + "Noto Sans Mende Kikakui": { + "name": "Noto Sans Mende Kikakui", + "version": "Version 2.003; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Meroitic": { + "name": "Noto Sans Meroitic", + "version": "Version 2.002; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Miao": { + "name": "Noto Sans Miao", + "version": "Version 2.003; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Modi": { + "name": "Noto Sans Modi", + "version": "Version 2.004; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Mongolian": { + "name": "Noto Sans Mongolian", + "version": "Version 3.002; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Mono": { + "name": "Noto Sans Mono", + "version": "Version 2.014" + }, + "Noto Sans Mro": { + "name": "Noto Sans Mro", + "version": "Version 2.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Multani": { + "name": "Noto Sans Multani", + "version": "Version 2.002; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Myanmar": { + "name": "Noto Sans Myanmar", + "version": "Version 2.107" + }, + "Noto Sans NKo": { + "name": "Noto Sans NKo", + "version": "Version 2.004; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans NKo Unjoined": { + "name": "Noto Sans NKo Unjoined", + "version": "Version 2.004" + }, + "Noto Sans Nabataean": { + "name": "Noto Sans Nabataean", + "version": "Version 2.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Nag Mundari": { + "name": "Noto Sans Nag Mundari", + "version": "Version 1.001" + }, + "Noto Sans Nandinagari": { + "name": "Noto Sans Nandinagari", + "version": "Version 1.002; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans New Tai Lue": { + "name": "Noto Sans New Tai Lue", + "version": "Version 2.004" + }, + "Noto Sans Newa": { + "name": "Noto Sans Newa", + "version": "Version 2.007; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Nushu": { + "name": "Noto Sans Nushu", + "version": "Version 1.003; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Ogham": { + "name": "Noto Sans Ogham", + "version": "Version 2.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Ol Chiki": { + "name": "Noto Sans Ol Chiki", + "version": "Version 2.003" + }, + "Noto Sans Old Hungarian": { + "name": "Noto Sans Old Hungarian", + "version": "Version 2.005; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Old Italic": { + "name": "Noto Sans Old Italic", + "version": "Version 2.004; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Old North Arabian": { + "name": "Noto Sans Old North Arabian", + "version": "Version 2.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Old Permic": { + "name": "Noto Sans Old Permic", + "version": "Version 2.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Old Persian": { + "name": "Noto Sans Old Persian", + "version": "Version 2.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Old Sogdian": { + "name": "Noto Sans Old Sogdian", + "version": "Version 2.003; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Old South Arabian": { + "name": "Noto Sans Old South Arabian", + "version": "Version 2.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Old Turkic": { + "name": "Noto Sans Old Turkic", + "version": "Version 2.004; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Oriya": { + "name": "Noto Sans Oriya", + "version": "Version 2.006" + }, + "Noto Sans Osage": { + "name": "Noto Sans Osage", + "version": "Version 2.002; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Osmanya": { + "name": "Noto Sans Osmanya", + "version": "Version 2.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Pahawh Hmong": { + "name": "Noto Sans Pahawh Hmong", + "version": "Version 2.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Palmyrene": { + "name": "Noto Sans Palmyrene", + "version": "Version 2.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Pau Cin Hau": { + "name": "Noto Sans Pau Cin Hau", + "version": "Version 2.002; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans PhagsPa": { + "name": "Noto Sans PhagsPa", + "version": "Version 2.004; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Phoenician": { + "name": "Noto Sans Phoenician", + "version": "Version 2.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Psalter Pahlavi": { + "name": "Noto Sans Psalter Pahlavi", + "version": "Version 2.003; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Rejang": { + "name": "Noto Sans Rejang", + "version": "Version 2.002; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Runic": { + "name": "Noto Sans Runic", + "version": "Version 2.002; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans SC": { + "name": "Noto Sans SC", + "version": "Version 2.004-H2;hotconv 1.0.118;makeotfexe 2.5.65603" + }, + "Noto Sans Samaritan": { + "name": "Noto Sans Samaritan", + "version": "Version 2.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Saurashtra": { + "name": "Noto Sans Saurashtra", + "version": "Version 2.002; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Sharada": { + "name": "Noto Sans Sharada", + "version": "Version 2.006; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Shavian": { + "name": "Noto Sans Shavian", + "version": "Version 2.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Siddham": { + "name": "Noto Sans Siddham", + "version": "Version 2.005; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans SignWriting": { + "name": "Noto Sans SignWriting", + "version": "Version 2.005; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Sinhala": { + "name": "Noto Sans Sinhala", + "version": "Version 2.006" + }, + "Noto Sans Sogdian": { + "name": "Noto Sans Sogdian", + "version": "Version 2.002; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Sora Sompeng": { + "name": "Noto Sans Sora Sompeng", + "version": "Version 2.101" + }, + "Noto Sans Soyombo": { + "name": "Noto Sans Soyombo", + "version": "Version 2.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Sundanese": { + "name": "Noto Sans Sundanese", + "version": "Version 2.005" + }, + "Noto Sans Sunuwar": { + "name": "Noto Sans Sunuwar", + "version": "Version 1.000; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Syloti Nagri": { + "name": "Noto Sans Syloti Nagri", + "version": "Version 2.004; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Symbols": { + "name": "Noto Sans Symbols", + "version": "Version 2.003" + }, + "Noto Sans Symbols 2": { + "name": "Noto Sans Symbols 2", + "version": "Version 2.008; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Syriac": { + "name": "Noto Sans Syriac", + "version": "Version 3.000" + }, + "Noto Sans Syriac Eastern": { + "name": "Noto Sans Syriac Eastern", + "version": "Version 3.001" + }, + "Noto Sans TC": { + "name": "Noto Sans TC", + "version": "Version 2.004-H2;hotconv 1.0.118;makeotfexe 2.5.65603" + }, + "Noto Sans Tagalog": { + "name": "Noto Sans Tagalog", + "version": "Version 2.002; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Tagbanwa": { + "name": "Noto Sans Tagbanwa", + "version": "Version 2.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Tai Le": { + "name": "Noto Sans Tai Le", + "version": "Version 2.002; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Tai Tham": { + "name": "Noto Sans Tai Tham", + "version": "Version 2.002" + }, + "Noto Sans Tai Viet": { + "name": "Noto Sans Tai Viet", + "version": "Version 2.004; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Takri": { + "name": "Noto Sans Takri", + "version": "Version 2.005; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Tamil": { + "name": "Noto Sans Tamil", + "version": "Version 2.004" + }, + "Noto Sans Tamil Supplement": { + "name": "Noto Sans Tamil Supplement", + "version": "Version 2.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Tangsa": { + "name": "Noto Sans Tangsa", + "version": "Version 1.506" + }, + "Noto Sans Telugu": { + "name": "Noto Sans Telugu", + "version": "Version 2.005" + }, + "Noto Sans Thaana": { + "name": "Noto Sans Thaana", + "version": "Version 3.001" + }, + "Noto Sans Thai": { + "name": "Noto Sans Thai", + "version": "Version 2.002" + }, + "Noto Sans Thai Looped": { + "name": "Noto Sans Thai Looped", + "version": "Version 2.000" + }, + "Noto Sans Tifinagh": { + "name": "Noto Sans Tifinagh", + "version": "Version 2.006; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Tirhuta": { + "name": "Noto Sans Tirhuta", + "version": "Version 2.003; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Ugaritic": { + "name": "Noto Sans Ugaritic", + "version": "Version 2.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Vai": { + "name": "Noto Sans Vai", + "version": "Version 2.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Vithkuqi": { + "name": "Noto Sans Vithkuqi", + "version": "Version 1.001" + }, + "Noto Sans Wancho": { + "name": "Noto Sans Wancho", + "version": "Version 2.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Warang Citi": { + "name": "Noto Sans Warang Citi", + "version": "Version 3.002; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Yi": { + "name": "Noto Sans Yi", + "version": "Version 2.002; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Zanabazar Square": { + "name": "Noto Sans Zanabazar Square", + "version": "Version 2.006; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Serif": { + "name": "Noto Serif", + "version": "Version 2.015" + }, + "Noto Serif Ahom": { + "name": "Noto Serif Ahom", + "version": "Version 2.007; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Serif Armenian": { + "name": "Noto Serif Armenian", + "version": "Version 2.008" + }, + "Noto Serif Balinese": { + "name": "Noto Serif Balinese", + "version": "Version 2.007; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Serif Bengali": { + "name": "Noto Serif Bengali", + "version": "Version 2.003" + }, + "Noto Serif Devanagari": { + "name": "Noto Serif Devanagari", + "version": "Version 2.006" + }, + "Noto Serif Display": { + "name": "Noto Serif Display", + "version": "Version 2.003" + }, + "Noto Serif Dives Akuru": { + "name": "Noto Serif Dives Akuru", + "version": "Version 2.000; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Serif Dogra": { + "name": "Noto Serif Dogra", + "version": "Version 1.007; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Serif Ethiopic": { + "name": "Noto Serif Ethiopic", + "version": "Version 2.102" + }, + "Noto Serif Georgian": { + "name": "Noto Serif Georgian", + "version": "Version 2.003" + }, + "Noto Serif Grantha": { + "name": "Noto Serif Grantha", + "version": "Version 2.005; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Serif Gujarati": { + "name": "Noto Serif Gujarati", + "version": "Version 2.106" + }, + "Noto Serif Gurmukhi": { + "name": "Noto Serif Gurmukhi", + "version": "Version 2.004" + }, + "Noto Serif HK": { + "name": "Noto Serif HK", + "version": "Version 2.003-H1;hotconv 1.1.1;makeotfexe 2.6.0" + }, + "Noto Serif Hebrew": { + "name": "Noto Serif Hebrew", + "version": "Version 2.004" + }, + "Noto Serif Hentaigana": { + "name": "Noto Serif Hentaigana", + "version": "Version 1.000" + }, + "Noto Serif JP": { + "name": "Noto Serif JP", + "version": "Version 2.003-H1;hotconv 1.1.1;makeotfexe 2.6.0" + }, + "Noto Serif KR": { + "name": "Noto Serif KR", + "version": "Version 2.003-H1;hotconv 1.1.1;makeotfexe 2.6.0" + }, + "Noto Serif Kannada": { + "name": "Noto Serif Kannada", + "version": "Version 2.005" + }, + "Noto Serif Khitan Small Script": { + "name": "Noto Serif Khitan Small Script", + "version": "Version 1.000; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Serif Khmer": { + "name": "Noto Serif Khmer", + "version": "Version 2.004" + }, + "Noto Serif Khojki": { + "name": "Noto Serif Khojki", + "version": "Version 2.005" + }, + "Noto Serif Lao": { + "name": "Noto Serif Lao", + "version": "Version 2.003" + }, + "Noto Serif Makasar": { + "name": "Noto Serif Makasar", + "version": "Version 1.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Serif Malayalam": { + "name": "Noto Serif Malayalam", + "version": "Version 2.104" + }, + "Noto Serif Myanmar": { + "name": "Noto Serif Myanmar", + "version": "Version 2.001; ttfautohint (v1.8.3) -l 8 -r 50 -G 200 -x 14 -D mymr -f none -a qsq -X \"\"" + }, + "Noto Serif NP Hmong": { + "name": "Noto Serif NP Hmong", + "version": "Version 1.001" + }, + "Noto Serif Old Uyghur": { + "name": "Noto Serif Old Uyghur", + "version": "Version 1.004; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Serif Oriya": { + "name": "Noto Serif Oriya", + "version": "Version 1.051" + }, + "Noto Serif Ottoman Siyaq": { + "name": "Noto Serif Ottoman Siyaq", + "version": "Version 1.006; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Serif SC": { + "name": "Noto Serif SC", + "version": "Version 2.003-H1;hotconv 1.1.1;makeotfexe 2.6.0" + }, + "Noto Serif Sinhala": { + "name": "Noto Serif Sinhala", + "version": "Version 2.007" + }, + "Noto Serif TC": { + "name": "Noto Serif TC", + "version": "Version 2.003-H1;hotconv 1.1.1;makeotfexe 2.6.0" + }, + "Noto Serif Tamil": { + "name": "Noto Serif Tamil", + "version": "Version 2.004" + }, + "Noto Serif Tangut": { + "name": "Noto Serif Tangut", + "version": "Version 2.169; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Serif Telugu": { + "name": "Noto Serif Telugu", + "version": "Version 2.005" + }, + "Noto Serif Thai": { + "name": "Noto Serif Thai", + "version": "Version 2.002" + }, + "Noto Serif Tibetan": { + "name": "Noto Serif Tibetan", + "version": "Version 2.103" + }, + "Noto Serif Todhri": { + "name": "Noto Serif Todhri", + "version": "Version 1.000; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Serif Toto": { + "name": "Noto Serif Toto", + "version": "Version 2.002" + }, + "Noto Serif Vithkuqi": { + "name": "Noto Serif Vithkuqi", + "version": "Version 1.005" + }, + "Noto Serif Yezidi": { + "name": "Noto Serif Yezidi", + "version": "Version 1.001" + }, + "Noto Traditional Nushu": { + "name": "Noto Traditional Nushu", + "version": "Version 2.003" + }, + "Noto Znamenny Musical Notation": { + "name": "Noto Znamenny Musical Notation", + "version": "Version 1.003; ttfautohint (v1.8.4.7-5d5b)" + }, + "Nova Cut": { + "name": "Nova Cut", + "version": "Version 2.000" + }, + "Nova Flat": { + "name": "Nova Flat", + "version": "Version 2.000" + }, + "Nova Mono": { + "name": "Nova Mono", + "version": "Version 1.2" + }, + "Nova Oval": { + "name": "Nova Oval", + "version": "Version 2.000" + }, + "Nova Round": { + "name": "Nova Round", + "version": "Version 2.000" + }, + "Nova Script": { + "name": "Nova Script", + "version": "Version 2.001" + }, + "Nova Slim": { + "name": "Nova Slim", + "version": "Version 2.000" + }, + "Nova Square": { + "name": "Nova Square", + "version": "Version 2.000" + }, + "Numans": { + "name": "Numans", + "version": "Version 001.001" + }, + "Nunito": { + "name": "Nunito", + "version": "Version 3.602" + }, + "Nunito Sans": { + "name": "Nunito Sans", + "version": "Version 3.101;gftools[0.9.27]" + }, + "Nuosu SIL": { + "name": "Nuosu SIL", + "version": "Version 2.300" + }, + "Odibee Sans": { + "name": "Odibee Sans", + "version": "Version 2.001; ttfautohint (v1.8.3)" + }, + "Odor Mean Chey": { + "name": "Odor Mean Chey", + "version": "Version 8.002; ttfautohint (v1.8.3)" + }, + "Offside": { + "name": "Offside", + "version": "Version 1.002; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.23]" + }, + "Oi": { + "name": "Oi", + "version": "Version 4.000" + }, + "Ojuju": { + "name": "Ojuju", + "version": "Version 1.000" + }, + "Old Standard TT": { + "name": "Old Standard TT", + "version": "Version 3.000" + }, + "Oldenburg": { + "name": "Oldenburg", + "version": "Version 1.001" + }, + "Ole": { + "name": "Ole", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Oleo Script": { + "name": "Oleo Script", + "version": "Version 1.002" + }, + "Oleo Script Swash Caps": { + "name": "Oleo Script Swash Caps", + "version": "Version 1.002" + }, + "Onest": { + "name": "Onest", + "version": "Version 1.000;gftools[0.9.33]" + }, + "Oooh Baby": { + "name": "Oooh Baby", + "version": "Version 1.011; ttfautohint (v1.8.3)" + }, + "Open Sans": { + "name": "Open Sans", + "version": "Version 3.003" + }, + "Oranienbaum": { + "name": "Oranienbaum", + "version": "Version 1.001; ttfautohint (v0.91) -l 8 -r 50 -G 200 -x 0 -w \"gGD\"" + }, + "Orbit": { + "name": "Orbit", + "version": "Version 1.000; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.29]" + }, + "Orbitron": { + "name": "Orbitron", + "version": "Version 2.001" + }, + "Oregano": { + "name": "Oregano", + "version": "Version 1.000" + }, + "Orelega One": { + "name": "Orelega One", + "version": "Version 1.1 ; ttfautohint (v1.8.3)" + }, + "Orienta": { + "name": "Orienta", + "version": "Version 1.002; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.23]" + }, + "Original Surfer": { + "name": "Original Surfer", + "version": "Version 1.001" + }, + "Oswald": { + "name": "Oswald", + "version": "Version 4.103;gftools[0.9.33.dev8+g029e19f]" + }, + "Outfit": { + "name": "Outfit", + "version": "Version 1.100;gftools[0.9.27]" + }, + "Over the Rainbow": { + "name": "Over the Rainbow", + "version": "Version 1.002 2010" + }, + "Overlock": { + "name": "Overlock", + "version": "Version 1.002" + }, + "Overlock SC": { + "name": "Overlock SC", + "version": "Version 1.001" + }, + "Overpass": { + "name": "Overpass", + "version": "Version 4.000" + }, + "Overpass Mono": { + "name": "Overpass Mono", + "version": "Version 4.000" + }, + "Ovo": { + "name": "Ovo", + "version": "Version 1.001" + }, + "Oxanium": { + "name": "Oxanium", + "version": "Version 2.000" + }, + "Oxygen": { + "name": "Oxygen", + "version": "Version Release 0.2.3 webfont; ttfautohint (v0.93.3-1d66) -l 8 -r 50 -G 200 -x 0 -w \"gGD\" -c" + }, + "Oxygen Mono": { + "name": "Oxygen Mono", + "version": "Version 0.201; ttfautohint (v0.8) -r 50 -G 200 -x" + }, + "PT Mono": { + "name": "PT Mono", + "version": "Version 1.001W OFL" + }, + "PT Sans": { + "name": "PT Sans", + "version": "Version 2.003W OFL" + }, + "PT Sans Caption": { + "name": "PT Sans Caption", + "version": "Version 2.004W OFL" + }, + "PT Sans Narrow": { + "name": "PT Sans Narrow", + "version": "Version 2.003W OFL" + }, + "PT Serif": { + "name": "PT Serif", + "version": "Version 1.000W OFL" + }, + "PT Serif Caption": { + "name": "PT Serif Caption", + "version": "Version 1.000W OFL" + }, + "Pacifico": { + "name": "Pacifico", + "version": "Version 3.001" + }, + "Padauk": { + "name": "Padauk", + "version": "Version 5.001" + }, + "Padyakke Expanded One": { + "name": "Padyakke Expanded One", + "version": "Version 1.500; ttfautohint (v1.8.4.7-5d5b)" + }, + "Palanquin": { + "name": "Palanquin", + "version": "Version 1.001" + }, + "Palanquin Dark": { + "name": "Palanquin Dark", + "version": "Version 1.001" + }, + "Palette Mosaic": { + "name": "Palette Mosaic", + "version": "Version 1.001" + }, + "Pangolin": { + "name": "Pangolin", + "version": "Version 1.100" + }, + "Paprika": { + "name": "Paprika", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Parastoo": { + "name": "Parastoo", + "version": "Version 3.000" + }, + "Parisienne": { + "name": "Parisienne", + "version": "Version 1.000" + }, + "Parkinsans": { + "name": "Parkinsans", + "version": "Version 1.000" + }, + "Passero One": { + "name": "Passero One", + "version": "Version 1.003" + }, + "Passion One": { + "name": "Passion One", + "version": "Version 1.002" + }, + "Passions Conflict": { + "name": "Passions Conflict", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Pathway Extreme": { + "name": "Pathway Extreme", + "version": "Version 1.001;gftools[0.9.26]" + }, + "Pathway Gothic One": { + "name": "Pathway Gothic One", + "version": "Version 1.003; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.26]" + }, + "Patrick Hand": { + "name": "Patrick Hand", + "version": "Version 1.003;PS 001.003;hotconv 1.0.70;makeotf.lib2.5.58329; ttfautohint (v0.94.20-1c74) -l 8 -r 50 -G 200 -x 14 -w \"gGD\" -c -f" + }, + "Patrick Hand SC": { + "name": "Patrick Hand SC", + "version": "Version 1.003;PS 001.003;hotconv 1.0.70;makeotf.lib2.5.58329; ttfautohint (v0.94.20-1c74) -l 8 -r 50 -G 200 -x 14 -w \"gGD\" -c -f" + }, + "Pattaya": { + "name": "Pattaya", + "version": "Version 2.001" + }, + "Patua One": { + "name": "Patua One", + "version": "Version 1.002" + }, + "Pavanam": { + "name": "Pavanam", + "version": "Version 1.86; ttfautohint (v1.3) -l 8 -r 50 -G 200 -x 14 -D latn -f none -m \"\" -w G -t -X \"\"" + }, + "Paytone One": { + "name": "Paytone One", + "version": "Version 1.002; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.23]" + }, + "Peddana": { + "name": "Peddana", + "version": "Version 1.0.4; ttfautohint (v1.2.25-373a) -l 7 -r 28 -G 50 -x 13 -D telu -f latn -w G -X \"\"" + }, + "Peralta": { + "name": "Peralta", + "version": "Version 1.000" + }, + "Permanent Marker": { + "name": "Permanent Marker", + "version": "Version 1.001" + }, + "Petemoss": { + "name": "Petemoss", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Petit Formal Script": { + "name": "Petit Formal Script", + "version": "Version 1.001; ttfautohint (v0.8) -G 200 -r 50" + }, + "Petrona": { + "name": "Petrona", + "version": "Version 2.001; ttfautohint (v1.8.3)" + }, + "Phetsarath": { + "name": "Phetsarath", + "version": "Version 1.01" + }, + "Philosopher": { + "name": "Philosopher", + "version": "Version 2.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Phudu": { + "name": "Phudu", + "version": "Version 1.005;gftools[0.9.23]" + }, + "Piazzolla": { + "name": "Piazzolla", + "version": "Version 2.005" + }, + "Piedra": { + "name": "Piedra", + "version": "Version 1.000" + }, + "Pinyon Script": { + "name": "Pinyon Script", + "version": "Version 1.008; ttfautohint (v1.8.4.7-5d5b)" + }, + "Pirata One": { + "name": "Pirata One", + "version": "Version 1.001" + }, + "Pixelify Sans": { + "name": "Pixelify Sans", + "version": "Version 1.000" + }, + "Plaster": { + "name": "Plaster", + "version": "Version 1.007" + }, + "Platypi": { + "name": "Platypi", + "version": "Version 1.200" + }, + "Play": { + "name": "Play", + "version": "Version 2.101; ttfautohint (v1.6)" + }, + "Playball": { + "name": "Playball", + "version": "Version 1.010" + }, + "Playfair": { + "name": "Playfair", + "version": "Version 2.203" + }, + "Playfair Display": { + "name": "Playfair Display", + "version": "Version 1.203" + }, + "Playfair Display SC": { + "name": "Playfair Display SC", + "version": "Version 1.200; ttfautohint (v1.6)" + }, + "Playpen Sans": { + "name": "Playpen Sans", + "version": "Version 2.000" + }, + "Playpen Sans Arabic": { + "name": "Playpen Sans Arabic", + "version": "Version 2.000" + }, + "Playpen Sans Deva": { + "name": "Playpen Sans Deva", + "version": "Version 2.000" + }, + "Playpen Sans Hebrew": { + "name": "Playpen Sans Hebrew", + "version": "Version 2.000" + }, + "Playpen Sans Thai": { + "name": "Playpen Sans Thai", + "version": "Version 2.000" + }, + "Playwrite AR": { + "name": "Playwrite AR", + "version": "Version 1.003" + }, + "Playwrite AR Guides": { + "name": "Playwrite AR Guides", + "version": "Version 1.003" + }, + "Playwrite AT": { + "name": "Playwrite AT", + "version": "Version 1.003" + }, + "Playwrite AT Guides": { + "name": "Playwrite AT Guides", + "version": "Version 1.003" + }, + "Playwrite AU NSW": { + "name": "Playwrite AU NSW", + "version": "Version 1.003" + }, + "Playwrite AU NSW Guides": { + "name": "Playwrite AU NSW Guides", + "version": "Version 1.003" + }, + "Playwrite AU QLD": { + "name": "Playwrite AU QLD", + "version": "Version 1.003" + }, + "Playwrite AU QLD Guides": { + "name": "Playwrite AU QLD Guides", + "version": "Version 1.003" + }, + "Playwrite AU SA": { + "name": "Playwrite AU SA", + "version": "Version 1.003" + }, + "Playwrite AU SA Guides": { + "name": "Playwrite AU SA Guides", + "version": "Version 1.003" + }, + "Playwrite AU TAS": { + "name": "Playwrite AU TAS", + "version": "Version 1.003" + }, + "Playwrite AU TAS Guides": { + "name": "Playwrite AU TAS Guides", + "version": "Version 1.003" + }, + "Playwrite AU VIC": { + "name": "Playwrite AU VIC", + "version": "Version 1.003" + }, + "Playwrite AU VIC Guides": { + "name": "Playwrite AU VIC Guides", + "version": "Version 1.003" + }, + "Playwrite BE VLG": { + "name": "Playwrite BE VLG", + "version": "Version 1.003" + }, + "Playwrite BE VLG Guides": { + "name": "Playwrite BE VLG Guides", + "version": "Version 1.003" + }, + "Playwrite BE WAL": { + "name": "Playwrite BE WAL", + "version": "Version 1.003" + }, + "Playwrite BE WAL Guides": { + "name": "Playwrite BE WAL Guides", + "version": "Version 1.003" + }, + "Playwrite BR": { + "name": "Playwrite BR", + "version": "Version 1.003" + }, + "Playwrite BR Guides": { + "name": "Playwrite BR Guides", + "version": "Version 1.003" + }, + "Playwrite CA": { + "name": "Playwrite CA", + "version": "Version 1.003" + }, + "Playwrite CA Guides": { + "name": "Playwrite CA Guides", + "version": "Version 1.003" + }, + "Playwrite CL": { + "name": "Playwrite CL", + "version": "Version 1.003" + }, + "Playwrite CL Guides": { + "name": "Playwrite CL Guides", + "version": "Version 1.003" + }, + "Playwrite CO": { + "name": "Playwrite CO", + "version": "Version 1.003" + }, + "Playwrite CO Guides": { + "name": "Playwrite CO Guides", + "version": "Version 1.003" + }, + "Playwrite CU": { + "name": "Playwrite CU", + "version": "Version 1.003" + }, + "Playwrite CU Guides": { + "name": "Playwrite CU Guides", + "version": "Version 1.003" + }, + "Playwrite CZ": { + "name": "Playwrite CZ", + "version": "Version 1.003" + }, + "Playwrite CZ Guides": { + "name": "Playwrite CZ Guides", + "version": "Version 1.003" + }, + "Playwrite DE Grund": { + "name": "Playwrite DE Grund", + "version": "Version 1.003" + }, + "Playwrite DE Grund Guides": { + "name": "Playwrite DE Grund Guides", + "version": "Version 1.003" + }, + "Playwrite DE LA": { + "name": "Playwrite DE LA", + "version": "Version 1.003" + }, + "Playwrite DE LA Guides": { + "name": "Playwrite DE LA Guides", + "version": "Version 1.003" + }, + "Playwrite DE SAS": { + "name": "Playwrite DE SAS", + "version": "Version 1.003" + }, + "Playwrite DE SAS Guides": { + "name": "Playwrite DE SAS Guides", + "version": "Version 1.003" + }, + "Playwrite DE VA": { + "name": "Playwrite DE VA", + "version": "Version 1.003" + }, + "Playwrite DE VA Guides": { + "name": "Playwrite DE VA Guides", + "version": "Version 1.003" + }, + "Playwrite DK Loopet": { + "name": "Playwrite DK Loopet", + "version": "Version 1.003" + }, + "Playwrite DK Loopet Guides": { + "name": "Playwrite DK Loopet Guides", + "version": "Version 1.003" + }, + "Playwrite DK Uloopet": { + "name": "Playwrite DK Uloopet", + "version": "Version 1.003" + }, + "Playwrite DK Uloopet Guides": { + "name": "Playwrite DK Uloopet Guides", + "version": "Version 1.003" + }, + "Playwrite ES": { + "name": "Playwrite ES", + "version": "Version 1.003" + }, + "Playwrite ES Deco": { + "name": "Playwrite ES Deco", + "version": "Version 1.003" + }, + "Playwrite ES Deco Guides": { + "name": "Playwrite ES Deco Guides", + "version": "Version 1.003" + }, + "Playwrite ES Guides": { + "name": "Playwrite ES Guides", + "version": "Version 1.003" + }, + "Playwrite FR Moderne": { + "name": "Playwrite FR Moderne", + "version": "Version 1.003" + }, + "Playwrite FR Moderne Guides": { + "name": "Playwrite FR Moderne Guides", + "version": "Version 1.003" + }, + "Playwrite FR Trad": { + "name": "Playwrite FR Trad", + "version": "Version 1.003" + }, + "Playwrite FR Trad Guides": { + "name": "Playwrite FR Trad Guides", + "version": "Version 1.003" + }, + "Playwrite GB J": { + "name": "Playwrite GB J", + "version": "Version 1.003" + }, + "Playwrite GB J Guides": { + "name": "Playwrite GB J Guides", + "version": "Version 1.003" + }, + "Playwrite GB S": { + "name": "Playwrite GB S", + "version": "Version 1.003" + }, + "Playwrite GB S Guides": { + "name": "Playwrite GB S Guides", + "version": "Version 1.003" + }, + "Playwrite HR": { + "name": "Playwrite HR", + "version": "Version 1.003" + }, + "Playwrite HR Guides": { + "name": "Playwrite HR Guides", + "version": "Version 1.003" + }, + "Playwrite HR Lijeva": { + "name": "Playwrite HR Lijeva", + "version": "Version 1.003" + }, + "Playwrite HR Lijeva Guides": { + "name": "Playwrite HR Lijeva Guides", + "version": "Version 1.003" + }, + "Playwrite HU": { + "name": "Playwrite HU", + "version": "Version 1.003" + }, + "Playwrite HU Guides": { + "name": "Playwrite HU Guides", + "version": "Version 1.003" + }, + "Playwrite ID": { + "name": "Playwrite ID", + "version": "Version 1.003" + }, + "Playwrite ID Guides": { + "name": "Playwrite ID Guides", + "version": "Version 1.003" + }, + "Playwrite IE": { + "name": "Playwrite IE", + "version": "Version 1.003" + }, + "Playwrite IE Guides": { + "name": "Playwrite IE Guides", + "version": "Version 1.003" + }, + "Playwrite IN": { + "name": "Playwrite IN", + "version": "Version 1.003" + }, + "Playwrite IN Guides": { + "name": "Playwrite IN Guides", + "version": "Version 1.003" + }, + "Playwrite IS": { + "name": "Playwrite IS", + "version": "Version 1.003" + }, + "Playwrite IS Guides": { + "name": "Playwrite IS Guides", + "version": "Version 1.003" + }, + "Playwrite IT Moderna": { + "name": "Playwrite IT Moderna", + "version": "Version 1.003" + }, + "Playwrite IT Moderna Guides": { + "name": "Playwrite IT Moderna Guides", + "version": "Version 1.003" + }, + "Playwrite IT Trad": { + "name": "Playwrite IT Trad", + "version": "Version 1.003" + }, + "Playwrite IT Trad Guides": { + "name": "Playwrite IT Trad Guides", + "version": "Version 1.003" + }, + "Playwrite MX": { + "name": "Playwrite MX", + "version": "Version 1.003" + }, + "Playwrite MX Guides": { + "name": "Playwrite MX Guides", + "version": "Version 1.003" + }, + "Playwrite NG Modern": { + "name": "Playwrite NG Modern", + "version": "Version 1.003" + }, + "Playwrite NG Modern Guides": { + "name": "Playwrite NG Modern Guides", + "version": "Version 1.003" + }, + "Playwrite NL": { + "name": "Playwrite NL", + "version": "Version 1.003" + }, + "Playwrite NL Guides": { + "name": "Playwrite NL Guides", + "version": "Version 1.003" + }, + "Playwrite NO": { + "name": "Playwrite NO", + "version": "Version 1.003" + }, + "Playwrite NO Guides": { + "name": "Playwrite NO Guides", + "version": "Version 1.003" + }, + "Playwrite NZ": { + "name": "Playwrite NZ", + "version": "Version 1.003" + }, + "Playwrite NZ Guides": { + "name": "Playwrite NZ Guides", + "version": "Version 1.003" + }, + "Playwrite PE": { + "name": "Playwrite PE", + "version": "Version 1.003" + }, + "Playwrite PE Guides": { + "name": "Playwrite PE Guides", + "version": "Version 1.003" + }, + "Playwrite PL": { + "name": "Playwrite PL", + "version": "Version 1.003" + }, + "Playwrite PL Guides": { + "name": "Playwrite PL Guides", + "version": "Version 1.003" + }, + "Playwrite PT": { + "name": "Playwrite PT", + "version": "Version 1.003" + }, + "Playwrite PT Guides": { + "name": "Playwrite PT Guides", + "version": "Version 1.003" + }, + "Playwrite RO": { + "name": "Playwrite RO", + "version": "Version 1.003" + }, + "Playwrite RO Guides": { + "name": "Playwrite RO Guides", + "version": "Version 1.003" + }, + "Playwrite SK": { + "name": "Playwrite SK", + "version": "Version 1.003" + }, + "Playwrite SK Guides": { + "name": "Playwrite SK Guides", + "version": "Version 1.003" + }, + "Playwrite TZ": { + "name": "Playwrite TZ", + "version": "Version 1.003" + }, + "Playwrite TZ Guides": { + "name": "Playwrite TZ Guides", + "version": "Version 1.003" + }, + "Playwrite US Modern": { + "name": "Playwrite US Modern", + "version": "Version 1.003" + }, + "Playwrite US Modern Guides": { + "name": "Playwrite US Modern Guides", + "version": "Version 1.003" + }, + "Playwrite US Trad": { + "name": "Playwrite US Trad", + "version": "Version 1.003" + }, + "Playwrite US Trad Guides": { + "name": "Playwrite US Trad Guides", + "version": "Version 1.003" + }, + "Playwrite VN": { + "name": "Playwrite VN", + "version": "Version 1.003" + }, + "Playwrite VN Guides": { + "name": "Playwrite VN Guides", + "version": "Version 1.003" + }, + "Playwrite ZA": { + "name": "Playwrite ZA", + "version": "Version 1.003" + }, + "Playwrite ZA Guides": { + "name": "Playwrite ZA Guides", + "version": "Version 1.003" + }, + "Plus Jakarta Sans": { + "name": "Plus Jakarta Sans", + "version": "Version 2.071;gftools[0.9.30]" + }, + "Pochaevsk": { + "name": "Pochaevsk", + "version": "Version 1.210; ttfautohint (v1.8.4.7-5d5b)" + }, + "Podkova": { + "name": "Podkova", + "version": "Version 2.103" + }, + "Poetsen One": { + "name": "Poetsen One", + "version": "Version 1.000; ttfautohint (v0.8) -G 200 -r 50" + }, + "Poiret One": { + "name": "Poiret One", + "version": "Version 1.001" + }, + "Poller One": { + "name": "Poller One", + "version": "Version 1.002" + }, + "Poltawski Nowy": { + "name": "Poltawski Nowy", + "version": "Version 1.001;gftools[0.9.25]" + }, + "Poly": { + "name": "Poly", + "version": "Version 1.001" + }, + "Pompiere": { + "name": "Pompiere", + "version": "Version 1.002" + }, + "Ponnala": { + "name": "Ponnala", + "version": "Version 1.0.3" + }, + "Ponomar": { + "name": "Ponomar", + "version": "Version 1.302; ttfautohint (v1.8.4.7-5d5b)" + }, + "Pontano Sans": { + "name": "Pontano Sans", + "version": "Version 2.001" + }, + "Poor Story": { + "name": "Poor Story", + "version": "Version 3.00" + }, + "Poppins": { + "name": "Poppins", + "version": "4.004" + }, + "Port Lligat Sans": { + "name": "Port Lligat Sans", + "version": "Version 1.002" + }, + "Port Lligat Slab": { + "name": "Port Lligat Slab", + "version": "Version 1.002" + }, + "Potta One": { + "name": "Potta One", + "version": "Version 1.000" + }, + "Pragati Narrow": { + "name": "Pragati Narrow", + "version": "Version 1.010; ttfautohint (v1.3)" + }, + "Praise": { + "name": "Praise", + "version": "Version 1.100; ttfautohint (v1.8.3)" + }, + "Prata": { + "name": "Prata", + "version": "Version 2.000" + }, + "Preahvihear": { + "name": "Preahvihear", + "version": "Version 8.002; ttfautohint (v1.8.3)" + }, + "Press Start 2P": { + "name": "Press Start 2P", + "version": "Version 3.000" + }, + "Pridi": { + "name": "Pridi", + "version": "Version 1.001" + }, + "Princess Sofia": { + "name": "Princess Sofia", + "version": "Version 1.000" + }, + "Prociono": { + "name": "Prociono", + "version": "Version 2.301 " + }, + "Prompt": { + "name": "Prompt", + "version": "Version 1.001" + }, + "Prosto One": { + "name": "Prosto One", + "version": "Version 1.001" + }, + "Protest Guerrilla": { + "name": "Protest Guerrilla", + "version": "Version 2.005; ttfautohint (v1.8.4.7-5d5b)" + }, + "Protest Revolution": { + "name": "Protest Revolution", + "version": "Version 2.005; ttfautohint (v1.8.4.7-5d5b)" + }, + "Protest Riot": { + "name": "Protest Riot", + "version": "Version 2.005; ttfautohint (v1.8.4.7-5d5b)" + }, + "Protest Strike": { + "name": "Protest Strike", + "version": "Version 2.005; ttfautohint (v1.8.4.7-5d5b)" + }, + "Proza Libre": { + "name": "Proza Libre", + "version": "Version 1.000; ttfautohint (v1.4.1.8-43bc)" + }, + "Public Sans": { + "name": "Public Sans", + "version": "Version 2.001" + }, + "Puppies Play": { + "name": "Puppies Play", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Puritan": { + "name": "Puritan", + "version": "2.0a" + }, + "Purple Purse": { + "name": "Purple Purse", + "version": "Version 1.000" + }, + "Pushster": { + "name": "Pushster", + "version": "Version 2.100" + }, + "Qahiri": { + "name": "Qahiri", + "version": "Version 3.00" + }, + "Quando": { + "name": "Quando", + "version": "Version 1.002" + }, + "Quantico": { + "name": "Quantico", + "version": "Version 2.002" + }, + "Quattrocento": { + "name": "Quattrocento", + "version": "Version 2.000" + }, + "Quattrocento Sans": { + "name": "Quattrocento Sans", + "version": "Version 2.000" + }, + "Questrial": { + "name": "Questrial", + "version": "Version 2.000; ttfautohint (v1.8.3)" + }, + "Quicksand": { + "name": "Quicksand", + "version": "Version 3.006" + }, + "Quintessential": { + "name": "Quintessential", + "version": "Version 1.000" + }, + "Qwigley": { + "name": "Qwigley", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Qwitcher Grypen": { + "name": "Qwitcher Grypen", + "version": "Version 1.100; ttfautohint (v1.8.3)" + }, + "REM": { + "name": "REM", + "version": "Version 1.005;gftools[0.9.28]" + }, + "Racing Sans One": { + "name": "Racing Sans One", + "version": "Version 1.001; ttfautohint (v0.8) -G 200 -r 50" + }, + "Radio Canada": { + "name": "Radio Canada", + "version": "Version 2.104;gftools[0.9.28.dev5+ged2979d]" + }, + "Radio Canada Big": { + "name": "Radio Canada Big", + "version": "Version 1.001" + }, + "Radley": { + "name": "Radley", + "version": "Version 1.003; ttfautohint (v1.6)" + }, + "Rajdhani": { + "name": "Rajdhani", + "version": "Version 1.201;PS 1.0;hotconv 1.0.78;makeotf.lib2.5.61930; ttfautohint (v1.1) -l 7 -r 28 -G 50 -x 13 -D latn -f deva -w G" + }, + "Rakkas": { + "name": "Rakkas", + "version": "Version 2.000" + }, + "Raleway": { + "name": "Raleway", + "version": "Version 4.026" + }, + "Raleway Dots": { + "name": "Raleway Dots", + "version": "Version 1.000" + }, + "Ramabhadra": { + "name": "Ramabhadra", + "version": "Version 1.0.5; ttfautohint (vUNKNOWN) -l 7 -r 28 -G 50 -x 13 -D telu -f telu -w G -X \"\"" + }, + "Ramaraja": { + "name": "Ramaraja", + "version": "Version 1.0.4; ttfautohint (v1.2.25-373a) -l 7 -r 28 -G 50 -x 13 -D telu -f latn -w G -X \"\"" + }, + "Rambla": { + "name": "Rambla", + "version": "Version 1.001" + }, + "Rammetto One": { + "name": "Rammetto One", + "version": "Version 1.100; ttfautohint (v1.8.4.7-5d5b)" + }, + "Rampart One": { + "name": "Rampart One", + "version": "Version 1.100" + }, + "Ranchers": { + "name": "Ranchers", + "version": "Version 1.000; ttfautohint (v0.8) -G 200 -r 50" + }, + "Rancho": { + "name": "Rancho", + "version": "Version 1.001" + }, + "Ranga": { + "name": "Ranga", + "version": "Version 1.0.2" + }, + "Rasa": { + "name": "Rasa", + "version": "Version 2.004" + }, + "Rationale": { + "name": "Rationale", + "version": "Version 1.011" + }, + "Ravi Prakash": { + "name": "Ravi Prakash", + "version": "Version 1.0.4; ttfautohint (v1.2.42-39fb)" + }, + "Readex Pro": { + "name": "Readex Pro", + "version": "Version 1.205" + }, + "Recursive": { + "name": "Recursive", + "version": "Version 1.085" + }, + "Red Hat Display": { + "name": "Red Hat Display", + "version": "Version 1.030" + }, + "Red Hat Mono": { + "name": "Red Hat Mono", + "version": "Version 1.030" + }, + "Red Hat Text": { + "name": "Red Hat Text", + "version": "Version 1.030" + }, + "Red Rose": { + "name": "Red Rose", + "version": "Version 2.000" + }, + "Redacted": { + "name": "Redacted", + "version": "Version 1.002; ttfautohint (v1.8.3)" + }, + "Redacted Script": { + "name": "Redacted Script", + "version": "Version 1.001; ttfautohint (v1.8.3)" + }, + "Reddit Mono": { + "name": "Reddit Mono", + "version": "Version 1.014" + }, + "Reddit Sans": { + "name": "Reddit Sans", + "version": "Version 1.014" + }, + "Reddit Sans Condensed": { + "name": "Reddit Sans Condensed", + "version": "Version 1.014" + }, + "Redressed": { + "name": "Redressed", + "version": "Version 1.001" + }, + "Reem Kufi": { + "name": "Reem Kufi", + "version": "Version 1.6" + }, + "Reem Kufi Fun": { + "name": "Reem Kufi Fun", + "version": "Version 1.899" + }, + "Reem Kufi Ink": { + "name": "Reem Kufi Ink", + "version": "Version 1.899" + }, + "Reenie Beanie": { + "name": "Reenie Beanie", + "version": "Version 1.000" + }, + "Reggae One": { + "name": "Reggae One", + "version": "Version 1.100" + }, + "Rethink Sans": { + "name": "Rethink Sans", + "version": "Version 1.001" + }, + "Revalia": { + "name": "Revalia", + "version": "Version 1.001" + }, + "Rhodium Libre": { + "name": "Rhodium Libre", + "version": "Version 1.001; ttfautohint (v1.3)" + }, + "Ribeye": { + "name": "Ribeye", + "version": "Version 1.000" + }, + "Ribeye Marrow": { + "name": "Ribeye Marrow", + "version": "Version 1.000" + }, + "Righteous": { + "name": "Righteous", + "version": "Version 1.000" + }, + "Risque": { + "name": "Risque", + "version": "Version 1.000" + }, + "Road Rage": { + "name": "Road Rage", + "version": "Version 1.010" + }, + "Roboto": { + "name": "Roboto", + "version": "Version 3.011; 2025" + }, + "Roboto Condensed": { + "name": "Roboto Condensed", + "version": "Version 3.008; 2023" + }, + "Roboto Flex": { + "name": "Roboto Flex", + "version": "Version 3.200;gftools[0.9.32]" + }, + "Roboto Mono": { + "name": "Roboto Mono", + "version": "Version 3.001" + }, + "Roboto Serif": { + "name": "Roboto Serif", + "version": "Version 1.008" + }, + "Roboto Slab": { + "name": "Roboto Slab", + "version": "Version 2.002" + }, + "Rochester": { + "name": "Rochester", + "version": "Version 1.006" + }, + "Rock 3D": { + "name": "Rock 3D", + "version": "Version 1.000" + }, + "Rock Salt": { + "name": "Rock Salt", + "version": "Version 1.001" + }, + "RocknRoll One": { + "name": "RocknRoll One", + "version": "Version 1.100" + }, + "Rokkitt": { + "name": "Rokkitt", + "version": "Version 3.103" + }, + "Romanesco": { + "name": "Romanesco", + "version": "Version 1.000" + }, + "Ropa Sans": { + "name": "Ropa Sans", + "version": "Version 1.100" + }, + "Rosario": { + "name": "Rosario", + "version": "Version 1.201" + }, + "Rosarivo": { + "name": "Rosarivo", + "version": "Version 1.003" + }, + "Rouge Script": { + "name": "Rouge Script", + "version": "Version 1.003" + }, + "Rowdies": { + "name": "Rowdies", + "version": "Version 1.000; ttfautohint (v1.8.3)" + }, + "Rozha One": { + "name": "Rozha One", + "version": "Version 1.301;PS 1.0;hotconv 1.0.78;makeotf.lib2.5.61930; ttfautohint (v1.1) -l 7 -r 28 -G 50 -x 13 -D latn -f deva -w G" + }, + "Rubik": { + "name": "Rubik", + "version": "Version 2.300;gftools[0.9.30]" + }, + "Rubik 80s Fade": { + "name": "Rubik 80s Fade", + "version": "Version 2.201" + }, + "Rubik Beastly": { + "name": "Rubik Beastly", + "version": "Version 2.200" + }, + "Rubik Broken Fax": { + "name": "Rubik Broken Fax", + "version": "Version 2.201" + }, + "Rubik Bubbles": { + "name": "Rubik Bubbles", + "version": "Version 2.200" + }, + "Rubik Burned": { + "name": "Rubik Burned", + "version": "Version 2.200" + }, + "Rubik Dirt": { + "name": "Rubik Dirt", + "version": "Version 2.200" + }, + "Rubik Distressed": { + "name": "Rubik Distressed", + "version": "Version 2.200" + }, + "Rubik Doodle Shadow": { + "name": "Rubik Doodle Shadow", + "version": "Version 2.201" + }, + "Rubik Doodle Triangles": { + "name": "Rubik Doodle Triangles", + "version": "Version 2.201" + }, + "Rubik Gemstones": { + "name": "Rubik Gemstones", + "version": "Version 2.200" + }, + "Rubik Glitch": { + "name": "Rubik Glitch", + "version": "Version 2.200" + }, + "Rubik Glitch Pop": { + "name": "Rubik Glitch Pop", + "version": "Version 2.201" + }, + "Rubik Iso": { + "name": "Rubik Iso", + "version": "Version 2.200" + }, + "Rubik Lines": { + "name": "Rubik Lines", + "version": "Version 2.201" + }, + "Rubik Maps": { + "name": "Rubik Maps", + "version": "Version 2.201" + }, + "Rubik Marker Hatch": { + "name": "Rubik Marker Hatch", + "version": "Version 2.200" + }, + "Rubik Maze": { + "name": "Rubik Maze", + "version": "Version 2.200" + }, + "Rubik Microbe": { + "name": "Rubik Microbe", + "version": "Version 2.200" + }, + "Rubik Mono One": { + "name": "Rubik Mono One", + "version": "Version 1.001" + }, + "Rubik Moonrocks": { + "name": "Rubik Moonrocks", + "version": "Version 2.200" + }, + "Rubik Pixels": { + "name": "Rubik Pixels", + "version": "Version 2.200" + }, + "Rubik Puddles": { + "name": "Rubik Puddles", + "version": "Version 2.200" + }, + "Rubik Scribble": { + "name": "Rubik Scribble", + "version": "Version 2.201" + }, + "Rubik Spray Paint": { + "name": "Rubik Spray Paint", + "version": "Version 2.200" + }, + "Rubik Storm": { + "name": "Rubik Storm", + "version": "Version 2.201" + }, + "Rubik Vinyl": { + "name": "Rubik Vinyl", + "version": "Version 2.200" + }, + "Rubik Wet Paint": { + "name": "Rubik Wet Paint", + "version": "Version 2.200" + }, + "Ruda": { + "name": "Ruda", + "version": "Version 2.001" + }, + "Rufina": { + "name": "Rufina", + "version": "Version 1.001" + }, + "Ruge Boogie": { + "name": "Ruge Boogie", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Ruluko": { + "name": "Ruluko", + "version": "Version 1.001" + }, + "Rum Raisin": { + "name": "Rum Raisin", + "version": "Version 1.000" + }, + "Ruslan Display": { + "name": "Ruslan Display", + "version": "Version 1.001" + }, + "Russo One": { + "name": "Russo One", + "version": "Version 1.001" + }, + "Ruthie": { + "name": "Ruthie", + "version": "Version 1.012" + }, + "Ruwudu": { + "name": "Ruwudu", + "version": "Version 3.000" + }, + "Rye": { + "name": "Rye", + "version": "Version 1.001" + }, + "STIX Two Math": { + "name": "STIX Two Math", + "version": "Version 2.12 b168a" + }, + "STIX Two Text": { + "name": "STIX Two Text", + "version": "Version 2.13 b171" + }, + "SUSE": { + "name": "SUSE", + "version": "Version 1.000" + }, + "Sacramento": { + "name": "Sacramento", + "version": "Version 1.000" + }, + "Sahitya": { + "name": "Sahitya", + "version": "Version 1.001;PS 001.000;hotconv 1.0.70;makeotf.lib2.5.58329 DEVELOPMENT; ttfautohint (v1.2) -l 8 -r 50 -G 200 -x 16 -D latn -f none -w G -W -X \"\"" + }, + "Sail": { + "name": "Sail", + "version": "Version 1.002" + }, + "Saira": { + "name": "Saira", + "version": "Version 1.101" + }, + "Saira Condensed": { + "name": "Saira Condensed", + "version": "Version 0.072" + }, + "Saira Extra Condensed": { + "name": "Saira Extra Condensed", + "version": "Version 0.072" + }, + "Saira Semi Condensed": { + "name": "Saira Semi Condensed", + "version": "Version 0.072" + }, + "Saira Stencil One": { + "name": "Saira Stencil One", + "version": "Version 1.004" + }, + "Salsa": { + "name": "Salsa", + "version": "Version 1.002" + }, + "Sanchez": { + "name": "Sanchez", + "version": "Version 1.001" + }, + "Sancreek": { + "name": "Sancreek", + "version": "Version 1.002" + }, + "Sankofa Display": { + "name": "Sankofa Display", + "version": "Version 1.000; ttfautohint (v1.8.4.7-5d5b)" + }, + "Sansation": { + "name": "Sansation", + "version": "Version 1.301" + }, + "Sansita": { + "name": "Sansita", + "version": "Version 1.006; ttfautohint (v1.5)" + }, + "Sansita Swashed": { + "name": "Sansita Swashed", + "version": "Version 1.003" + }, + "Sarabun": { + "name": "Sarabun", + "version": "Version 1.000; ttfautohint (v1.6)" + }, + "Sarala": { + "name": "Sarala", + "version": "Version 1.004;PS 001.003;hotconv 1.0.70;makeotf.lib2.5.58329 DEVELOPMENT; ttfautohint (v1.00) -l 8 -r 50 -G 200 -x 14 -D latn -f none -w G" + }, + "Sarina": { + "name": "Sarina", + "version": "Version 1.001" + }, + "Sarpanch": { + "name": "Sarpanch", + "version": "Version 2.004;PS 1.0;hotconv 1.0.78;makeotf.lib2.5.61930; ttfautohint (v1.1) -l 8 -r 50 -G 200 -x 14 -D latn -f deva -w gGD -W -c" + }, + "Sassy Frass": { + "name": "Sassy Frass", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Satisfy": { + "name": "Satisfy", + "version": "Version 1.001" + }, + "Savate": { + "name": "Savate", + "version": "Version 2.000" + }, + "Sawarabi Gothic": { + "name": "Sawarabi Gothic", + "version": "Version 20141215 " + }, + "Sawarabi Mincho": { + "name": "Sawarabi Mincho", + "version": "Version 1.082; ttfautohint (v1.8.4.7-5d5b)" + }, + "Scada": { + "name": "Scada", + "version": "Version 4.000" + }, + "Scheherazade New": { + "name": "Scheherazade New", + "version": "Version 4.300" + }, + "Schibsted Grotesk": { + "name": "Schibsted Grotesk", + "version": "Version 1.100;gftools[0.9.25]" + }, + "Schoolbell": { + "name": "Schoolbell", + "version": "Version 1.001" + }, + "Scope One": { + "name": "Scope One", + "version": "Version 1.001; ttfautohint (v1.4.1) -l 11 -r 50 -G 50 -x 14 -D latn -f latn -m \"ttfautohint.ctrl\" -w G -X \"\"" + }, + "Seaweed Script": { + "name": "Seaweed Script", + "version": "Version 1.000" + }, + "Secular One": { + "name": "Secular One", + "version": "Version 1.002; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.29]" + }, + "Sedan": { + "name": "Sedan", + "version": "Version 1.100; ttfautohint (v1.8.4.7-5d5b)" + }, + "Sedan SC": { + "name": "Sedan SC", + "version": "Version 1.100; ttfautohint (v1.8.4.7-5d5b)" + }, + "Sedgwick Ave": { + "name": "Sedgwick Ave", + "version": "Version 1.000" + }, + "Sedgwick Ave Display": { + "name": "Sedgwick Ave Display", + "version": "Version 1.000" + }, + "Sen": { + "name": "Sen", + "version": "Version 2.000;gftools[0.9.31]" + }, + "Send Flowers": { + "name": "Send Flowers", + "version": "Version 1.010; ttfautohint (v1.8.4.7-5d5b)" + }, + "Sevillana": { + "name": "Sevillana", + "version": "Version 1.001" + }, + "Seymour One": { + "name": "Seymour One", + "version": "Version 1.100; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.33]" + }, + "Shadows Into Light": { + "name": "Shadows Into Light", + "version": "Version 001.000" + }, + "Shadows Into Light Two": { + "name": "Shadows Into Light Two", + "version": "Version 1.003 2012" + }, + "Shafarik": { + "name": "Shafarik", + "version": "Version 1.002; ttfautohint (v1.8.4.7-5d5b)" + }, + "Shalimar": { + "name": "Shalimar", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Shantell Sans": { + "name": "Shantell Sans", + "version": "Version 1.011;[c5ecc13dd]" + }, + "Shanti": { + "name": "Shanti", + "version": "Version 1.100; ttfautohint (v1.8.4)" + }, + "Share": { + "name": "Share", + "version": "Version 1.002" + }, + "Share Tech": { + "name": "Share Tech", + "version": "Version 1.100" + }, + "Share Tech Mono": { + "name": "Share Tech Mono", + "version": "Version 1.003" + }, + "Shippori Antique": { + "name": "Shippori Antique", + "version": "Version 2.001" + }, + "Shippori Antique B1": { + "name": "Shippori Antique B1", + "version": "Version 2.001" + }, + "Shippori Mincho": { + "name": "Shippori Mincho", + "version": "Version 3.110; ttfautohint (v1.8.3)" + }, + "Shippori Mincho B1": { + "name": "Shippori Mincho B1", + "version": "Version 3.110; ttfautohint (v1.8.3)" + }, + "Shizuru": { + "name": "Shizuru", + "version": "Version 1.000" + }, + "Shojumaru": { + "name": "Shojumaru", + "version": "Version 1.001" + }, + "Short Stack": { + "name": "Short Stack", + "version": "Version 1.002" + }, + "Shrikhand": { + "name": "Shrikhand", + "version": "Version 1.001;PS 1.001;hotconv 1.0.88;makeotf.lib2.5.647800" + }, + "Siemreap": { + "name": "Siemreap", + "version": "Version 6.00 December 28, 2010" + }, + "Sigmar": { + "name": "Sigmar", + "version": "Version 1.000; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.24]" + }, + "Sigmar One": { + "name": "Sigmar One", + "version": "Version 2.000" + }, + "Signika": { + "name": "Signika", + "version": "Version 2.003;gftools[0.9.32]" + }, + "Signika Negative": { + "name": "Signika Negative", + "version": "Version 2.001" + }, + "Silkscreen": { + "name": "Silkscreen", + "version": "Version 1.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Simonetta": { + "name": "Simonetta", + "version": "Version 1.004" + }, + "Single Day": { + "name": "Single Day", + "version": "Version 1.00" + }, + "Sintony": { + "name": "Sintony", + "version": "Version 001.001" + }, + "Sirin Stencil": { + "name": "Sirin Stencil", + "version": "Version 1.002" + }, + "Six Caps": { + "name": "Six Caps", + "version": "Version 001.000" + }, + "Sixtyfour": { + "name": "Sixtyfour", + "version": "Version 2.001" + }, + "Sixtyfour Convergence": { + "name": "Sixtyfour Convergence", + "version": "Version 2.001" + }, + "Skranji": { + "name": "Skranji", + "version": "Version 1.001" + }, + "Slabo 13px": { + "name": "Slabo 13px", + "version": "Version 1.02 Build 005a" + }, + "Slabo 27px": { + "name": "Slabo 27px", + "version": "Version 1.02 Build 003a" + }, + "Slackey": { + "name": "Slackey", + "version": "Version 1.001" + }, + "Slackside One": { + "name": "Slackside One", + "version": "Version 1.000" + }, + "Smokum": { + "name": "Smokum", + "version": "Version 1.001" + }, + "Smooch": { + "name": "Smooch", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Smooch Sans": { + "name": "Smooch Sans", + "version": "Version 1.010" + }, + "Smythe": { + "name": "Smythe", + "version": "Version 1.000" + }, + "Sniglet": { + "name": "Sniglet", + "version": "Version 2.000; ttfautohint (v0.95) -l 8 -r 50 -G 200 -x 14 -w \"G\"" + }, + "Snippet": { + "name": "Snippet", + "version": "Version 1.000" + }, + "Snowburst One": { + "name": "Snowburst One", + "version": "Version 1.001" + }, + "Sofadi One": { + "name": "Sofadi One", + "version": "Version 1.002" + }, + "Sofia": { + "name": "Sofia", + "version": "Version 1.001" + }, + "Sofia Sans": { + "name": "Sofia Sans", + "version": "Version 4.101" + }, + "Sofia Sans Condensed": { + "name": "Sofia Sans Condensed", + "version": "Version 4.101" + }, + "Sofia Sans Extra Condensed": { + "name": "Sofia Sans Extra Condensed", + "version": "Version 4.101" + }, + "Sofia Sans Semi Condensed": { + "name": "Sofia Sans Semi Condensed", + "version": "Version 4.101" + }, + "Solitreo": { + "name": "Solitreo", + "version": "Version 1.100; ttfautohint (v1.8.4.7-5d5b)" + }, + "Solway": { + "name": "Solway", + "version": "Version 1.000" + }, + "Sometype Mono": { + "name": "Sometype Mono", + "version": "Version 1.001" + }, + "Song Myung": { + "name": "Song Myung", + "version": "Version 1.00" + }, + "Sono": { + "name": "Sono", + "version": "Version 2.112" + }, + "Sonsie One": { + "name": "Sonsie One", + "version": "Version 1.003" + }, + "Sora": { + "name": "Sora", + "version": "Version 2.000" + }, + "Sorts Mill Goudy": { + "name": "Sorts Mill Goudy", + "version": "Version 003.101 " + }, + "Sour Gummy": { + "name": "Sour Gummy", + "version": "Version 1.000" + }, + "Source Code Pro": { + "name": "Source Code Pro", + "version": "Version 1.026;hotconv 1.1.0;makeotfexe 2.6.0" + }, + "Source Sans 3": { + "name": "Source Sans 3", + "version": "Version 3.052;hotconv 1.1.0;makeotfexe 2.6.0" + }, + "Source Serif 4": { + "name": "Source Serif 4", + "version": "Version 4.004;hotconv 1.0.116;makeotfexe 2.5.65601" + }, + "Space Grotesk": { + "name": "Space Grotesk", + "version": "Version 2.000" + }, + "Space Mono": { + "name": "Space Mono", + "version": "Version 1.003; ttfautohint (v1.8.4.7-5d5b)" + }, + "Special Elite": { + "name": "Special Elite", + "version": "Version 1.001" + }, + "Special Gothic": { + "name": "Special Gothic", + "version": "Version 1.010; ttfautohint (v1.8.4.7-5d5b)" + }, + "Special Gothic Condensed One": { + "name": "Special Gothic Condensed One", + "version": "Version 1.010; ttfautohint (v1.8.4.7-5d5b)" + }, + "Special Gothic Expanded One": { + "name": "Special Gothic Expanded One", + "version": "Version 1.010; ttfautohint (v1.8.4.7-5d5b)" + }, + "Spectral": { + "name": "Spectral", + "version": "Version 2.005; ttfautohint (v1.8.4.7-5d5b)" + }, + "Spectral SC": { + "name": "Spectral SC", + "version": "Version 2.005; ttfautohint (v1.8.4.7-5d5b)" + }, + "Spicy Rice": { + "name": "Spicy Rice", + "version": "Version 1.000" + }, + "Spinnaker": { + "name": "Spinnaker", + "version": "Version 1.001" + }, + "Spirax": { + "name": "Spirax", + "version": "Version 1.002" + }, + "Splash": { + "name": "Splash", + "version": "Version 1.010; ttfautohint (v1.8.4.7-5d5b)" + }, + "Spline Sans": { + "name": "Spline Sans", + "version": "Version 1.001" + }, + "Spline Sans Mono": { + "name": "Spline Sans Mono", + "version": "Version 1.004" + }, + "Squada One": { + "name": "Squada One", + "version": "Version 1.001" + }, + "Square Peg": { + "name": "Square Peg", + "version": "Version 1.010; ttfautohint (v1.8.4.7-5d5b)" + }, + "Sree Krushnadevaraya": { + "name": "Sree Krushnadevaraya", + "version": "Version 1.0.5; ttfautohint (v1.2.42-39fb)" + }, + "Sriracha": { + "name": "Sriracha", + "version": "Version 1.002g" + }, + "Srisakdi": { + "name": "Srisakdi", + "version": "Version 1.000; ttfautohint (v1.6)" + }, + "Staatliches": { + "name": "Staatliches", + "version": "Version 1.000; ttfautohint (v1.8.2) -l 8 -r 50 -G 200 -x 14 -D latn -f none -a qsq -X \"\"" + }, + "Stalemate": { + "name": "Stalemate", + "version": "Version 001.000" + }, + "Stalinist One": { + "name": "Stalinist One", + "version": "Version 3.004" + }, + "Stardos Stencil": { + "name": "Stardos Stencil", + "version": "Version 1.001; ttfautohint (v1.8.2)" + }, + "Stick": { + "name": "Stick", + "version": "Version 1.100" + }, + "Stick No Bills": { + "name": "Stick No Bills", + "version": "Version 2.000" + }, + "Stint Ultra Condensed": { + "name": "Stint Ultra Condensed", + "version": "Version 1.000" + }, + "Stint Ultra Expanded": { + "name": "Stint Ultra Expanded", + "version": "Version 1.000" + }, + "Stoke": { + "name": "Stoke", + "version": "Version 1.001" + }, + "Strait": { + "name": "Strait", + "version": "Version 1.002; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.23]" + }, + "Style Script": { + "name": "Style Script", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Stylish": { + "name": "Stylish", + "version": "Version 1.64" + }, + "Sue Ellen Francisco": { + "name": "Sue Ellen Francisco", + "version": "Version 1.002 2007" + }, + "Suez One": { + "name": "Suez One", + "version": "Version 1.001" + }, + "Sulphur Point": { + "name": "Sulphur Point", + "version": "Version 1.000; ttfautohint (v1.8)" + }, + "Sumana": { + "name": "Sumana", + "version": "Version 1.015;PS 001.015;hotconv 1.0.70;makeotf.lib2.5.58329 DEVELOPMENT; ttfautohint (v0.94) -l 8 -r 50 -G 200 -x 14 -w \"G\"" + }, + "Sunflower": { + "name": "Sunflower", + "version": "Version 1.00" + }, + "Sunshiney": { + "name": "Sunshiney", + "version": "Version 1.001" + }, + "Supermercado One": { + "name": "Supermercado One", + "version": "Version 1.002" + }, + "Sura": { + "name": "Sura", + "version": "Version 1.003;PS 001.002;hotconv 1.0.70;makeotf.lib2.5.58329 DEVELOPMENT; ttfautohint (v1.00) -l 8 -r 50 -G 200 -x 14 -D latn -f none -w G" + }, + "Suranna": { + "name": "Suranna", + "version": "Version 1.0.5; ttfautohint (v1.2.42-39fb)" + }, + "Suravaram": { + "name": "Suravaram", + "version": "Version 1.0.4; ttfautohint (v1.2.42-39fb)" + }, + "Suwannaphum": { + "name": "Suwannaphum", + "version": "Version 8.002; ttfautohint (v1.8.3)" + }, + "Swanky and Moo Moo": { + "name": "Swanky and Moo Moo", + "version": "Version 1.002 2001" + }, + "Syncopate": { + "name": "Syncopate", + "version": "Version 001.001" + }, + "Syne": { + "name": "Syne", + "version": "Version 2.200" + }, + "Syne Mono": { + "name": "Syne Mono", + "version": "Version 2.000; ttfautohint (v1.8.3)" + }, + "Syne Tactile": { + "name": "Syne Tactile", + "version": "Version 2.100; ttfautohint (v1.8.3)" + }, + "Tac One": { + "name": "Tac One", + "version": "Version 1.003; ttfautohint (v1.8.4.7-5d5b)" + }, + "Tagesschrift": { + "name": "Tagesschrift", + "version": "Version 2.000; ttfautohint (v1.8.4.7-5d5b)" + }, + "Tai Heritage Pro": { + "name": "Tai Heritage Pro", + "version": "Version 2.600" + }, + "Tajawal": { + "name": "Tajawal", + "version": "Version 1.700" + }, + "Tangerine": { + "name": "Tangerine", + "version": "Version 1.3" + }, + "Tapestry": { + "name": "Tapestry", + "version": "Version 1.010; ttfautohint (v1.8.4.7-5d5b)" + }, + "Taprom": { + "name": "Taprom", + "version": "Version 8.002; ttfautohint (v1.8.3)" + }, + "Tauri": { + "name": "Tauri", + "version": "Version 1.003; ttfautohint (v0.93.8-669f) -l 13 -r 13 -G 200 -x 13 -w \"gG\" -W -c" + }, + "Taviraj": { + "name": "Taviraj", + "version": "Version 1.001" + }, + "Teachers": { + "name": "Teachers", + "version": "Version 1.001" + }, + "Teko": { + "name": "Teko", + "version": "Version 2.000;gftools[0.9.28.dev9+g7d2139d.d20230707]" + }, + "Tektur": { + "name": "Tektur", + "version": "Version 1.005;gftools[0.9.30]" + }, + "Telex": { + "name": "Telex", + "version": "Version 1.100" + }, + "Tenali Ramakrishna": { + "name": "Tenali Ramakrishna", + "version": "Version 1.0.5; ttfautohint (v1.2.25-373a) -l 7 -r 28 -G 50 -x 13 -D telu -f latn -w G -X \"\"" + }, + "Tenor Sans": { + "name": "Tenor Sans", + "version": "Version 1.1" + }, + "Text Me One": { + "name": "Text Me One", + "version": "Version 1.003" + }, + "Texturina": { + "name": "Texturina", + "version": "Version 1.002" + }, + "Thasadith": { + "name": "Thasadith", + "version": "Version 1.000; ttfautohint (v1.6)" + }, + "The Girl Next Door": { + "name": "The Girl Next Door", + "version": "Version 1.002 2010" + }, + "The Nautigal": { + "name": "The Nautigal", + "version": "Version 1.100; ttfautohint (v1.8.3)" + }, + "Tienne": { + "name": "Tienne", + "version": "Version 1.001" + }, + "TikTok Sans": { + "name": "TikTok Sans", + "version": "Version 4.000" + }, + "Tillana": { + "name": "Tillana", + "version": "Version 2.003;PS 1.0;hotconv 1.0.79;makeotf.lib2.5.61930; ttfautohint (v1.2.42-39fb)" + }, + "Tilt Neon": { + "name": "Tilt Neon", + "version": "Version 1.000" + }, + "Tilt Prism": { + "name": "Tilt Prism", + "version": "Version 1.000" + }, + "Tilt Warp": { + "name": "Tilt Warp", + "version": "Version 1.000" + }, + "Timmana": { + "name": "Timmana", + "version": "Version 1.0.4; ttfautohint (v1.2.42-39fb)" + }, + "Tinos": { + "name": "Tinos", + "version": "Version 1.23" + }, + "Tiny5": { + "name": "Tiny5", + "version": "Version 1.002; ttfautohint (v1.8.4.7-5d5b)" + }, + "Tiro Bangla": { + "name": "Tiro Bangla", + "version": "Version 1.52" + }, + "Tiro Devanagari Hindi": { + "name": "Tiro Devanagari Hindi", + "version": "Version 1.52" + }, + "Tiro Devanagari Marathi": { + "name": "Tiro Devanagari Marathi", + "version": "Version 1.52" + }, + "Tiro Devanagari Sanskrit": { + "name": "Tiro Devanagari Sanskrit", + "version": "Version 1.52" + }, + "Tiro Gurmukhi": { + "name": "Tiro Gurmukhi", + "version": "Version 1.52" + }, + "Tiro Kannada": { + "name": "Tiro Kannada", + "version": "Version 1.52" + }, + "Tiro Tamil": { + "name": "Tiro Tamil", + "version": "Version 1.52" + }, + "Tiro Telugu": { + "name": "Tiro Telugu", + "version": "Version 1.53" + }, + "Titan One": { + "name": "Titan One", + "version": "Version 1.001" + }, + "Titillium Web": { + "name": "Titillium Web", + "version": "Version 1.002;PS 57.000;hotconv 1.0.70;makeotf.lib2.5.55311" + }, + "Tomorrow": { + "name": "Tomorrow", + "version": "Version 2.002" + }, + "Tourney": { + "name": "Tourney", + "version": "Version 1.015" + }, + "Trade Winds": { + "name": "Trade Winds", + "version": "Version 1.001" + }, + "Train One": { + "name": "Train One", + "version": "Version 1.100" + }, + "Triodion": { + "name": "Triodion", + "version": "Version 1.202; ttfautohint (v1.8.4.7-5d5b)" + }, + "Trirong": { + "name": "Trirong", + "version": "Version 1.001" + }, + "Trispace": { + "name": "Trispace", + "version": "Version 1.210" + }, + "Trocchi": { + "name": "Trocchi", + "version": "Version 1.101; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.27]" + }, + "Trochut": { + "name": "Trochut", + "version": "Version 1.001" + }, + "Truculenta": { + "name": "Truculenta", + "version": "Version 1.002" + }, + "Trykker": { + "name": "Trykker", + "version": "Version 1.001" + }, + "Tsukimi Rounded": { + "name": "Tsukimi Rounded", + "version": "Version 1.032; ttfautohint (v1.8.3)" + }, + "Tuffy": { + "name": "Tuffy", + "version": "Version 1.272; ttfautohint (v1.6)" + }, + "Tulpen One": { + "name": "Tulpen One", + "version": "Version 1.002" + }, + "Turret Road": { + "name": "Turret Road", + "version": "Version 1.001; ttfautohint (v1.8)" + }, + "Twinkle Star": { + "name": "Twinkle Star", + "version": "Version 2.010; ttfautohint (v1.8.3)" + }, + "Ubuntu": { + "name": "Ubuntu", + "version": "0.83" + }, + "Ubuntu Condensed": { + "name": "Ubuntu Condensed", + "version": "0.83" + }, + "Ubuntu Mono": { + "name": "Ubuntu Mono", + "version": "Version 0.80" + }, + "Ubuntu Sans": { + "name": "Ubuntu Sans", + "version": "Version 1.006" + }, + "Ubuntu Sans Mono": { + "name": "Ubuntu Sans Mono", + "version": "Version 1.006" + }, + "Uchen": { + "name": "Uchen", + "version": "Version 1.000 preliminary" + }, + "Ultra": { + "name": "Ultra", + "version": "Version 1.001" + }, + "Unbounded": { + "name": "Unbounded", + "version": "Version 1.701;gftools[0.9.28.dev5+ged2979d]" + }, + "Uncial Antiqua": { + "name": "Uncial Antiqua", + "version": "Version 1.000" + }, + "Underdog": { + "name": "Underdog", + "version": "Version 1.001; ttfautohint (v0.9)" + }, + "Unica One": { + "name": "Unica One", + "version": "Version 2.000; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.23]" + }, + "UnifrakturCook": { + "name": "UnifrakturCook", + "version": "Version 2011-09-01 " + }, + "UnifrakturMaguntia": { + "name": "UnifrakturMaguntia", + "version": "Version 2010-11-24 " + }, + "Unkempt": { + "name": "Unkempt", + "version": "Version 1.001" + }, + "Unlock": { + "name": "Unlock", + "version": "Version 1.003; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.23]" + }, + "Unna": { + "name": "Unna", + "version": "Version 2.007; ttfautohint (v1.5)" + }, + "UoqMunThenKhung": { + "name": "UoqMunThenKhung", + "version": "Version 1.197" + }, + "Updock": { + "name": "Updock", + "version": "Version 1.010; ttfautohint (v1.8.4.7-5d5b)" + }, + "Urbanist": { + "name": "Urbanist", + "version": "Version 1.303" + }, + "VT323": { + "name": "VT323", + "version": "Version 2.000" + }, + "Vampiro One": { + "name": "Vampiro One", + "version": "Version 1.002" + }, + "Varela": { + "name": "Varela", + "version": "Version 1.000" + }, + "Varela Round": { + "name": "Varela Round", + "version": "Version 3.010; ttfautohint (v1.8.4.7-5d5b)" + }, + "Varta": { + "name": "Varta", + "version": "Version 1.004" + }, + "Vast Shadow": { + "name": "Vast Shadow", + "version": "Version 1.002" + }, + "Vazirmatn": { + "name": "Vazirmatn", + "version": "Version 33.003" + }, + "Vesper Libre": { + "name": "Vesper Libre", + "version": "Version 1.058" + }, + "Viaoda Libre": { + "name": "Viaoda Libre", + "version": "Version 2.000" + }, + "Vibes": { + "name": "Vibes", + "version": "Version 1.100" + }, + "Vibur": { + "name": "Vibur", + "version": "Version 1.004 " + }, + "Victor Mono": { + "name": "Victor Mono", + "version": "Version 1.561;gftools[0.9.30]" + }, + "Vidaloka": { + "name": "Vidaloka", + "version": "Version 1.011" + }, + "Viga": { + "name": "Viga", + "version": "Version 1.001" + }, + "Vina Sans": { + "name": "Vina Sans", + "version": "Version 1.002; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.28]" + }, + "Voces": { + "name": "Voces", + "version": "Version 1.100" + }, + "Volkhov": { + "name": "Volkhov", + "version": "Version 1.010" + }, + "Vollkorn": { + "name": "Vollkorn", + "version": "Version 5.001" + }, + "Vollkorn SC": { + "name": "Vollkorn SC", + "version": "Version 4.015" + }, + "Voltaire": { + "name": "Voltaire", + "version": "Version 1.010; ttfautohint (v1.8.4.7-5d5b)" + }, + "Vujahday Script": { + "name": "Vujahday Script", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "WDXL Lubrifont JP N": { + "name": "WDXL Lubrifont JP N", + "version": "Version 2.001;hotconv 1.1.1;makeotfexe 2.6.0" + }, + "WDXL Lubrifont SC": { + "name": "WDXL Lubrifont SC", + "version": "Version 2.001;hotconv 1.1.1;makeotfexe 2.6.0" + }, + "WDXL Lubrifont TC": { + "name": "WDXL Lubrifont TC", + "version": "Version 2.001;hotconv 1.1.1;makeotfexe 2.6.0" + }, + "Waiting for the Sunrise": { + "name": "Waiting for the Sunrise", + "version": "Version 1.001 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"Version 3.003; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.33]" + }, + "Yrsa": { + "name": "Yrsa", + "version": "Version 2.004" + }, + "Ysabeau": { + "name": "Ysabeau", + "version": "Version 2.002" + }, + "Ysabeau Infant": { + "name": "Ysabeau Infant", + "version": "Version 2.002; featfreeze: ss01,ss02,lnum" + }, + "Ysabeau Office": { + "name": "Ysabeau Office", + "version": "Version 2.002; featfreeze: tnum,lnum,ss02" + }, + "Ysabeau SC": { + "name": "Ysabeau SC", + "version": "Version 2.002; featfreeze: smcp" + }, + "Yuji Boku": { + "name": "Yuji Boku", + "version": "Version 3.002" + }, + "Yuji Hentaigana Akari": { + "name": "Yuji Hentaigana Akari", + "version": "Version 3.002" + }, + "Yuji Hentaigana Akebono": { + "name": "Yuji Hentaigana Akebono", + "version": "Version 3.002" + }, + "Yuji Mai": { + "name": "Yuji Mai", + "version": "Version 3.002" + }, + "Yuji Syuku": { + "name": "Yuji Syuku", + "version": "Version 3.002" + }, + "Yusei Magic": { + "name": "Yusei Magic", + "version": "Version 1.200" + }, + "ZCOOL KuaiLe": { + "name": "ZCOOL KuaiLe", + "version": "Version 2.000" + }, + "ZCOOL QingKe HuangYou": { + "name": "ZCOOL QingKe HuangYou", + "version": "Version 1.000" + }, + "ZCOOL XiaoWei": { + "name": "ZCOOL XiaoWei", + "version": "Version 1.000" + }, + "Zain": { + "name": "Zain", + "version": "Version 1.51; ttfautohint (v1.8.4)" + }, + "Zen Antique": { + "name": "Zen Antique", + "version": "Version 1.001" + }, + "Zen Antique Soft": { + "name": "Zen Antique Soft", + "version": "Version 1.001" + }, + "Zen Dots": { + "name": "Zen Dots", + "version": "Version 1.000; ttfautohint (v1.8.3)" + }, + "Zen Kaku Gothic Antique": { + "name": "Zen Kaku Gothic Antique", + "version": "Version 1.002" + }, + "Zen Kaku Gothic New": { + "name": "Zen Kaku Gothic New", + "version": "Version 1.002" + }, + "Zen Kurenaido": { + "name": "Zen Kurenaido", + "version": "Version 1.001" + }, + "Zen Loop": { + "name": "Zen Loop", + "version": "Version 1.000; ttfautohint (v1.8.3)" + }, + "Zen Maru Gothic": { + "name": "Zen Maru Gothic", + "version": "Version 1.001" + }, + "Zen Old Mincho": { + "name": "Zen Old Mincho", + "version": "Version 1.500" + }, + "Zen Tokyo Zoo": { + "name": "Zen Tokyo Zoo", + "version": "Version 1.002; ttfautohint (v1.8.3)" + }, + "Zeyada": { + "name": "Zeyada", + "version": "Version 1.002 2010" + }, + "Zhi Mang Xing": { + "name": "Zhi Mang Xing", + "version": "Version 2.001" + }, + "Zilla Slab": { + "name": "Zilla Slab", + "version": "Version 1.1; 2017; ttfautohint (v1.6)" + }, + "Zilla Slab Highlight": { + "name": "Zilla Slab Highlight", + "version": "Version 1.1; 2017; ttfautohint (v1.6)" + } + }, + "designers": { + "Anja Meiners": { + "name": "Anja Meiners", + "bio": null + }, + "Mark Jamra": { + "name": "Mark Jamra", + "bio": null + }, + "Neil Patel": { + "name": "Neil Patel", + "bio": null + }, + "Andrew Footit": { + "name": "Andrew Footit", + "bio": null + }, + "Niteesh Yadav": { + "name": "Niteesh Yadav", + "bio": "Niteesh Yadav, is a multi-disciplinary designer and independent researcher from India currently based in London (UK). He initiated the AR One research project in 2017 during his Master's in Typeface Design at the University of Reading, with a focus on exploring the evolution of typography into spatial interfaces. Since then he has been actively sharing insights from his ongoing research with the community. niteeshyadav.com/ | Instagram" + }, + "MADType": { + "name": "MADType", + "bio": null + }, + "Mooniak": { + "name": "Mooniak", + "bio": "Mooniak is the global leader in Sinhala type and typography. Based in Sri Lanka, it is a small studio working on Sinhala, Tamil and Thanna script type design, typography and research related. Mooniak believes in free culture and releases almost all of their work under FLOSS licenses. mooniak.com/" + }, + "Dominik J\u00e1ger": { + "name": "Dominik J\u00e1ger", + "bio": "Dominik J\u00e1ger is a graphic and type designer based in Brno, Czech Republic. He is mainly interested in a transformation of overlooked and unnoticed inscription pieces into a working font file that satisfies contemporary needs." + }, + "TypeTogether": { + "name": "TypeTogether", + "bio": "TypeTogether is an independent type foundry committed to excellence in type design with a focus on editorial use. Known for the popular typefaces Adelle and Bree, TypeTogether also creates custom type designs for corporate use, including their work for Google Play Books, Clar\u00edn, and Apple. Twitter" + }, + "SIL International": { + "name": "SIL International", + "bio": "SIL International works with local communities to develop language solutions that expand possibilities for a better life. A small team specializes in developing fonts for world scripts including Arabic, Burmese, Cyrillic, Devanagari, Ethiopic, Greek, Gunjala Gondi, Hebrew, Latin, Lepcha, Miao, New Tai Lue, Tai Viet, Tifinagh, and Yi. Webpage" + }, + "Astigmatic": { + "name": "Astigmatic", + "bio": null + }, + "Juan Pablo del Peral": { + "name": "Juan Pablo del Peral", + "bio": null + }, + "Huerta Tipogr\u00e1fica": { + "name": "Huerta Tipogr\u00e1fica", + "bio": "Argentina Huerta Tipogr\u00e1fica is a collaborative Argentinian type foundry with a deep respect for design and typography. Founded in 2009, the company began as a place to meet, cooperate, and share experiences while collaborating on academic and commercial projects. Huerta Tipogr\u00e1fica develops custom and retail fonts with libre, proprietary, or exclusive licenses, and is strongly committed to creating innovative and functional type. Their award-winning work has been recognized by Letter.2, Tipos Latinos, and the Bienal Iberoamericana de Dise\u00f1o. GitHub | Twitter" + }, + "Thomas Junold": { + "name": "Thomas Junold", + "bio": null + }, + "Cyreal": { + "name": "Cyreal", + "bio": null + }, + "VivaRado": { + "name": "VivaRado", + "bio": null + }, + "Kristian M\u00f6ller": { + "name": "Kristian M\u00f6ller", + "bio": "Kristian M\u00f6ller, the Stockholm-based type designer, specializes in crafting custom typefaces for a diverse portfolio of clients, including Northvolt, SEB, Public Transport in Stockholm County (SL), Pensionsmyndigheten, JM Bygg, Zo\u00e9gas, Elkj\u00f8p, and many others. Kristian\u2019s type design for Vasakronan earned him the prestigious \u201cWinners of the 24th TDC Typeface Design Competition\u201d in 2021. In addition to his exceptional type design work, Kristian also undertakes traditional design projects, conducts engaging workshops, and delivers insightful lectures, showcasing a multifaceted approach to typography. LinkedIn | Github" + }, + "Dicotype": { + "name": "Dicotype", + "bio": "Dicotype is an independent type foundry in Stockholm. dicotype.com | Github" + }, + "Raphael Al\u1eb9\u0301gb\u1eb9\u0301l\u1eb9\u0301y\u1eb9\u0300": { + "name": "Raphael Al\u1eb9\u0301gb\u1eb9\u0301l\u1eb9\u0301y\u1eb9\u0300", + "bio": "Raphael Al\u1eb9\u0301gb\u1eb9\u0301l\u1eb9\u0301y\u1eb9\u0300 loves making typefaces. He is the founder of ColumnType where he creates beautiful functional typefaces with African language support. Instagram" + }, + "Sorkin Type": { + "name": "Sorkin Type", + "bio": "Sorkin Type makes typefaces that balance a concern for aesthetics, expression, and utility. It was founded in 2011. sorkintype.com | Twitter" + }, + "Eben Sorkin": { + "name": "Eben Sorkin", + "bio": "Eben Sorkin enjoys making type with definite personalities optimized for specific typographic purposes. He has been designing type since 2009. Twitter" + }, + "The DocRepair Project": { + "name": "The DocRepair Project", + "bio": null + }, + "Patric King": { + "name": "Patric King", + "bio": "Patric King is half of House of Pretty, Ltd. and XO Type Co. from Chicago, alongside his husband Su. Patric holds a BA from the design program at the University of Tennessee at Knoxville. He began designing professionally in 1994 as an assistant to Rick Valicenti at Thirst in 1994, then served as design director of Gawker Media until 2011. He has owned and operated House of Pretty, Ltd. since 2007. xotype.co | Twitter | Instagram" + }, + "Seun Badejo": { + "name": "Seun Badejo", + "bio": "Based in Lagos and Malta, Seun Badejo is an experienced Graphic and Type Designer with a professional career spanning over 7 years, driving impact> seun.design" + }, + "Sudtipos": { + "name": "Sudtipos", + "bio": null + }, + "Vaishnavi Murthy": { + "name": "Vaishnavi Murthy", + "bio": "Vaishnavi is a typeface designer specializing in Indic scripts. She works on the conservation and restoration of books, manuscripts, documents, and ephemera\u2014in order to study them. By combining these two practices, Vaishnavi is able to deconstruct and experiment with the structure of Indic letter shapes from an informed perspective." + }, + "Juan Luis Blanco": { + "name": "Juan Luis Blanco", + "bio": null + }, + "Grzegorz Klimczewski": { + "name": "Grzegorz Klimczewski", + "bio": null + }, + "Tall Chai": { + "name": "Tall Chai", + "bio": "Tall Chai is an indie type foundry dedicated to Indic and Latin font development. Fonts are made with heart, soul and spice. tallchai.com | Instagram" + }, + "Spyros Zevelakis": { + "name": "Spyros Zevelakis", + "bio": null + }, + "Andreas Rasmussen": { + "name": "Andreas Rasmussen", + "bio": "Andreas is a graphic and type designer based in Copenhagen, Denmark. a-foundry.com" + }, + "Hagilda": { + "name": "Hagilda", + "bio": null + }, + "Mushon Zer-Aviv": { + "name": "Mushon Zer-Aviv", + "bio": null + }, + "Alessio Laiso": { + "name": "Alessio Laiso", + "bio": null + }, + "Robert Leuschke": { + "name": "Robert Leuschke", + "bio": "Founder and CEO of TypeSETit, Rob Leuschke is a graphic designer, lettering artist and type designer based just outside of St. Louis, MO, USA. Spanning nearly four decades, Rob\u2019s work has consisted mostly of producing lettering and graphics for packaging, logos, and social expression products. typesetit.com" + }, + "Mohamed Gaber": { + "name": "Mohamed Gaber", + "bio": "Mohamed Gaber (Cairo, 1986) is a type designer and artist based in Amsterdam. His primary interest lies in the haptic nature of type production and its technological, philosophical, and historical aspects. He holds a Master in design from Sandberg Instituut (Amsterdam). He has founded Kief Type Foundry (a type foundry specialising in open-source Arabic fonts), TypePlatform (a research space for under-represented writing systems focusing on Arabic script), and co-founded TypeLab at Sandberg Instituut (an open platform to experiment with typography). He taught as a guest tutor at AUC (Egypt), VCU (Qatar), and Linnaeus University (Sweden). In addition, he often gives workshops and talks around the world. His type design work is featured on Google fonts, and his artworks were exhibited in DDW (UAE), CTM 2020 (Germany), Venice Biennale 2020 (Italy), MK&G-Hamburg (Germany), Mediamatic (Netherlands), and VCU (Qatar). His work was nominated for the Jameel Art Prize in 2013 and awarded Best Arabic Display font from Granshan in 2016. gaber.design | Instagram" + }, + "Julieta Ulanovsky": { + "name": "Julieta Ulanovsky", + "bio": "Julieta Ulanovsky lives and works in Buenos Aires. She is a graphic designer and typographer (UBA). In 1989 she founded the ZkySky design studio with Valeria Dulitzky. They specialize in identity design, editorial design, and consulting. She is the co-author of three design books and other typeface design projects linked to urban themes. Behance" + }, + "JM Sol\u00e9": { + "name": "JM Sol\u00e9", + "bio": null + }, + "Ksenya Erulevich": { + "name": "Ksenya Erulevich", + "bio": null + }, + "Sveta Sebyakina": { + "name": "Sveta Sebyakina", + "bio": null + }, + "Suman Bhandary": { + "name": "Suman Bhandary", + "bio": "Suman Bhandary is an independent type designer with keen interest on research based on typography and type design, primarily on Indian scripts. He is currently associated with the Indian Institute of Art and Design, New Delhi, as an assistant Professor." + }, + "Anton Koovit": { + "name": "Anton Koovit", + "bio": null + }, + "Matt McInerney": { + "name": "Matt McInerney", + "bio": null + }, + "Boutros Fonts": { + "name": "Boutros Fonts", + "bio": "The Boutros Group and its team of experts headed by Mourad and Arlette Boutros has led the field of Arabic creativity, typography, calligraphy and design for more than 40 years. Twitter | Homepage" + }, + "Mourad Boutros": { + "name": "Mourad Boutros", + "bio": null + }, + "Ana Sanfelippo": { + "name": "Ana Sanfelippo", + "bio": null + }, + "Karolina Lach": { + "name": "Karolina Lach", + "bio": null + }, + "Gesine Todt": { + "name": "Gesine Todt", + "bio": null + }, + "Vernon Adams": { + "name": "Vernon Adams", + "bio": "Vernon practiced typeface design from 2007 to 2014. A lifelong artist, during this time he eagerly explored designing type for the cloud-based era. His work spans all genres, from lively script faces to workhorse text families and operating system UI. Vernon graduated with an MA in Typeface Design from the University of Reading and lives in California. His designs are mostly published as open source Google Fonts and his favorite projects include Oxygen Mono, Monda, and Bowlby One. Follow his story at www.sansoxygen.com. Website | Instagram" + }, + "Ben Nathan": { + "name": "Ben Nathan", + "bio": null + }, + "Thomas Jockin": { + "name": "Thomas Jockin", + "bio": "Thomas Jockin is a typeface designer and founder of TypeThursday. Homepage | Type Thursday" + }, + "Impallari Type": { + "name": "Impallari Type", + "bio": "Pablo Impallari is Argentinian type designer based in Rosario. Twitter" + }, + "Khaled Hosny": { + "name": "Khaled Hosny", + "bio": "Khaled Hosny is an Egyptian type designer who specializes in Arabic type design, and a software developer whose areas of expertise include font engineering, text layout, localization, and internationalization. Khaled is also an amateur artist. Github | Twitter" + }, + "Sebastian Kosch": { + "name": "Sebastian Kosch", + "bio": null + }, + "Eduardo Tunni": { + "name": "Eduardo Tunni", + "bio": "Eduardo Tunni was born in Buenos Aires, Argentina, in 1963. He studied graphic design at the University of Buenos Aires (UBA) and later specialized in typographic design. He co-founded the type foundry \"Tipo\" and some of his published there fonts were exhibited, selected and awarded around the world. For 10 years he was a teacher of the Master Career of Type Design at the UBA where he continues as external consultant. He made multilingual custom fonts for magazines, newspapers, universities, companies and countries with the collaboration of other colleagues. He has developed design methods that have been incorporated into the main typography design software that collaborates with typographic production. Instagram" + }, + "Brian Bonislawsky": { + "name": "Brian Bonislawsky", + "bio": null + }, + "Universidad Nacional de Colombia (UNAL)": { + "name": "Universidad Nacional de Colombia (UNAL)", + "bio": "Universidad Nacional de Colombia (UNAL) is a national public research university with the following campuses: Amazonia, Bogot\u00e1, Caribe, De La Paz, Manizales, Medell\u00edn, Palmira, Orinoquia and Tumaco. It was established in 1867 by an act of the Congress of Colombia and is one of the largest universities in the country. Key institutional dependencies, such as UNIMEDIOS (the university\u2019s Communications & Media Unity), OMD (its Digital Media Office), LAB101 (its innovation laboratory), and the Faculty of Arts in Bogot\u00e1, have worked in close collaboration in order to make possible the UNAL Anc\u00edzar project." + }, + "C\u00e9sar Puertas": { + "name": "C\u00e9sar Puertas", + "bio": "C\u00e9sar Puertas is a graphic designer from the National University of Colombia and holds a Master\u2019s degree in Type and Media from the Royal Academy of Arts in The Hague (KABK), Netherlands. He is an associate professor at Universidad Nacional de Colombia and cofounder of Typograma, his own design studio, where he specializes in branding, type and editorial design for various clients." + }, + "Viviana Monsalve": { + "name": "Viviana Monsalve", + "bio": "Viviana Monsalve is a graphic designer specializing in typography. She holds degrees from the National University of Colombia and the University of Buenos Aires. Her interest in typography lies in its role as a technology in itself, that can make written culture more accessible and functional for a broader audience. She currently works independently, producing and engineering fonts for clients worldwide." + }, + "Juli\u00e1n Moncada": { + "name": "Juli\u00e1n Moncada", + "bio": "Juli\u00e1n Moncada is a Colombian type designer based in Bogot\u00e1. He earned his Master\u2019s degree in Typeface Design from the University of Reading and later studied at ANRT in Nancy, France. In collaboration with Jonathan Barnbrook and Ryuhei Nakadai, he designed Resolution and Resolution Blackletter, a family of display typefaces developed as a creative response to the political situation in Northern Ireland." + }, + "Carolina Giovagnoli": { + "name": "Carolina Giovagnoli", + "bio": "Carolina Giovagnoli is an Argentinian type designer based in Berlin. She combines her passion for both editorial design and letters in the type design. She is also co-founder and partner at Huerta Tipogr\u00e1fica. Her work and research approaches typography and linguistic diversity. www.huertatipografica.com | Instagram" + }, + "Ek Type": { + "name": "Ek Type", + "bio": "Ek Type is a collaborative type design studio based in Mumbai that specialises in developing multi-script typefaces across all Indian languages. The studio is long known for its meticulous design process which gives adequate importance to script grammar and script traditions, thereby producing high-quality fonts in multiple weights, supporting multiple software platforms for a wide range of applications. It consists of experienced type designers, researchers, and academicians spanning a wide age group whose varied skill sets complement each other. Apart from developing fonts, Ek Type also documents typographic artefacts, and creates awareness about Indian typography through workshops. In addition to this, the studio also mentors and collaborates with upcoming type designers by engaging them in the process of font development. Website | Github | Instagram | LetterBox | Twitter" + }, + "Danh Hong": { + "name": "Danh Hong", + "bio": "Danh Hong has many years of experience creating fonts for Khmer and other Southeast Asian languages, and is actively involved in the KhmerOS project, dedicated to a vision where Cambodians can learn and use computers in their own language. Khmer Type" + }, + "Kimberly Geswein": { + "name": "Kimberly Geswein", + "bio": null + }, + "Mark Simonson": { + "name": "Mark Simonson", + "bio": null + }, + "Sergej Lebedev": { + "name": "Sergej Lebedev", + "bio": "Sergej Lebedev is a German type designer. He studied at the Trier University of Applied Sciences, where he successfully graduated in communication design. The main focus of his creative work is corporate design and type design. His goal is to create high-quality fonts which will serve as an excellent base for any design projects whether it be advertising, corporate design, graphic design and web design. typedesigner.de" + }, + "Santiago Orozco": { + "name": "Santiago Orozco", + "bio": "Santiago Orozco is a type designer and engineer, based in Monterrey, Nuevo Le\u00f3n, M\u00e9xico. With a background in computer science at the University of Monterrey (UDEM), he found himself at the intersection between design and technology. In 2009, he Founded Typemade Foundry, and now specializes in type design, font production, and type technology. typemade.com" + }, + "Cadson Demak": { + "name": "Cadson Demak", + "bio": "Cadson Demak is the first Thai communication design firm to develop type design solutions. Founded in 2002, the studio came together through a shared love of typography and design, a wish to expand and modernize the font industry as a whole, and the desire to make everyday use of type more accessible. They expanded from a modest design firm with dozens of their own typefaces into a boutique type foundry under the name Cadson Demak in 2008. Github | Twitter" + }, + "Tyler Finck": { + "name": "Tyler Finck", + "bio": "Tyler Finck is a prolific and polyvalent designer/artist/musician based in Ithaca, New-York. Homepage" + }, + "Natsumi Matsuba": { + "name": "Natsumi Matsuba", + "bio": "Natsumi Matsuba was born in 1991 and is based in Chiba, Japan. Graduated from the Tokyo Zokei University, Natsumi Matsuba likes display fonts and mainly works on editorial designs. Twitter" + }, + "Omnibus-Type": { + "name": "Omnibus-Type", + "bio": "Omnibus-Type is a collective typefoundry based in Buenos Aires, Argentina. Homepage" + }, + "Abdullah Aref": { + "name": "Abdullah Aref", + "bio": "Abdullah Aref is an Egyptian art teacher, calligrapher, and Arabic type designer. Behance | Facebook" + }, + "Hermann Zapf": { + "name": "Hermann Zapf", + "bio": null + }, + "Natanael Gama": { + "name": "Natanael Gama", + "bio": "Inspired by his early typography classes, Natanael decided to start experimenting with fonts and hasn\u2019t stopped since. He is the designer of Exo and Cinzel, two very popular web font families. In 2011 he founded NDISCOVER, a Portuguese Digital Type Foundry. Even though play has become work for Natanael, he still enjoys designing fonts. ndiscover.com." + }, + "Joana Correia": { + "name": "Joana Correia", + "bio": "Joana is a type designer based in Porto, Portugal. She has degrees in architecture and graphic design, and an MA in Typeface Design from the University of Reading. With her strong interest in global linguistic culture, Joana designs typefaces for Indic writing systems, and has developed multilingual work for the Indian Type Foundry and Google Fonts. She teaches type design at ESAD College of Art and Design where she shares her love of letters with students. www.joanacorreiatype.com | Twitter" + }, + "Rosalie Wagner": { + "name": "Rosalie Wagner", + "bio": "Rosalie Wagner is a french type designer/font engineer based in Berlin, Germany. rosaliewagner.com | Instagram" + }, + "Steve Matteson": { + "name": "Steve Matteson", + "bio": "Steve Matteson is a typeface designer based in Louisville, CO. Owner of Matteson Typographics and formerly Type Director for Monotype and Ascender Corp. Steve is an avid cyclist, musician and letterpress printer. Homepage" + }, + "Viktoriya Grabowska": { + "name": "Viktoriya Grabowska", + "bio": null + }, + "Andrij Shevchenko": { + "name": "Andrij Shevchenko", + "bio": null + }, + "Riccardo De Franceschi": { + "name": "Riccardo De Franceschi", + "bio": null + }, + "Adobe Systems Inc.": { + "name": "Adobe Systems Inc.", + "bio": null + }, + "42dot": { + "name": "42dot", + "bio": "We Are A Mobility AI Company We envision a world where everything is connected and moves autonomously through a self-managing urban transportation operating system. To make this vision a reality, we develop software and AI technologies to reimagine the future of mobility. Website | LinkedIn" + }, + "Dan Rhatigan": { + "name": "Dan Rhatigan", + "bio": null + }, + "Mariela Monsalve": { + "name": "Mariela Monsalve", + "bio": null + }, + "Braille Institute": { + "name": "Braille Institute", + "bio": "Braille Institute is a nonprofit organization that has been positively transforming the lives of those with sight loss for more than 100 years. All programs and services are free of charge, and available through seven Southern California centers, as well as remotely by phone or computer. www.brailleinstitute.org" + }, + "Applied Design Works": { + "name": "Applied Design Works", + "bio": "Creating work that has an impact\u2014this is the singular mission of Applied Design Works. Founded in 2015, Applied Design Works is based in New York and specializes in all aspects of design, planning, strategy, and implementation. Applied&s clients include a broad range of mission-driven organizations. helloapplied.com" + }, + "Elliott Scott": { + "name": "Elliott Scott", + "bio": "Elliott Scott is a Creative Director at Applied Design Works and lives in Queens, New York." + }, + "Megan Eiswerth": { + "name": "Megan Eiswerth", + "bio": "Megan Eiswerth is a Designer at Applied Design Works, and lives in Brooklyn, New York. Instagram" + }, + "Linus Boman": { + "name": "Linus Boman", + "bio": "Linus Boman is a designer, lettering artist, and communicator based in Malm\u00f6, Sweden. timesnewboman.com/" + }, + "Theodore Petrosky": { + "name": "Theodore Petrosky", + "bio": "Theodore Petrosky studied computers while performing in Santiago, Chile. Today, he is a typographer and musician living in Bridgewater, New Jersey." + }, + "Letters From Sweden": { + "name": "Letters From Sweden", + "bio": "Letters from Sweden, founded in 2011, designs retail and custom typefaces for local and international clients. Our mission isn\u2019t just to churn out fonts, our purpose is higher. Printed or pixelated, what drives us is clear communication in the right voice. Our fonts are recognized worldwide by companies and organizations. Our letters come from Sweden, but they are for everyone. lettersfromsweden.se" + }, + "Black Foundry": { + "name": "Black Foundry", + "bio": null + }, + "James Grieshaber": { + "name": "James Grieshaber", + "bio": null + }, + "Dan Sayers": { + "name": "Dan Sayers", + "bio": null + }, + "Displaay": { + "name": "Displaay", + "bio": "Displaay is an independent type foundry established by Martin V\u00e1cha in 2016 and based in Prague, Czech Republic. The team has numerous collaborators around the world. The foundry focuses on retail and custom typefaces. The aim is to develop distinctive typefaces that are missing on the market. displaay.net" + }, + "Martin V\u00e1cha": { + "name": "Martin V\u00e1cha", + "bio": "Martin V\u00e1cha has focused on type design continually since 2008. His experience began during his time at the Academy of Arts, Architecture and Design in Prague where he studied at both the Graphic Design and Type Design studios. He established an independent type foundry Displaay in 2016 which is based in Prague, Czech Republic. Instagram" + }, + "PolarSys": { + "name": "PolarSys", + "bio": null + }, + "Nicolas Chauveau": { + "name": "Nicolas Chauveau", + "bio": null + }, + "Thomas Paillot": { + "name": "Thomas Paillot", + "bio": null + }, + "Jonathan Favre-Lamarine": { + "name": "Jonathan Favre-Lamarine", + "bio": null + }, + "Jean-Luc Vinot": { + "name": "Jean-Luc Vinot", + "bio": null + }, + "Type Bank Co.": { + "name": "Type Bank Co.", + "bio": null + }, + "Morisawa Inc.": { + "name": "Morisawa Inc.", + "bio": "Morisawa Inc. is Japan's leading font foundry that has never wavered from its commitment to undertaking research and development in typography since its invention of the first Japanese phototypesetting machine in 1924. The company provides font licenses for over 1,500 typefaces of Japanese and multi-script, web font services, embedded fonts, and multilingual e-magazine/book solution services. morisawa.co.jp" + }, + "Claus Eggers S\u00f8rensen": { + "name": "Claus Eggers S\u00f8rensen", + "bio": "Claus Eggers S\u00f8rensen received his BDes from The Gerrit Rietveld Academie in Amsterdam, The Netherlands, and a Master of Arts in Typeface Design at The Department of Typography & Graphic Communication, The University of Reading. He has a background in graphic design and commercial art direction. Though of Danish nationality, he is currently living and working in Amsterdam. forthehearts.net" + }, + "Gaslight": { + "name": "Gaslight", + "bio": null + }, + "Hani Alasadi": { + "name": "Hani Alasadi", + "bio": "Hani AbdulAmir, based in Dubai, UAE, is a creative director and multidisciplinary graphic designer with a profound focus on typography and type design. With a Master\u2019s degree in Computer Science from the University of Jordan, Hani blends technical rigor with a passion for expressive letterforms. He has developed award-winning brand identities, with each project showcasing his meticulous approach to type and its power to shape compelling brand narratives. Known for his strategic and detail-oriented creativity, Hani pushes the boundaries of typography to bring depth and clarity to every visual story he tells. haniadnan.com | Instagram" + }, + "Kyungwon Kim": { + "name": "Kyungwon Kim", + "bio": null + }, + "JAMO": { + "name": "JAMO", + "bio": "JAMO is a type design collective group based in Seoul, Korea. They provide professional education, information, and discussion to designers who are wishing to develop their own typefaces through their workshop. JAMO encourages more experimental and unconventional typeface design by getting inspirations from old types, finding an alternative usage from existing ones, and suggesting new letterforms for the future. They aim to escape from the passive practice and create more self-initiating active typefaces. JAMO offers high-quality typeface design based on the deep levels of research, planning, and study. By broadening the potential of Hangul, they propose a new type design methodology to co-live with other worldwide letters including the Latin Alphabet." + }, + "Saumya Kishore": { + "name": "Saumya Kishore", + "bio": null + }, + "Sanchit Sawaria": { + "name": "Sanchit Sawaria", + "bio": null + }, + "Maximiliano Sproviero": { + "name": "Maximiliano Sproviero", + "bio": null + }, + "Michael Angeles": { + "name": "Michael Angeles", + "bio": null + }, + "Dario Manuel Muhafara": { + "name": "Dario Manuel Muhafara", + "bio": null + }, + "Jeremy Tribby": { + "name": "Jeremy Tribby", + "bio": null + }, + "Magnus Gaarde": { + "name": "Magnus Gaarde", + "bio": null + }, + "ANRT": { + "name": "ANRT", + "bio": "The ANRT (Atelier national de recherche typographique) is a postgraduate research course in type design and typography based in Nancy, France anrt-nancy.fr | Instagram" + }, + "L\u00e2m B\u1ea3o": { + "name": "L\u00e2m B\u1ea3o", + "bio": "L\u00e2m B\u1ea3o co-founded Yellow Type Foundry with Duy \u0110\u00e0o in Vietnam in 2018, alongside being an independent designer focusing on product & visual design. During the years, they have worked with a couple of renown Vietnamese brands, including OPPO Vietnam, beGroup, mCredit by MBBank, and a few more to be named or in progress. The duo focus on delivering the best of their craftmanship in modern typefaces, especially made for Vietnamese and continue contributing to the next generation of type designers in Vietnam. Instagram" + }, + "Tony Le": { + "name": "Tony Le", + "bio": null + }, + "Vi\u1ec7tAnh Nguy\u1ec5n": { + "name": "Vi\u1ec7tAnh Nguy\u1ec5n", + "bio": "Vi\u1ec7tAnh Nguy\u1ec5n is a vietnamese type lover, design engineer and boardgame designer at naboardgames.com bettergui.com" + }, + "Ryoichi Tsunekawa": { + "name": "Ryoichi Tsunekawa", + "bio": null + }, + "Arlette Boutros": { + "name": "Arlette Boutros", + "bio": null + }, + "Volker Schnebel": { + "name": "Volker Schnebel", + "bio": null + }, + "LatinoType": { + "name": "LatinoType", + "bio": null + }, + "Nick Shinn": { + "name": "Nick Shinn", + "bio": null + }, + "Liron Lavi Turkenic": { + "name": "Liron Lavi Turkenic", + "bio": null + }, + "Kemie Guaida": { + "name": "Kemie Guaida", + "bio": null + }, + "John Harrington": { + "name": "John Harrington", + "bio": null + }, + "Ben Weiner": { + "name": "Ben Weiner", + "bio": null + }, + "Owen Earl": { + "name": "Owen Earl", + "bio": "Owen Earl is a type designer who thrives on high quality, versatile, modern typography that is accessible to everybody. He is running indestructible type*, a foundry focusing on recreating historical bestseller fonts, distributing them for free with a full range of widths and styles. Homepage" + }, + "Rob Jelinski": { + "name": "Rob Jelinski", + "bio": null + }, + "Alyson Fraser Diaz": { + "name": "Alyson Fraser Diaz", + "bio": null + }, + "Erin McLaughlin": { + "name": "Erin McLaughlin", + "bio": "Erin McLaughlin is a US-based multi-script font designer who has worked with independent foundries Frere-Jones Type, Universal Thirst, TypeTogether, as well as Adobe, IBM, Microsoft, and Google. Erinmclaughlin.com" + }, + "TypeSETit": { + "name": "TypeSETit", + "bio": null + }, + "Aoife Mooney": { + "name": "Aoife Mooney", + "bio": "Aoife is a typeface designer and teacher. She has a degree in Visual Communications from Dublin Institute of Technology and an MA in Typeface Design from the University of Reading. Alongside her freelance practice, Aoife is an Assistant Professor at Kent State University, where she teaches typography and typeface design. Before moving to Ohio, Aoife worked as part of Hoefler & Co.\u2019s design team in New York, developing Idlewild, Surveyor, and many other typefaces. Most recently she worked with Frere-Jones Type on Mallory. BioRhyme is her first original, published typeface design. www.aoifemooney.org | GitHub | Twitter" + }, + "Dan Reynolds": { + "name": "Dan Reynolds", + "bio": "Dan is an independent designer with a focus on letters: he draws typefaces, builds fonts, writes about typography, and teaches design and design history. He\u2019s working on a doctoral dissertation on German type from the Wilhelmine period. Originally from the United States, Dan has lived in England and now resides in Germany. He created the typeface Dasa, and together with Mathieu R\u00e9guer developed Biryani and Martel Sans. www.typeoff.de | GitHub | Twitter" + }, + "Mathieu R\u00e9guer": { + "name": "Mathieu R\u00e9guer", + "bio": null + }, + "Petr van Blokland": { + "name": "Petr van Blokland", + "bio": null + }, + "Sol Matas": { + "name": "Sol Matas", + "bio": "Sol lives and breathes type design in her beloved adopted city of Berlin. From her sunny studio, she collaborates with an international type and design community. Type design found and claimed her during her formative years at Universidad de Buenos Aires. She mingled and shared classes with architects, and those technical ideas infused her design methodology with the functional precision of an engineer. After spending time at Saatchi & Saatchi, she set out on her own, and formed a new studio. Client projects have led her to research glyphs for Cyrillic, Greek, Oriya, and Devanagari, uncovering the history and meaning of the strokes. solmatas.com" + }, + "AsiaSoft Inc.": { + "name": "AsiaSoft Inc.", + "bio": null + }, + "Zess Type": { + "name": "Zess Type", + "bio": null + }, + "Juergen Huber": { + "name": "Juergen Huber", + "bio": null + }, + "Universitype": { + "name": "Universitype", + "bio": "Universitype is a font foundry based in Makassar, Indonesia. It was established in 2024. The team consists of four passionate experienced type designers, they are Muh. Aswar, Ahmad Muzayyin Syarkawi, Andi Syahdang and Novan Arisandi, who specialize in crafting unique typography. They draw inspiration from Indonesia's rich cultural heritage and diverse landscapes to create distinctive and expressive fonts. Website | Instagram" + }, + "Capitalics": { + "name": "Capitalics", + "bio": "Capitalics Warsaw Type Foundry is one of the first digital type foundries in Poland. It was started as a group collective of typeface designers, out of passion for good typography. Their designs are aimed for conscious customers who look for unique and high quality typefaces. The initiating founder was Micha\u0142 Jaroci\u0144ski. Homepage" + }, + "Mateusz Machalski": { + "name": "Mateusz Machalski", + "bio": "Mateusz Machalski, PhD, studied at the Academy of Fine Arts in Warsaw (PhD in Typeface Design 2020, MA in Graphic Design 2014). He works at the Faculty of Graphics in the Studio of Multimedia Artistic Creation at his alma mater. He is a member of the board of the Association of Applied Graphic Designers in Poland. Homepage" + }, + "Andrzej Heidrich": { + "name": "Andrzej Heidrich", + "bio": null + }, + "John Vargas Beltr\u00e1n": { + "name": "John Vargas Beltr\u00e1n", + "bio": null + }, + "Ashish Kumar": { + "name": "Ashish Kumar", + "bio": "Ashish Kumar is a multidisciplinary designer from India. He is a passionate font designer with a vision to create harmonious multi-script fonts for all Indian languages. He designed his first Devanagari typeface as a graduation project in 2017 for bilingual communication at IDC School of Design, IIT Bombay. Behance | LinkedIn" + }, + "Mathieu Triay": { + "name": "Mathieu Triay", + "bio": "Mathieu Triay is a French designer and software engineer based in London. He runs Atelier Triay, a small creative practice producing websites and fonts amongst other physical and digital artefacts. In 2017 he released Marvin Visions, a variable font specially created for Visions, a magazine he edited and designed. mathieutriay.com | readvisions.com" + }, + "Borys Kosmynka": { + "name": "Borys Kosmynka", + "bio": "Borys Kosmynka, PhD, is a Polish typeface designer and typographer based in London. He helps the coordination of the Association of Applied Graphic Designers in Poland. His work often combines design and typographic historical research." + }, + "Ania Wielu\u0144ska": { + "name": "Ania Wielu\u0144ska", + "bio": "Ania Wielu\u0144ska is a graphic and type designer. She is a PhD student and head of the typedesign studio at the Academy of Fine Arts in Warsaw. She is a laureate of the TDC Beatrice Warde scholarship, funded by Monotype (NYC). She is the author of \"Lazarus\" and co-author of \"Bona Nova\" and \"P\u00f3\u0142tawski Nowy\" typefaces. Homepage" + }, + "Przemys\u0142aw Hoffer": { + "name": "Przemys\u0142aw Hoffer", + "bio": "Przemys\u0142aw Hoffer graduated the Academy of Fine Arts in Katowice. He is a designer and initiator of graphic design and arts exhibitions and events. He co-founded the Distort Visual Collective, which focuses on the use of classical typography based on metal typesetting and printing art. He collaborates with the Book Arts Museum in Lodz since 2011. Homepage" + }, + "Brenda Gallo": { + "name": "Brenda Gallo", + "bio": null + }, + "Ad\u00e8le Antignac": { + "name": "Ad\u00e8le Antignac", + "bio": null + }, + "Gustavo Ibarra": { + "name": "Gustavo Ibarra", + "bio": "Book designer based in Buenos Aires. Professor of Design and Typography in the Diploma in Book Arts (UNA-Argentina). Designer at Ediciones Urania. He gives talks and courses on books, design and typesetting. Instagram" + }, + "David Jonathan Ross": { + "name": "David Jonathan Ross", + "bio": "David draws letters of all shapes and sizes for custom and retail typeface designs. He joined The Font Bureau in 2007, and his typeface designs include Manicotti, a Wild West slab; Turnip, a rugged book face; and Input, an extensive family designed for computer programming. David shares his love of letters through lectures and workshops, and co-curates a collection of cursive signage in Los Angeles. www.djr.com | GitHub | Twitter" + }, + "Typomondo": { + "name": "Typomondo", + "bio": null + }, + "Tart Workshop": { + "name": "Tart Workshop", + "bio": null + }, + "Baltdev": { + "name": "Baltdev", + "bio": null + }, + "Rodrigo Fuenzalida": { + "name": "Rodrigo Fuenzalida", + "bio": "Rodrigo Fuenzalida is a Venezuelan Type Designer based in Santiago de Chile. He likes to draw fonts that could be used in video games. He also likes to do revivals of old designs. His work has been featured in various publications. He currently runs his independent type foundry fragTYPE. Behance" + }, + "Henry Chan": { + "name": "Henry Chan", + "bio": null + }, + "Tian Haidong": { + "name": "Tian Haidong", + "bio": null + }, + "Moonlit Owen": { + "name": "Moonlit Owen", + "bio": null + }, + "Open Window": { + "name": "Open Window", + "bio": null + }, + "Accademia di Belle Arti di Urbino": { + "name": "Accademia di Belle Arti di Urbino", + "bio": null + }, + "Mark Davis": { + "name": "Mark Davis", + "bio": "Mark Davis is a Brooklyn-based type designer and art director, working with clients from local institutions to national brands. His fascination with typography began in high school after seeing Gary Hustwit\u2019s Helvetica (2007), sparking a lifelong obsession with type\u2019s role in shaping communication. A Taylor University graduate, Mark studied type design at The Cooper Union before interning at the legendary Font Bureau. He\u2019s since shaped brand and campaign identities at BuzzFeed News, NBCUniversal, SME Branding, Tronvig, and independently, contributing to projects for Ticketmaster, Cal.com, WWD, Type Network, The Font Bureau, NMWA, VNS Health, the Kentucky Derby, the Breeders\u2019 Cup, and Nike. designermarkdavis.com | x.com/MarkFonts" + }, + "Cal.com Inc.": { + "name": "Cal.com Inc.", + "bio": "Cal.com is building the best scheduling infrastructure for everyone. Open Source, on-premise and best-in-class. cal.com" + }, + "Andr\u00e9s Torresi": { + "name": "Andr\u00e9s Torresi", + "bio": null + }, + "Carolina Giovanolli": { + "name": "Carolina Giovanolli", + "bio": null + }, + "Yvonne Sch\u00fcttler": { + "name": "Yvonne Sch\u00fcttler", + "bio": null + }, + "Pooja Saxena": { + "name": "Pooja Saxena", + "bio": "Pooja Saxena is a type designer, typographer and researcher based in New Delhi. Her focus is on Indic scripts, notably Devanagari, and on typographic and visual languages emerging in India. She documents local street lettering and collects ephemera. matratype.com/" + }, + "Dave Crossland": { + "name": "Dave Crossland", + "bio": null + }, + "Phaedra Charles": { + "name": "Phaedra Charles", + "bio": "Phaedra Charles (she/they) is a Brooklyn-based typeface designer and lettering artist. Twitter" + }, + "Flavia Zimbardi": { + "name": "Flavia Zimbardi", + "bio": "Flavia Zimbardi is a typeface designer and visual artist from Rio de Janeiro, and currently based in Berlin. Twitter" + }, + "David Perry": { + "name": "David Perry", + "bio": null + }, + "\u0141ukasz Dziedzic": { + "name": "\u0141ukasz Dziedzic", + "bio": "\u0141ukasz is a Warsaw-based designer. During Poland's first free elections in 1989, he joined Gazeta Wyborcza, the first independent daily newspaper, and soon found a home in the design department co-creating page layouts and his first typeface. In 2007, he created a three-style Latin and Cyrillic corporate family for empik, one of Poland\u2019s largest retail networks. In 2010, he started the Lato project, to develop a high-quality open-source font family." + }, + "Rub\u00e9n Prol": { + "name": "Rub\u00e9n Prol", + "bio": null + }, + "Carrois Apostrophe": { + "name": "Carrois Apostrophe", + "bio": "Germany Carrois Apostrophe focuses on language extension and the development of corporate type. The studio was founded in 1975 by Ralph Carrois. The typeface for Suzuki was one of Ralph\u2019s early projects, and he has since designed typefaces for TYPO3, the Neue National Galerie, and the Museo de Art de Ponce, among many others. In cooperation with Erik Spiekermann, Carrois Apostrophe has realized projects for Cisco, the German television broadcaster ZDF, designed Fira for Mozilla, and FF Real which was released by Fontshop. The studio is currently working on new designs and smart plugins for the font editor Glyphs." + }, + "Aaron Bell": { + "name": "Aaron Bell", + "bio": null + }, + "Mohamad Dakak": { + "name": "Mohamad Dakak", + "bio": null + }, + "Liron Lavi Turkenich": { + "name": "Liron Lavi Turkenich", + "bio": null + }, + "Tiro Typeworks": { + "name": "Tiro Typeworks", + "bio": "Tiro Typeworks is a small type foundry specialising in custom fonts for multilingual publishing and computing. Tiro\u2019s clients include Adobe, Apple, Brill, Google, Harvard University Press, Microsoft, the STI Pub consortium, and other specialist publishers and scholarly organisations." + }, + "John Hudson": { + "name": "John Hudson", + "bio": "John Hudson is a Canadian type designer and font maker, and co-founder of Tiro Typeworks (1994)." + }, + "Paul Hanslow": { + "name": "Paul Hanslow", + "bio": "Paul Hanslow is an Australian born typeface designer, currently working for Tiro Typeworks in Vancouver, Canada." + }, + "Kaja S\u0142ojewska": { + "name": "Kaja S\u0142ojewska", + "bio": "Kaja Słojewska is a graphic-turned-typeface designer, currently based in Vancouver, Canada. As Nomad Fonts, Kaja is working with foundries to expand typeface families, produce typefaces, and create custom fonts." + }, + "Pria Ravichandran": { + "name": "Pria Ravichandran", + "bio": null + }, + "Nidud": { + "name": "Nidud", + "bio": null + }, + "Miguel Hernandez": { + "name": "Miguel Hernandez", + "bio": "Miguel is a self-taught typeface designer based in Santiago de Chile. After designing commercial and experimental fonts for many years, he is now at work on the Latin American modernist type foundry Alphabets By Chileans (A.B.C.)." + }, + "Fontstage": { + "name": "Fontstage", + "bio": null + }, + "Appaji Ambarisha Darbha": { + "name": "Appaji Ambarisha Darbha", + "bio": null + }, + "Vicente Lam\u00f3naca": { + "name": "Vicente Lam\u00f3naca", + "bio": null + }, + "Satsuyako": { + "name": "Satsuyako", + "bio": "A freelance designer based in Saitama, Japan. Started designing Japanese fonts in 2012, including Yomogi, Cherry Bomb One, and more. They have also worked on Latin fonts since 2019. website | twitter" + }, + "Font Diner": { + "name": "Font Diner", + "bio": null + }, + "Nataliya Kasatkina": { + "name": "Nataliya Kasatkina", + "bio": null + }, + "Sideshow": { + "name": "Sideshow", + "bio": null + }, + "SMC": { + "name": "SMC", + "bio": "Swathanthra Malayalam Computing (SMC) is a free software collective engaged in development, localization, standardization and popularization of various Free and Open Source Softwares in Malayalam language. smc.org.in/" + }, + "Santhosh Thottingal": { + "name": "Santhosh Thottingal", + "bio": "Santhosh Thottingal is a typeface designer and a software engineer from India. He is an active contributor of Swathanthra Malayalam Computing organization and has designed popular Malayalam typefaces like Manjari and Chilanka. thottingal.in/" + }, + "Tamcy": { + "name": "Tamcy", + "bio": null + }, + "Font Zone 108": { + "name": "Font Zone 108", + "bio": "\"Font Zone 108\" is the pseudonym of a typeface designer who mainly works on Japanese fonts. He think, who knows, Japanese letters might not exist after 100 years. That is why he finds it so meaningful to hold the beauty of them inside fonts, with the sincere wish that Japanese will remain far into the future, without being forgotten. That\u2019s why his fonts are open source. twitter" + }, + "Daniel Coull": { + "name": "Daniel Coull", + "bio": null + }, + "Eino Korkala": { + "name": "Eino Korkala", + "bio": null + }, + "Neapolitan": { + "name": "Neapolitan", + "bio": null + }, + "Marcelo Magalh\u00e3es": { + "name": "Marcelo Magalh\u00e3es", + "bio": null + }, + "Johan Aakerlund": { + "name": "Johan Aakerlund", + "bio": null + }, + "Craig Rozynski": { + "name": "Craig Rozynski", + "bio": null + }, + "Hrant Papazian": { + "name": "Hrant Papazian", + "bio": null + }, + "Jeff Davis": { + "name": "Jeff Davis", + "bio": "Jeff Davis is a full-time audio and electrical engineer, part-time tinkerer and freelancer, hobbyist photographer, and occasional artist and graphic designer based in Seattle, Washington. Website" + }, + "Kostas Bartsokas": { + "name": "Kostas Bartsokas", + "bio": "Kostas Bartsokas is a typeface designer and typographer based in Thessaloniki, Greece. He graduated with distinction in Typeface Design from the University of Reading in 2016. Kostas enjoys innovative explorations in Latin, Greek, Cyrillic, and Arabic type design. His typefaces have received several awards including a TDC Certificate in Typographic Excellence. He is one part Foundry5. Homepage | Twitter" + }, + "Johan Kallas": { + "name": "Johan Kallas", + "bio": null + }, + "Mihkel Virkus": { + "name": "Mihkel Virkus", + "bio": null + }, + "Nicol\u00e1s Silva": { + "name": "Nicol\u00e1s Silva", + "bio": null + }, + "Ania Kruk": { + "name": "Ania Kruk", + "bio": null + }, + "Tanukizamurai": { + "name": "Tanukizamurai", + "bio": "Tanukizamurai is a type designer based in Japan since 2011. Through the creation of playful typography, she aims to provide an enjoyable environment for everyone to create fonts. Website" + }, + "Christian Thalmann": { + "name": "Christian Thalmann", + "bio": "Christian Thalmann is a physicist who designs typefaces on a hobby basis in the infinitesimal gaps of free time between teaching and parenthood. His most popular design, the ultra-display Garamond \u00abCormorant\u00bb, is freely available on Google Fonts, whereas eleven more typefaces can be licensed from MyFonts or FontSpring under the label \u00abCatharsis Fonts\u00bb. Twitter | Fonts" + }, + "Alan Dague-Greene": { + "name": "Alan Dague-Greene", + "bio": null + }, + "Jacques Le Bailly": { + "name": "Jacques Le Bailly", + "bio": "\"Baron von Fonthausen, distinctive type design with a twist.\" Jacques Le Bailly has a broad international experience in the field of type design and a background in graphic design, corporate design, typography and teaching. He specialized in (large) type design projects. Beside developing personal type families, he works for and in cooperation with high profile clients. www.baronvonfonthausen.com | Twitter" + }, + "Jovanny Lemonad": { + "name": "Jovanny Lemonad", + "bio": null + }, + "TypoDesign Lab. Inc": { + "name": "TypoDesign Lab. Inc", + "bio": null + }, + "Colophon Foundry": { + "name": "Colophon Foundry", + "bio": "Colophon Foundry is a London and Los Angeles-based digital type foundry established in 2009. Its members comprise Benjamin Critton (US), Edd Harrington (UK), and Anthony Sheret (UK). The foundry's commissioned work in type design is complemented by independent and interdependent initiatives in editorial design, publishing, curation, and pedagogy. colophon-foundry.org" + }, + "Afrotype": { + "name": "Afrotype", + "bio": "Based in Lagos, Nigeria, Afrotype, founded by Seyi Olusanya, intends to subvert cliches around African graphic design and identity by creating typefaces that are grounded in African history and culture. Twitter | afrotype.com" + }, + "Seyi Olusanya": { + "name": "Seyi Olusanya", + "bio": "Seyi is a freelance art director and type designer from Lagos, Nigeria. He is the founder of Afrotype and is passionate about vernacular design. Seyi loves to explore projects that cut across African culture, history and identity. Twitter | ogbeniseyi.com" + }, + "Eyiyemi Adegbite": { + "name": "Eyiyemi Adegbite", + "bio": "Eyiyemi Adegbite is a multi-disciplinary designer and art director currently working from Lagos, Nigeria. With a diverse skill set and an eye for details, Eyiyemi excels at creating experiences using visual design in a way that leaves a lasting expression. Instagram" + }, + "David Udoh": { + "name": "David Udoh", + "bio": "Based in Lagos, Nigeria, David Udoh is an Art Director & Designer. He has worked across various design disciplines, focusing on branding and advertising. Driven by the admiration for the beauty of everyday letterforms, he now designs fonts. He also leads the creative effort at The Huddle, an event that spotlights creative work from African designers. In his free time, he enjoys sports, travel, music, and curating vernacular designs. Instagram" + }, + "Mirko Velimirovi\u0107": { + "name": "Mirko Velimirovi\u0107", + "bio": "Mirko Velimirovi\u0107 lives in Brooklyn where he designs typefaces, and lettering for book covers under the name Abyss Type Company. He teaches type design at Center for Book Arts occasionally, and wrangles variable fonts constantly. github.com/bghryct" + }, + "Gabriel Lam": { + "name": "Gabriel Lam", + "bio": null + }, + "Maniackers Design": { + "name": "Maniackers Design", + "bio": "Maniackers Design is a design studio works in various media. Established in 1995, it's based in Takasaki, Gunma in Japan. Representative is Masayuki Sato. Maniackers Design started creating & uploading open source fonts on its website in 1998. mksd.jp" + }, + "Monotype Imaging Inc.": { + "name": "Monotype Imaging Inc.", + "bio": null + }, + "Meir Sadan": { + "name": "Meir Sadan", + "bio": "Meir is a designer specializing in type design, typography, interactive digital design, and web development. He serves as Creative Director at feelternet, and teaches at Bezalel Academy of Arts and Design, and Minshar School for Art. meirsadan.com | GitHub | Twitter" + }, + "artakana": { + "name": "artakana", + "bio": "Artakana has been sharing his graphic and typographical works such as fonts and lettering on social media since 2016. He is now sharing his original fonts under open source license. Twitter" + }, + "Agung Rohmat": { + "name": "Agung Rohmat", + "bio": "Based in Pati, Central Java, alphArtype is a personal typefoundry that Agung Rohmat created when he started making fonts in 2018. He is a freelancer designer and got interested in making fonts with a handwritten style. His most popular fonts are \"Holiday\" and \"Collection\" and their users come from various countries in the world and from several large companies such as Vevo, Boots and Unilever. alphartype.com/ | hello@alphartype.com" + }, + "Natalia Raices": { + "name": "Natalia Raices", + "bio": null + }, + "Nathan Willis": { + "name": "Nathan Willis", + "bio": null + }, + "Purushoth Kumar Guttula": { + "name": "Purushoth Kumar Guttula", + "bio": null + }, + "Daniel Johnson": { + "name": "Daniel Johnson", + "bio": null + }, + "Minha Hyung": { + "name": "Minha Hyung", + "bio": null + }, + "Woowahan Brothers": { + "name": "Woowahan Brothers", + "bio": null + }, + "FONTRIX": { + "name": "FONTRIX", + "bio": null + }, + "Gary Lonergan": { + "name": "Gary Lonergan", + "bio": null + }, + "Yanghee Ryu": { + "name": "Yanghee Ryu", + "bio": "Yanghee Ryu is an independent type designer specializing in Hangul. She released her first typeface \u2018Gowun Hangul\u2019 in 2010, and has graduated from the MA Typeface Design course at the University of Reading 2017. Her interests include multi-script type design for development of Hangul typefaces harmonized with other scripts. ryufont.com | Twitter" + }, + "Szymon Celej": { + "name": "Szymon Celej", + "bio": null + }, + "Fontworks Inc.": { + "name": "Fontworks Inc.", + "bio": "Fontworks was established in 1993, under a corporate philosophy to create a new culture through letters. They are engaged in planning, developing, and selling digital fonts. They also provide software developments and technical services. website" + }, + "\u00d3liver Lalan": { + "name": "\u00d3liver Lalan", + "bio": "\u00d3liver Lalan is an industrial engineer who, after leaving the corporate world, has embraced a creative journey that merges photography, design, and industrialization. Doto is his first contact with the world of typography. Wandering around the world, follow him @oliverlalan to stay up to date of his latest projects and adventures. oliverlalan.com" + }, + "Onur Yaz\u0131c\u0131gil": { + "name": "Onur Yaz\u0131c\u0131gil", + "bio": null + }, + "Toshi Omagari": { + "name": "Toshi Omagari", + "bio": "Toshi is an independent typeface designer in London. He graduated from the Visual Communication Design course at Musashino Art University in Tokyo in 2008 and the MA Typeface Design program at the University of Reading in 2011. During his time at Monotype from 2012 to 2020, he has released a number of revival typefaces such as Metro Nova, Neue Plak, and Welthold Wolpe Collection, as well as custom typefaces for international brands such as H&M. He now runs his own studio. Writing systems of his interest and specialty are not only limited to Latin but others, including Cyrillic, Greek, Arabic, Tibetan, and Mongolian. Toshi is also an avid gamer, and has written Arcade Game Typography, a specimen book of pixelated typefaces from retro arcade games. His other hobbies include blades and knives, Rubik's cube, and shrimp keeping. tosche.net" + }, + "Jennifer Daniel": { + "name": "Jennifer Daniel", + "bio": null + }, + "Georg Duffner": { + "name": "Georg Duffner", + "bio": null + }, + "Octavio Pardo": { + "name": "Octavio Pardo", + "bio": "Graphic designer specialized in type design. He has collaborated with design studios and foundries like Tobias Frere-Jones, Porchez Typofonderie, Type-Together, Leftloft, and Sharp Type. ashler.design | Twitter |" + }, + "YoonDesign Inc": { + "name": "YoonDesign Inc", + "bio": null + }, + "Rosetta": { + "name": "Rosetta", + "bio": "Rosetta addresses the needs of global typography by working with collaborators to create original fonts for a polyphonic world. Their work has won numerous awards, but more importantly it has enabled people to read more easily in their native language. The Rosetta font library currently supports over 200 languages including Latin, Arabic, Armenian, Greek, Cyrillic, Inuktitut, and Indic scripts. Their fonts serve numerous clients including the BBC, RFE/RL, LG, and Harvard University Press. GitHub | Twitter" + }, + "Vaibhav Singh": { + "name": "Vaibhav Singh", + "bio": "Vaibhav Singh is an independent typographer and typeface designer. With an MA and PhD from the University of Reading, he specialises in designing typefaces for Indian scripts in addition to developing Latin typefaces. He is also the editor and publisher of the independent journal Contextual Alternate." + }, + "Tina Anderson": { + "name": "Tina Anderson", + "bio": "Tina Anderson is a software engineer and type designer based in Australia. She has primarily worked as a freelance programmer involved with various business applications and became interested in educational app development for Little Australian Schoolies as her grandchildren came of school age. auschoolhandwritingfonts.com" + }, + "Corey Anderson": { + "name": "Corey Anderson", + "bio": "Corza is a graphic artist and calligrapher based in Australia involved with many 3D projects in the drone industry and the author of a number of Blender addons including Auto Addon Installer, C-Scatter and Geonodes Panel Generator (among others). coreycorza.gumroad.com" + }, + "Alejandro Inler": { + "name": "Alejandro Inler", + "bio": null + }, + "Andres Torresi": { + "name": "Andres Torresi", + "bio": null + }, + "FontFuror": { + "name": "FontFuror", + "bio": null + }, + "ETC": { + "name": "ETC", + "bio": "Etcetera Type Company is a New-York based foundry founded in 2018 by Tyler Finck. It distributes opensource playful variable fonts. Homepage" + }, + "Typofactur": { + "name": "Typofactur", + "bio": "Typofactur is a small type foundry run by German graphic designer Simon Atzbach. Simon has loved designing and working with letters since he could write. Over the last 25 years, he has developed various typefaces alongside his work on web, print and logo projects. typofactur.de" + }, + "Ang\u00e9lica D\u00edaz": { + "name": "Ang\u00e9lica D\u00edaz", + "bio": null + }, + "Sabrina Mariela Lopez": { + "name": "Sabrina Mariela Lopez", + "bio": null + }, + "Bart\u0142omiej R\u00f3zga": { + "name": "Bart\u0142omiej R\u00f3zga", + "bio": null + }, + "Robin Mientjes": { + "name": "Robin Mientjes", + "bio": null + }, + "Designtown": { + "name": "Designtown", + "bio": null + }, + "Koto Studio": { + "name": "Koto Studio", + "bio": "Koto is a brand and digital agency with studios in Berlin, London, Los Angeles, New York, and Sydney. We bring optimism, craft and rigor to every brief; collaborating with today\u2019s most impactful companies and the founders defining a better tomorrow to unlock the true potential of their brands. Founded in 2015 by Caroline Matthews (COO), James Greenfield (CEO), and Jowey Roden (CCO), we have shaped some of the world's leading brands, including Airbnb, Amazon Music, Discord, Fiverr, Glassdoor, Pleo, Qonto, Skyscanner, Sonos, Uber Eats, Venmo, and WhatsApp. koto.studio" + }, + "Familjen STHLM AB": { + "name": "Familjen STHLM AB", + "bio": "Familjen is an advertising and design-bureau located in Stockholm, Sweden. familjen.se" + }, + "Barry Schwartz": { + "name": "Barry Schwartz", + "bio": null + }, + "Grayscale": { + "name": "Grayscale", + "bio": null + }, + "Fernando D\u00edaz": { + "name": "Fernando D\u00edaz", + "bio": null + }, + "Erik Kennedy": { + "name": "Erik Kennedy", + "bio": "Erik D. Kennedy is a UX/UI designer who has worked with clients ranging from Fortune 100 to Y-Combinator startups. He has also taught thousands of students around the world via his online school, Learn UI Design. He lives in Seattle, WA and spends his free time doing Brazilian jiu-jitsu and playing Flamenco guitar. erikdkennedy.com/ | learnui.design" + }, + "Helsinki Type Studio": { + "name": "Helsinki Type Studio", + "bio": "Helsinki Type Studio specialises in finding cultural resonances and designing uniquely recognisable fonts. It was founded in 2010 by Niklas Ekholm, Juho Hiilivirta, Jungmyung Lee and Jaakko Suomalainen. The web shop maintains an eclectic selection of fonts by associated designers. helsinkitypestudio.com" + }, + "Niklas Ekholm": { + "name": "Niklas Ekholm", + "bio": "Niklas Ekholm is a type designer and founding member of Helsinki Type Studio. His work explores the materiality of language by investigating the tension between intentionality and path dependence through scrutinising artefacts of lingual processes and remediation. niklasekholm.com" + }, + "Juho Hiilivirta": { + "name": "Juho Hiilivirta", + "bio": "Juho Hiilivirta is a type designer and founding member of Helsinki Type Studio. Uniting the disciplines of type design and environmental art, he explores typographic practices from a northern perspective. www.juhohiilivirta.com" + }, + "Jaakko Suomalainen": { + "name": "Jaakko Suomalainen", + "bio": "Jaakko Suomalainen is a type designer and founding member of Helsinki Type Studio. A constant search for new takes on still and moving architecture shapes his form and written language." + }, + "The Mozilla Foundation": { + "name": "The Mozilla Foundation", + "bio": null + }, + "Telefonica S.A.": { + "name": "Telefonica S.A.", + "bio": null + }, + "Nikita Prokopov": { + "name": "Nikita Prokopov", + "bio": null + }, + "Irina Smirnova": { + "name": "Irina Smirnova", + "bio": null + }, + "Dan Ross": { + "name": "Dan Ross", + "bio": "Dan Ross is a designer from the Gold Coast, Australia, currently living in Los Angeles, USA. His main focuses are design tooling, design systems, and design operations. danross.co | Twitter" + }, + "Sophia Tai": { + "name": "Sophia Tai", + "bio": "Sophia Tai is a typeface designer based in the UK. She completed a course in MA Typeface Design at University of Reading where she studied and designed a Latin and Tamil multiscript typeface family. In the same year she was listed under Malee's Women of Typographic Excellence. Soon after, she released her first font Streco, a reversed contrast superfat font on Future Fonts and worked on Foldit, a COLRv1 variable-gradient font for Google Fonts. sophiatai.com" + }, + "Denis Masharov": { + "name": "Denis Masharov", + "bio": "Denis Masharov was a designer, teacher, and an active member of the Russian typographic community. He passed away suddenly on September 1st, 2021. Behance | Facebook" + }, + "Wei Huang": { + "name": "Wei Huang", + "bio": "Wei is a Chinese-born Australian designer based in the Schengen Area. He makes and produces fonts including Work Sans, teaches, and exhibits his work. Wei believes drawing fonts is like meditation." + }, + "URW Design Studio": { + "name": "URW Design Studio", + "bio": null + }, + "Yanek Iontef": { + "name": "Yanek Iontef", + "bio": "Yanek is a typeface designer and typographer\u202d. \u202cBorn in the USSR\u202d, \u202che emigrated to Israel at the age of 16\u202d \u202cand studied graphic design at Bezalel Academy of Arts and Design. \u202cHe has worked in London and Tel Aviv\u202d, and taught typography\u202d \u202cand type design at the Bezalel Academy \u202cand at Shenkar College of Engineering and Design. \u202cAn award-winning type designer\u202d, Yanek runs Fontef, his own foundry specializing in Hebrew type design. He designed the FF Cartonnage\u202d, \u202cHadasah Friedlaender,\u202d \u202cand Mandatory type families\u202d. \u202cHis interest in found typography and bicycle culture\u202d is documented online\u202d. GitHub\u202d | Twitter" + }, + "Undercase Type": { + "name": "Undercase Type", + "bio": "Founded in 2020, Undercase Type is a type foundry headed by Phaedra Charles and Flavia Zimbardi with a particular interest in variable fonts. Twitter | Instagram | undercase.xyz" + }, + "Milena Brand\u00e3o": { + "name": "Milena Brand\u00e3o", + "bio": null + }, + "Hafontia": { + "name": "Hafontia", + "bio": null + }, + "Unknown": { + "name": "Unknown", + "bio": null + }, + "NORD ID": { + "name": "NORD ID", + "bio": "Based in Stockholm & Copenhagen, NORD ID is a leading strategy & design agency creating coherent, distinct and differentiating brand identities. Uniquely combining insightful conceptual design with unparalleled craft, more often developing custom type design to be a key brand building component to create instant recognition across any and all touchpoints: From custom typefaces for large companies such as Vattenfall, Klarna and Skanska, down to more experimental type design for campaigns such as Chillboards for Coors. website" + }, + "Laura Garcia Mut": { + "name": "Laura Garcia Mut", + "bio": "Laura Garcia Mut is a Spanish type designer. She got a BA in Graphic Design focusing on digital type design, right after graduating in Biological Sciences. In 2022 she founded Hard Type Foundry, an independent type design studio, and started working on her retail and custom projects while collaborating with other design studios, agencies and foundries. hardtype.xyz | Instagram" + }, + "Greek Font Society": { + "name": "Greek Font Society", + "bio": null + }, + "Afotey Clement Nii Odai": { + "name": "Afotey Clement Nii Odai", + "bio": "Based in Accra, Ghana, Afotey Clement Nii Odai, known as Vikers, is a distinguished creative designer. Vikers excels as a brand, product, iconographer, and type designer, crafting enduring and impactful designs. bento.me/vikersjnr" + }, + "Ama Diaka": { + "name": "Ama Diaka", + "bio": "Ama Asantewa Diaka is a storyteller and a community catalyst. She is the author of two poetry books - \u201cYou too will know me\u201d and \u201cWoman, eat me whole\u201d and a short story collection \u201cSomeone birthed them broken\u201d. She is also the founder of Black Girls Glow, a feminist arts nonprofit that uses art to build thriving ecosystems, & Tampered Press, - Ghana-based independent publisher dedicated to books by and about Africans. Instagram" + }, + "David Abbey-Thompson": { + "name": "David Abbey-Thompson", + "bio": "David Abbey-Thompson is a creative from Accra, Ghana. He loves to explore vernacular design culture. He is a partner at Aayalolo Foundry. David Abbey-Thompson is also the project director for Akutso Design Lab, a not-for-profit creative lab in Accra. Instagram" + }, + "Naipe Foundry": { + "name": "Naipe Foundry", + "bio": "Naipe Foundry is the type design, lettering & font production practice of \u00c1lvaro Franca & Felipe Casaprima. Out of Rio de Janeiro, but based in Barcelona, Perth and everywhere in between, Naipe creates custom and retail typefaces for fun and for profit, ideally both. The company aims to tell latin american stories through letterforms, with a strong focus on Brazilian history and culture. store.naipefoundry.com" + }, + "Leandro Assis": { + "name": "Leandro Assis", + "bio": "Leandro Assis is a brazilian designer and lettering artist based in S\u00e3o Paulo. He's best known for super bold letterings, colorful palettes and playful illustrations, drawing the attention of global brands and agencies to digital projects and marketing campaigns for the most different scenes. Above all, he's interested in opportunities where he can use design as a tool to talk about things he cares about, such as black culture, gender topics and LGBTQ+ rights. lebassis.com" + }, + "\u00c1lvaro Franca": { + "name": "\u00c1lvaro Franca", + "bio": "\u00c1lvaro Franca (Rio de Janeiro, 1991) has designed type since 2013. A graphic design graduate of ESDI (Rio de Janeiro), he worked at Hipertipo and Dalton Maag before completing Typeface Design masters degrees in Barcelona and Antwerp. Currently, he is Type Director at Vasava Studio, founder of Type Thursday Barcelona and the founder and of Naipe Foundry which he runs with Felipe Casaprima since 2018. store.naipefoundry.com" + }, + "Felipe Casaprima": { + "name": "Felipe Casaprima", + "bio": "Felipe Casaprima is a type designer based in Perth, Australia. After a brief internship at Coppers and Brasses and a few years working at Plau Design, he founded Naipe Foundry with \u00c1lvaro Franca in 2018." + }, + "JIKJI SOFT": { + "name": "JIKJI SOFT", + "bio": null + }, + "Lautaro Hourcade": { + "name": "Lautaro Hourcade", + "bio": null + }, + "Saurabh Sharma": { + "name": "Saurabh Sharma", + "bio": "Based in Udaipur, Rajasthan, India, Saurabh Sharma is an independent Developer & Graphic/Web design professional with over 17 years of experience in the Information Technology and Services Industry. Saurabh has worked on HTML/CSS websites, UI Designs, frameworks, WordPress themes, plugins, JavaScript and PHP projects. In recent years, Saurabh has been actively working on font design and development. His first release was the Kumbh Sans project on Google Fonts. GitHub | LinkedIn" + }, + "Lafontype": { + "name": "Lafontype", + "bio": "Lafontype is a type foundry based in Indonesia. Started in 2016 by Anugrah Pasau and has published various typefaces for various needs." + }, + "Jiashuo Zhang": { + "name": "Jiashuo Zhang", + "bio": null + }, + "Binoy Dominic": { + "name": "Binoy Dominic", + "bio": "Binoy Dominic is a graphic designer from India focusing on Malayalam lettering, typesetting and logo designs. He designed Gayathri Malayalam typeface in collaboration with Swathanthra Malayalam Computing organization. binoydominic.com/" + }, + "Andr\u00e9s Briganti": { + "name": "Andr\u00e9s Briganti", + "bio": "Hailing from Buenos Aires, Argentina, Andr\u00e9s Briganti is a graphic designer specializing in visual identity. With a focus on bespoke logotypes, typography, and conceptual frameworks, he creates refined and aesthetically relevant work. As a designer and art director, Andr\u00e9s collaborates with brands, institutions, and individuals worldwide. He is the creator of Basement Grotesque, a striking and unapologetic typeface inspired by the expressiveness of early 19th-century grotesque fonts and the bold visuals of brutalist aesthetics. This marked Basement Studio\u2019s first venture into the exciting world of type design, pushing boundaries in typography and visual communication. briganti.works" + }, + "Mateo Zaragoza": { + "name": "Mateo Zaragoza", + "bio": "Based in Buenos Aires, Argentina, Mateo Zaragoza is a designer and FADU graduate. Since 2021, he has been leading web design at basement.studio, creating immersive websites for high-profile clients such as MrBeast, KidSuper, Harmony Korine, and Vercel. He also designed B\u2013MECHA, a bold display typeface inspired by Japanese Mecha culture, aimed at making a strong visual impact. His work focuses on crafting innovative digital experiences and designs, combining creativity with technical precision to push the limits of modern web design and typography. Instagram | x.com/teo_zaragoza" + }, + "Guillermo Rauch": { + "name": "Guillermo Rauch", + "bio": "Based in San Francisco, Guillermo Rauch is a software engineer and CEO of Vercel. Originally from Lan\u00fas, Buenos Aires, he has shaped the web development landscape through notable projects like Next.js, the most popular React framework, and Socket.IO, a key library for real-time communication. His company, Vercel, powers the digital presence of brands like The Washington Post, Porsche, and Nintendo. Previously, he founded Cloudup, which was acquired by Automattic to enhance WordPress's capabilities. Guillermo\u2019s technical contributions include creating Mongoose for MongoDB and authoring \u201cSmashing Node.js,\u201d showcasing his profound influence on JavaScript and developer experience (DX). vercel.com" + }, + "Evil Rabbit": { + "name": "Evil Rabbit", + "bio": "Based in San Francisco, Evil Rabbit (Nicol\u00e1s Garro) started designing at age 9 and landed his first web design job at 12. After studying Art and Graphic Design at UBA, he led digital design at VIACOM for Latin America, managing brands like MTV, VH1, and Paramount Pictures. In 2014, he shifted to product design, working at Aerolab and Auth0, before joining Guillermo Rauch in 2016 as the Founding Designer at Vercel. Known for his minimalistic black-and-white aesthetic, Nicol\u00e1s shapes Vercel\u2019s brand identity and has crafted digital experiences for major events like Vercel Conf and Ship. evilrabb.it" + }, + "Jos\u00e9 Rago": { + "name": "Jos\u00e9 Rago", + "bio": "Originally from Mar del Plata, Argentina, Jos\u00e9 Rago brings his visionary approach to design as the co-founder and creative lead at basement.studio. His passion for innovation and solving complex challenges drives him to elevate ideas for top-tier clients and internal teams. With a focus on staying ahead of the curve in emerging technologies, he creates cutting-edge products that make a lasting impact. Continuously exploring the evolving landscape of design and technology, he thrives on pushing the boundaries of creativity, always aiming to take each project to new heights of possibility. x.com/ragojose" + }, + "Facundo Santana": { + "name": "Facundo Santana", + "bio": "Facundo Santana, from Mar del Plata, Argentina, is the Co-founder & Managing Partner of basement.studio, where he leads growth, operations, and strategy. With a background in design and a sharp business acumen, Facundo bridges creativity and strategy to drive the company\u2019s vision forward. In addition, he is a member of SoDA, an exclusive network of digital agency leaders, and the Entrepreneurs' Organization (EO), an LP at Newtopia, and actively supports innovative startups as both an investor and advisor through basement ventures. linkedin.com/in/facundo-santana" + }, + "Monokrom": { + "name": "Monokrom", + "bio": null + }, + "Sindre Bremnes": { + "name": "Sindre Bremnes", + "bio": null + }, + "Frode Helland": { + "name": "Frode Helland", + "bio": null + }, + "Production Type": { + "name": "Production Type", + "bio": "Based in Paris, Production Type is a digital type design agency. Its activities span from the exclusive online distribution of its retail type for design professionals, to the creation of custom typefaces for the industrial, luxury, and media sectors." + }, + "Joe Prince": { + "name": "Joe Prince", + "bio": null + }, + "Andreas Larsen": { + "name": "Andreas Larsen", + "bio": "Andreas Larsen is a healthcare professional turned developer + designer from Copenhagen, Denmark. He grew up in Gidole, Ethiopia, from where he took inspiration for the Gidole font. Homepage" + }, + "Liam Spradlin": { + "name": "Liam Spradlin", + "bio": null + }, + "Duarte Pinto": { + "name": "Duarte Pinto", + "bio": "Duarte Pinto is a young graphic designer from Portugal who has a great interest in typography. He is currently studying Communication Design in Germany as an exchange student. Instagram" + }, + "Jaikishan Patel": { + "name": "Jaikishan Patel", + "bio": "Jaikishan Patel is a communication designer from India. After completing a master's in visual communication from IDC school of design, IIT-Bombay, he has been practising in the field of branding and visual communication. With a special interest in lettering and typography, he has been working on multiple type design projects inspired by various genres. www.magictype.in | Instagram" + }, + "Alexandra Korolkova": { + "name": "Alexandra Korolkova", + "bio": "Alexandra Korolkova is a type designer, book designer, type researcher and type consultant. She is art director of Paratype and is the 9th recipient of the Prix Charles Peignot (2013). She also won the Granshan, ED Awards and Red Dot. She is the leading designer of PT Sans and PT Serif, Circe, Golos, and the type system of Sber. She wrote a book on typography for beginners Live Typography (in Russian) which was first issued in 2007 and re-issued in 2008, 2010 and 2012, and a series of type-related articles. She spoke at ATypI, TYPO Berlin, TypeCon, TYPO Labs, Serebro Nabora, Typofest, Typetersburg and others and she is a jury member of the Modern Cyrillic type design competition since 2014. nicetype.ru/" + }, + "Vitaly Kuzmin": { + "name": "Vitaly Kuzmin", + "bio": "Type designer and design auditor at Paratype. Based in Moscow. At Paratype he develops new fonts, conducts design audits, and helps with the systematization and standardization of character sets. Author of PT Root, PT Root UI, Sober Sans, and several custom fonts. Specializing in user interface fonts, he has developed UI font styles for Sberbank\u2019s type system, which got awards from GRANSHAN, Red Dot, and ED Awards. vitalykuzmin.com" + }, + "Gustavo Dipre": { + "name": "Gustavo Dipre", + "bio": null + }, + "HanYang I&C Co": { + "name": "HanYang I&C Co", + "bio": null + }, + "Haesung Cho": { + "name": "Haesung Cho", + "bio": null + }, + "Agustina Mingote": { + "name": "Agustina Mingote", + "bio": "Agustina Mingote is a visual communication designer, specialized in typography, who currently lives in City Bell, Argentina. She currently works giving workshops and designing editorial pieces with knowledge of typeface families, producing typefaces and creating custom fonts. Instagram" + }, + "TAE System & Typefaces Co.": { + "name": "TAE System & Typefaces Co.", + "bio": null + }, + "Borna Izadpanah": { + "name": "Borna Izadpanah", + "bio": "Borna Izadpanah is a Lecturer in Typography at the University of Reading, UK, from where he was also awarded a PhD, and an MA in Typeface Design. His doctoral research explored the history of the early typographic representation of the Persian language. Borna has received numerous prestigious awards for his research and typeface design, including the Grand Prize and the First Prize for Arabic Text Typeface in the Granshan Type Design Competition, a TDC Certificate of Typographic Excellence, and the Symposia Iranica Prize for the best paper in Art History. GitHub | Twitter" + }, + "Fiona Ross": { + "name": "Fiona Ross", + "bio": "Fiona Ross specializes in type design primarily for Arabic, South Asian, and Thai scripts. She works as a consultant, type designer, author, and Professor in Type Design (part-time) at the University of Reading (UK). Fiona has received the SoTA Typography Award (2014) and the Type Director\u2019s Club Medal (2018). Academic Profile" + }, + "Alice Savoie": { + "name": "Alice Savoie", + "bio": "Alice Savoie is a graduate from \u00c9cole Duperr\u00e9 and \u00c9cole Estienne in Paris, and holds an MA in Typeface Design and a PhD in type history from the University of Reading (UK). Between 2008 and 2010 she joined Monotype as an in-house type designer, working on custom projects for international clients. She is currently based in Lyon, France, and teaches type design at \u00c9cal Lausanne (CH) as well as supervising research projects at Atelier National de Recherche Typographique in Nancy (FR). From 2018\u20142021 she was the principal researcher on the Leverhulme-funded \u2018Women in Type\u2019 project at the University of Reading with Prof. Fiona Ross. frenchtype.com | Twitter" + }, + "Simon Cozens": { + "name": "Simon Cozens", + "bio": "Simon Cozens is a font engineer based in Gloucester, UK. He specializes in OpenType layout of complex scripts, and operates Corvel Software, which enables type designers to support the world\u2019s languages. corvelsoftware.co.uk | Twitter" + }, + "Nonty": { + "name": "Nonty", + "bio": "A freelance typeface designer, based in Japan. They started designing type in 2017, with a focus on creating original, cute and fun fonts. website" + }, + "Hypertype": { + "name": "Hypertype", + "bio": "The multi-script-focused Typeface Design Studio Hypertype founded by Minjoo Ham and Mark Fr\u00f6mberg is specialized in Hangeul and Latin scripts, devoted to making a difference through sophisticated typeface design with deep research and has collaborated with various global companies to create multi-script design projects. futurefonts.xyz/hypertype | Twitter" + }, + "Indian Type Foundry": { + "name": "Indian Type Foundry", + "bio": "Indian Type Foundry (ITF) creates retail and custom multilingual fonts for print and digital media. Started in 2009 by Satya Rajpurohit and Peter Bil\u2019ak, ITF works with designers from across the world. ITF fonts are used by clients ranging from tech giants like Apple, Google, and Sony, to various international brands. Github | Twitter" + }, + "Nicole Fally": { + "name": "Nicole Fally", + "bio": null + }, + "David B\u0159ezina": { + "name": "David B\u0159ezina", + "bio": "Dr David B\u0159ezina is a typeface designer, writer, lecturer, and chief type officer at Rosetta type foundry. He designed typefaces for a diverse palette of the world\u2019s scripts, but focuses mostly on Gujarati and Latin. mrbrezina.com | Twitter" + }, + "Alfredo Marco Pradil": { + "name": "Alfredo Marco Pradil", + "bio": "Alfredo Marco Pradil is a type designer and founder of Hanken Design Co.\u00ae foundry. He graduated with a Fine Arts degree at Batangas State University and has been designing typefaces since 2012. His custom typeface work includes the Alienware\u00ae typeface for Dell\u00ae, Extremis Compakt for furniture design company Extremis\u00ae, and Ampersans for Ace & Tate. Behance | hanken.co" + }, + "Hanken Design Co.": { + "name": "Hanken Design Co.", + "bio": "Hanken Design Co.\u00ae was founded in 2013 and has its roots in Batangas, Philippines. Their versatile collection includes both retail and custom fonts. HDC has managed to produce typefaces that possess uniqueness and humanistic qualities. Some of the foundry\u2019s notable and widely used fonts include HK Grotesk, Glacial Indifference, Now, and Cerebri Sans. hanken.co | Instagram" + }, + "Kanon Foundry": { + "name": "Kanon Foundry", + "bio": "Kanon Foundry is a digital type foundry established in 2019 by Alexander \u00d6rn and Tor Weibull in Malm\u00f6, Sweden. They offer retail and custom typefaces with an approach based on research and conceptual thinking. Apart from design work Kanon also offers consultancy, lectures and workshops. kanonfoundry.com | Instagram" + }, + "Alexander \u00d6rn": { + "name": "Alexander \u00d6rn", + "bio": "Alexander \u00d6rn is a type designer based in Malm\u00f6, Sweden and co-founder of Kanon Foundry." + }, + "Tor Weibull": { + "name": "Tor Weibull", + "bio": "Tor Weibull is a Swedish type and graphic designer based in Stockholm, focusing on research and conceptual thinking. Along with his master's studies in type design and working with studios such as Lundgren+Lindqvist, Studio Claus Due, and Bedow, Tor has gained excellent skills and knowledge in the field. Today, he works as a type designer at Kanon Foundry, which he co-founded with Alexander \u00d6rn in 2019." + }, + "Hedvig": { + "name": "Hedvig", + "bio": "Hedvig is a digital insurance company that was founded in 2017 to make it predictably effortless to bounce back from loss. The in-house design department, led by Design Director Ermir Peci, was both client and contributor in the development of Hedvig Letters. hedvig.com" + }, + "Oded Ezer": { + "name": "Oded Ezer", + "bio": "Ezer Type House is an independent type foundry based in Tel-Aviv. Established in 2001 by Oded Ezer, one of today's prominent Hebrew type designers, the foundry specializes in the creation of Hebrew and Latin typefaces for global clients such as Google, Samsung, Waze, and more. Ezer's typefaces have garnered national and international recognition, receiving Certificates of Excellence at the TDC52 competition hosted by the New York Type Directors Club and at the 'Bukva raz' type design competition in Moscow, Russia. Additionally, Ezer has been honored with the Israeli Education Ministry Prize for Design, among other accolades. ezertypehouse.com" + }, + "Brownfox": { + "name": "Brownfox", + "bio": null + }, + "Mike LaGattuta": { + "name": "Mike LaGattuta", + "bio": null + }, + "Constanza Artigas Preller": { + "name": "Constanza Artigas Preller", + "bio": null + }, + "Element Type": { + "name": "Element Type", + "bio": "Element Type, founded by Do\u011fukan Karap\u0131nar and \u0130brahim Ka\u00e7t\u0131o\u011flu in \u0130stanbul, is a digital type foundry driven by continuous evolution. Element Type specializes in typeface design, font creation, and various typographic services. elementtype.co" + }, + "Do\u011fukan Karap\u0131nar": { + "name": "Do\u011fukan Karap\u0131nar", + "bio": "Do\u011fukan Karap\u0131nar is an award winning designer based in \u0130stanbul, working at the intersections of creative disciplines. With a background in graphic and type design, he blends design fundamentals into the digital medium and emerging technologies. He is the co-founder of Element Type and design studio S\u00f6mestr. doughkan.com | Instagram" + }, + "\u0130brahim Ka\u00e7t\u0131o\u011flu": { + "name": "\u0130brahim Ka\u00e7t\u0131o\u011flu", + "bio": "\u0130brahim Ka\u00e7t\u0131o\u011flu is from \u0130stanbul, drawing letters and, most of the time, exporting them as font files. He studied at EsadType to learn the formal way of crafting weird letterforms. ibrahimkactioglu.com" + }, + "Tobias Bjerrome Ahlin": { + "name": "Tobias Bjerrome Ahlin", + "bio": "Tobias is a product designer and engineer from Stockholm, Sweden, whose love for typography comes from his love for books. He initiated the Mona Sans and Hubot Sans projects together with Sam Oshin at GitHub. tobiasahlin.com" + }, + "Github": { + "name": "Github", + "bio": null + }, + "Degarism Studio": { + "name": "Degarism Studio", + "bio": "Degarism Studio, established by Deni Anggara in 2015, is an independent design studio focused on typography and editorial design. It is known for fonts such as Alliance and Biotif. degarism.com/" + }, + "Sebastian Carewe": { + "name": "Sebastian Carewe", + "bio": "Sebastian is an independent font engineer and type designer with a passion for music and linguistics, based in Europe. sebastiancarewe.com" + }, + "Justfont": { + "name": "Justfont", + "bio": null + }, + "Mike Abbink": { + "name": "Mike Abbink", + "bio": "Mike is the Executive Creative Director at IBM Brand Experience & Design\u2014a team overseeing the expression and strategic evolution of every IBM brand and sub-brand worldwide. The group\u2019s work crosses research and strategy, communications and content development, identity systems, digital and physical experiences, and tools and training. Mike has an extensive career as a type designer, creating successful typeface families, such as FF Kievit, FF Milo and Brando. Homepage | Twitter" + }, + "Bold Monday": { + "name": "Bold Monday", + "bio": "Bold Monday is an independent Dutch type foundry established in 2008 by Paul van der Laan and Pieter van Rosmalen. The Bold Monday library encompasses custom typeface design for high-profile, international clients, as well as state-of-the-art retail fonts for discerning designers. Homepage | Twitter" + }, + "Igino Marini": { + "name": "Igino Marini", + "bio": null + }, + "But Ko": { + "name": "But Ko", + "bio": null + }, + "Jos\u00e9 Mar\u00eda Ribagorda": { + "name": "Jos\u00e9 Mar\u00eda Ribagorda", + "bio": "Coordinator of the Graphic Design Degree at the Escuela Superior de Dise\u00f1o de Madrid. PhD in Image, Technology and Design from the Complutense University of Madrid. Twitter" + }, + "Olivia King": { + "name": "Olivia King", + "bio": "Olivia King is an Australian multidisciplinary designer specialising in branding, digital products and typography. Over the last decade she has art directed custom typefaces for global tech companies, arts organisations and not-for-profits. Recently she\u2019s been creating her own fonts with Inclusive Sans being her first major release. She has a passion for purposeful, accessible design and helping enrich the lives of others. oliviaking.com" + }, + "Raph Levien": { + "name": "Raph Levien", + "bio": null + }, + "Constanza Artigas": { + "name": "Constanza Artigas", + "bio": null + }, + "Gr\u00e9gori Vincens": { + "name": "Gr\u00e9gori Vincens", + "bio": null + }, + "J\u00e9r\u00e9mie Hornus": { + "name": "J\u00e9r\u00e9mie Hornus", + "bio": null + }, + "Jordan Egstad": { + "name": "Jordan Egstad", + "bio": "Jordan Egstad is a graphic designer and web developer creating expressive and enduring brand identities, websites, apps, typefaces, imagery, and more. egstad.com" + }, + "Intel Corporation": { + "name": "Intel Corporation", + "bio": null + }, + "Frere-Jones Type": { + "name": "Frere-Jones Type", + "bio": null + }, + "Rasmus Andersson": { + "name": "Rasmus Andersson", + "bio": null + }, + "Andrey V. Panov": { + "name": "Andrey V. Panov", + "bio": null + }, + "Sarah Cadigan-Fried": { + "name": "Sarah Cadigan-Fried", + "bio": "Sarah Cadigan-Fried (b. 1990) hails from Roanoke, Virginia. She obtained her MFA in Graphic Design from Boston University in 2019, and received a certificate in Type Design from Type@Cooper in 2022. She is currently living and working in Boston, Massachusetts where she is an Assistant Professor in Northeastern University's department of Art + Design. With a passion for fiber arts, Sarah is always looking for new and better ways to integrate typography into her knitting. Instagram" + }, + "Agyei Archer": { + "name": "Agyei Archer", + "bio": "Agyei Archer is a designer based in Trinidad and Tobago, working on interesting fonts with interesting people. LinkedIn" + }, + "C\u00e9line Hurka": { + "name": "C\u00e9line Hurka", + "bio": "C\u00e9line Hurka is an independent type designer based in The Hague, NL. In her practice, she aims to play with, question, and break the conventions that have prevailed for the past hundreds of years. She is fascinated by how meaning is attached to form and transforms over years of usage in different contexts. Letters are cultural signifiers that add meaning to a text far beyond the words they form. C\u00e9line's typefaces are deeply personal projects and are inspired by her long-term interest in type history, technological innovation, personal stories, pop culture, nature and universal emotions. celine-hurka.com/ | Instagram" + }, + "JetBrains": { + "name": "JetBrains", + "bio": "JetBrains creates tools for developers. The company thrives to make professional software development a more productive and enjoyable experience. Homepage" + }, + "Philipp Nurullin": { + "name": "Philipp Nurullin", + "bio": "Philipp Nurullin is a typeface designer with a digital design background. He is making typefaces since 2013 and likes to explore the type in the context of usage and trust his eyes and the heart." + }, + "Konstantin Bulenkov": { + "name": "Konstantin Bulenkov", + "bio": "Konstantin Bulenkov is a project manager at JetBrains. He is responsible for UI/UX of IntelliJ-based products. Pew Pew!" + }, + "Paolo Biagini": { + "name": "Paolo Biagini", + "bio": "Based in Italy, book and type lover, Paolo Biagini currently works as ui/ux designer. Fond of coding, he has also published several plugins for Adobe XD. paolobiagini.altervista.org | Plugins for Adobe XD" + }, + "KB Studio": { + "name": "KB Studio", + "bio": null + }, + "Christopher J. Fynn": { + "name": "Christopher J. Fynn", + "bio": null + }, + "Juli\u00e1n Tunni": { + "name": "Juli\u00e1n Tunni", + "bio": "Based in Buenos Aires, art director and designer Juli\u00e1n Tunni is the owner and creative force behind ArtPotions, an art and graphic design studio providing services to clients worldwide. He also owns Super Noob Games, a small publishing company dedicated to releasing exciting board games in Argentina. artpotions.com | supernoob.games" + }, + "Luciano Vergara": { + "name": "Luciano Vergara", + "bio": null + }, + "Vectro Type Foundry": { + "name": "Vectro Type Foundry", + "bio": "Vectro is a type foundry based in Portland, Oregon, founded by Travis Kochel and Lizy Gershenzon, who have been design partners for over 15 years. The studio offers a range of services, including retail fonts, bespoke typeface design, font production and tools. Vectro\u2019s work is known for exploring the intersections of technology, utility, and playfulness, resulting in innovative and inventive typefaces. Vectro is known for its distinct and creative approach to typeface design, which has helped establish the studio as a respected and influential presence in the industry. vectrotype.com" + }, + "Travis Kochel": { + "name": "Travis Kochel", + "bio": "Travis Kochel is a co-founder and owner of Future Fonts, where he plays a key role in the development of the influential platform. He is also the lead type designer and director for Vectro, overseeing the design and development of typefaces. As a partner at Scribble Tone for the past decade, he has focused on type design and development, and is best known for his award-winning typeface, Chartwell. In addition to his design work, Travis is an Adjunct Professor at Portland State University, where he teaches Type Design. vectrotype.com" + }, + "Lizy Gershenzon": { + "name": "Lizy Gershenzon", + "bio": "Lizy Gershenzon is an accomplished product designer with nearly 20 years of experience designing online platforms, directing marketing campaigns, and building businesses. As a co-founder and owner of Future Fonts and Vectro Type, she has been instrumental in the development of these innovative type companies. In addition to her work with these companies, Lizy has also been a partner at Scribble Tone for the past 15 years, and consults with leading product design teams. vectrotype.com" + }, + "Daria Cohen": { + "name": "Daria Cohen", + "bio": "Daria Cohen is a Berlin-based independent type designer. After working for several years at LucasFonts and Swiss Typefaces, she is now spliting her time between personal projects (which can be found on Future Fonts) and collaborations with various foundries. Instagram" + }, + "Ethan Cohen": { + "name": "Ethan Cohen", + "bio": "Ethan Cohen is a type designer and business manager from New York City currently living in Berlin and working at Dinamo. He has a masters degree in TypeMedia from the Royal Academy of Art in The Hague and attended the Type@Cooper Extended Program. Before joining Dinamo he worked at The Type Founders, LucasFonts, and Mucca Design, and released some of his own typefaces through Future Fonts. Before moving to Europe he spent many years handling contracts and IP at a record label during the day and playing guitar and banjo in bands at night. ethancohenstudio.com" + }, + "Font-Kai": { + "name": "Font-Kai", + "bio": "Font Kai began his career in graphic design, and soon worked on lettering and logo designs. He decided to start a career dedicated to type design in 1984, after winning an award in the Morisawa Type Competition. font-kai.jp/" + }, + "Frida Medrano": { + "name": "Frida Medrano", + "bio": "Frida Medrano is a Mexican type and interaction designer currently based in San Fransisco, California. She is interested in design automation and exploration projects where code and design converge. She won the SOTA Catalyst Award in 2018 and has presented her work in forums like ATypI, TypeLab, TypeCon, IxDA, Letr\u00e1stica, and TMX. fridamedrano.com | Instagram" + }, + "Becca Hirsbrunner Spalinger": { + "name": "Becca Hirsbrunner Spalinger", + "bio": null + }, + "Tep Sovichet": { + "name": "Tep Sovichet", + "bio": "Sovichet is a Cambodian self-taught typeface designer based in Phnom Penh, Cambodia. He runs his studio Anagata offering brand identity and custom font design services. He also talks and teaches Khmer typeface design inside and outside Cambodia. He is interested in Old Khmer and other Southeast Asian scripts." + }, + "Kousuke Nagai": { + "name": "Kousuke Nagai", + "bio": "Kousuke Nagai is a \"weekend typeface designer\". He likes to explore the potential of handwritten fonts. Twitter" + }, + "Rony Koch": { + "name": "Rony Koch", + "bio": "Rony Koch is a graphic designer based in Tel-Aviv. Her main work includes branding, logo design, print design, UX and UI. Her biggest passion is typography - investigating letters\u2019 formality, experimenting with their boundaries, and designing fonts. Portfolio | Instagram" + }, + "Jonny Pinhorn": { + "name": "Jonny Pinhorn", + "bio": "After completing an MA in Type Design at the University of Reading, Jonny went on to design Karla for Google Fonts. Karla is a popular and quirky sans-serif typeface that supports both Latin and Tamil scripts. His continued fascination with India and Indian languages led him to ITF, where he worked for three years. Jonny continues to work exclusively on Indic scripts\u2014including Shrikhand and Atithi most recently. Jonnypinhorn.co.uk | GitHub | Twitter" + }, + "Jonathan Pinhorn": { + "name": "Jonathan Pinhorn", + "bio": null + }, + "Tharique Azeez": { + "name": "Tharique Azeez", + "bio": "Tharique Azeez is a typeface designer, font engineer & lettering artist based in Sri Lanka. His work encompasses experimentation with multiple digital and analogue media to create letterforms. He is making fonts since 2013. He seeks to explore new visuals and shapes with a specific focus on the Tamil letterforms. Twitter thariqueazeez.com" + }, + "Hak Longdey": { + "name": "Hak Longdey", + "bio": null + }, + "Julia Petretta": { + "name": "Julia Petretta", + "bio": null + }, + "Hiroki-Chan": { + "name": "Hiroki-Chan", + "bio": "Hiroki-Chan expresses himself through typeface design because he feels it is the best way to share his perspective and creativity. Currently his goal is to confront his narcissism, and create typefaces that better suit himself. website" + }, + "Isa Ozler": { + "name": "Isa Ozler", + "bio": "Isa Ozler is a brand and software developer based in Amsterdam, the Netherlands. He is the founder of Fioritmo and is currently contracted as Product Design Director at Kadena LLC. Isa is devoted to solving complex challenges with innovative solutions. isaozler.com" + }, + "Suon May Sophanith": { + "name": "Suon May Sophanith", + "bio": "Sophanith is a Cambodian typeface designer based in Phnom Penh. He works as graphic designer and provides custom font design tasks. He began his journey in type design in 2015 and has made a significant contribution by widely sharing his Khmer fonts freely within the community. suonmaysophanith.com | Facebook" + }, + "MOTOYA": { + "name": "MOTOYA", + "bio": null + }, + "Birgit Pulk": { + "name": "Birgit Pulk", + "bio": null + }, + "Original Type": { + "name": "Original Type", + "bio": "Founded in 2018, Original Type sets out to produce and publish original, contemporary typefaces, both retail and custom, that enable creatives and brands express themselves in an authentic way. originaltype.com | Instagram" + }, + "Wael Morcos": { + "name": "Wael Morcos", + "bio": "Wael Morcos is a graphic designer and type designer from Beirut, Lebanon and a partner at the Brooklyn based design studio Morcos Key. morcoskey.com | Twitter" + }, + "Artur Schmal": { + "name": "Artur Schmal", + "bio": "Artur Schmal is a type designer from The Netherlands where he runs the Amsterdam based type foundry Original Type. Original Type publishes retail typefaces, designs custom fonts for clients and offers type services to type foundries. originaltype.com | Twitter" + }, + "Dale Sattler": { + "name": "Dale Sattler", + "bio": null + }, + "LXGW": { + "name": "LXGW", + "bio": null + }, + "Mercedes J\u00e1uregui": { + "name": "Mercedes J\u00e1uregui", + "bio": "Mercedes J\u00e1uregui is a graphic designer based in Buenos Aires, Argentina. She completed her training as a typography designer with a Master's Degree in Typography Design at the University of Buenos Aires. She has also been teaching Typography at the same university since 2003. As a graphic designer, she works mainly on digital projects for various NGOs. Labrada, her first published typeface, is the result of the final project carried out as part of her typography design master's degree and addresses the challenge of transcribing the Qom (a native South American people) language. Instagram" + }, + "Niki Polyocan": { + "name": "Niki Polyocan", + "bio": "Niki Polyocan is an award-winning freelance producer and photographer; some of her clients include Google, Nike, Converse, and Under Armour. She was fortunate enough to study photography under the mentorship of Mary Ellen Mark. Niki lives in Brooklyn with her two cats, Pablo and Celine. nikipolyocan.com | Instagram" + }, + "Eli Block": { + "name": "Eli Block", + "bio": "Eli Block is a graphic, product, and industrial designer. He loves bright color, strange texture, and inventive form (and also Hana, Noemie, and Niki). Eli has worked at Google Brand Studio, Google Creative Lab, and as a Kleiner Perkins Caufield & Byers Design Fellow. Homepage | Instagram" + }, + "Marion Kadi": { + "name": "Marion Kadi", + "bio": null + }, + "Typeland": { + "name": "Typeland", + "bio": "Typeland is an independent type design studio based in London. We offer retail fonts exclusively through our own website. We also develop custom fonts, and specialize in multi-script design and production. type.land" + }, + "Alessia Mazzarella": { + "name": "Alessia Mazzarella", + "bio": "Alessia Mazzarella is an independent typeface designer with several years of experience in font engineering, font mastering, and quality assurance. She holds degrees in Typeface Design from the University of Reading, Graphic Design from Central Saint Martins, and Graphic & Media Design from Sapienza University of Rome. type.land" + }, + "Caroline Hadilaksono": { + "name": "Caroline Hadilaksono", + "bio": null + }, + "Micah Rich": { + "name": "Micah Rich", + "bio": null + }, + "Haley Fiege": { + "name": "Haley Fiege", + "bio": null + }, + "Matt Bailey": { + "name": "Matt Bailey", + "bio": null + }, + "ISIA Urbino": { + "name": "ISIA Urbino", + "bio": null + }, + "Bonnie Shaver-Troup": { + "name": "Bonnie Shaver-Troup", + "bio": "Bonnie Shaver-Troup, EdD, the creator of the Lexend project, is focused on making reading easier for everyone. As an educational therapist, Bonnie created the first Lexend typeface in early 2001 aiming to reduce visual stress and to improve reading performance for those with dyslexia and other struggling readers. Today, Bonnie's goal is to make the Lexend fonts accessible to a larger spectrum of users thanks to the support of many talented collaborators." + }, + "H\u00e9ctor G\u00f3mez": { + "name": "H\u00e9ctor G\u00f3mez", + "bio": null + }, + "Superunion": { + "name": "Superunion", + "bio": "Superunion is a revolutionary creative company, with expertise in strategy, design, communications, and brand management. Superunion works with clients that include some of the world\u2019s most iconic brands, alongside technology unicorns, ambitious start-ups and inspiring not-for-profits. Superunion believes in the power of ideas to create positive, meaningful change. superunion.com" + }, + "Philipp H. Poll": { + "name": "Philipp H. Poll", + "bio": null + }, + "Lasse Fister": { + "name": "Lasse Fister", + "bio": null + }, + "Pablo Impallari": { + "name": "Pablo Impallari", + "bio": null + }, + "Juan Montoreano": { + "name": "Juan Montoreano", + "bio": null + }, + "Dmitry Ivanov": { + "name": "Dmitry Ivanov", + "bio": "Based in Montreal, Dmitry Ivanov is open source and audio software enthusiast, author of open-source organizations audiojs, colorjs and projects such as subscript, lino and others. He developed special purpose audio-vis fonts such as Wavefont, Linefont and others. Github | Twitter" + }, + "Anton Skugarov": { + "name": "Anton Skugarov", + "bio": "A multidisciplinary designer based in Krasnodar, Russia, with twelve years of experience in designing for the digital space. He specializes in creating brands, graphic systems, user experiences and various digital products that people use. skugarov.com | x.com/skugiz" + }, + "Alexandr Ivanin": { + "name": "Alexandr Ivanin", + "bio": "iOS engineer based in Saint Petersburg, Russia, passionate about creating fonts and exploring their functionality from a programming perspective. Github" + }, + "Liu Zhengjiang": { + "name": "Liu Zhengjiang", + "bio": null + }, + "ZhongQi": { + "name": "ZhongQi", + "bio": null + }, + "LV=": { + "name": "LV=", + "bio": null + }, + "Chen Xiaomin": { + "name": "Chen Xiaomin", + "bio": null + }, + "Google": { + "name": "Google", + "bio": null + }, + "Ana Paula Megda": { + "name": "Ana Paula Megda", + "bio": null + }, + "Coji Morishita": { + "name": "Coji Morishita", + "bio": null + }, + "M+ Fonts Project": { + "name": "M+ Fonts Project", + "bio": null + }, + "Ma ShanZheng": { + "name": "Ma ShanZheng", + "bio": null + }, + "Paul D. Hunt": { + "name": "Paul D. Hunt", + "bio": null + }, + "Taurai Valerie Mtake": { + "name": "Taurai Valerie Mtake", + "bio": "Taurai Valerie Mtake aka TaVaTake, is an award-winning Graphic Designer and Type Designer from Harare, Zimbabwe, dedicated to blending African visual culture with its authentic heritage. Committed to Africa, she creates edutainment content that fosters cultural connections and preserves authenticity. With extensive experience in brand identity and advertising, she has collaborated with renowned brands like IKEA, Gucci, Northvolt, ABSA, FNB Bank, and Google, demonstrating versatility across diverse media platforms. Notably, she received the prestigious Ung Svensk Form 2023 award for her exceptional work, among other accolades. tavatake.africa/ | Instagram" + }, + "Emre Parlak": { + "name": "Emre Parlak", + "bio": null + }, + "Pathum Egodawatta": { + "name": "Pathum Egodawatta", + "bio": null + }, + "Mikhail Sharanda": { + "name": "Mikhail Sharanda", + "bio": null + }, + "Carolina Short": { + "name": "Carolina Short", + "bio": "Carolina is a designer from Buenos Aires. After 30 years of working in the industry, and part-time teaching experience in Argentina, Germany and New Zealand, took a full-time academic position at the University of Waikato. Her education was in traditional graphic design, with a strong emphasis on typography, which became her deep interest. In 1994 she created the experimental typeface Miyuscules, one of the first Argentine digital fonts. In 1996 became a digital nomad, founded Bigital with Tom\u00e1s Garc\u00eda Ferrari, and started developing projects for clients in different countries, mainly in interactive and digital media. In 2019 she designed Mansalva, and keeps thinking about new typography projects, currently with other fonts under development. bigital.com | Instagram" + }, + "Fredrick Brennan": { + "name": "Fredrick Brennan", + "bio": null + }, + "Nur Syamsi": { + "name": "Nur Syamsi", + "bio": "Nur Syamsi is a graphic designer and founder of NamelaType based in Indonesia. He has been drawing letters and Arabic calligraphy since he was a child, he studied the basic rules of Arabic calligraphy at the Islamic Boarding School and graduated from the Indonesian Institute of the Arts (ISI) Yogyakarta. He started designing his own typefaces in 2019, and has been enthusiastic about harmonizing Latin and Arabic fonts ever since. Instagram" + }, + "Bustanul Arifin": { + "name": "Bustanul Arifin", + "bio": "Bustanul Arifin is a graphic and type designer at NamelaType based in Indonesia, currently working to produce typefaces. He has been interested in lettering and handwriting scripts since high school, especially classic scripts. Instagram" + }, + "Florian Runge": { + "name": "Florian Runge", + "bio": null + }, + "Manvel Shmavonyan": { + "name": "Manvel Shmavonyan", + "bio": null + }, + "Roman Shamin": { + "name": "Roman Shamin", + "bio": "Roman Shamin is the head of design at Evil Martians and a multidisciplinary designer dividing his time between Lisbon and Istanbul. He has developed all kind of tools: web and mobile apps, about a dozen plugins for Figma, Sketch, and Adobe apps. Including pretty raucous Size Marks for Adobe Photoshop (1.5K stars on GitHub) and Color Name for Figma (4.5K installs). Also, OKLCH Color Picker, Evil Icons (2nd Product of the Day on ProductHunt), and Recipe Scaler. In recent years he is running Martian Fonts, a type foundry within Evil Martians. Twitter" + }, + "Evil Martians": { + "name": "Evil Martians", + "bio": "Evil Martians is a distributed product development consultancy that works with startups and established businesses, and creates open source-based products and services. Offices in New York, Porto, and Osaka. evilmartians.com" + }, + "Carolina Trebol": { + "name": "Carolina Trebol", + "bio": null + }, + "The Graphic Ant": { + "name": "The Graphic Ant", + "bio": "The Graphic Ant is an independent type foundry and design studio based in Kathmandu, Nepal, founded by Prashant Pant. Specializing in type design, identity, and motion, the studio collaborates with clients and agencies around the world to craft custom typefaces and build cohesive, expressive visual identities. Website | Instagram" + }, + "Adam Yeo": { + "name": "Adam Yeo", + "bio": "Adam Yeo is a graphic and type designer from C\u00f4te d'Ivoire. He holds a Doctorate in Art and Design from Nanjing University of the Arts, China. From 2022 to 2024, Adam was part of the ANRT, where he worked on developing a typeface for the B\u00e9t\u00e9 script. Upon returning to his home country, he was appointed as an Assistant Professor of Graphic Design at the University of Bondoukou, C\u00f4te d'Ivoire. Adam has published several articles on African scripts, symbols, and languages. Matemasie is his first Latin typeface. This | one: | x.com/YeoADAM | linkedin.com/in/adam-yeo/" + }, + "Wojciech Kalinowski": { + "name": "Wojciech Kalinowski", + "bio": null + }, + "Aleme Tadesse": { + "name": "Aleme Tadesse", + "bio": "Aleme has designed \"Menbere,\" a versatile five-weight typeface, and \"Nigus,\" which artfully mimics traditional church manuscript writing. In addition to designing typefaces he is a full-time graphic designer, printer, painter, and painting instructor. He runs his own printing and graphic design company. He also has an MA in Architecture taken in Russia. His current focus is on watercolor creations, capturing the essence of Washington, DC, through his keen eye and delicate brushwork. These watercolors have become iconic, celebrated on postcards and cherished by locals and tourists alike. dcwatercolor.com | beteseb.org" + }, + "Michal Sahar": { + "name": "Michal Sahar", + "bio": null + }, + "FONTDASU": { + "name": "FONTDASU", + "bio": "Fontdasu mainly works for graphic and web design. He liked drawing letters from when he was little, and when he met GlyphsApp in 2016, he started designing his own typefaces. He seeks to design fonts that are beautiful and attractive to use. website" + }, + "Tural Alisoy": { + "name": "Tural Alisoy", + "bio": "TAFT (Tural Alisoy Fonts) is a type foundry founded by Tural Alisoy in Baku, Azerbaijan. Formerly a graphic designer and art director, he became a self-taught type designer in 2016. Before starting his studio, he worked with various national and international clients. His fonts are frequently featured on Myfonts and include Cyrillic, Greek, Hebrew, Georgian, and Armenian characters. TAFT focuses on creating well-designed, thoroughly tested, and optimized fonts. With over ten years of experience in graphic design and six years in type design, Tural usually works alone but collaborates with a design team when needed. taft.work | Behance" + }, + "Lipi Raval": { + "name": "Lipi Raval", + "bio": null + }, + "Gumpita Rahayu": { + "name": "Gumpita Rahayu", + "bio": null + }, + "Jiyeon Park": { + "name": "Jiyeon Park", + "bio": null + }, + "Denis Jacquerye": { + "name": "Denis Jacquerye", + "bio": null + }, + "Elena Albertoni": { + "name": "Elena Albertoni", + "bio": null + }, + "Aleksandr Andreev": { + "name": "Aleksandr Andreev", + "bio": "Leads the Slavonic Computing Initiative, a volunteer group of developers seeking to expand computer support for Old Church Slavonic and modern Church Slavonic. Typefaces include Triodion, Pochaevsk, and Ponomar for modern CS; Shafarik and Monomakh for OCS and academic work; as well as Mezenets and other fonts for Znamenny Notation. sci.ponomar.net | academia.edu" + }, + "Nikita Simmons": { + "name": "Nikita Simmons", + "bio": null + }, + "Alejandra Rodriguez": { + "name": "Alejandra Rodriguez", + "bio": null + }, + "Florian Karsten": { + "name": "Florian Karsten", + "bio": "Florian Karsten Studio (Brno, Czech Republic) focuses on graphic design, type design and programming. They create websites, books, programmes, typefaces and above all, functional systems. They are excited about open-source and peer2peer networks. Typefaces | Instagram" + }, + "Neil Summerour": { + "name": "Neil Summerour", + "bio": null + }, + "Arthur Reinders Folmer": { + "name": "Arthur Reinders Folmer", + "bio": "Arthur Reinders Folmer attended the Royal Academy of Art, the Hague, and afterwards started his own design studio in Haarlem, the Netherlands, where he specialises on combining typography and illustration. Next to his design studio, Arthur also runs his type foundry, Typearture. Through Typearture he creates typefaces that merge concepts, culture, experiment and most importantly: a bit of humor. His designs play with concepts, conventions of written language, and embed cultural references. The Typearture fonts are a type of adventure, and they explores all the possibilities that can be contained in a font-file. typearture.com | Twitter" + }, + "Just van Rossum": { + "name": "Just van Rossum", + "bio": null + }, + "Sandoll Communication": { + "name": "Sandoll Communication", + "bio": null + }, + "Andrea Herstowski": { + "name": "Andrea Herstowski", + "bio": "Andrea Herstowski teaches typography, design, and professional practice at the University of Kansas, Lawrence KS. Her Typographic Universe course introduces design students to the vast world of type design. Before joining KU she worked as a graphic designer in San Francisco, Basel, and Frankfurt. andreaherstowski.xyz" + }, + "Ben Hoepner": { + "name": "Ben Hoepner", + "bio": "Ben Hoepner is a designer drawn to type design, publication, and arts and cultural heritage work. As a Visual Communication Design undergraduate student at the University of Kansas, he was instrumental in developing National Park for the Google Library. benhoepner.work" + }, + "Jeremy Shellhorn": { + "name": "Jeremy Shellhorn", + "bio": "Jeremy Shellhorn is a designer, illustrator, and educator. He runs the Design Outside Studio and teaches Visual Communication Design at the University of Kansas. As a designer, he specializes in the outdoor industry, works as \u201cdesigner-in-residence\u201d at Tenkara USA, and has been collaborating with Rocky Mountain National Park since 2012. jeremyshellhorn.com" + }, + "Nermin Kahrimanovic": { + "name": "Nermin Kahrimanovic", + "bio": "Nermin Kahrimanovic is a London based digital designer. His skills range from brand & website design to font development, HTML/CSS, 3D rendering, illustrations and video editing. Always looking to expand his skills further with a keen eye on current and upcoming design trends. Website | Behance" + }, + "Brian Zick": { + "name": "Brian Zick", + "bio": null + }, + "Vladimir Nikolic": { + "name": "Vladimir Nikolic", + "bio": "Vladimir Nikolic is based in Belgrade. As a passionate designer he worked in the product design industry and started type business in 2017. coroflot.com/vladimirnikolic" + }, + "Hana Tanimura": { + "name": "Hana Tanimura", + "bio": "Hana is an award-winning designer and art director at Google Creative Lab in New York (previously in London). She likes making good things with good people, for good causes. And sometimes just for fun. Homepage | Instagram" + }, + "Noemie Le Coz": { + "name": "Noemie Le Coz", + "bio": "Noemie Le Coz is a New York-based independent Art Director, Designer and Illustrator. While very diverse, her aesthetic approach often merges minimalism with a distinct sense of play. She is a winner of Young Guns 15. Homepage | Instagram" + }, + "Alexei Vanyashin": { + "name": "Alexei Vanyashin", + "bio": null + }, + "James Barnard": { + "name": "James Barnard", + "bio": null + }, + "\u1ee4d\u1ecb Foundry": { + "name": "\u1ee4d\u1ecb Foundry", + "bio": "Based in Lagos, Nigeria, \u1ee4d\u1ecb Foundry is an independent type foundry founded by Chisaokwu Joboson with a mission to craft contemporary typefaces inspired by African culture and accommodate various African language scripts. Its most recent typeface project is Ojuju. Twitter | udifoundry.com" + }, + "Chisaokwu Joboson": { + "name": "Chisaokwu Joboson", + "bio": "Chisaokwu Joboson is a Nigerian-based brand and type designer. He creates contemporary typefaces under his independent type foundry called \u1ee4d\u1ecb, meticulously crafted to accommodate various African language scripts. Twitter | jobosonchisa.com" + }, + "Alexey Kryukov": { + "name": "Alexey Kryukov", + "bio": null + }, + "soytutype fonts": { + "name": "soytutype fonts", + "bio": null + }, + "Dmitri Voloshin": { + "name": "Dmitri Voloshin", + "bio": "Dmitri Voloshin is the founder of Simpals, Moldova's largest Internet company. Font designer, product designer, cartoon director, he has received numerous awards for his work worldwide. voloshin.md" + }, + "Andrey Kudryavtsev": { + "name": "Andrey Kudryavtsev", + "bio": "Andrey Kudryavtsev was born in Irkutsk near the Lake Baikal in 1980. He started typedesign in 2008. He participated in the Rodrigo Araya's RodrigoTypo project in Chile as a consultant and designer of the cyrillic parts of several font families and was shortlisted twice for the Tipos Latinos Biennial. He participated as a co-author of the Qwincey FY typefamily in the French project Fontyou. His header type Czarevitch was awarded the Glyphs prize at the Modern Cyrillic 2019 international competition. He participated as co-author designer in the project of universal typefamily Onest for Moldova. Facebook | Behance" + }, + "Oleg Pospelov": { + "name": "Oleg Pospelov", + "bio": null + }, + "Sooun Cho": { + "name": "Sooun Cho", + "bio": null + }, + "Haruki Wakamatsu": { + "name": "Haruki Wakamatsu", + "bio": "Haruki Wakamatsu, who chooses to go by Haley, is a longtime hobbyist graphic designer from Sapporo, Japan. With a penchant for pixel typefaces and experience dating back to 2014, she has released a library of free and commercial fonts as the foundry UkiyoMoji Fonts. Homepage | Twitter" + }, + "Kalapi Gajjar": { + "name": "Kalapi Gajjar", + "bio": null + }, + "Smartsheet Inc": { + "name": "Smartsheet Inc", + "bio": "Smartsheet is a SaaS, enterprise cloud app for work management and collaboration. In September 2022, Smartsheet acquired Outfit.io co-creators of the Outfit typeface. smartsheet.com" + }, + "Delve Withrington": { + "name": "Delve Withrington", + "bio": null + }, + "Dave Bailey": { + "name": "Dave Bailey", + "bio": null + }, + "Severin Meyer": { + "name": "Severin Meyer", + "bio": null + }, + "ParaType": { + "name": "ParaType", + "bio": "ParaType was established in 1998 as a successor to the ParaGraph International type department. The company develops and distributes multilingual typefaces that support the Latin, Cyrillic, Greek, Arabic, Hebrew, Armenian, and Georgian scripts. A specialist in manual TrueType hinting, ParaType offers high-quality hinting services to other type designers. The most popular ParaType projects include Pragmatica, PT Serif, and Circe. Twitter" + }, + "Botjo Nikoltchev": { + "name": "Botjo Nikoltchev", + "bio": null + }, + "Ani Petrova": { + "name": "Ani Petrova", + "bio": null + }, + "James Puckett": { + "name": "James Puckett", + "bio": "James studied graphic design at the Corcoran College of Art where he graduated with honors. He designed the Armitage, Ironstrike, and Lorimer type families, and has worked on custom type designs for clients including Mucca, Mutt Industries, and Google. In 2009, he started Dunwich Type Founders. GitHub | Twitter" + }, + "Shibuya Font": { + "name": "Shibuya Font", + "bio": null + }, + "Kevin Burke": { + "name": "Kevin Burke", + "bio": "Kevin Burke is an animator, designer, and prototyper based in London, UK. Kevin currently works on the Google Doodle team. Outside of work, Kevin is a musician composing under the name Nomadic Sun. homepage | vimeo | twitter | soundcloud" + }, + "Saber Rastikerdar": { + "name": "Saber Rastikerdar", + "bio": "Saber Rastikerdar (1986\u20132023) was a dedicated programmer and type designer who significantly contributed to Persian digital typography. He was known for creating several open-source fonts, including Vazir/Vazirmatn, Sahel, Samim, Tanha, Shabnam, Gandom, and Parastoo. His work aimed to improve the readability and aesthetic appeal of Persian script in digital media. Github" + }, + "Red Stone": { + "name": "Red Stone", + "bio": "Red Stone is an optimistic, award-winning team of creative thinkers, makers and planners based in London. They have delivered award winning brand identities, communications and content for leading organisations and charities. Red Stone partners with clients who are looking to make a positive difference to individuals, communities and the planet. ww.red-stone.com | Instagram" + }, + "Patrick Wagesreiter": { + "name": "Patrick Wagesreiter", + "bio": null + }, + "Ringo R. Seeber": { + "name": "Ringo R. Seeber", + "bio": "Ringo R. Seeber is a designer and typographer based in NYC and DC, with broad interests in symbolic systems, publications, and identity. He is the founder of the design agency Glyph Co, aka Glyph NYC, and is driving the project Human Type. Twitter | glyph.co" + }, + "D\u01b0\u01a1ng Tr\u1ea7n": { + "name": "D\u01b0\u01a1ng Tr\u1ea7n", + "bio": "D\u01b0\u01a1ng Tr\u1ea7n is a Vietnamese graphic designer and type practitioner, who shares passions in creating visual identities, layout designs and typography. From 2020, he has been crafting letters with emotional expressions and focuses on how to scale up the market of Vietnamese supported typefaces, starting with Phudu and Loes. Website | Instagram" + }, + "Nicolas Massi": { + "name": "Nicolas Massi", + "bio": null + }, + "Stefie Justprince": { + "name": "Stefie Justprince", + "bio": "Stefie Justprince is a dedicated creative professional specializing in type design. With a strong commitment to excellence, he has been a proud member of Typecalism Foundryline since 2020, contributing as a solo artist. Throughout his career since 2017, he has honed his skills in curating and creating distinctive typefaces that capture attention and convey meaningful messages. By blending aesthetics with functionality, he strives to breathe life into letters and help brands communicate their unique identities effectively. Instagram" + }, + "David Sargent": { + "name": "David Sargent", + "bio": "David Sargent is an Australian designer and educator living and working on Jagera and Turrbal land. He is the Creative Director of Liveworm, an incubator within the Queensland College of Art & Design, Griffith University, where students work on diverse external projects in a mentored environment. davidsargent.com.au" + }, + "Jonas Hecksher": { + "name": "Jonas Hecksher", + "bio": null + }, + "Laura Meseguer": { + "name": "Laura Meseguer", + "bio": "Laura is a freelance graphic and type designer based in Barcelona. She is specialised in all sorts of projects involving custom lettering and type design for branding and publishing design." + }, + "Veronika Burian": { + "name": "Veronika Burian", + "bio": "Veronika is a co-founder of the international indie foundry TypeTogether. She is one of the organisers of the alphabettes.org mentorship program, chairwoman of the GRANSHAN project, and organiser of TypeTech MeetUp." + }, + "Jos\u00e9 Scaglione": { + "name": "Jos\u00e9 Scaglione", + "bio": "Jos\u00e9 is a typeface designer, lecturer, and author specialising in typography. He co-founded the TypeTogether font foundry with Veronika Burian, where they have published numerous award-winning type families." + }, + "Vera Evstafieva": { + "name": "Vera Evstafieva", + "bio": "Based in Cambridge, UK, Vera Evstafieva is an independent type designer, calligrapher, and consultant who specializes in Latin and Cyrillic type design and lettering. Among Vera\u2019s type designs are: Amalta, winner of the 2011 TDC competition; ALS Direct typeface for interior and exterior wayfinding; Literata Cyrillic for TypeTogether, awarded by Modern Cyrillic 2021; Birra Lambic typeface for Darden Studio\u2019s Birra Flight project, awarded by 2022 Communication Arts magazine competition; Moscow University typeface; Rossica, Apriori, and other typefaces. Vera is a full member of Letter Exchange and has served as a jury member for international type design competitions, including Granshan. Instagram | letterexchange.org/members/portfolios/vera-evstafieva" + }, + "Tom Grace": { + "name": "Tom Grace", + "bio": "Tom Grace is a leading independent typeface and lettering designer based in Lausanne, Switzerland. He holds a Master of Arts in Typeface Design from the University of Reading (UK) and has been creating and optimizing letterforms professionally for over 20 years. Tom has designed and developed hundreds of custom font styles, many for Cyrillic and other non-Latin writing systems, and has published retail typefaces with Monotype and TypeTogether. He also teaches, lectures, and consults on typeface design and development. Tom\u2019s work has earned awards and distinctions for excellence, reinforcing his reputation as a go-to specialist for designers, design agencies, and type foundries in Switzerland and worldwide. tomgrace.ch" + }, + "Yorlmar Campos": { + "name": "Yorlmar Campos", + "bio": "Yorlmar Campos is an architect from the Universidad Central de Venezuela and taught typographic design in the Type Design MA at the Universidad de Buenos Aires where he had previously studied. He has worked on various technical development typographic projects for Google Fonts and his typefaces have been featured in the Tipos Latinos biennial. His font \"Atlante,\" published with TypeTogether, has received five awards, iClap Platinum, Tipos Latinos Certificate of Excellence, D&AD, Gold at the ED-Awards, and the TDC Certificate of Excellence. rnsfonts.com/ | Instagram" + }, + "Azza Alameddine": { + "name": "Azza Alameddine", + "bio": "Azza has been working as a graphic designer for 17 years in Lebanon and the UK; and as a type designer for 10 years. She holds a BA in visual communication from Cr\u00e9apole, Paris, and a Masters in Typeface Design from the University of Reading. She is interested in typefaces from a cultural point of view and the feelings they convey to people who can read them and to those who can't. Her goal is to bring more awareness to graphic and type designers in the Middle East about the added value of good typography in visual communication. azalam.com" + }, + "Gunjan Panchal": { + "name": "Gunjan Panchal", + "bio": "Gunjan Panchal is a type designer based in Mumbai. Having worked in advertising for five years in Mumbai and Bengaluru, Gunjan pursued an interest in type design, joining Indian Type Foundry in 2016 to work on Gujarati and Devanagari projects, and then Ektype in 2020, where he worked on a Nandinagari typeface. He\u2019s been collaborating with Universal Thirst since December 2021. gunjanpanchal.work/" + }, + "Sirin Gunkloy": { + "name": "Sirin Gunkloy", + "bio": "Sirin is an independent graphic and typeface designer based in Bangkok. She specializes in Thai and Latin typography, with an emphasis on linguistics and paleography. sirin-kwan.co/" + }, + "Tokotype": { + "name": "Tokotype", + "bio": "Tokotype is a type foundry based in Indonesia, initiated and operated by Gumpita Rahayu since in 2015. Tokotype is dedicated to providing experienced various commercial & custom fonts projects development by collaborating with leading design agencies, companies, and organizations. Homepage | Instagram | Twitter" + }, + "Adam P\u00f3\u0142tawski": { + "name": "Adam P\u00f3\u0142tawski", + "bio": null + }, + "Yoon Design": { + "name": "Yoon Design", + "bio": null + }, + "Ninad Kale": { + "name": "Ninad Kale", + "bio": null + }, + "Tipo": { + "name": "Tipo", + "bio": null + }, + "CodeMan38": { + "name": "CodeMan38", + "bio": null + }, + "Pavel Emelyanov": { + "name": "Pavel Emelyanov", + "bio": null + }, + "Jasper de Waard": { + "name": "Jasper de Waard", + "bio": null + }, + "USWDS": { + "name": "USWDS", + "bio": null + }, + "Dan Williams": { + "name": "Dan Williams", + "bio": null + }, + "Sir Andyj": { + "name": "Sir Andyj", + "bio": null + }, + "Andrew Paglinawan": { + "name": "Andrew Paglinawan", + "bio": null + }, + "Charles Daoud": { + "name": "Charles Daoud", + "bio": "Charles Daoud is a multidisciplinary graphic designer and typographer that works with a wide variety of SMEs, large corporations, firms and advertising agencies across the province of Quebec and abroad. He is internationally recognized for his work with major clients, such as Netflix and Brocade, as well as his innovative typefaces, including the ever-popular Dense, which have been downloaded by millions of users. In 2017, he led the development of the Radio-Canada typeface, in collaboration with the public broadcaster - a project that earned him a Grafika Grand Prix as well as not only being published in the Communication Arts Typography Annual, but also making its cover. He was also featured as one of the \"15 Canadian Graphic Designers to Follow\" by MIJLO, an industry-leading design blog. charlesdaoud.com" + }, + "Coppers and Brasses": { + "name": "Coppers and Brasses", + "bio": "Coppers and Brasses is a digital type foundry developing retail and custom typefaces for local and international clients. Based in Montreal, the award-winning foundry was founded in 2011 by \u00c9tienne Aubert Bonn and Alexandre Saumier Demers. Their debut retail typeface, Martha, was released in 2012. \u00c9tienne now runs the foundry and collaborates regularly with designers and consultants from all around the globe. Their typefaces are meticulously created for print as well as screen use. Coppers and Brasses takes their pride in bringing the the smoothest bezier curves, the most regular rhythm and the nicest text color. They also design bespoke typographic solutions for a variety of clients, either through advertising agencies, creative studios, or directly. Whether it is for a complete typeface family or a lettering piece, they take interest in every project that involves the drawing of letterforms. coppersandbrasses.com" + }, + "Alexandre Saumier Demers": { + "name": "Alexandre Saumier Demers", + "bio": "Alexandre Saumier Demers is a type designer and sign painter based in Montreal, Canada. He sometimes develops fonts for Coppers and Brasses-foundry he initially co-founded in 2011. asaumierdemers.com" + }, + "\u00c9tienne Aubert Bonn": { + "name": "\u00c9tienne Aubert Bonn", + "bio": "Since 2012, \u00c9tienne Aubert Bonn has been working as a type designer at Coppers and Brasses, the type foundry he cofounded with Alexandre Saumier Demers. Together, he and Alexandre offer a variety of type-related services including retail typefaces, custom fonts, lettering work, and typographic consultancy. Additionally, he is involved in teaching type design at UQAM as part of the graphic design BA course. Prior to his current endeavors, he completed a graphic design BA at UQAM, followed by a type design certificate at Type@Cooper and the Type and Media MA at KABK. coppersandbrasses.com" + }, + "Zeynep Akay": { + "name": "Zeynep Akay", + "bio": null + }, + "Martin Sommaruga": { + "name": "Martin Sommaruga", + "bio": null + }, + "TipTopTyp": { + "name": "TipTopTyp", + "bio": null + }, + "Anna Giedry\u015b": { + "name": "Anna Giedry\u015b", + "bio": "Anna is a designer with many interests\u2014she favors fonts and graphics when working, and illustration as a welcomed distraction. She holds an MA in Visual Communication from the University of Fine Arts in Pozna\u0144, and discovered her interest in pattern and calligraphy while studying in Vilnius, Lithuania. She designed Signika, a type family for wayfinding, and collaborated on the open-source type families Yrsa and Rasa, which support the Latin and Gujarati scripts. After freelancing for several studios, Anna now works with Rosetta. Twitter | ancymonic.com" + }, + "Nadine Chahine": { + "name": "Nadine Chahine", + "bio": null + }, + "Arrow Type": { + "name": "Arrow Type", + "bio": "Arrow Type is a type foundry and studio practice based in Brooklyn, NY which specializes in custom type, type design, and font development, run by Stephen Nixon. Previously, Stephen worked in digital product design and brand experience design at IBM. In 2018, Stephen graduated with a Master\u2019s degree in Type and Media from The Royal Academy of Art (KABK) in The Hague, Netherlands. In 2019, Google Fonts commissioned and published Arrow Type\u2019s first release, Recursive. Today, Arrow Type has a focus on creating fonts that are beautiful, uniquely useful, and tell a story. arrowtype.com | GitHub | YouTube | Instagram" + }, + "Stephen Nixon": { + "name": "Stephen Nixon", + "bio": "Stephen Nixon designs & develops fonts, tools, and websites as Arrow Type. Previously, he was in the KABK TypeMedia class of 2018. Before that, he designed and built websites and brand tools at IBM. stephennixon.com | GitHub | Twitter | Instagram" + }, + "MCKL": { + "name": "MCKL", + "bio": "MCKL is a Los Angeles-based type foundry and design studio, publishing original fonts and creating custom designs for clients. Founded in 2012, MCKL is run by Jeremy Mickel, its primary designer and operating officer. MCKL has collaborated with leading design firms, companies, and organizations around the world to produce custom typeface and logo design services. Twitter | Instagram" + }, + "Christian Naths": { + "name": "Christian Naths", + "bio": "Christian Naths is a Canadian born software developer who specializes in planning, designing, and building digital products for early stage startups. christiannaths.com" + }, + "Stephen Hutchings": { + "name": "Stephen Hutchings", + "bio": "Stephen Hutchings is a specialist digital designer with deep expertise and broad interests, spanning custom fonts and type design, data visualisation and front\u2011end development. Based in Sydney, Australia, Stephen has developed a number of retail fonts, including Isomer and Maestro. He also produces bespoke typefaces for commercial clients. s-ings.com" + }, + "OrangeRed": { + "name": "OrangeRed", + "bio": "OrangeRed is Reddit's in-house brand creative team. Their role is to define the Reddit brand and maintain its standards through branding, messaging, design, art, and creative direction. redditinc.com/brand" + }, + "Hans Thiessen": { + "name": "Hans Thiessen", + "bio": "Hans Thiessen is currently serving as a Partner & ECD of Design at Rethink \u2014 AdAge\u2019s Creative Agency of the Year, one of Fast Company\u2019s Top 10 Most Innovative Creative Agencies, and all-around fun place to work. He also likes fonts. hansthiessen.com" + }, + "Christian Robertson": { + "name": "Christian Robertson", + "bio": null + }, + "Font Bureau": { + "name": "Font Bureau", + "bio": "Formed in 1989, Font Bureau has been active in the design of typefaces, the development of tools for both type design and typography, and as a consultant in the development of font technology for both operating systems and applications. Font Bureau\u2019s custom fonts are seen in hundreds of publications world-wide. It\u2019s retail font library is popular among designers of a wide range of projects, and its pioneering work in variable font technology has set examples for both the finessing of typography for better composition, and new levels of expression that type can bring to reinforce user interest in any design. fontbureau.typenetwork.com" + }, + "David Berlow": { + "name": "David Berlow", + "bio": "David Berlow, the president of Font Bureau, is a 44-year veteran of the type industry. Beginning his career in 1978 at Mergenthaler-Linotype, Stemple, and Haas, he moved on to one of the first digital type foundries, Bitstream, in 1982. Berlow began consulting and sub-contracting to Apple Computer in 1989, leading development of the era-defining fonts for macOS 7 that introduced the TrueType format, and later the first variable font, Skia. His fonts are distributed by Google, Apple, Microsoft, Adobe, Monotype, Morisawa and Type Network. He has been the recipient of lifetime achievement awards from both the Type Directors Club and the Society of Type Aficionados. fontbureau.typenetwork.com" + }, + "Irene Vlachou": { + "name": "Irene Vlachou", + "bio": "Irene Vlachou is a typeface designer based in Athens, Greece. She holds an MA in Typeface Design from the University of Reading. Irene has collaborated with international type foundries and corporations, working as a typeface designer and a consultant for Greek typefaces. From 2013 to 2019, she was a senior designer and variable font expert at Type-Together. She currently works full time as a freelancer typeface designer specializing in OEM/System fonts. On behalf of the Greek Open Source Community (GFOSS), she is a mentor on the expansion of Greek libre fonts for the GSOC (Google Summer of Code) program. For the spring semester of 2022, Irene is an artist-in-residency at La Becque and a visiting professor at the Master program of Typeface design at ECAL, Lausanne. Her work includes: Colvert Greek (2012, typographies.fr), Parmigiano Greek (2014, Typotheque), Samsung One Greek (2016, Brody Associates), LL Bradford Greek (2016, identity for Documenta14, Laurenz Brunner), LL Unica77 Greek (2017, Lineto), Stratos Greek (2018, Production Type), FauxFoundry and FauxGreek parametric fonts (2019, self initiated), SauberScript Greek (2020, TypeJockeys), Amstelvar (2020, Font Bureau) and redesign of Roboto and Noto Greek fonts (2021, Google Fonts). ivtype.com" + }, + "Ilya Ruderman": { + "name": "Ilya Ruderman", + "bio": "Ilya is a type and graphic designer and teacher, who lives and works in Barcelona. He is a graduate of the Moscow State University of the Printing Arts (2002), where his graduation project was done under the supervision of Alexander Tarbeev. He has a MA degree in type design from the Type & Media programme at the Royal Academy of Art in the Hague (2005). After completing the programme, he returned to Moscow where he has collaborated with a number of media organizations: Kommersant, Afisha, Moskovskiye Novosti, Bolshoi Gorod and Men\u2019s Health Russia. In 2005\u20132007 he was art director for Afisha\u2019s city guidebooks, and 2007\u20132015 he supervised the curriculum in type and typography at the British Higher School of Art and Design in Moscow. He has been sought out as an expert consultant on Cyrillic type design by international foundries since 2008. In 2014 he founded the foundry CSTM Fonts with Yury Ostromentsky, and in 2016 the type.today font store with a focus on Cyrillic typefaces. type.today" + }, + "Yury Ostromentsky": { + "name": "Yury Ostromentsky", + "bio": "Graphic and type designer, co-founder of type.today store. Graduate of the Moscow State University of Printing Arts (Department of Arts and Technical Design of Printed Materials). Yury worked as a designer and art director for publishers and design studios. From 2004 to 2012, he was art director with Bolshoy Gorod (Big City) magazine. In 2004, he and lya Ruderman, Dmitry Yakovlev, and Daria Yarzhambek launched the DailyType webpage. Later in 2014, Yury and Ilya Ruderman founded CSTM Fonts type design studio which released Pilar, Big City Grotesque, Kazimir, Navigo, Normalidad, RIA Typeface, Lurk, Loos, Maregraph typefaces and CSTM Xprmntl series, as well as Cyrillic versions of Druk, Graphik, Spectral, Stratos and Apoc. The works by Ostromentsky and CSTM Fonts were awarded by European Design Award, Granshan and Modern Cyrillic Competition. type.today" + }, + "Mikhail Strukov": { + "name": "Mikhail Strukov", + "bio": "Mikhail Strukov is a type designer and graduate of Ilya Ruderman\u2019s course at BHSAD (Moscow) and Frank Blokland's program at Plantin Institute of Typography (Antwerp), where he developed a deep interest in history of type and evolution of type production. He collaborates with CSTM Fonts and Samarskaya & Partners, working mostly on Cyrillic versions for both custom and retail typefaces. When not busy with designing Cyrillic, he reviews, consults and writes about Cyrillic. A smalltown resident, road cycling fan, and builder of local communities" + }, + "Commercial Type": { + "name": "Commercial Type", + "bio": "Based in New York and London, Commercial Type is a joint venture between Paul Barnes and Christian Schwartz, who have collaborated since 2004 on various typeface projects, beginning with the award winning Guardian Egyptian, through to typefaces for clients worldwide including Vanity Fair; Helsingin Sanomat; T, The New York Times Style Magazine; MoMA; Visa; and Chobani. Commercial Type has also published typefaces that have helped to define the look of the last 10 years, including Graphik, Druk, and Dala Floda." + }, + "Greg Gazdowicz": { + "name": "Greg Gazdowicz", + "bio": "Greg Gazdowicz (b. 1988) hails from the suburbs of Gaithersburg, Maryland. He studied graphic design at the Maryland Institute College of Art, then completed the Type@Cooper Extended program in 2014, months after joining the design staff of Commercial Type. Greg has designed custom typefaces for Mailchimp, La Repubblica, Google, and New York magazine, and has released several families through Commercial Type, including Robinson and the ambitious Terza family." + }, + "Pablo Ugerman": { + "name": "Pablo Ugerman", + "bio": null + }, + "Hubert and Fischer": { + "name": "Hubert and Fischer", + "bio": null + }, + "Daniel Grumer": { + "name": "Daniel Grumer", + "bio": "Daniel Grumer is a multilingual type designer. He graduated from Bezalel Academy of Arts and Design in Jerusalem and received his Master of Design at TypeMedia at the Royal Academy of Art in The Hague (KABK). In 2017, Daniel joined Fontef Type Foundry, and he is also teaching typography and Lettering at Bezalel Academy of Arts and Design, Jerusalem. fontef.com" + }, + "Omaima Dajani": { + "name": "Omaima Dajani", + "bio": "Omaima Dajani, based in the Netherlands, holds a Bachelor's degree in Visual Communication and a Masters degree in Type Design from KABK. Besides being a freelance type and graphic designer, Omaima is an archivist and educator. She has collaborated with prominent type foundries such as ArabicType Foundry and Fontef Type Foundry and won a TDC award for her typeface Lifta. Omaima's keen interest lies in bridging the gap between traditional Arabic calligraphy and contemporary type design, displaying a unique blend of timeless artistry and modern innovation. Instagram" + }, + "NaN": { + "name": "NaN", + "bio": "NaN is an exploratory and service-driven type design practice, creating for and collaborating with the weird, the wise and the wonderful. nan.xyz | Twitter | Instagram" + }, + "Luke Prowse": { + "name": "Luke Prowse", + "bio": "Luke Prowse is a founder and designer working at the Berlin-based type studio NaN. nan.xyz" + }, + "Angelina Sanchez": { + "name": "Angelina Sanchez", + "bio": null + }, + "Meme Hern\u00e1ndez": { + "name": "Meme Hern\u00e1ndez", + "bio": null + }, + "Oleg Snarsky": { + "name": "Oleg Snarsky", + "bio": null + }, + "Vladimir Rabdu": { + "name": "Vladimir Rabdu", + "bio": null + }, + "Ross Mills": { + "name": "Ross Mills", + "bio": "Ross Mills is a Canadian type designer and font maker, and co-founder of Tiro Typeworks (1994)." + }, + "Ren\u00e9 Bieder": { + "name": "Ren\u00e9 Bieder", + "bio": "Ren\u00e9 Bieder is a trained Graphic designer, Art Director, and self-taught type designer. Before setting up his own studio as a type designer in 2012, he was employed in various small and large advertising agencies. Today, you can find his retail typefaces all around the world. From the Nemo Science Museum in Amsterdam to the University of Florida. Next to his retail releases, Bieder has worked with various national and international clients, such as industry giants such as Volkswagen, to create impactful custom brand fonts. renebieder.com/ | Instagram" + }, + "Hector Gatti": { + "name": "Hector Gatti", + "bio": null + }, + "Daniel Hernandez": { + "name": "Daniel Hernandez", + "bio": null + }, + "Batsirai Madzonga": { + "name": "Batsirai Madzonga", + "bio": "After earning his BSc in Computer Science from the University of Cape Town, Batsi channeled his passion for digital platforms and entrepreneurship into founding his own design agency. His success propelled him across Africa and the Middle East, where he held various roles in the design industry. Batsi has authored several books, including the notable career mentorship guide Devign Intervention and The Ubuntu Design Framework, in which he introduces a new product design framework. He is a design leader, international speaker, author, and content creator currently based in the Middle East. madzonga.com" + }, + "Bernd Montag": { + "name": "Bernd Montag", + "bio": null + }, + "Suppakit Chalermlarp": { + "name": "Suppakit Chalermlarp", + "bio": null + }, + "Plomb Type": { + "name": "Plomb Type", + "bio": "Plomb Type is an independent type foundry created by Max Esn\u00e9e and Emma Marichal, based in Lyon, France. The foundry creates a variety of typefaces with distinct voices, and also enjoys working closely with clients on custom designs. Alongside its font catalogue, Plomb Type offers typographic advice and support for brands of all kinds. plombtype.com | Instagram" + }, + "Max Esn\u00e9e": { + "name": "Max Esn\u00e9e", + "bio": "Max Esn\u00e9e is a typeface designer, graphic designer, and web developer. Graduating from EPSAA in 2014, he works independently, crafting visual identities and websites for a diverse range of clients. In 2019, he joined the EsadType program at ESAD Amiens to further his skills in typeface design. In 2021, he released the Gamuth typeface family at Production Type. Concurrently with his professional practice, he pursues various personal projects, ranging from designing new typefaces to creating web tools, such as the Stack & Justify application, launched in early 2024. max-esnee.com | Instagram" + }, + "mshio": { + "name": "mshio", + "bio": null + }, + "Bakken & B\u00e6ck": { + "name": "Bakken & B\u00e6ck", + "bio": "Bakken & B\u00e6ck is a technology-driven design studio founded in 2011. With offices in Oslo, Amsterdam, London, Bonn, and Barcelona, its team of 60+ people meets at the intersection of engineering, design, creative communication, and business development. Projects include defining future homes with IKEA to building decentralised platforms with Coinbase, serving as an end-to-end innovation partner for multiple ventures, and deploying a wide range of emerging technologies, like augmented reality, machine learning, and spatial computing. bakkenbaeck.com" + }, + "Henrik Kongsvoll": { + "name": "Henrik Kongsvoll", + "bio": "Henke is an Oslo-based type and graphic designer working with digital identities. He makes and produces fonts, typographic systems and type-driven brand narratives. henkehenke.no" + }, + "Dalton Maag": { + "name": "Dalton Maag", + "bio": "Dalton Maag is an international font foundry specializing in type design and digital font production. The company was founded by Swiss typographer Bruno Maag in 1991 and has grown over the past two decades to become one of the world\u2019s most respected type foundries. With a multinational and multicultural team drawn from 18 nations, Dalton Maag\u2019s clients span all industry sectors and include many of the world\u2019s most-recognized brands." + }, + "Sebasti\u00e1n Salazar": { + "name": "Sebasti\u00e1n Salazar", + "bio": null + }, + "Pedro Vergani": { + "name": "Pedro Vergani", + "bio": null + }, + "Kosal Sen": { + "name": "Kosal Sen", + "bio": null + }, + "Shantell Martin": { + "name": "Shantell Martin", + "bio": "Shantell Martin is a public speaker, curator, philosopher, cultural facilitator, teacher, choreographer, performer, and more. From fashion and celebrity collaborations to positions at MIT Media Lab, NYU Tisch ITP, Columbia University\u2019s Brown Institute, and choreographing a ballet at the Boston Ballet, Shantell\u2019s drawn LINE constantly evolves. Creating new connections between fine art, education, design, philosophy, and technology, Shantell explores themes such as intersectionality, identity, and play. shantellmartin.art | YouTube | Instagram | Twitter" + }, + "Anya Danilova": { + "name": "Anya Danilova", + "bio": "Anya Danilova is a type designer based in The Hague, Netherlands. She studied at the Moscow State University of Printing Arts, attending Alexander Tarbeev\u2019s type design workshop. In 2019, she obtained her Master\u2019s degree in Type and Media at The Royal Academy of Art in The Hague. In 2020, she won a Gerard Unger scholarship with her MA graduation typeface Rezak. Apart from working with typefaces, she loves writing and talking about them. She has written articles about various sides of typography and type design. anyadanilova.com | Instagram" + }, + "Jason Kottke": { + "name": "Jason Kottke", + "bio": "Based on the east coast of the US, Jason Kottke is an American writer and curator who fell in love with the web in the mid-90s and is now responsible for keeping long-time tech/culture blog kottke.org running smoothly. Silkscreen is the only typeface he\u2019s ever created. Kottke.org" + }, + "DXKorea Inc": { + "name": "DXKorea Inc", + "bio": null + }, + "Eduardo Rodriguez Tunni": { + "name": "Eduardo Rodriguez Tunni", + "bio": null + }, + "Jens Kut\u00edlek": { + "name": "Jens Kut\u00edlek", + "bio": "Jens Kut\u00edlek is a type designer and font engineer based in Berlin. After receiving a degree in Graphic Design, he worked at the FontFont Type Department, and also published two commercial type families through the FontFont label, FF Hertz and FF Uberhand. Jens gave presentations about font technology at typography events across Germany and taught a type design course at the Braunschweig University of Arts. He also released a number of open source fonts, like his coding font Sudo. Since 2016, Jens has been working at the LucasFonts studio with a focus on variable font production and font tool development. kutilek.de" + }, + "Annet Stirling": { + "name": "Annet Stirling", + "bio": null + }, + "Lettersoup": { + "name": "Lettersoup", + "bio": "Lettersoup is an independent type foundry based in Berlin, Germany. The foundry was founded by Botio Nikoltchev in 2014. The main focus of lettersoup is cooking fonts with Latin, Cyrillic, Greek and Arabic taste. www.lettersoup.de | Behance | Instagram" + }, + "Botio Nikoltchev": { + "name": "Botio Nikoltchev", + "bio": null + }, + "Nathan Gross": { + "name": "Nathan Gross", + "bio": null + }, + "Bryan Kirschen": { + "name": "Bryan Kirschen", + "bio": null + }, + "Mariya Lish": { + "name": "Mariya Lish", + "bio": "Mariya is a designer specialising in lettering, typography, type and bespoke logo design. With over a decade of experience, Mariya has a large catalogue of work. Her practice is focused on Latin and Cyrillic type design and development. Born in Minsk, Belarus, Mariya has lived in the UK for the last 16 years, raising a family in Northumberland. She has an extensive background in retail typeface development and custom font solutions. mariyalish.com" + }, + "The Northern Block": { + "name": "The Northern Block", + "bio": "Founded in 2006 by Jonathan Hill, The Northern Block is a collaborative type foundry internationally recognised for producing modernist fonts for brands, creatives and makers. The Northern Block's highly skilled and enthusiastic global team, designs and develops award-winning retail and custom typefaces, and is pushing forward the design of non-latin scripts, including Arabic, Cyrillic, Greek and Hebrew. Thenorthernblock.co.uk | Instagram | Twitter" + }, + "JIKJI": { + "name": "JIKJI", + "bio": null + }, + "Jonathan Barnbrook": { + "name": "Jonathan Barnbrook", + "bio": null + }, + "Frank Grie\u00dfhammer": { + "name": "Frank Grie\u00dfhammer", + "bio": null + }, + "Alistair McCready": { + "name": "Alistair McCready", + "bio": "Monolith is an award-winning design and typographic practice based in Auckland, New Zealand. The studio is founded on the belief that the best ideas are measured by an ability to execute them with care and precision. For over a decade, Monolith has tasked itself with producing work composed out of aesthetic and technological detail, prompting a reputable portfolio that couples typographic acumen with contemporary storytelling for clients worldwide including FIFA, Lloyds Bank, Liverpool Football Club, Toblerone; and Auckland International Airport. monolith.nz" + }, + "Brian LaRossa": { + "name": "Brian LaRossa", + "bio": null + }, + "Erica Carras": { + "name": "Erica Carras", + "bio": null + }, + "Alexey Maslov": { + "name": "Alexey Maslov", + "bio": null + }, + "AsiaSoft Inc": { + "name": "AsiaSoft Inc", + "bio": null + }, + "JIKJISOFT": { + "name": "JIKJISOFT", + "bio": null + }, + "Bonjour Monde": { + "name": "Bonjour Monde", + "bio": "Bonjour Monde is a working group looking into alternative processes in the field of visual creation. Functioning mostly through workshops and self-initiated experiments, they question tools, open and understand them in order to divert them from their initial function, in an infinite search for noise, error and happy accidents. Homepage | Gitlab" + }, + "Lucas Descroix": { + "name": "Lucas Descroix", + "bio": "Lucas Descroix is a type and graphic designer who likes to draw shapes and build systems. After researching at the National Institute for Typographic Research in Nancy (Fr), he is now designing typefaces, books, posters and visual identities. You can also find him experimenting alternative tools and organizing workshops with Bonjour Monde. Homepage" + }, + "George Triantafyllakos": { + "name": "George Triantafyllakos", + "bio": "George Triantafyllakos holds a PhD in Participatory Design of Educational Software from the Computer Science Department, Aristotle University of Thessaloniki, Greece. On September 2015 he started the Atypical type foundry. He has designed typefaces for the Greek Font Society. In 2017 he participated in the team of designers that won the competition for the design of the new visual identity of the National Library of Greece (George D. Matthiopoulos, Dimitris Papazoglou, George Triantafyllakos and Axel Peem\u00f6ller). The same year he was a member of the jury committee of the Greek Graphic Design and Illustration Awards (\u0395\u0392\u0393\u0395 2017). On October 2019 he was awarded at the 11th GRANSHAN Type Design Competition for the design of the Dolce Noir type family. atypical.gr" + }, + "Yanone": { + "name": "Yanone", + "bio": null + }, + "Soulaf Khalifeh": { + "name": "Soulaf Khalifeh", + "bio": null + }, + "Chank Diesel": { + "name": "Chank Diesel", + "bio": "Chank Diesel is a font designer and artist based in Minneapolis, MN, USA. Chank makes typefaces known for their fun and creative personalities and releases new fonts through his small business, The Chank Company, which he founded in 1996. Chank Fonts are available through Adobe, MyFonts, Monotype, Fontspring and Font Bros. Chank also creates custom fonts for great clients who need a unique font to convey their message, including Prince, Scholastic, Target, PBS Kids, Ben & Jerry, Pusheen the cat and Doctor Who. Chank.com | Portfolio" + }, + "Adam Jagosz": { + "name": "Adam Jagosz", + "bio": "Adam Jagosz is a Polish type designer and frontend developer based in Bielsko-Bia\u0142a. adamjagosz.com/" + }, + "Guillermo Torres": { + "name": "Guillermo Torres", + "bio": null + }, + "Contrast Foundry": { + "name": "Contrast Foundry", + "bio": "Established in 2014, Contrast Foundry is an international team of designers based in the San Francisco Bay Area. The foundry is known for its sophisticated multilingual typefaces, including CoFo Sans, Chimera, and Cinema1909. Their work is used by clients such as BBDO, Nike, Coca-Cola, Collins, and the Strelka Institute. In addition to creating custom typefaces and wordmarks, Contrast Foundry partners with in-house teams, leads workshops, and develops designs that transition seamlessly across platforms. Committed to education and community engagement, the team supports the next generation of designers through its Type Design Workshop and global lecture initiatives. contrastfoundry.com" + }, + "Grilli Type": { + "name": "Grilli Type", + "bio": "Grilli Type is an independent Swiss type foundry based in Lucerne and New York City. They offer original retail and custom typefaces\u2014high quality products with a contemporary aesthetic in the Swiss tradition. grillitype.com" + }, + "Type Network": { + "name": "Type Network", + "bio": "The world\u2019s best fonts. The world\u2019s best designers. Type Network represents more than 100 of the world\u2019s top foundries, with more joining every week. They make font licensing for businesses and organizations easier than ever. Their clients include AccuWeather, Adidas, Disney, MTV, Ford, HP, Microsoft, Ubuntu, The New York Times, Paramount, and The Washington Post. typenetwork.com/" + }, + "Andy Clymer": { + "name": "Andy Clymer", + "bio": null + }, + "Stefan Schmidt": { + "name": "Stefan Schmidt", + "bio": "Stefan Schmidt is an electrical engineer with graduate studies in signal processing, combined artistic languages and sociology. Fascinated by the interplay between the virtual and the real, his work probes the boundaries between perception and technology. stefanschmidtart.com/" + }, + "Neelakash Kshetrimayum": { + "name": "Neelakash Kshetrimayum", + "bio": "Typeface and graphic designer from Manipur (India), Neelakash is the co-founder of Brand New Type, India. He has developed typefaces for Adobe, Google, Microsoft and Monotype, frequently collaborating with Fiona Ross and John Hudson. His work centers around identity, culture, and multi-script typeface design. He studied graphic design at the National Institute of Design, India and has a Master\u2019s degree in Typeface Design from the University of Reading, United Kingdom. neelakash.com" + }, + "Fernando Mello": { + "name": "Fernando Mello", + "bio": "Fernando Mello has diplomas from \u2018MATD\u2019/University of Reading, \u2018Expert class Type design\u2019/Plantin Institute of Typography, and \u2018Condensed Program\u2019/Type@Cooper, He has worked for 13 years as a type designer for Fontsmith and Monotype, and created several retail plus custom fonts for global clients. He also worked for Tiro, Adobe and Microsoft with Tamil fonts. LinkedIn" + }, + "Tony de Marco": { + "name": "Tony de Marco", + "bio": null + }, + "Monica Rizzolli": { + "name": "Monica Rizzolli", + "bio": null + }, + "Andreu Balius": { + "name": "Andreu Balius", + "bio": null + }, + "Takashi Funayama": { + "name": "Takashi Funayama", + "bio": "Takashi Funayama is a graphic designer based in Tokyo. He has a core focus on book design, typeface and exhibition design. mt-funa.com/" + }, + "Thatcher Ulrich": { + "name": "Thatcher Ulrich", + "bio": null + }, + "Naima Ben Ayed": { + "name": "Naima Ben Ayed", + "bio": null + }, + "Sergey Steblina": { + "name": "Sergey Steblina", + "bio": null + }, + "j. 'mach' wust": { + "name": "j. 'mach' wust", + "bio": null + }, + "Corey Hu": { + "name": "Corey Hu", + "bio": null + }, + "Peter Hull": { + "name": "Peter Hull", + "bio": null + }, + "Mota Italic": { + "name": "Mota Italic", + "bio": null + }, + "Gydient": { + "name": "Gydient", + "bio": null + }, + "AbdElmomen Kadhim (blueMix)": { + "name": "AbdElmomen Kadhim (blueMix)", + "bio": null + }, + "Rune Bj\u00f8rner\u00e5s": { + "name": "Rune Bj\u00f8rner\u00e5s", + "bio": "Rune Bj\u00f8rner\u00e5s is a Norwegian front-end developer and multidisciplinary creative. In his spare time, he likes to work on one of his numerous projects within design, art, singing, music production, writing fiction or game/front-end programming. github.com/rubjo" + }, + "Nguyen Type": { + "name": "Nguyen Type", + "bio": "Nguyen Type is a Vietnam-based independent type foundry. Founded in 2020 by Andree Nguyen, the foundry aspires to enrich Vietnam\u2019s treasure trove of fonts. Nguyen Type focuses on exploiting new elements in type design, while also providing fonts that can be used in common contexts. nguyentype.com/ | Instagram" + }, + "Friedrich Althausen": { + "name": "Friedrich Althausen", + "bio": null + }, + "NightFurySL2001": { + "name": "NightFurySL2001", + "bio": null + }, + "Lars Berggren": { + "name": "Lars Berggren", + "bio": null + }, + "J\u00f6rg Drees": { + "name": "J\u00f6rg Drees", + "bio": "J\u00f6rg Drees: A Journey from Letterpress to AI Growing up in northern Germany, J\u00f6rg was surrounded by the art of letterpress typesetting, thanks to his parents' printing shop. He picked up the craft early on, and after training as a typographer, he honed his skills under Hans Rudolf Bosshard in Zurich, where he also designed his first typefaces. Nowadays, he works with news publishers and explores the cutting edge of AI in layout design. Next to his professional endeavors, font design has always been a personal passion. It\u2019s his go-to for inspiration and relaxation, and J\u00f6rg continues to create beautiful typefaces in his own time. linkedin.com/in/j\u00f6rg-drees-6680a513a" + }, + "Yellow Type": { + "name": "Yellow Type", + "bio": "Yellow Type is a digital type foundry based in Vietnam. Homepage" + }, + "Duy Dao": { + "name": "Duy Dao", + "bio": null + }, + "Catherine Leigh Schmidt": { + "name": "Catherine Leigh Schmidt", + "bio": null + }, + "Woowahan brothers": { + "name": "Woowahan brothers", + "bio": null + }, + "Bastien Sozeau": { + "name": "Bastien Sozeau", + "bio": "Bastien Sozeau is the founder of NoirBlancRouge, an independent type foundry based in Paris since 2019. Specializing in retail and custom typefaces, Bastien has crafted unique fonts for renowned brands like Kipling, Christian Louboutin and The Olympic Museum. Beyond their commercial work, Bastien has also been actively involved in designing free and open-source typefaces since 2013. noirblancrouge.com | Instagram" + }, + "Kinuta Font Factory": { + "name": "Kinuta Font Factory", + "bio": "Established in 1995, Kinuta Font Factory thinks that fonts are clothes made for words, and pursues this idea with new technology and trends. moji-sekkei.jp | kinutashotai.com" + }, + "Liu Bingke": { + "name": "Liu Bingke", + "bio": null + }, + "Yang Kang": { + "name": "Yang Kang", + "bio": null + }, + "Wu Shaojie": { + "name": "Wu Shaojie", + "bio": null + }, + "Zheng Qingke": { + "name": "Zheng Qingke", + "bio": null + }, + "Li Dawei": { + "name": "Li Dawei", + "bio": null + }, + "Yoshimichi Ohira": { + "name": "Yoshimichi Ohira", + "bio": "Yoshimichi Ohira started working on type design after several years of typesetting. He has created 23 Japanese fonts plus 3 Latin fonts. Popular works include \"Zen Old Mincho N Family,\" in which he pursued traditional beauty of Japanese characters. Aside from type designing, Ohira also works on metal stamps with letters of his original design. zenfont.jp" + }, + "Wei Zhimang": { + "name": "Wei Zhimang", + "bio": null + }, + "Typotheque": { + "name": "Typotheque", + "bio": null + } + }, + "metadata": { + "ABeeZee": { + "name": "ABeeZee", + "designer": [ + "Anja Meiners" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "ABeeZee is a children's learning font. Open, friendly and simple, the definite shapes support the process of learning to read and write. The italic carefully reminds young readers of fluent writing movements and inspires them to create their own unique handwriting. Learn more at carrois.com. To contribute, see github.com/googlefonts/abeezee.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "ADLaM Display": { + "name": "ADLaM Display", + "designer": [ + "Mark Jamra", + "Neil Patel", + "Andrew Footit" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "adlam", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "To help address the lack of display typefaces for the ADLaM script, invented by Ibrahima and Abdoulaye Barry, Microsoft commissioned three renowned type designers Neil Patel, Mark Jamra, and Andrew Footit to create ADLaM Display. The team created the font by taking inspiration from the spots, triangles, lozenges and chevrons patterns found in traditional khasas (blankets), Wodaabe (hats), and textiles of the Fulani culture. To contribute, please visit https://github.com/microsoft/ADLaM-Display.", + "primary_script": "Adlm", + "article": null, + "minisite_url": null + }, + "AR One Sans": { + "name": "AR One Sans", + "designer": [ + "Niteesh Yadav" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "AR One Sans is a type family for use in augmented reality environments and user interfaces. The family's low contrast, generous spacing and robust shapes make it work well in busy backgrounds with high readability. The design of letterforms is based on research and thorough testing on various devices ranging from high-end headsets to low-resolution smartphone-based devices. It has optical weights for high and low-resolution duplexed to avoid text reflow, making it easy to deliver a seamless user experience across platforms/devices. The functionality of the text has been tested thoroughly to make the reading experience better even in longer texts. AR One Sans language support includes full coverage of Vietnamese, additional to all Western, Central, and South-Eastern European languages. To contribute see github.com/niteeshy/ar-one-sans.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Abel": { + "name": "Abel", + "designer": [ + "MADType" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Abel is a modern interpretation of the condensed flat-sided sans serif. Originally used for newspaper headlines and posters, this style can also be used for text on the web. Its angled terminals and spiked stems give it enough style to be unique at display sizes, while its mono-weight still works well at smaller text sizes. Documentation can be found at www.madtype.com and to contribute to the project contact Matthew Desmond at mattdesmond@gmail.com", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Abhaya Libre": { + "name": "Abhaya Libre", + "designer": [ + "Mooniak" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "sinhala" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Abhaya Libre is the unicode compliant, complete libre version of the most widely used Sinhala typeface \u2018FM Abhaya\u2019 and includes Sinhala and Latin support. Designed in 1996, \u2018FM Abhaya\u2019 is an interpretation of the Sinhala letterpress typefaces from 1960s. The name \u2018Abhaya\u2019 is derived from the King Abhaya (474 BCE to 454 BCE) who reigned Sri Lanka from the ancient kingdom of Upatissa Nuwara. \u2018Abhaya Libre\u2019 was completely redrawn from scratch based on FM Abhaya to comply with modern day usages in terms of web, tab and smaller sizes for smartphones. Available in 5 weights, Abhaya Libre enables designers to build sophisticated typographic layouts by using lighter weights for body text and heavier weights for headlines and subheadings. Each of these weights contains 925 glyphs that enables clean and precise rendering for Sinhala, Pali and Sanskrit texts. Compact \u2018Da\u2019 forms can be enabled by using stylistic sets. The Latin characters, that match the aesthetics of \u2018Abhaya Libre Sinhala\u2019, which was inspired by the style of the original Sinhala with an eminent contrast between distinctive strokes that go from thick to thin and was further modified to co-exist with the visual logics of Latin typefaces. The ductus references according to the lines of a Didone typeface add a touch of Sinhala form to certain terminations. Large counters have been added along with small ascenders and descenders for optimized screen viewing. The project is led by Mooniak, a small type foundry based in Colombo, Sri Lanka, in collaboration with Pushpananda Ekanayake. The Latin part is designed by Sol Matas. Initial development and release was funded by Google Fonts in 2015. For more information and updates, or to report any bugs or suggestions, see github.com/mooniak/abhaya-libre-font", + "primary_script": "Sinh", + "article": null, + "minisite_url": null + }, + "Aboreto": { + "name": "Aboreto", + "designer": [ + "Dominik J\u00e1ger" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Aboreto is a display typeface based on early renaissance majuscule alphabet done by Luca della Robbia, a 15th century Florentine sculptor. The typeface is not a straightforward digitalization (it even couldn\u2019t be as the early Latin alphabet didn\u2019t include all the letters we use today) but more of a revival which keeps current needs and technologies in mind. Aboreto has vertical stress, a feature more typical of later-century typefaces. Another uniqueness lies in the construction, because it is essentially a sans-serif typeface that has only occasional indication of serifs \u2013 either via the \u201chidden\u201d serifs caused by stroke tapering or by slightly thickening the stroke endings. Aboreto comes in one weight - a high contrast regular that is on the thinner side. To contribute, see github.com/domija/Aboreto.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Abril Fatface": { + "name": "Abril Fatface", + "designer": [ + "TypeTogether" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Abril Fatface is part of a bigger type family system, Abril, which includes 18 styles for all Display and Text uses. The titling weights are a contemporary revamp of classic Didone styles, display both neutrality and strong presence on the page to attract reader attention with measured tension by its curves, good color and high contrast. Abril Fatface in particular is inspired by the heavy titling fonts used in advertising posters in 19th century Britain and France. The thin serifs and clean curves lend the typeface a refined touch that give any headline an elegant appearance. The Extended Latin character set supports over 50 languages, including those from Central and Northern Europe. Abril is designed by TypeTogether - Veronika Burian & Jos\u00e9 Scaglione. The additional weights of Abril can be seen at www.type-together.com/Abril", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Abyssinica SIL": { + "name": "Abyssinica SIL", + "designer": [ + "SIL International" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "ethiopic", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Abyssinica SIL is a Unicode font that supports Ethiopic and Latin languages. For more information please visit the Abyssinica SIL page on SIL International's Computers and Writing systems website, scripts.sil.org/AbyssinicaSIL To contribute, see github.com/silnrsi/font-abyssinica", + "primary_script": "Ethi", + "article": null, + "minisite_url": null + }, + "Aclonica": { + "name": "Aclonica", + "designer": [ + "Astigmatic" + ], + "license": "apache2", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Aclonica is a strong and modern sans serif typeface with a slight deco/techno essence to it. Clean letterforms, a generous x-height for a friendlier feel and easily legible typestyle. Perfect for both display titling as well as body copy.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Acme": { + "name": "Acme", + "designer": [ + "Juan Pablo del Peral", + "Huerta Tipogr\u00e1fica" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Acme is a condensed display typeface inspired by the visual language of classic cartoons and comics. It is designed to be used in headlines, and has a particular and groovy rhythm. The resulting texts are vivid but consistent, and its expressive characteristics work as well on screen as in print. The glyphs were each carefully designed, with top curve quality. It is well balanced, and carefully spaced by eye. Designed by Juan Pablo del Peral for Huerta Tipogr\u00e1fica.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Actor": { + "name": "Actor", + "designer": [ + "Thomas Junold" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "A diploma thesis project from the Aachen University of Applied Sciences at Karl-Friedrich (Kai) Oetzbach. The design was initiated in a course on type design, and the idea was to learn about writing as an information carrier by creating a typeface. It was created entirely digitally, so the path to the current version is very rocky and winding. Actor has a strong x-height, which is why it always requires a fairly high line spacing. The digits of Actor are created as old style figures. The forms of 6 and 9 are more dynamic and more tense than usual. The 8 has significantly shifted interiors and the 7 is slightly curved to the left.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Adamina": { + "name": "Adamina", + "designer": [ + "Cyreal" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Adamina is a typeface designed for text setting in small sizes. For this purpose the x-height is increased and contrast lowered. Proportions are transitional and compact. Refined design features like one-sided flaring and asymmetrical serifs are there to provide a pleasant reading experience. Designed by Alexei Vanyashin for Cyreal. To contribute to the project, visit github.com/cyrealtype/Adamina Updated: January 2016 to Version 1.012, to correct GPOS table (enabling kerning.)", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Advent Pro": { + "name": "Advent Pro", + "designer": [ + "VivaRado" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Advent Pro is a modern font designed for web and print. Advent Pro utilizes some of the universal characteristics of the sans-serif genre with modern characteristics to give an edge to your typography. The family was upgraded to a variable font with additional Italic styles in December 2022. The spacing and kerning was improved, which could lead to a slightly different text line length than the previous version. To contribute, see github.com/googlefonts/Advent.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Afacad": { + "name": "Afacad", + "designer": [ + "Kristian M\u00f6ller", + "Dicotype" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic-ext", + "latin", + "latin-ext", + "math", + "symbols", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "The \u2019Afacad typeface project\u2019 commenced in 2017 as a personalised lettering endeavour for Slagskeppet, a Swedish housing tenant, who sought fresh house address numbering for their entrances. The letters and numerals were meticulously crafted to harmonise with the architectural proportions and materials employed by Architect Sture Elm\u00e9n during the 1940s. Furthermore, the inclusion of supplementary weights and expanded language support contributes to a versatile typeface collection that is well-suited for both industrial and commercial applications. The alphabet, numerals and symbols were designed by Kristian M\u00f6ller and are part of the Dicotype Library. To contribute, please see github.com/Dicotype/Afacad.", + "minisite_url": null + }, + "Afacad Flux": { + "name": "Afacad Flux", + "designer": [ + "Kristian M\u00f6ller", + "Dicotype" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "The \u2019Afacad typeface project\u2019 commenced in 2017 as a personalised lettering endeavour for Slagskeppet, a Swedish housing tenant, who sought fresh house address numbering for their entrances. The letters and numerals were meticulously crafted to harmonise with the architectural proportions and materials employed by Architect Sture Elm\u00e9n during the 1940s. \u2018Afacad Flux\u2019 adds an extra dimension with a back-slanted version, commemorating, among other things, the typesetting of river names in historical cartography. Furthermore, the inclusion of supplementary weights and expanded language support contributes to a versatile typeface collection, well-suited for industrial and commercial applications. To contribute, please see github.com/Dicotype/Afacad.", + "minisite_url": null + }, + "Agbalumo": { + "name": "Agbalumo", + "designer": [ + "Raphael Al\u1eb9\u0301gb\u1eb9\u0301l\u1eb9\u0301y\u1eb9\u0300", + "Sorkin Type", + "Eben Sorkin" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic-ext", + "ethiopic", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Curvy, chunky, and compact. The Agbalumo display typeface has been designed to represent and capture the beauty of African languages. Primarily taking shape from the use of a brush pen, its charming, playful, and cute look lends itself to a variety of commercial and cultural use cases. Agbalumo is a single weight multilingual font. The glyph set includes standard opentype features and an assortment of stylistic alternates. Agbalumo can be used for African languages that make use of the Latin script, the Ge'ez script, European languages, and Vietnamese. To contribute to the project, visit github.com/SorkinType/Agbalumo", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Agdasima": { + "name": "Agdasima", + "designer": [ + "The DocRepair Project", + "Patric King" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Agdasima is a DocRepair font, intended to improve compliance with the ISO/IEC 29500 standard by providing fallback for Agency FB that minimizes text reflow in Office Open XML documents. Agdasima is based on Big Shoulders, a condensed American Gothic sans-serif font family. To contribute, please visit github.com/docrepair-fonts/agdasima-fonts.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Agu Display": { + "name": "Agu Display", + "designer": [ + "Seun Badejo" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "Agu Display is a distinctive typeface inspired by Nsibidi, an ancient graphic communication system from Nigeria and Cameroon's Cross River region. Used by the Ejagham, Ibibio, Efik, and Igbo peoples, Nsibidi's pictograms are deeply rooted in cultural storytelling and expression. Today, Nsibidi's symbols have found widespread use in modern design, from digital platforms like Marvel's \"Black Panther\" to print media, including fabric patterns and tattoos. Its pictographic nature allows for diverse creative applications, merging ancient art with contemporary design. Agu Display serves as a bridge between historical symbolism and modern typography. It's not just a font but a tool for cultural preservation, enabling designers to infuse their work with African heritage's depth and richness. This typeface celebrates tradition while fostering innovative expression, linking ancient communication with today's design needs. To contribute, see github.com/theseunbadejo/nsibidi-libre.", + "minisite_url": "https://www.agudisplay.com" + }, + "Aguafina Script": { + "name": "Aguafina Script", + "designer": [ + "Sudtipos" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Semi-formal and eye-catching elegance is the name of the game, says Aguafina Script. Graceful, but not too casual. Knowledgeable and artistic, but not too imposing. The characters flow into each other, making a very saucy script with appetizing color. The narrow lowercase allows for efficient use of space, while the long ascenders and descenders help maintain the legibility. A unique find among scripts, Aguafina is useful for product packaging, glossy magazine work, and book covers.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Akatab": { + "name": "Akatab", + "designer": [ + "SIL International" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "tifinagh" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Akatab is a Unicode font for rendering Tifinagh characters in the Tamahaq, Tamashek and Tawallamat languages. This font uses state-of-the-art OpenType font technology to provide accurate typography including the formation of bi-consonant ligatures. Variations of characters are included in the font to meet personal and regional preferences. For more information about supported Unicode ranges and languages, smart font features and how to use them, please see the documentation in the documentation folder. To contribute, see github.com/silnrsi/font-akatab.", + "primary_script": "Tfng", + "article": null, + "minisite_url": null + }, + "Akaya Kanadaka": { + "name": "Akaya Kanadaka", + "designer": [ + "Vaishnavi Murthy", + "Juan Luis Blanco" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "kannada", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Akaya is a single weight experimental display typeface in Kannada, Telugu and Latin scripts. Akaya Kanadaka and Akaya Telivigala are made as two separate font files which share a common Latin. To contribute, please see github.com/vaishnavimurthy/Akaya-Kanadaka.", + "primary_script": "Knda", + "article": null, + "minisite_url": null + }, + "Akaya Telivigala": { + "name": "Akaya Telivigala", + "designer": [ + "Vaishnavi Murthy", + "Juan Luis Blanco" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "telugu" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Akaya is a single weight experimental display typeface in Kannada, Telugu and Latin scripts. Akaya Telivigala and Akaya Kanadaka are made as two separate font files which share a common Latin. To contribute, please see github.com/vaishnavimurthy/Akaya-Telivigala.", + "primary_script": "Telu", + "article": null, + "minisite_url": null + }, + "Akronim": { + "name": "Akronim", + "designer": [ + "Grzegorz Klimczewski" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Akronim is a brand-new, original, brush like, stylish font with a Western and Central European (e.g. Polish, Croatian, Czech, Magyar etc.) Latin character set. Handmade in Poland, Europe, by Grzegorz Klimczewski. An acronym (in Polish, \"akronim\") is an abbreviation that forms a word. So this story is cut short. To understand it, imagine a nice girl with beautifully plaited slavic hair, strolling among the fields of wheat. If you imagine this, you will find a good use for this tasteful, brand-new typeface.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Akshar": { + "name": "Akshar", + "designer": [ + "Tall Chai" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Akshar is a variable display sans-serif font family that supports Latin and Devanagari. It is designed for titles, statements, headlines, annoucements, intros, outros, and other display texts. Akshar (Hindi: \u0905\u0915\u094d\u0937\u0930) literally means an alphabet or a letter in Hindi, Marathi, Gujarati and other Indic languages. Akshar is an OpenType Variable Font. It offers 2 axes: Weight (wght) and Contrast (CNTR). The Weight axis ranges from 300 to 700. The Contrast axis ranges from 0 to 100. Note: The Contrast axis is currently not supported by Google Fonts API. The fonts will be updated once it is supported. To contribute, visit github.com/tallchai/akshar-type.", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Aladin": { + "name": "Aladin", + "designer": [ + "Sudtipos" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Aladin is a calligraphic vintage face with a middle eastern touch, designed by Angel Koziupa and produced by Alejandro Paul. Casual, airy counters and friendly terminals give it an advantage as a packaging font for exotic coffees and teas. It also serves quite well on posters and book jackets where relaying the famous sense of Eastern hospitality and playfulness is a must.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Alata": { + "name": "Alata", + "designer": [ + "Spyros Zevelakis", + "Eben Sorkin" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Alata is a geometric low contrast sans design. It can feel monumental, serious and archaic and occasionally eccentric. It draws inspiration from both Early 20th C poster lettering and epigraphic Greek mono line letters. Curiously the capitals letters draw influence from UK Lettering while in contrast the lower case is more 'continental' or European in character. Alata offers a wide range of figures including oldstyle figures, small numbers including superiors and fractions. Alata also offers case sensitive forms. Alata is an original typeface designed by Spyros Zevelakis. . Eben Sorkin expanded the language support and refined the design in 2018. Alata is published by Sorkin Type . To contribute, see Alata GitHub", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Alatsi": { + "name": "Alatsi", + "designer": [ + "Spyros Zevelakis", + "Eben Sorkin" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Alatsi is an original typeface designed by Spyros Zevelakis. It is a semicondensed geometric sans design which feels familiar, calm, trustable and contemporary. It is a little lighthearted or casual in feeling as well. The contemporary feeling comes from the treatment of the terminals and the cheekily pointed V A W. The calmness from the modest x height. Alatsi offers a wide range of figures which include oldstyle figures, numerators, denominators and fractions. It also offers case sensitive forms. Latest upgrade from November 2022 includes a Latin Plus language coverage currently supporting most Latin-based languages. To contribute, see github.com/SorkinType/Alatsi . Alatsi is published by Sorkin Type .", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Albert Sans": { + "name": "Albert Sans", + "designer": [ + "Andreas Rasmussen" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Albert Sans is a modern geometric sans serif family, inspired by the type-characteristics of scandinavian architects and designers in the early 20th century. The Albert Sans family includes ten weights from Thin to Black and supports over two hundred languages. Designed by the Danish type designer Andreas Rasmussen from a.Foundry. To contribute, see github.com/usted/Albert-Sans.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Aldrich": { + "name": "Aldrich", + "designer": [ + "MADType" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Aldrich is a rounded yet squarely proportioned font that is reminiscent of early 20th Century gothic styles. With a solid stance and confident mono-weight strokes, Aldrich is a hardworking family with roots in Midwestern ethics. Documentation can be found at www.madtype.com and to contribute to the project contact Matthew Desmond at mattdesmond@gmail.com", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Alef": { + "name": "Alef", + "designer": [ + "Hagilda", + "Mushon Zer-Aviv" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "hebrew", + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Alef was born in the screen and designed to the pixel in an attempt to extend the palette of Hebrew fonts available for web design. It challenges the default, Arial. Alef supports both the Hebrew and Latin writing systems. To contribute, see alef.hagilda.com", + "primary_script": "Hebr", + "article": null, + "minisite_url": null + }, + "Alegreya": { + "name": "Alegreya", + "designer": [ + "Juan Pablo del Peral", + "Huerta Tipogr\u00e1fica" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Alegreya was chosen as one of 53 \"Fonts of the Decade\" at the ATypI Letter2 competition in September 2011, and one of the top 14 text type systems. It was also selected in the 2nd Bienal Iberoamericana de Dise\u00f1o, competition held in Madrid in 2010. Alegreya is a typeface originally intended for literature. Among its crowning characteristics, it conveys a dynamic and varied rhythm which facilitates the reading of long texts. Also, it provides freshness to the page while referring to the calligraphic letter, not as a literal interpretation, but rather in a contemporary typographic language. The italic has just as much care and attention to detail in the design as the roman. The bold weights are strong, and the Black weights are really experimental for the genre. There is also a Small Caps sibling family. Not only does Alegreya provide great performance, but also achieves a strong and harmonious text by means of elements designed in an atmosphere of diversity. The Alegreya type system is a \"super family\", originally intended for literature, and includes serif and sans serif sister families. Designed by Juan Pablo del Peral for Huerta Tipogr\u00e1fica. To contribute, see github.com/huertatipografica/Alegreya.", + "primary_script": null, + "article": null, + "minisite_url": "https://huertatipografica.com/en/fonts/alegreya-ht-pro" + }, + "Alegreya SC": { + "name": "Alegreya SC", + "designer": [ + "Juan Pablo del Peral", + "Huerta Tipogr\u00e1fica" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Alegreya was chosen as one of 53 \"Fonts of the Decade\" at the ATypI Letter2 competition in September 2011, and one of the top 14 text type systems. It was also selected in the 2nd Bienal Iberoamericana de Dise\u00f1o, competition held in Madrid in 2010. Alegreya is a typeface originally intended for literature. Among its crowning characteristics, it conveys a dynamic and varied rhythm which facilitates the reading of long texts. Also, it provides freshness to the page while referring to the calligraphic letter, not as a literal interpretation, but rather in a contemporary typographic language. The italic has just as much care and attention to detail in the design as the roman. The bold weights are strong, and the Black weights are really experimental for the genre. This is the Small Caps sister family that complements Alegreya, the main family. Not only does Alegreya provide great performance, but also achieves a strong and harmonious text by means of elements designed in an atmosphere of diversity. The Alegreya type system is a \"super family\", originally intended for literature, and includes serif and sans serif sister families. Designed by Juan Pablo del Peral for Huerta Tipogr\u00e1fica. To contribute, see github.com/huertatipografica/Alegreya.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Alegreya Sans": { + "name": "Alegreya Sans", + "designer": [ + "Juan Pablo del Peral", + "Huerta Tipogr\u00e1fica" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Alegreya Sans is a humanist sans serif family with a calligraphic feeling that conveys a dynamic and varied rhythm. This gives a pleasant feeling to readers of long texts. There is also a Small Caps companion family. The Alegreya type system is a \"super family\", originally intended for literature, and includes sans and serif sibling families. The family follows humanist proportions and principles, and achieves a ludic and harmonious paragraph through elements carefully designed in an atmosphere of diversity. The italics bring a strong emphasis to the roman styles. Designed by Juan Pablo del Peral for Huerta Tipogr\u00e1fica. To contribute, see github.com/huertatipografica/Alegreya-Sans.", + "primary_script": null, + "article": null, + "minisite_url": "https://huertatipografica.com/en/fonts/alegreya-sans-ht" + }, + "Alegreya Sans SC": { + "name": "Alegreya Sans SC", + "designer": [ + "Juan Pablo del Peral", + "Huerta Tipogr\u00e1fica" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Alegreya Sans SC is a Small Caps companion family to Alegreya Sans, a humanist sans serif family with a calligraphic feeling that conveys a dynamic and varied rhythm. This gives a pleasant feeling to readers of long texts. The Alegreya type system is a \"super family\", originally intended for literature, and includes sans and serif sibling families. The family follows humanist proportions and principles, and achieves a ludic and harmonious paragraph through elements carefully designed in an atmosphere of diversity. The italics bring a strong emphasis to the roman styles. Designed by Juan Pablo del Peral for Huerta Tipogr\u00e1fica. To contribute, see github.com/huertatipografica/Alegreya-Sans.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Aleo": { + "name": "Aleo", + "designer": [ + "Alessio Laiso" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SLAB_SERIF", + "classifications": [], + "description": "Aleo is a contemporary typeface designed by Alessio Laiso as the slab serif companion to the Lato font by \u0141ukasz Dziedzic. Aleo has semi-rounded details and a sleek structure, giving it a strong personality while still keeping readability high. The June 2023 update expanded the family from 6 style to 18 and became variable. It offers also a better language support (Pan African and Vietnamese added), and the design and spacing have been improved. To contribute, see github.com/AlessioLaiso/aleo.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Alex Brush": { + "name": "Alex Brush", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Alex Brush is a beautifully flowing brush script. It has short ascenders and descenders allowing a legibility not seen in other script fonts. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/alex-brush.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Alexandria": { + "name": "Alexandria", + "designer": [ + "Mohamed Gaber", + "Julieta Ulanovsky" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "arabic", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Alexandria is the Arabic companion of Montserrat, a Latin script typeface designed by Julieta Ulanovsky which was inspired by the old posters and signs in the traditional Montserrat neighborhood of Buenos Aires. Alexandria is a variable font ranging from Thin to Black, increasing the ability to use the font in various applications, from long text using the light weights to short headlines using the heavy thick weights. \u062e\u0637 \u0627\u0644\u0625\u0633\u0643\u0646\u062f\u0631\u064a\u0629 \u0627\u0644\u0639\u0631\u0628\u064a \u0647\u0648 \u0639\u0627\u0626\u0644\u0629 \u062e\u0637 \u0645\u0646 \u0669 \u0623\u0648\u0632\u0627\u0646 \u0645\u0635\u0646\u0648\u0639 \u0641\u064a \u0645\u0632\u0627\u0648\u062c\u0629 \u062e\u0637\u064a\u0651\u0629 \u0645\u0639 \u0627\u0644\u062e\u0637 \u0627\u0644\u0644\u0627\u062a\u064a\u0646\u064a \u0645\u0648\u0646\u062a\u0633\u0631\u0627\u062a \u0645\u0646 \u062a\u0635\u0645\u064a\u0645 \u062c\u0648\u0644\u064a\u0627 \u0623\u0644\u0627\u0646\u0648\u0641\u0633\u0643\u064a \u0645\u0633\u062a\u0648\u062d\u064a\u0627\u0647 \u0645\u0646 \u062a\u0635\u0645\u064a\u0645\u0627\u062a \u0644\u0644\u0648\u0627\u0635\u0642 \u0648\u0644\u0648\u062d \u0642\u062f\u064a\u0645\u0629 \u0641\u064a \u0634\u0648\u0627\u0631\u0639 \u062d\u064a \u0645\u0648\u0646\u062a\u0633\u0631\u0627\u062a \u0641\u064a \u0628\u064a\u0646\u0648\u0633 \u0622\u064a\u0631\u064a\u0633. \u0643\u0648\u0646 \u0627\u0644\u0639\u0627\u0626\u0644\u0629 \u0627\u0644\u062e\u0637\u064a\u0629 \u0645\u0643\u0648\u0651\u0646\u0629 \u0645\u0646 \u0669 \u0623\u0648\u0632\u0627\u0646 \u064a\u0632\u064a\u062f \u0630\u0644\u0643 \u0645\u0646 \u0642\u062f\u0631\u0627\u062a \u0627\u0633\u062a\u062e\u062f\u0627\u0645 \u0627\u0644\u062e\u0637 \u0641\u064a \u062a\u0637\u0628\u064a\u0642\u0627\u062a \u0645\u062a\u0646\u0648\u0639\u0629\u060c \u0645\u0646 \u062e\u0637 \u0645\u0646\u0627\u0633\u0628 \u0644\u0644\u0643\u062a\u0644 \u0627\u0644\u0646\u0635\u064a\u0629 \u0627\u0644\u0637\u0648\u064a\u0644\u0629 \u0639\u0646\u062f \u0627\u0633\u062a\u062e\u062f\u0627\u0645 \u0627\u0644\u0648\u0632\u0646 \u0627\u0644\u062e\u0641\u064a\u0641\u060c \u0644\u0645\u0646\u0627\u0633\u0628\u062a\u0647 \u0644\u0644\u0646\u0635\u0648\u0635 \u0627\u0644\u0642\u0635\u064a\u0631\u0629 \u0645\u062b\u0644 \u0627\u0644\u0639\u0646\u0627\u0648\u064a\u0646 \u0648\u0627\u0644\u062a\u064a \u064a\u0646\u0627\u0633\u0628\u0647\u0627 \u0627\u0633\u062a\u062e\u062f\u0627\u0645 \u0627\u0644\u0623\u0648\u0632\u0627\u0646 \u0627\u0644\u0633\u0645\u064a\u0643\u0629 \u0645\u0646 \u0627\u0644\u062e\u0637. To contribute, see github.com/Gue3bara/Alexandria.", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Alfa Slab One": { + "name": "Alfa Slab One", + "designer": [ + "JM Sol\u00e9" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Alfa Slab One is a contemporary take on the Six-lines Pica Egyptian created by Robert Thorne for the Thorowgood Foundry in 1921. Although initially based on that model, Alfa Slab One was designed with an extreme stem weight, big serifs, more stem contrast and gradual terminals with a single serif. All this attributes give Alfa Slab One a contemporary look with extreme black density.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Alice": { + "name": "Alice", + "designer": [ + "Ksenya Erulevich", + "Cyreal" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Ksenia Erulevich, designer of the Alice typeface, was inspired by Lewis Carrol's novel and decided to make a typeface that will be suitable for typesetting that book. It came out eclectic and quaint, old-fashioned, having widened proportions, open aperture, and soft rounded features; perfect for long meditative text-setting and headlines. This is in fact Ksenia's first typeface, as part of her diploma project in a Type and Typography course in Moscow, Russia. Released by Cyreal with help from Gayaneh Bagdasaryan and Alexei Vanyashin. To contribute, see github.com/cyrealtype/Alice.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Alike": { + "name": "Alike", + "designer": [ + "Sveta Sebyakina", + "Cyreal" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Alike is a text typeface with expressive and tense letterforms. Its design features are said to have Czech influence, but are softened for a friendlier feel. The proportions are regular and the contrast is low for a pleasant reading experience. Alike Angular is a complementary titling style. Designed by Sveta Sebyakina in 2009, and in collaboration with Alexei Vanyashin it was first released in 2011 by Cyreal. To contribute to the project, visit github.com/cyrealtype/Alike", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Alike Angular": { + "name": "Alike Angular", + "designer": [ + "Sveta Sebyakina", + "Cyreal" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Alike Angular is a complementary titling style to Alike. It shares the same proportions as its counterpart for compatibility, and is designed for larger display sizes. As opposed to the soft Regular, its letterforms consist of only straight splines. Additional expressive features are introduced in characters like T, Z, M, E. Designed by Sveta Sebyakina in 2009, and in collaboration with Alexei Vanyashin it was first released in 2011 by Cyreal. To contribute to the project, visit github.com/cyrealtype/Alike-Angular", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Alkalami": { + "name": "Alkalami", + "designer": [ + "SIL International" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "arabic", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Alkalami is the local word for the Arabic \"qalam\", a type of sharpened stick used for writing on wooden boards in the Kano region of Nigeria and in Niger, and what gives the style its distinct appearance. The baseline stroke is very thick and solid. The ascenders and other vertical strokes including the teeth are very narrow when compared to the baseline. A generous line height is necessary to allow for deep swashes and descenders, and the overall look of the page is a very black, solid rectangle. Diacritics are much smaller in scale, with very little distance from the main letters. Learn more at github.com/silnrsi/font-alkalami. To contribute, see github.com/silnrsi/font-alkalami.", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Alkatra": { + "name": "Alkatra", + "designer": [ + "Suman Bhandary" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "bengali", + "devanagari", + "latin", + "latin-ext", + "oriya" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "A display typeface family comprising of Bangla, Devanagari, Odia and Latin Each typeface for each script has been designed keeping in mind the inspiration of drawing letters for wall graffitis in Bengal, India, by using a stick and tar. The forms have blobby blackness to it and have been designed for mostly display purposes. The design and idea has been spearheaded by Suman Bhandary. The Latin has been crafted by Lewis McGuffie. Special thanks to Nehal Mathews and Lopamudra Bose for their assistance in Odia and Devanagari. To contribute, please see github.com/suman51284/Alkatra.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Allan": { + "name": "Allan", + "designer": [ + "Anton Koovit" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Once Allan was a sign painter in Berlin. Grey paneling work in the subway, bad materials, a city split in two. Now things have changed. His (character) palette of activities have expanded tremendously: he happily spends time traveling, experimenting in the gastronomic field, all kinds of festivities are no longer foreign to him. He comes with alternate features, and hints. A typeface suited for bigger sizes and display use. Truly a type that you like to see!", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Allerta": { + "name": "Allerta", + "designer": [ + "Matt McInerney" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Allerta was initially developed for use in signage, designed to be easily and quickly read from a distance. Each glyph exploits the unique aspects of the individual letter so that each can be easily distinguished from any other. Initially published at matt.cc/allerta.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Allerta Stencil": { + "name": "Allerta Stencil", + "designer": [ + "Matt McInerney" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Allerta was initially developed for use in signage, designed to be easily and quickly read from a distance. Each glyph exploits the unique aspects of the individual letter so that each can be easily distinguished from any other. Initially published at matt.cc/allerta.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Allison": { + "name": "Allison", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Allison is a casual handwriting script. The lowercase forms carry an obvious flat pen calligraphic influence while the uppercase letters are more brushy in style. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/allison.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Allura": { + "name": "Allura", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "The casual characters of Allura are simple, clean and very legible. The script and formal sets offer a softer, more formal look. Allura was designed with advertising, display and package design in mind. This OpenType Pro version of Allura combines all three styles along with extra alternate glyphs and flourished graphics to give designers maximum flexibility. In this family come complete with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/allura.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Almarai": { + "name": "Almarai", + "designer": [ + "Boutros Fonts", + "Mourad Boutros" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "arabic", + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Almarai is a modern Arabic and sans serif Latin typeface family in 4 weights. The font was created by Boutros\u2122 for optimal readability and suitability for both online and offline applications. Almarai\u2019s beauty lies in its clarity and simplicity. Beneath the font\u2019s geometric look lies a strict adherence to calligraphic structure and rules. Each letter has been crafted with careful attention to detail, retaining subtle hints of handwriting. Letters have low contrast and wide aperture in all four weights. These characteristics were designed to enhance the readability of the font in various media, especially on screen. To contribute, see github.com/JuergenWillrodt/Almarai.", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Almendra": { + "name": "Almendra", + "designer": [ + "Ana Sanfelippo" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Almendra is a typeface design based on calligraphy. Its style is related to the chancery and gothic hands. It is intended to be used in long texts, especially young children's literature. Almendra's black and white forms generate a nice texture in small sizes, while its many details appear when given the opportunity in huge sizes. The main challenge was to make compatible dialectic elements, especially balancing legibility and formal identity. Almendra was selected to be exhibited at the Bienal Iberoamericana de Dise\u00f1o in 2010 and was part of the German editorial project Typodarium 2012. This is the Regular family, and there are sister Small Cap and Display families.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Almendra Display": { + "name": "Almendra Display", + "designer": [ + "Ana Sanfelippo" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Almendra is a typeface design based on calligraphy. Its style is related to the chancery and gothic hands. It is intended to be used in long texts, especially young children's literature. Almendra's black and white forms generate a nice texture in small sizes, while its many details appear when given the opportunity in huge sizes. The main challenge was to make compatible dialectic elements, especially balancing legibility and formal identity. Almendra was selected to be exhibited at the Bienal Iberoamericana de Dise\u00f1o in 2010 and was part of the German editorial project Typodarium 2012. This is the Display family, and there are sister Regular and Small Cap families.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Almendra SC": { + "name": "Almendra SC", + "designer": [ + "Ana Sanfelippo" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Almendra is a typeface design based on calligraphy. Its style is related to the chancery and gothic hands. It is intended to be used in long texts, especially young children's literature. Almendra's black and white forms generate a nice texture in small sizes, while its many details appear when given the opportunity in huge sizes. The main challenge was to make compatible dialectic elements, especially balancing legibility and formal identity. Almendra was selected to be exhibited at the Bienal Iberoamericana de Dise\u00f1o in 2010 and was part of the German editorial project Typodarium 2012. This is the Small Cap family, and there are sister Regular and Display families.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Alumni Sans": { + "name": "Alumni Sans", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Originally inspired by the black face Impact, it soon evolved to include numerous weights from the Black flavor of its progenitor to a super Thin weight. The extreme weights (Thin and Black) are designed for display situations while the remaining weights may be used for more traditional textual design applications. Alumni is available in roman and italic versions. It comes with Latin character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/alumni.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Alumni Sans Collegiate One": { + "name": "Alumni Sans Collegiate One", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Alumni Sans Collegiate One is stand alone font based on Alumni. While it is a variable font available in Roman and Italic versions of each weight, the Collegiate version offers a display option adding a decorative outline to the ExtraBold style. Use this variation for situations requiring a sporty look. Collegiate One is designed to be used as a display font above 32pt in print (assuming 300 dpi) and above 96px in digital media. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/alumni-sans-collegiate.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Alumni Sans Inline One": { + "name": "Alumni Sans Inline One", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Alumni Inline One is a stand alone font from its base font, Alumni Sans (a variable font). Inline One is a black weight designed to be used as a display font above 32pt in print (assuming 300 dpi) and above 72px in digital media. In situations that require large text, use it in combination with the Alumni Sans base design. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/alumni-sans-inline.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Alumni Sans Pinstripe": { + "name": "Alumni Sans Pinstripe", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Alumni Pinstripe is a stand alone font from its base font, Alumni Sans (a variable font). Pinstripe is a super-thin weight and designed to be used as a display font above 32pt in print (assuming 300 dpi) and above 72px in digital media. In situations that require large text, use this Pinstripe variation in combination with the Alumni Sans base design. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/alumni-sans-pinstripe.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Alumni Sans SC": { + "name": "Alumni Sans SC", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Originally inspired by the blackface Impact, it soon evolved to include numerous weights, from the Black flavor of its progenitor to a super Thin weight. The extreme weights (Thin and Black) are designed for display situations, while the remaining weights may be used for more traditional textual design applications. Alumni Sans is available in roman and italic versions. It has Latin character sets, including Western, Central, and Vietnamese language support. Alumni Sans SC is the Small Caps version of Alumni Sans. To contribute, see github.com/googlefonts/alumni.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Amarante": { + "name": "Amarante", + "designer": [ + "Karolina Lach" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Amarante is a medium contrast condensed type. It uses unconventional Art Nouveau inspired shapes. Amarante is a display face but works surprisingly well in text and headlines too.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Amaranth": { + "name": "Amaranth", + "designer": [ + "Gesine Todt" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "The Amaranth family is a friendly upright italic design with a slight contrast and distinctive curves. With its three new styles Amaranth is healthy for all your texts too!", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Amatic SC": { + "name": "Amatic SC", + "designer": [ + "Vernon Adams", + "Ben Nathan", + "Thomas Jockin" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "cyrillic", + "hebrew", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Amatic SC (Small Caps) is a simple but effective hand drawn webfont. It can be used for titling and small runs of text. It was initially designed by Vernon Adams, and concieved of to be used freely across the internet by web browsers on desktop computers, laptops and mobile devices. It features both Latin and Hebrew alphabets. The Latin was initially designed by Vernon Adams. The Hebrew was designed by Ben Nathan, who also revised the Latin design. Thomas Jockin respaced and kerned the whole font.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Amethysta": { + "name": "Amethysta", + "designer": [ + "Cyreal" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Amethysta was designed by Konstantin Vinogradov with the purpose of printing on low quality paper in mind. This is why it has such minimalistic wedge serifs and terminals. It builds the impression of a simple and strong text typeface. In terms of proportions it is closely related to the transitional serif group. Amethysta is suitable for small to medium sizes, while some details will be noticeable at larger sizes. It also will work well in print.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Amiko": { + "name": "Amiko", + "designer": [ + "Impallari Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Amiko is a clean and utilitarian Devanagari and Latin typeface family, specifically designed for maximum legibility at the smallest possible text sizes. It is intended for body text on the web and low resolution screens. It was designed in a studio collaboration by Pablo Impallari, Rodrigo Fuenzalida and Andres Torresi. Thank you to Pria Ravichandran, Erin McLaughlin, Girish Dalvi, Dan Reynolds and all those who have shared their knowledge and helped with reviews to improve Amiko. The Amiko project is led by Impallari Type, a type design foundry based in Rosario, Argentina. To contribute, see github.com/impallari/Amiko-Devanagari", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Amiri": { + "name": "Amiri", + "designer": [ + "Khaled Hosny", + "Sebastian Kosch" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "arabic", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Amiri is a classical Arabic typeface in Naskh style for typesetting books and other running text. Its design is a revival of the beautiful typeface pioneered in early 20th century by Bulaq Press in Cairo, also known as Amiria Press, after which the font is named. Read more about the project at www.amirifont.org To contribute, see github.com/aliftype/amiri. Updated in December 2022 to v1.000", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Amiri Quran": { + "name": "Amiri Quran", + "designer": [ + "Khaled Hosny", + "Sebastian Kosch" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "arabic", + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Amiri (\u0623\u0645\u064a\u0631\u064a) is a classical Arabic typeface in Naskh style for typesetting books and other running text. Amiri is a revival of the beautiful typeface pioneered in early 20th century by Bulaq Press in Cairo, also known as Amiria Press, after which the font is named. The uniqueness of this typeface comes from its superb balance between the beauty of Naskh calligraphy on one hand, the constraints and requirements of elegant typography on the other. Also, it is one of the few metal typefaces that were used in typesetting the Koran, making it a good source for a digital typeface to be used in typesetting Koranic verses. Amiri project aims at the revival of the aesthetics and traditions of Arabic typesetting, and adapting it to the era of digital typesetting, in a publicly available form. See the amirifont.org website for further information and to contribute, see github.com/alif-type/amiri This font uses the COLRv0, CPAL and SVG tables. Please visit the gf-guide color page to learn more about Color Fonts technology. \u0627\u0644\u062e\u0637 \u0627\u0644\u0623\u0645\u064a\u0631\u064a \u062e\u0637 \u0646\u0633\u062e\u064a \u0645\u0648\u062c\u0647 \u0644\u0637\u0628\u0627\u0639\u0629 \u0627\u0644\u0643\u062a\u0628 \u0648 \u0627\u0644\u0646\u0635\u0648\u0635 \u0627\u0644\u0637\u0648\u064a\u0644\u0629. \u0627\u0644\u062e\u0637 \u0627\u0644\u0623\u0645\u064a\u0631\u064a \u0647\u0648 \u0625\u062d\u064a\u0627\u0621 \u0648 \u0645\u062d\u0627\u0643\u0627\u0629 \u0644\u0644\u062e\u0637 \u0627\u0644\u0637\u0628\u0627\u0639\u064a \u0627\u0644\u062c\u0645\u064a\u0644 \u0627\u0644\u0630\u064a \u062a\u0645\u064a\u0632\u062a \u0628\u0647 \u0645\u0637\u0628\u0639\u0629 \u0628\u0648\u0644\u0627\u0642 \u0645\u0646\u0630 \u0623\u0648\u0627\u0626\u0644 \u0627\u0644\u0642\u0631\u0646 \u0627\u0644\u0639\u0634\u0631\u064a\u0646\u060c \u0648 \u0627\u0644\u062a\u064a \u0639\u0631\u0641\u062a \u0623\u064a\u0636\u0627 \u0628\u0627\u0644\u0645\u0637\u0628\u0639\u0629 \u0627\u0644\u0623\u0645\u064a\u0631\u064a\u0629\u060c \u0648 \u0645\u0646 \u0647\u0646\u0627 \u0623\u062e\u0630 \u0627\u0644\u062e\u0637 \u0627\u0633\u0645\u0647. \u064a\u062a\u0645\u064a\u0632 \u062e\u0637 \u0627\u0644\u0645\u0637\u0627\u0628\u0639 \u0627\u0644\u0623\u0645\u064a\u0631\u064a\u0629 \u0628\u062c\u0645\u0627\u0644\u064a\u062a\u0647 \u0648 \u0645\u0631\u0627\u0639\u0627\u062a\u0647 \u0644\u0641\u0646 \u0627\u0644\u062e\u0637 \u0627\u0644\u0639\u0631\u0628\u064a\u060c \u0628\u0623\u0633\u0644\u0648\u0628 \u0646\u0633\u062e\u064a \u062c\u0645\u064a\u0644\u060c \u0648 \u0641\u064a \u0630\u0627\u062a \u0627\u0644\u0648\u0642\u062a \u064a\u0631\u0627\u0639\u0649 \u0645\u062a\u0637\u0644\u0628\u0627\u062a \u0627\u0644\u0637\u0628\u0627\u0639\u0629 \u0648 \u0627\u0644\u0642\u064a\u0648\u062f \u0627\u0644\u062a\u064a \u062a\u0641\u0631\u0636\u0647\u0627\u060c \u0645\u0646 \u063a\u064a\u0631 \u0625\u0641\u0631\u0627\u0637 \u0641\u064a \u062c\u0627\u0646\u0628 \u0639\u0644\u0649 \u062d\u0633\u0627\u0628 \u0627\u0644\u0622\u062e\u0631. \u0648 \u0644\u0647\u0630\u0627 \u064a\u062a\u0645\u064a\u0632 \u0628\u0645\u0646\u0627\u0633\u0628\u062a\u0647 \u0644\u0644\u0635\u0641 \u0627\u0644\u0637\u0628\u0627\u0639\u064a \u0639\u0645\u0648\u0645\u0627\u060c \u0648 \u0644\u0635\u0641 \u0627\u0644\u0643\u062a\u0628 \u062e\u0635\u0648\u0635\u0627. \u0648 \u0642\u062f \u0627\u0644\u0646\u0635\u0648\u0635 \u0627\u0644\u0642\u0631\u0622\u0646\u064a\u0629. \u064a\u0647\u062f\u0641 \u0645\u0634\u0631\u0648\u0639 \u0627\u0644\u062e\u0637 \u0627\u0644\u0623\u0645\u064a\u0631\u064a \u0625\u0644\u0649 \u0625\u062d\u064a\u0627\u0621 \u062a\u0642\u0627\u0644\u064a\u062f \u0648 \u062c\u0645\u0627\u0644\u064a\u0627\u062a \u0627\u0644\u0637\u0628\u0627\u0639\u0629 \u0627\u0644\u0639\u0631\u0628\u064a\u0629 \u0648 \u0645\u0648\u0627\u0626\u0645\u062a\u0647\u0627 \u0644\u062a\u0642\u0646\u064a\u0627\u062a \u0639\u0635\u0631 \u0627\u0644\u062d\u0648\u0627\u0633\u064a\u0628\u060c \u0645\u0639 \u0625\u062a\u0627\u062d\u062a\u0647\u0627 \u0644\u0644\u0639\u0645\u0648\u0645. \u064a\u0645\u0643\u0646 \u0627\u0644\u062d\u0635\u0648\u0644 \u0639\u0644\u0649 \u0622\u062e\u0631 \u0625\u0635\u062f\u0627\u0631\u0627\u062a \u0627\u0644\u062e\u0637 \u0627\u0644\u0623\u0645\u064a\u0631\u064a \u0645\u0646 \u0645\u0648\u0642\u0639\u0647: amirifont.org", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Amita": { + "name": "Amita", + "designer": [ + "Eduardo Tunni", + "Brian Bonislawsky" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Amita is the Indian Feminine form of Amit. Amita is a Latin and Devanagari typeface derived from Redressed and Modular Infotech Devanagari 2310 and 1228. The Latin is a script type designed by Brian Bonislawsky which blends script and italic letterforms together in an upright non-connecting style. Open spacing and stylish letterforms lend themselves to titling, but also to clean legibility at smaller sizes as body copy. The Devanagari is a traditionally calligraphic style. The combination was designed by Eduardo Tunni. This project is led by Eduardo Tunni, a type designer based in Buenos Aires. To contribute, see github.com/etunni/Amita", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Anaheim": { + "name": "Anaheim", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "The Anaheim font family is a free font family. The Anaheim Fonts are designed to be used freely across the internet by web browsers on desktop computers, laptops and mobile devices. To contribute, see github.com/googlefonts/anaheimFont.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ancizar Sans": { + "name": "Ancizar Sans", + "designer": [ + "Universidad Nacional de Colombia (UNAL)", + "C\u00e9sar Puertas", + "Viviana Monsalve", + "Juli\u00e1n Moncada" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "greek", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "UNAL Anc\u00edzar is a highly versatile and legible typeface family, initially designed in 2014 to strengthen the institutional image of Universidad Nacional de Colombia, the country's largest public university. This typeface was initially designed by Professor C\u00e9sar Puertas (Faculty of Arts, Bogot\u00e1 Campus), Viviana Monsalve, and Juli\u00e1n Moncada, within the framework of a project led by Professor Jaime Franky Rodr\u00edguez (Director of the Communications & Media Unity - UNIMEDIOS), Martha Luc\u00eda Chaves Mu\u00f1oz (Head of the Digital Media Office), and Mar\u00eda Teresa Naranjo Castillo (Institutional Image Coordinator). In 2024, the University released the typeface family under the leadership of Professor Jaime Rodolfo Ram\u00edrez Rodr\u00edguez (director of UNIMEDIOS), to transcend the institution and constitute a contribution from UNAL to humanity. Naturally diverse, the UNAL Anc\u00edzar type family is designed for daily use in almost any condition. All fonts share a common structure that enhances both readability and identity, while a broad range of weights ensures adaptability for various needs. UNAL Anc\u00edzar is not only optimized for challenging print environments\u2014its streamlined curves also perform exceptionally well on digital screens, giving text a unique personality that helps distinguish the university from others. The UNAL Anc\u00edzar type family is divided into two groups: Serif and Sans Serif, enhancing its versatility and adaptability to various applications. The Serif fonts are designed for long texts, such as essays and articles, while the Sans Serif variants excel in signage and headlines, ensuring optimal performance in shorter texts. Its robust typographic repertoire\u2014including diacritics, small caps, and uppercase and lowercase numerals\u2014ensures broad functionality. With nine weights, Anc\u00edzar offers a diverse range of styles, making it easier to select the right variant for each context. Its extensive character set (1,043 per font) supports Western Latin, monotonic Greek, and the International Phonetic Alphabet (IPA). Beyond meeting institutional requirements, this typographic richness allows the university community to explore and express its creativity with greater freedom. Since 2014, several individuals have played a key role in the development and refinement of this type family. We extend our gratitude to Juli\u00e1n Prieto Velandia, Jos\u00e9 Castro Garnica, Mariel Hern\u00e1ndez Camino, Felipe Arag\u00f3n Rubio, Sara Alarc\u00f3n Quinche, Ra\u00fal Aponte, Jhon Garc\u00eda and to the Digital Media Office (Martha Luc\u00eda Chaves Mu\u00f1oz, Mar\u00eda Teresa Naranjo Castillo, Giovanni Romero P\u00e9rez, Alejandro D\u00edaz Vecchio and Aldemar Hern\u00e1ndez Torres) for their valuable contributions. To contribute, please see github.com/UNAL-OMD/UNAL-Ancizar.", + "minisite_url": null + }, + "Ancizar Serif": { + "name": "Ancizar Serif", + "designer": [ + "Universidad Nacional de Colombia (UNAL)", + "C\u00e9sar Puertas", + "Viviana Monsalve", + "Juli\u00e1n Moncada" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "greek", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "UNAL Anc\u00edzar is a highly versatile and legible typeface family, initially designed in 2014 to strengthen the institutional image of Universidad Nacional de Colombia, the country's largest public university. This typeface was initially designed by Professor C\u00e9sar Puertas (Faculty of Arts, Bogot\u00e1 Campus), Viviana Monsalve, and Juli\u00e1n Moncada, within the framework of a project led by Professor Jaime Franky Rodr\u00edguez (Director of the Communications & Media Unity - UNIMEDIOS), Martha Luc\u00eda Chaves Mu\u00f1oz (Head of the Digital Media Office), and Mar\u00eda Teresa Naranjo Castillo (Institutional Image Coordinator). In 2024, the University released the typeface family under the leadership of Professor Jaime Rodolfo Ram\u00edrez Rodr\u00edguez (director of UNIMEDIOS), to transcend the institution and constitute a contribution from UNAL to humanity. Naturally diverse, the UNAL Anc\u00edzar type family is designed for daily use in almost any condition. All fonts share a common structure that enhances both readability and identity, while a broad range of weights ensures adaptability for various needs. UNAL Anc\u00edzar is not only optimized for challenging print environments\u2014its streamlined curves also perform exceptionally well on digital screens, giving text a unique personality that helps distinguish the university from others. The UNAL Anc\u00edzar type family is divided into two groups: Serif and Sans Serif, enhancing its versatility and adaptability to various applications. The Serif fonts are designed for long texts, such as essays and articles, while the Sans Serif variants excel in signage and headlines, ensuring optimal performance in shorter texts. Its robust typographic repertoire\u2014including diacritics, small caps, and uppercase and lowercase numerals\u2014ensures broad functionality. With nine weights, Anc\u00edzar offers a diverse range of styles, making it easier to select the right variant for each context. Its extensive character set (1,043 per font) supports Western Latin, monotonic Greek, and the International Phonetic Alphabet (IPA). Beyond meeting institutional requirements, this typographic richness allows the university community to explore and express its creativity with greater freedom. Since 2014, several individuals have played a key role in the development and refinement of this type family. We extend our gratitude to Juli\u00e1n Prieto Velandia, Jos\u00e9 Castro Garnica, Mariel Hern\u00e1ndez Camino, Felipe Arag\u00f3n Rubio, Sara Alarc\u00f3n Quinche, Ra\u00fal Aponte, Jhon Garc\u00eda and to the Digital Media Office (Martha Luc\u00eda Chaves Mu\u00f1oz, Mar\u00eda Teresa Naranjo Castillo, Giovanni Romero P\u00e9rez, Alejandro D\u00edaz Vecchio and Aldemar Hern\u00e1ndez Torres) for their valuable contributions. To contribute, please see github.com/UNAL-OMD/UNAL-Ancizar.", + "minisite_url": null + }, + "Andada Pro": { + "name": "Andada Pro", + "designer": [ + "Huerta Tipogr\u00e1fica", + "Carolina Giovagnoli" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Andada Pro is an organic-slab serif, hybrid style and medium contrast type for text, initially designed to be used in a specific bilingual context, Spanish and Guaran\u00ed (pre-hispanic) languages. This font has received an award at the Ibero-America Design Biennial. The Biennial has been shown in Spain, Argentina, Chile, El Salvador, Uruguay, Bolivia, Colombia and Venezuela. Designed by Carolina Giovagnoli for Huerta Tipogr\u00e1fica. To contribute see github.com/huertatipografica/Andada-Pro.", + "primary_script": null, + "article": null, + "minisite_url": "https://huertatipografica.com/en/fonts/andada-ht-pro" + }, + "Andika": { + "name": "Andika", + "designer": [ + "SIL International" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Andika is a sans serif, Unicode-compliant font designed especially for literacy use, taking into account the needs of beginning readers. The focus is on clear, easy-to-perceive letterforms that will not be readily confused with one another. Starting with an initial draft of a basic lowercase Latin alphabet by Victor Gaultney, Annie Olsen refined the design and added over 4,700 glyphs, including a complete extended Cyrillic set. A sans serif font is preferred by some literacy personnel for teaching people to read. Its forms are simpler and less cluttered than those of most serif fonts. For years, literacy workers have had to make do with fonts that were not really suitable for beginning readers and writers. In some cases, literacy specialists have had to tediously assemble letters from a variety of fonts in order to get all of the characters they need for their particular language project, resulting in confusing and unattractive publications. Andika addresses those issues. The font has been upgraded in May 2022. This upgrade gives additional weight styles and expands the glyphset to support full Latin and Cyrillic characters sets. Rendering is also much improved. Read more at software.sil.org/andika To contribute, see github.com/silnrsi/font-andika. SIL International recently released three typefaces for lesser-served writing systems (Tai Viet, Yi, Lepcha) used in Asia. SIL has also created Andika, which is specially designed to maximize legibility for new readers. SIL and lesser-served languages SIL International has a team of type designers who specialize in creating typefaces for lesser-served or non-dominant language communities. These are communities that exist alongside larger, more prominent language communities such as Chinese, English, or Arabic. These relatively smaller communities may have their own script, or they may have sounds in their language that are not represented in the script used by the majority language. Some non-dominant languages are endangered. According to UNESCO, about 40% of the estimated 7,000 languages are at risk of extinction. Without typefaces, these language communities can't survive online. To learn more, read New SIL Typefaces: Expanding type for legibility and lesser-served languages", + "minisite_url": null + }, + "Anek Bangla": { + "name": "Anek Bangla", + "designer": [ + "Ek Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "bengali", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Beng", + "article": "Anek, as the meaning of the word suggests, is an exercise in multiplicity \u2014 multiple scripts designed in multiple weights and widths by multiple designers. A well-informed, conscientious and refreshing interpretation of India\u2019s letter traditions, this family offers a versatile system that can meet the demands of a wide range of applications. Its expansive design space allows Anek to don multiple personalities. At its most condensed, capsular forms keep structures compact for that graphic texture. On the wide end of the spectrum, the extra legroom lets each letter yawn and stretch into their message. But it is in the boldest weights that Anek comes alive. Sharp terminals and tapered joineries sparkle amidst regimented forms, making this ideal for setting titillating headlines or that magnetic word-mark. Anek comes in ten scripts: Bangla, Devanagari, Kannada, Latin, Gujarati, Gurmukhi, Malayalam, Odia, Tamil and Telugu. The shared aesthetics of this type-family are drawn from a collaboratively decided pool of visual features. At the same time, each script amalgamates influences from its own typographic culture as well as the perspectives of individual designers. This project is designed, engineered and maintained by Ek Type; a collective of type designers based in Mumbai focused on designing contemporary Indian typefaces. Contributors of this project are: Maithili Shingre (Anek Malayalam, Anek Kannada), Yesha Goshar (Anek Latin, Anek Odia), Kailash Malviya (Anek Devanagari), Aadarsh Rajan (Anek Tamil), Sulekha Rajkumar (Anek Bangla), Vaishnavi Murthy (Anek Kannada), Omkar Bhoir (Anek Telugu), Mrunmayee Ghaisas (Anek Gujarati), Mahesh Sahu (Anek Odia), and Sarang Kulkarni (Anek Gurmukhi). Project management and design assistance by Noopur Datye, and Font engineering and design assistance by Girish Dalvi. To contribute, see github.com/EkType/Anek Multiple scripts for multilingual India The award-winning Anek variable font The nine scripts have base characters in the center, with vowel signs and conjuncts that come above, below or next to them. The Anek multi-script typeface for 9 Indian languages and Latin was made through a collaboration of 12 type designers working across 8 cities in India. How did Ek Type win two type design awards (the TDC Certificate of Typographic Excellence and the D&AD Graphite Pencil) for their Anek multi-script typeface? There were two key factors to their success: Teamwork: The team of 12 collaborated democratically. Equality: Giving equal value to each of the nine Indian writing systems (scripts) and Latin, while maintaining both common visual features and script-specific characteristics. Teamwork during lockdown Getting 12 people to collaborate while speaking in three languages (English, Hindi, and Marathi) and spread out in eight different Indian cities (Mumbai, Pune, Kalyan, Hinganghat, Baroda, Bengaluru, Bharampur, and Pali) is not an easy task. Ek Type established a collaboration structure that fostered teamwork, while also giving designers the liberty to be creative. The team consisted of Maithili Shingre, Yesha Goshar, Kailash Malviya, Aadarsh Rajan, Sulekha Rajkumar, Vaishnavi Murthy, Omkar Bhoir, Mrunmayee Ghaisas, Mahesh Sahu, Sarang Kulkarni, Noopur Datye, and Girish Dalvi. Ten people focused on one script each, while the other two members worked on font engineering and project management. The designers focused on the script that was most familiar to them. Via three- to four-hour weekly video calls, team members annotated drawings with emojis, arrows, text, and other marks in their video conference platform. In between calls, the team collaborated online. The team made design decisions based on majority or unanimous votes. Before the pandemic, most of the team had worked together at the Ek Type studio in Mumbai. Remote work created some unforeseen benefits. \u201cEveryone had the time to venture in different directions, not getting colored by what the others were doing,\u201d said Noopur Datye, co-founder and type designer at Ek Type. To learn more, read Multilingual scripts for multilingual India.", + "minisite_url": null + }, + "Anek Devanagari": { + "name": "Anek Devanagari", + "designer": [ + "Ek Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Deva", + "article": "Anek, as the meaning of the word suggests, is an exercise in multiplicity \u2014 multiple scripts designed in multiple weights and widths by multiple designers. A well-informed, conscientious and refreshing interpretation of India\u2019s letter traditions, this family offers a versatile system that can meet the demands of a wide range of applications. Its expansive design space allows Anek to don multiple personalities. At its most condensed, capsular forms keep structures compact for that graphic texture. On the wide end of the spectrum, the extra legroom lets each letter yawn and stretch into their message. But it is in the boldest weights that Anek comes alive. Sharp terminals and tapered joineries sparkle amidst regimented forms, making this ideal for setting titillating headlines or that magnetic word-mark. Anek comes in ten scripts: Bangla, Devanagari, Kannada, Latin, Gujarati, Gurmukhi, Malayalam, Odia, Tamil and Telugu. The shared aesthetics of this type-family are drawn from a collaboratively decided pool of visual features. At the same time, each script amalgamates influences from its own typographic culture as well as the perspectives of individual designers. This project is designed, engineered and maintained by Ek Type; a collective of type designers based in Mumbai focused on designing contemporary Indian typefaces. Contributors of this project are: Maithili Shingre (Anek Malayalam, Anek Kannada), Yesha Goshar (Anek Latin, Anek Odia), Kailash Malviya (Anek Devanagari), Aadarsh Rajan (Anek Tamil), Sulekha Rajkumar (Anek Bangla), Vaishnavi Murthy (Anek Kannada), Omkar Bhoir (Anek Telugu), Mrunmayee Ghaisas (Anek Gujarati), Mahesh Sahu (Anek Odia), and Sarang Kulkarni (Anek Gurmukhi). Project management and design assistance by Noopur Datye, and Font engineering and design assistance by Girish Dalvi. To contribute, see github.com/EkType/Anek Multiple scripts for multilingual India The award-winning Anek variable font The nine scripts have base characters in the center, with vowel signs and conjuncts that come above, below or next to them. The Anek multi-script typeface for 9 Indian languages and Latin was made through a collaboration of 12 type designers working across 8 cities in India. How did Ek Type win two type design awards (the TDC Certificate of Typographic Excellence and the D&AD Graphite Pencil) for their Anek multi-script typeface? There were two key factors to their success: Teamwork: The team of 12 collaborated democratically. Equality: Giving equal value to each of the nine Indian writing systems (scripts) and Latin, while maintaining both common visual features and script-specific characteristics. Teamwork during lockdown Getting 12 people to collaborate while speaking in three languages (English, Hindi, and Marathi) and spread out in eight different Indian cities (Mumbai, Pune, Kalyan, Hinganghat, Baroda, Bengaluru, Bharampur, and Pali) is not an easy task. Ek Type established a collaboration structure that fostered teamwork, while also giving designers the liberty to be creative. The team consisted of Maithili Shingre, Yesha Goshar, Kailash Malviya, Aadarsh Rajan, Sulekha Rajkumar, Vaishnavi Murthy, Omkar Bhoir, Mrunmayee Ghaisas, Mahesh Sahu, Sarang Kulkarni, Noopur Datye, and Girish Dalvi. Ten people focused on one script each, while the other two members worked on font engineering and project management. The designers focused on the script that was most familiar to them. Via three- to four-hour weekly video calls, team members annotated drawings with emojis, arrows, text, and other marks in their video conference platform. In between calls, the team collaborated online. The team made design decisions based on majority or unanimous votes. Before the pandemic, most of the team had worked together at the Ek Type studio in Mumbai. Remote work created some unforeseen benefits. \u201cEveryone had the time to venture in different directions, not getting colored by what the others were doing,\u201d said Noopur Datye, co-founder and type designer at Ek Type. To learn more, read Multilingual scripts for multilingual India.", + "minisite_url": null + }, + "Anek Gujarati": { + "name": "Anek Gujarati", + "designer": [ + "Ek Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "gujarati", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Gujr", + "article": "Anek, as the meaning of the word suggests, is an exercise in multiplicity \u2014 multiple scripts designed in multiple weights and widths by multiple designers. A well-informed, conscientious and refreshing interpretation of India\u2019s letter traditions, this family offers a versatile system that can meet the demands of a wide range of applications. Its expansive design space allows Anek to don multiple personalities. At its most condensed, capsular forms keep structures compact for that graphic texture. On the wide end of the spectrum, the extra legroom lets each letter yawn and stretch into their message. But it is in the boldest weights that Anek comes alive. Sharp terminals and tapered joineries sparkle amidst regimented forms, making this ideal for setting titillating headlines or that magnetic word-mark. Anek comes in ten scripts: Bangla, Devanagari, Kannada, Latin, Gujarati, Gurmukhi, Malayalam, Odia, Tamil and Telugu. The shared aesthetics of this type-family are drawn from a collaboratively decided pool of visual features. At the same time, each script amalgamates influences from its own typographic culture as well as the perspectives of individual designers. This project is designed, engineered and maintained by Ek Type; a collective of type designers based in Mumbai focused on designing contemporary Indian typefaces. Contributors of this project are: Maithili Shingre (Anek Malayalam, Anek Kannada), Yesha Goshar (Anek Latin, Anek Odia), Kailash Malviya (Anek Devanagari), Aadarsh Rajan (Anek Tamil), Sulekha Rajkumar (Anek Bangla), Vaishnavi Murthy (Anek Kannada), Omkar Bhoir (Anek Telugu), Mrunmayee Ghaisas (Anek Gujarati), Mahesh Sahu (Anek Odia), and Sarang Kulkarni (Anek Gurmukhi). Project management and design assistance by Noopur Datye, and Font engineering and design assistance by Girish Dalvi. To contribute, see github.com/EkType/Anek Multiple scripts for multilingual India The award-winning Anek variable font The nine scripts have base characters in the center, with vowel signs and conjuncts that come above, below or next to them. The Anek multi-script typeface for 9 Indian languages and Latin was made through a collaboration of 12 type designers working across 8 cities in India. How did Ek Type win two type design awards (the TDC Certificate of Typographic Excellence and the D&AD Graphite Pencil) for their Anek multi-script typeface? There were two key factors to their success: Teamwork: The team of 12 collaborated democratically. Equality: Giving equal value to each of the nine Indian writing systems (scripts) and Latin, while maintaining both common visual features and script-specific characteristics. Teamwork during lockdown Getting 12 people to collaborate while speaking in three languages (English, Hindi, and Marathi) and spread out in eight different Indian cities (Mumbai, Pune, Kalyan, Hinganghat, Baroda, Bengaluru, Bharampur, and Pali) is not an easy task. Ek Type established a collaboration structure that fostered teamwork, while also giving designers the liberty to be creative. The team consisted of Maithili Shingre, Yesha Goshar, Kailash Malviya, Aadarsh Rajan, Sulekha Rajkumar, Vaishnavi Murthy, Omkar Bhoir, Mrunmayee Ghaisas, Mahesh Sahu, Sarang Kulkarni, Noopur Datye, and Girish Dalvi. Ten people focused on one script each, while the other two members worked on font engineering and project management. The designers focused on the script that was most familiar to them. Via three- to four-hour weekly video calls, team members annotated drawings with emojis, arrows, text, and other marks in their video conference platform. In between calls, the team collaborated online. The team made design decisions based on majority or unanimous votes. Before the pandemic, most of the team had worked together at the Ek Type studio in Mumbai. Remote work created some unforeseen benefits. \u201cEveryone had the time to venture in different directions, not getting colored by what the others were doing,\u201d said Noopur Datye, co-founder and type designer at Ek Type. To learn more, read Multilingual scripts for multilingual India.", + "minisite_url": null + }, + "Anek Gurmukhi": { + "name": "Anek Gurmukhi", + "designer": [ + "Ek Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "gurmukhi", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Guru", + "article": "Anek, as the meaning of the word suggests, is an exercise in multiplicity \u2014 multiple scripts designed in multiple weights and widths by multiple designers. A well-informed, conscientious and refreshing interpretation of India\u2019s letter traditions, this family offers a versatile system that can meet the demands of a wide range of applications. Its expansive design space allows Anek to don multiple personalities. At its most condensed, capsular forms keep structures compact for that graphic texture. On the wide end of the spectrum, the extra legroom lets each letter yawn and stretch into their message. But it is in the boldest weights that Anek comes alive. Sharp terminals and tapered joineries sparkle amidst regimented forms, making this ideal for setting titillating headlines or that magnetic word-mark. Anek comes in ten scripts: Bangla, Devanagari, Kannada, Latin, Gujarati, Gurmukhi, Malayalam, Odia, Tamil and Telugu. The shared aesthetics of this type-family are drawn from a collaboratively decided pool of visual features. At the same time, each script amalgamates influences from its own typographic culture as well as the perspectives of individual designers. This project is designed, engineered and maintained by Ek Type; a collective of type designers based in Mumbai focused on designing contemporary Indian typefaces. Contributors of this project are: Maithili Shingre (Anek Malayalam, Anek Kannada), Yesha Goshar (Anek Latin, Anek Odia), Kailash Malviya (Anek Devanagari), Aadarsh Rajan (Anek Tamil), Sulekha Rajkumar (Anek Bangla), Vaishnavi Murthy (Anek Kannada), Omkar Bhoir (Anek Telugu), Mrunmayee Ghaisas (Anek Gujarati), Mahesh Sahu (Anek Odia), and Sarang Kulkarni (Anek Gurmukhi). Project management and design assistance by Noopur Datye, and Font engineering and design assistance by Girish Dalvi. To contribute, see github.com/EkType/Anek Multiple scripts for multilingual India The award-winning Anek variable font The nine scripts have base characters in the center, with vowel signs and conjuncts that come above, below or next to them. The Anek multi-script typeface for 9 Indian languages and Latin was made through a collaboration of 12 type designers working across 8 cities in India. How did Ek Type win two type design awards (the TDC Certificate of Typographic Excellence and the D&AD Graphite Pencil) for their Anek multi-script typeface? There were two key factors to their success: Teamwork: The team of 12 collaborated democratically. Equality: Giving equal value to each of the nine Indian writing systems (scripts) and Latin, while maintaining both common visual features and script-specific characteristics. Teamwork during lockdown Getting 12 people to collaborate while speaking in three languages (English, Hindi, and Marathi) and spread out in eight different Indian cities (Mumbai, Pune, Kalyan, Hinganghat, Baroda, Bengaluru, Bharampur, and Pali) is not an easy task. Ek Type established a collaboration structure that fostered teamwork, while also giving designers the liberty to be creative. The team consisted of Maithili Shingre, Yesha Goshar, Kailash Malviya, Aadarsh Rajan, Sulekha Rajkumar, Vaishnavi Murthy, Omkar Bhoir, Mrunmayee Ghaisas, Mahesh Sahu, Sarang Kulkarni, Noopur Datye, and Girish Dalvi. Ten people focused on one script each, while the other two members worked on font engineering and project management. The designers focused on the script that was most familiar to them. Via three- to four-hour weekly video calls, team members annotated drawings with emojis, arrows, text, and other marks in their video conference platform. In between calls, the team collaborated online. The team made design decisions based on majority or unanimous votes. Before the pandemic, most of the team had worked together at the Ek Type studio in Mumbai. Remote work created some unforeseen benefits. \u201cEveryone had the time to venture in different directions, not getting colored by what the others were doing,\u201d said Noopur Datye, co-founder and type designer at Ek Type. To learn more, read Multilingual scripts for multilingual India.", + "minisite_url": null + }, + "Anek Kannada": { + "name": "Anek Kannada", + "designer": [ + "Ek Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "kannada", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Knda", + "article": "Anek, as the meaning of the word suggests, is an exercise in multiplicity \u2014 multiple scripts designed in multiple weights and widths by multiple designers. A well-informed, conscientious and refreshing interpretation of India\u2019s letter traditions, this family offers a versatile system that can meet the demands of a wide range of applications. Its expansive design space allows Anek to don multiple personalities. At its most condensed, capsular forms keep structures compact for that graphic texture. On the wide end of the spectrum, the extra legroom lets each letter yawn and stretch into their message. But it is in the boldest weights that Anek comes alive. Sharp terminals and tapered joineries sparkle amidst regimented forms, making this ideal for setting titillating headlines or that magnetic word-mark. Anek comes in ten scripts: Bangla, Devanagari, Kannada, Latin, Gujarati, Gurmukhi, Malayalam, Odia, Tamil and Telugu. The shared aesthetics of this type-family are drawn from a collaboratively decided pool of visual features. At the same time, each script amalgamates influences from its own typographic culture as well as the perspectives of individual designers. This project is designed, engineered and maintained by Ek Type; a collective of type designers based in Mumbai focused on designing contemporary Indian typefaces. Contributors of this project are: Maithili Shingre (Anek Malayalam, Anek Kannada), Yesha Goshar (Anek Latin, Anek Odia), Kailash Malviya (Anek Devanagari), Aadarsh Rajan (Anek Tamil), Sulekha Rajkumar (Anek Bangla), Vaishnavi Murthy (Anek Kannada), Omkar Bhoir (Anek Telugu), Mrunmayee Ghaisas (Anek Gujarati), Mahesh Sahu (Anek Odia), and Sarang Kulkarni (Anek Gurmukhi). Project management and design assistance by Noopur Datye, and Font engineering and design assistance by Girish Dalvi. To contribute, see github.com/EkType/Anek Multiple scripts for multilingual India The award-winning Anek variable font The nine scripts have base characters in the center, with vowel signs and conjuncts that come above, below or next to them. The Anek multi-script typeface for 9 Indian languages and Latin was made through a collaboration of 12 type designers working across 8 cities in India. How did Ek Type win two type design awards (the TDC Certificate of Typographic Excellence and the D&AD Graphite Pencil) for their Anek multi-script typeface? There were two key factors to their success: Teamwork: The team of 12 collaborated democratically. Equality: Giving equal value to each of the nine Indian writing systems (scripts) and Latin, while maintaining both common visual features and script-specific characteristics. Teamwork during lockdown Getting 12 people to collaborate while speaking in three languages (English, Hindi, and Marathi) and spread out in eight different Indian cities (Mumbai, Pune, Kalyan, Hinganghat, Baroda, Bengaluru, Bharampur, and Pali) is not an easy task. Ek Type established a collaboration structure that fostered teamwork, while also giving designers the liberty to be creative. The team consisted of Maithili Shingre, Yesha Goshar, Kailash Malviya, Aadarsh Rajan, Sulekha Rajkumar, Vaishnavi Murthy, Omkar Bhoir, Mrunmayee Ghaisas, Mahesh Sahu, Sarang Kulkarni, Noopur Datye, and Girish Dalvi. Ten people focused on one script each, while the other two members worked on font engineering and project management. The designers focused on the script that was most familiar to them. Via three- to four-hour weekly video calls, team members annotated drawings with emojis, arrows, text, and other marks in their video conference platform. In between calls, the team collaborated online. The team made design decisions based on majority or unanimous votes. Before the pandemic, most of the team had worked together at the Ek Type studio in Mumbai. Remote work created some unforeseen benefits. \u201cEveryone had the time to venture in different directions, not getting colored by what the others were doing,\u201d said Noopur Datye, co-founder and type designer at Ek Type. To learn more, read Multilingual scripts for multilingual India.", + "minisite_url": null + }, + "Anek Latin": { + "name": "Anek Latin", + "designer": [ + "Ek Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Anek, as the meaning of the word suggests, is an exercise in multiplicity \u2014 multiple scripts designed in multiple weights and widths by multiple designers. A well-informed, conscientious and refreshing interpretation of India\u2019s letter traditions, this family offers a versatile system that can meet the demands of a wide range of applications. Its expansive design space allows Anek to don multiple personalities. At its most condensed, capsular forms keep structures compact for that graphic texture. On the wide end of the spectrum, the extra legroom lets each letter yawn and stretch into their message. But it is in the boldest weights that Anek comes alive. Sharp terminals and tapered joineries sparkle amidst regimented forms, making this ideal for setting titillating headlines or that magnetic word-mark. Anek comes in ten scripts: Bangla, Devanagari, Kannada, Latin, Gujarati, Gurmukhi, Malayalam, Odia, Tamil and Telugu. The shared aesthetics of this type-family are drawn from a collaboratively decided pool of visual features. At the same time, each script amalgamates influences from its own typographic culture as well as the perspectives of individual designers. This project is designed, engineered and maintained by Ek Type; a collective of type designers based in Mumbai focused on designing contemporary Indian typefaces. Contributors of this project are: Maithili Shingre (Anek Malayalam, Anek Kannada), Yesha Goshar (Anek Latin, Anek Odia), Kailash Malviya (Anek Devanagari), Aadarsh Rajan (Anek Tamil), Sulekha Rajkumar (Anek Bangla), Vaishnavi Murthy (Anek Kannada), Omkar Bhoir (Anek Telugu), Mrunmayee Ghaisas (Anek Gujarati), Mahesh Sahu (Anek Odia), and Sarang Kulkarni (Anek Gurmukhi). Project management and design assistance by Noopur Datye, and Font engineering and design assistance by Girish Dalvi. To contribute, see github.com/EkType/Anek Multiple scripts for multilingual India The award-winning Anek variable font The nine scripts have base characters in the center, with vowel signs and conjuncts that come above, below or next to them. The Anek multi-script typeface for 9 Indian languages and Latin was made through a collaboration of 12 type designers working across 8 cities in India. How did Ek Type win two type design awards (the TDC Certificate of Typographic Excellence and the D&AD Graphite Pencil) for their Anek multi-script typeface? There were two key factors to their success: Teamwork: The team of 12 collaborated democratically. Equality: Giving equal value to each of the nine Indian writing systems (scripts) and Latin, while maintaining both common visual features and script-specific characteristics. Teamwork during lockdown Getting 12 people to collaborate while speaking in three languages (English, Hindi, and Marathi) and spread out in eight different Indian cities (Mumbai, Pune, Kalyan, Hinganghat, Baroda, Bengaluru, Bharampur, and Pali) is not an easy task. Ek Type established a collaboration structure that fostered teamwork, while also giving designers the liberty to be creative. The team consisted of Maithili Shingre, Yesha Goshar, Kailash Malviya, Aadarsh Rajan, Sulekha Rajkumar, Vaishnavi Murthy, Omkar Bhoir, Mrunmayee Ghaisas, Mahesh Sahu, Sarang Kulkarni, Noopur Datye, and Girish Dalvi. Ten people focused on one script each, while the other two members worked on font engineering and project management. The designers focused on the script that was most familiar to them. Via three- to four-hour weekly video calls, team members annotated drawings with emojis, arrows, text, and other marks in their video conference platform. In between calls, the team collaborated online. The team made design decisions based on majority or unanimous votes. Before the pandemic, most of the team had worked together at the Ek Type studio in Mumbai. Remote work created some unforeseen benefits. \u201cEveryone had the time to venture in different directions, not getting colored by what the others were doing,\u201d said Noopur Datye, co-founder and type designer at Ek Type. To learn more, read Multilingual scripts for multilingual India.", + "minisite_url": null + }, + "Anek Malayalam": { + "name": "Anek Malayalam", + "designer": [ + "Ek Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "malayalam" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Mlym", + "article": "Anek, as the meaning of the word suggests, is an exercise in multiplicity \u2014 multiple scripts designed in multiple weights and widths by multiple designers. A well-informed, conscientious and refreshing interpretation of India\u2019s letter traditions, this family offers a versatile system that can meet the demands of a wide range of applications. Its expansive design space allows Anek to don multiple personalities. At its most condensed, capsular forms keep structures compact for that graphic texture. On the wide end of the spectrum, the extra legroom lets each letter yawn and stretch into their message. But it is in the boldest weights that Anek comes alive. Sharp terminals and tapered joineries sparkle amidst regimented forms, making this ideal for setting titillating headlines or that magnetic word-mark. Anek comes in ten scripts: Bangla, Devanagari, Kannada, Latin, Gujarati, Gurmukhi, Malayalam, Odia, Tamil and Telugu. The shared aesthetics of this type-family are drawn from a collaboratively decided pool of visual features. At the same time, each script amalgamates influences from its own typographic culture as well as the perspectives of individual designers. This project is designed, engineered and maintained by Ek Type; a collective of type designers based in Mumbai focused on designing contemporary Indian typefaces. Contributors of this project are: Maithili Shingre (Anek Malayalam, Anek Kannada), Yesha Goshar (Anek Latin, Anek Odia), Kailash Malviya (Anek Devanagari), Aadarsh Rajan (Anek Tamil), Sulekha Rajkumar (Anek Bangla), Vaishnavi Murthy (Anek Kannada), Omkar Bhoir (Anek Telugu), Mrunmayee Ghaisas (Anek Gujarati), Mahesh Sahu (Anek Odia), and Sarang Kulkarni (Anek Gurmukhi). Project management and design assistance by Noopur Datye, and Font engineering and design assistance by Girish Dalvi. To contribute, see github.com/EkType/Anek Multiple scripts for multilingual India The award-winning Anek variable font The nine scripts have base characters in the center, with vowel signs and conjuncts that come above, below or next to them. The Anek multi-script typeface for 9 Indian languages and Latin was made through a collaboration of 12 type designers working across 8 cities in India. How did Ek Type win two type design awards (the TDC Certificate of Typographic Excellence and the D&AD Graphite Pencil) for their Anek multi-script typeface? There were two key factors to their success: Teamwork: The team of 12 collaborated democratically. Equality: Giving equal value to each of the nine Indian writing systems (scripts) and Latin, while maintaining both common visual features and script-specific characteristics. Teamwork during lockdown Getting 12 people to collaborate while speaking in three languages (English, Hindi, and Marathi) and spread out in eight different Indian cities (Mumbai, Pune, Kalyan, Hinganghat, Baroda, Bengaluru, Bharampur, and Pali) is not an easy task. Ek Type established a collaboration structure that fostered teamwork, while also giving designers the liberty to be creative. The team consisted of Maithili Shingre, Yesha Goshar, Kailash Malviya, Aadarsh Rajan, Sulekha Rajkumar, Vaishnavi Murthy, Omkar Bhoir, Mrunmayee Ghaisas, Mahesh Sahu, Sarang Kulkarni, Noopur Datye, and Girish Dalvi. Ten people focused on one script each, while the other two members worked on font engineering and project management. The designers focused on the script that was most familiar to them. Via three- to four-hour weekly video calls, team members annotated drawings with emojis, arrows, text, and other marks in their video conference platform. In between calls, the team collaborated online. The team made design decisions based on majority or unanimous votes. Before the pandemic, most of the team had worked together at the Ek Type studio in Mumbai. Remote work created some unforeseen benefits. \u201cEveryone had the time to venture in different directions, not getting colored by what the others were doing,\u201d said Noopur Datye, co-founder and type designer at Ek Type. To learn more, read Multilingual scripts for multilingual India.", + "minisite_url": null + }, + "Anek Odia": { + "name": "Anek Odia", + "designer": [ + "Ek Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "oriya" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Orya", + "article": "Anek, as the meaning of the word suggests, is an exercise in multiplicity \u2014 multiple scripts designed in multiple weights and widths by multiple designers. A well-informed, conscientious and refreshing interpretation of India\u2019s letter traditions, this family offers a versatile system that can meet the demands of a wide range of applications. Its expansive design space allows Anek to don multiple personalities. At its most condensed, capsular forms keep structures compact for that graphic texture. On the wide end of the spectrum, the extra legroom lets each letter yawn and stretch into their message. But it is in the boldest weights that Anek comes alive. Sharp terminals and tapered joineries sparkle amidst regimented forms, making this ideal for setting titillating headlines or that magnetic word-mark. Anek comes in ten scripts: Bangla, Devanagari, Kannada, Latin, Gujarati, Gurmukhi, Malayalam, Odia, Tamil and Telugu. The shared aesthetics of this type-family are drawn from a collaboratively decided pool of visual features. At the same time, each script amalgamates influences from its own typographic culture as well as the perspectives of individual designers. This project is designed, engineered and maintained by Ek Type; a collective of type designers based in Mumbai focused on designing contemporary Indian typefaces. Contributors of this project are: Maithili Shingre (Anek Malayalam, Anek Kannada), Yesha Goshar (Anek Latin, Anek Odia), Kailash Malviya (Anek Devanagari), Aadarsh Rajan (Anek Tamil), Sulekha Rajkumar (Anek Bangla), Vaishnavi Murthy (Anek Kannada), Omkar Bhoir (Anek Telugu), Mrunmayee Ghaisas (Anek Gujarati), Mahesh Sahu (Anek Odia), and Sarang Kulkarni (Anek Gurmukhi). Project management and design assistance by Noopur Datye, and Font engineering and design assistance by Girish Dalvi. To contribute, see github.com/EkType/Anek Multiple scripts for multilingual India The award-winning Anek variable font The nine scripts have base characters in the center, with vowel signs and conjuncts that come above, below or next to them. The Anek multi-script typeface for 9 Indian languages and Latin was made through a collaboration of 12 type designers working across 8 cities in India. How did Ek Type win two type design awards (the TDC Certificate of Typographic Excellence and the D&AD Graphite Pencil) for their Anek multi-script typeface? There were two key factors to their success: Teamwork: The team of 12 collaborated democratically. Equality: Giving equal value to each of the nine Indian writing systems (scripts) and Latin, while maintaining both common visual features and script-specific characteristics. Teamwork during lockdown Getting 12 people to collaborate while speaking in three languages (English, Hindi, and Marathi) and spread out in eight different Indian cities (Mumbai, Pune, Kalyan, Hinganghat, Baroda, Bengaluru, Bharampur, and Pali) is not an easy task. Ek Type established a collaboration structure that fostered teamwork, while also giving designers the liberty to be creative. The team consisted of Maithili Shingre, Yesha Goshar, Kailash Malviya, Aadarsh Rajan, Sulekha Rajkumar, Vaishnavi Murthy, Omkar Bhoir, Mrunmayee Ghaisas, Mahesh Sahu, Sarang Kulkarni, Noopur Datye, and Girish Dalvi. Ten people focused on one script each, while the other two members worked on font engineering and project management. The designers focused on the script that was most familiar to them. Via three- to four-hour weekly video calls, team members annotated drawings with emojis, arrows, text, and other marks in their video conference platform. In between calls, the team collaborated online. The team made design decisions based on majority or unanimous votes. Before the pandemic, most of the team had worked together at the Ek Type studio in Mumbai. Remote work created some unforeseen benefits. \u201cEveryone had the time to venture in different directions, not getting colored by what the others were doing,\u201d said Noopur Datye, co-founder and type designer at Ek Type. To learn more, read Multilingual scripts for multilingual India.", + "minisite_url": null + }, + "Anek Tamil": { + "name": "Anek Tamil", + "designer": [ + "Ek Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "tamil" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Taml", + "article": "Anek, as the meaning of the word suggests, is an exercise in multiplicity \u2014 multiple scripts designed in multiple weights and widths by multiple designers. A well-informed, conscientious and refreshing interpretation of India\u2019s letter traditions, this family offers a versatile system that can meet the demands of a wide range of applications. Its expansive design space allows Anek to don multiple personalities. At its most condensed, capsular forms keep structures compact for that graphic texture. On the wide end of the spectrum, the extra legroom lets each letter yawn and stretch into their message. But it is in the boldest weights that Anek comes alive. Sharp terminals and tapered joineries sparkle amidst regimented forms, making this ideal for setting titillating headlines or that magnetic word-mark. Anek comes in ten scripts: Bangla, Devanagari, Kannada, Latin, Gujarati, Gurmukhi, Malayalam, Odia, Tamil and Telugu. The shared aesthetics of this type-family are drawn from a collaboratively decided pool of visual features. At the same time, each script amalgamates influences from its own typographic culture as well as the perspectives of individual designers. This project is designed, engineered and maintained by Ek Type; a collective of type designers based in Mumbai focused on designing contemporary Indian typefaces. Contributors of this project are: Maithili Shingre (Anek Malayalam, Anek Kannada), Yesha Goshar (Anek Latin, Anek Odia), Kailash Malviya (Anek Devanagari), Aadarsh Rajan (Anek Tamil), Sulekha Rajkumar (Anek Bangla), Vaishnavi Murthy (Anek Kannada), Omkar Bhoir (Anek Telugu), Mrunmayee Ghaisas (Anek Gujarati), Mahesh Sahu (Anek Odia), and Sarang Kulkarni (Anek Gurmukhi). Project management and design assistance by Noopur Datye, and Font engineering and design assistance by Girish Dalvi. To contribute, see github.com/EkType/Anek Multiple scripts for multilingual India The award-winning Anek variable font The nine scripts have base characters in the center, with vowel signs and conjuncts that come above, below or next to them. The Anek multi-script typeface for 9 Indian languages and Latin was made through a collaboration of 12 type designers working across 8 cities in India. How did Ek Type win two type design awards (the TDC Certificate of Typographic Excellence and the D&AD Graphite Pencil) for their Anek multi-script typeface? There were two key factors to their success: Teamwork: The team of 12 collaborated democratically. Equality: Giving equal value to each of the nine Indian writing systems (scripts) and Latin, while maintaining both common visual features and script-specific characteristics. Teamwork during lockdown Getting 12 people to collaborate while speaking in three languages (English, Hindi, and Marathi) and spread out in eight different Indian cities (Mumbai, Pune, Kalyan, Hinganghat, Baroda, Bengaluru, Bharampur, and Pali) is not an easy task. Ek Type established a collaboration structure that fostered teamwork, while also giving designers the liberty to be creative. The team consisted of Maithili Shingre, Yesha Goshar, Kailash Malviya, Aadarsh Rajan, Sulekha Rajkumar, Vaishnavi Murthy, Omkar Bhoir, Mrunmayee Ghaisas, Mahesh Sahu, Sarang Kulkarni, Noopur Datye, and Girish Dalvi. Ten people focused on one script each, while the other two members worked on font engineering and project management. The designers focused on the script that was most familiar to them. Via three- to four-hour weekly video calls, team members annotated drawings with emojis, arrows, text, and other marks in their video conference platform. In between calls, the team collaborated online. The team made design decisions based on majority or unanimous votes. Before the pandemic, most of the team had worked together at the Ek Type studio in Mumbai. Remote work created some unforeseen benefits. \u201cEveryone had the time to venture in different directions, not getting colored by what the others were doing,\u201d said Noopur Datye, co-founder and type designer at Ek Type. To learn more, read Multilingual scripts for multilingual India.", + "minisite_url": null + }, + "Anek Telugu": { + "name": "Anek Telugu", + "designer": [ + "Ek Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "telugu" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Telu", + "article": "Anek, as the meaning of the word suggests, is an exercise in multiplicity \u2014 multiple scripts designed in multiple weights and widths by multiple designers. A well-informed, conscientious and refreshing interpretation of India\u2019s letter traditions, this family offers a versatile system that can meet the demands of a wide range of applications. Its expansive design space allows Anek to don multiple personalities. At its most condensed, capsular forms keep structures compact for that graphic texture. On the wide end of the spectrum, the extra legroom lets each letter yawn and stretch into their message. But it is in the boldest weights that Anek comes alive. Sharp terminals and tapered joineries sparkle amidst regimented forms, making this ideal for setting titillating headlines or that magnetic word-mark. Anek comes in ten scripts: Bangla, Devanagari, Kannada, Latin, Gujarati, Gurmukhi, Malayalam, Odia, Tamil and Telugu. The shared aesthetics of this type-family are drawn from a collaboratively decided pool of visual features. At the same time, each script amalgamates influences from its own typographic culture as well as the perspectives of individual designers. This project is designed, engineered and maintained by Ek Type; a collective of type designers based in Mumbai focused on designing contemporary Indian typefaces. Contributors of this project are: Maithili Shingre (Anek Malayalam, Anek Kannada), Yesha Goshar (Anek Latin, Anek Odia), Kailash Malviya (Anek Devanagari), Aadarsh Rajan (Anek Tamil), Sulekha Rajkumar (Anek Bangla), Vaishnavi Murthy (Anek Kannada), Omkar Bhoir (Anek Telugu), Mrunmayee Ghaisas (Anek Gujarati), Mahesh Sahu (Anek Odia), and Sarang Kulkarni (Anek Gurmukhi). Project management and design assistance by Noopur Datye, and Font engineering and design assistance by Girish Dalvi. To contribute, see github.com/EkType/Anek Multiple scripts for multilingual India The award-winning Anek variable font The nine scripts have base characters in the center, with vowel signs and conjuncts that come above, below or next to them. The Anek multi-script typeface for 9 Indian languages and Latin was made through a collaboration of 12 type designers working across 8 cities in India. How did Ek Type win two type design awards (the TDC Certificate of Typographic Excellence and the D&AD Graphite Pencil) for their Anek multi-script typeface? There were two key factors to their success: Teamwork: The team of 12 collaborated democratically. Equality: Giving equal value to each of the nine Indian writing systems (scripts) and Latin, while maintaining both common visual features and script-specific characteristics. Teamwork during lockdown Getting 12 people to collaborate while speaking in three languages (English, Hindi, and Marathi) and spread out in eight different Indian cities (Mumbai, Pune, Kalyan, Hinganghat, Baroda, Bengaluru, Bharampur, and Pali) is not an easy task. Ek Type established a collaboration structure that fostered teamwork, while also giving designers the liberty to be creative. The team consisted of Maithili Shingre, Yesha Goshar, Kailash Malviya, Aadarsh Rajan, Sulekha Rajkumar, Vaishnavi Murthy, Omkar Bhoir, Mrunmayee Ghaisas, Mahesh Sahu, Sarang Kulkarni, Noopur Datye, and Girish Dalvi. Ten people focused on one script each, while the other two members worked on font engineering and project management. The designers focused on the script that was most familiar to them. Via three- to four-hour weekly video calls, team members annotated drawings with emojis, arrows, text, and other marks in their video conference platform. In between calls, the team collaborated online. The team made design decisions based on majority or unanimous votes. Before the pandemic, most of the team had worked together at the Ek Type studio in Mumbai. Remote work created some unforeseen benefits. \u201cEveryone had the time to venture in different directions, not getting colored by what the others were doing,\u201d said Noopur Datye, co-founder and type designer at Ek Type. To learn more, read Multilingual scripts for multilingual India.", + "minisite_url": null + }, + "Angkor": { + "name": "Angkor", + "designer": [ + "Danh Hong" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "khmer", + "latin" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Angkor is a Khmer font for headlines and even banner designs. To contribute, see github.com/danhhong/Angkor.", + "primary_script": "Khmr", + "article": null, + "minisite_url": null + }, + "Annapurna SIL": { + "name": "Annapurna SIL", + "designer": [ + "SIL International" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Annapurna SIL is a Unicode-based font family with broad support for writing systems that use the Devanagari script. To contribute, please see github.com/silnrsi/font-annapurna.", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Annie Use Your Telescope": { + "name": "Annie Use Your Telescope", + "designer": [ + "Kimberly Geswein" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "This is a favorite of mine. A talented photography student I know was writing something down and I squealed and ran over to beg her for a sample of her writing. It was worth the effort, as I adore her style and feel it translated perfectly into a cute font. She named the font as a nod to one of her favorite bands, Jack\u2019s Mannequin.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Anonymous Pro": { + "name": "Anonymous Pro", + "designer": [ + "Mark Simonson" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "cyrillic", + "greek", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "monospace" + ], + "description": "Anonymous Pro is a family of four fixed-width fonts designed especially with coding in mind. It is inspired by Anonymous 9, a freeware Macintosh bitmap font developed in the mid-'90s by Susan Lesch and David Lamkins, that was intended as a more legible alternative to Monaco, the fixed-width Macintosh system font. Characters that could be mistaken for one another (O, 0, I, l, 1, etc.) have distinct shapes to make them easier to tell apart in the context of source code. The regular and bold styles have embedded bitmaps for the smallest sizes (10-13 ppem.)", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Anta": { + "name": "Anta", + "designer": [ + "Sergej Lebedev" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Anta, a modern font family, is intelligently designed for screen publications. Anta Typeface has several interesting, constructed glyph shapes that give the typeface a modern look. The typeface is particularly suitable for graphic design, but also for branding projects. To contribute, see github.com/Typedesigners/Anta-Regular.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Antic": { + "name": "Antic", + "designer": [ + "Santiago Orozco" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Antic is the result of studying calligraphic forms, and is designed to be used for running text. This started two big text type family projects and this is the first one. Antic explores the use of sans-serif letterforms for text usage, keeping a calligraphic touch found in the serif counterpart, Clark. The letterforms have an eight degree stress, which is almost the same degree of my own hand writing.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Antic Didone": { + "name": "Antic Didone", + "designer": [ + "Santiago Orozco" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Antic Didone was designed for use in the headlines of newspapers and magazines. The Antic Type System is a super family that is still evolving, and this first release of the Didone family. It complements the Sans and Didone versions, giving the designer freedom to create rhythmic and dynamic typography using all three families in the type system. Each family in the type system has a large x-height that makes it very readable, especially on the web. Each also has slight stress derived from handwriting. Antic Didone's minuscule ornate serifs create a unique texture. With modern proportions and condensed letterforms, it is great for economical typesetting, on paper and on screen. The Antic Type System is in progress and is being regularly improved. If you have a request, wish to contribute improvements or even fund specific features, simply contact Santiago Orozco. You can follow Santiago on Twitter, @Typemade.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Antic Slab": { + "name": "Antic Slab", + "designer": [ + "Santiago Orozco" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Antic Slab was designed for use in the headlines of newspapers and magazines. The Antic Type System is a super family that is still evolving, and this first release of the Slab family. It complements the Sans and Didone versions, giving the designer freedom to create rhythmic and dynamic typography using all three families in the type system. Each family in the type system has a large x-height that makes it very readable, especially on the web. Each also has slight stress derived from handwriting. Antic Slab's discreet slab serifs give it a strong presence in layouts. With modern proportions and condensed letterforms, it is great for economical typesetting, on paper and on screen. The Antic Type System is in progress and is being regularly improved. If you have a request, wish to contribute improvements or even fund specific features, simply contact Santiago Orozco. You can follow Santiago on Twitter, @Typemade.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Anton": { + "name": "Anton", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Anton is a reworking of a traditional advertising sans serif typeface. The letter forms have been digitised and then reshaped for use as a webfont, the counters have been opened up a little and the stems optimised for use as bold display font in modern web browsers. Anton language support includes now African Latin and full coverage of Vietnamese, additional to all Western, Central, and South-Eastern European languages. To contribute see github.com/googlefonts/AntonFont.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Anton SC": { + "name": "Anton SC", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Anton is a reworking of a traditional advertising sans serif typeface. The letter forms have been digitised and then reshaped for use as a webfont, the counters have been opened up a little and the stems optimised for use as bold display font in modern web browsers. Anton language support includes now African Latin and full coverage of Vietnamese, additional to all Western, Central, and South-Eastern European languages. Anton SC is the Small Caps version of Anton. To contribute see github.com/googlefonts/AntonFont .", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Antonio": { + "name": "Antonio", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Antonio is a 'refined' version of the Anton Font. Anton is a single weight web font, designed specifically for larger display, headline and 'banner' use (see Google's PR for the Chromebook notebooks that used Anton, big and bright). Antonio extends the Anton design to include more weights and introduces refinements to the design that makes it also suitable for use in smaller headings, menus and 'buttons' etc. To contribute, see github.com/googlefonts/antonioFont", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Anuphan": { + "name": "Anuphan", + "designer": [ + "Cadson Demak" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "thai", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Anuphan is a loopless version of IBM Plex Thai developed by Mint Tantisuwanna, a type designer at Cadson Demak. This project is intended for self-improvement/educational purpose. Note: This is not a modification of IBM Plex Sans Thai. All drawings and outlines of Thai characters in this project are based solely on the Latin version of IBM Plex Sans. Read more about Mint Tantisuwanna's process on cadsondemak.com/medias/read/design-like-a-bilingual-ibm-plex-thai. To contribute, please visit github.com/cadsondemak/Anuphan.", + "primary_script": "Thai", + "article": null, + "minisite_url": null + }, + "Anybody": { + "name": "Anybody", + "designer": [ + "Tyler Finck" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Anybody is a big family that combines an affinity for Eurostile plus a heavy dose of 90s inspiration. It's flexible enough to adapt to a variety of situations. From UltraCondensed to ExtraExpanded, type set in Anybody can take up a tiny amount of horizontal space or so much space that you'll need several lines. Its high x-height and low cap height help exaggerate extreme widths and weights. The italic angle is 10 degrees, noticable but subtle. The inclusion of some popular OpenType features make it practical and customizable. Learn more at www.etceteratype.co/anybody. To contribute, see github.com/Etcetera-Type-Co/Anybody.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Aoboshi One": { + "name": "Aoboshi One", + "designer": [ + "Natsumi Matsuba" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "\"Aoboshi\" is a single-weight serif-style Japanese font inspired by Copperplate Gothic. To contribute to the project, visit github.com/matsuba723/Aoboshi", + "primary_script": "Hira", + "article": null, + "minisite_url": null + }, + "Arapey": { + "name": "Arapey", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Arapey (Ah-ra-pay) is a contemporary modern typeface with some features of a Bodoni, but the structures, soft lines, and finishes leave a calm and distinguished feeling. The first sketches were made during a vacation in Arapey, a small town the north of Uruguay. The italics are gentle, rhythmic, and bring a special glamour to both text use and titles.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Arbutus": { + "name": "Arbutus", + "designer": [ + "Karolina Lach" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SLAB_SERIF", + "classifications": [ + "display" + ], + "description": "Arbutus is a sturdy, medium contrast, slab serif typeface with a faceted/spiked treatment inspired by American wood type. The generous spacing found in this design means that it can be used at fairly small sizes which makes it surprisingly versatile.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Arbutus Slab": { + "name": "Arbutus Slab", + "designer": [ + "Karolina Lach" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Arbutus Slab is a sturdy, medium contrast, slab serif typeface inspired by 18th and 19th American jobbing type. The generous spacing found in this design means that it can be used at fairly small sizes which makes it surprisingly versatile.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Architects Daughter": { + "name": "Architects Daughter", + "designer": [ + "Kimberly Geswein" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Inspired by the writing of the daughter of an architect (surprise, surprise!), this font incorporates the graphic, squared look of architectural writing, combined with the natural feel of daily handwriting.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Archivo": { + "name": "Archivo", + "designer": [ + "Omnibus-Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Archivo is a grotesque sans serif typeface family originally designed for highlights and headlines. This family is reminiscent of late nineteenth century American typefaces. The technical and aesthetic characteristics of the font are both crafted for high performance typography. It was designed to be used simultaneously in print and online platforms and supports over 200 world languages. Archivo has been upgraded to a variable font in 2021. The weight and width axes allow a wide variety of styles, from Thin to Black and from ExtraCondensed to Expanded. Archivo is designed by H\u00e9ctor Gatti and Omnibus-Type Team. To contribute to the project visit github.com/Omnibus-Type.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Archivo Black": { + "name": "Archivo Black", + "designer": [ + "Omnibus-Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Archivo Black was designed to be used simultaneously in print and digital platforms. The technical and aesthetic characteristics of the font are both crafted for high performance typography. It was designed to be used simultaneously in print and online platforms and supports over 200 world languages. Archivo is a grotesque sans serif typeface family from Omnibus-Type. It was originally designed for highlights and headlines. This family is reminiscent of late nineteenth century American typefaces. It includes normal, Black and Narrow styles, and was derived from Chivo To contribute to the project visit github.com/Omnibus-Type", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Archivo Narrow": { + "name": "Archivo Narrow", + "designer": [ + "Omnibus-Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Archivo Narrow was designed to be used simultaneously in print and digital platforms. The technical and aesthetic characteristics of the font are both crafted for high performance typography. It was designed to be used simultaneously in print and online platforms and supports over 200 world languages. Archivo is a grotesque sans serif typeface family from Omnibus-Type. It was originally designed for highlights and headlines. This family is reminiscent of late nineteenth century American typefaces. It includes normal, Narrow and Black styles, and was derived from Chivo In April 2020, the family was converted to a variable font family. To contribute to the project visit github.com/Omnibus-Type", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Are You Serious": { + "name": "Are You Serious", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Are You Serious doesn't take itself seriously at all. This is a fun playful font with a very joyful spirit. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/are-you-serious.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Aref Ruqaa": { + "name": "Aref Ruqaa", + "designer": [ + "Abdullah Aref", + "Khaled Hosny", + "Hermann Zapf" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "arabic", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Aref Ruqaa is an Arabic typeface that aspires to capture the essence of the classical Ruqaa calligraphic style. The Latin part is based on AMS Euler, but spaced for regular text rather than mathematics. The Aref Ruqaa project is led by Khaled Hosny, a type designer based in Cairo, Egypt. To contribute, see github.com/alif-type/aref-ruqaa", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Aref Ruqaa Ink": { + "name": "Aref Ruqaa Ink", + "designer": [ + "Abdullah Aref", + "Khaled Hosny", + "Hermann Zapf" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "arabic", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Aref Ruqaa Ink is an Arabic typeface that aspires to capture the essence of the classical Ruqaa calligraphic style. This font uses the COLRv1, CPAL and SVG tables. Please visit the gf-guide color page to learn more about Color Fonts technology. The Aref Ruqaa project is led by Khaled Hosny, a type designer based in Cairo, Egypt. To contribute, see github.com/alif-type/aref-ruqaa", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Arima": { + "name": "Arima", + "designer": [ + "Natanael Gama", + "Joana Correia", + "Rosalie Wagner" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "greek", + "greek-ext", + "latin", + "latin-ext", + "malayalam", + "tamil", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "A display font with soft edges and calligraphic feel is the main inspiration for Arima project. It has a low contrast to allow good rendering on screen. Legibility is always a central concern, but the design has a lot of personality to be recognizable as a display font to be used in headlines, brand names, and similar uses on the web. The primary goal was to create a design that will prove popular because it resonates with both casual and professional designers, and without ever lowering the quality of the design. Each font in the family was extensively tested on low resolution phones and refined to work well as a web font in the mobile era. From the very first round of design testing, each font was hinted with ttfautohint and refined for Windows users. Arima Madurai has an extended language support for the Tamil and Latin scripts, as well as Malayalam and Greek. Greek developed during Google Summer of Code 2017 by Rosalie Wagner, under the mentorship of Emilios Theofanous and Irene Vlachou.\" The Arima project is led by NDISCOVER, a type design foundry based in Portugal. To contribute, see github.com/NDISCOVER/Arima-Font", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Arimo": { + "name": "Arimo", + "designer": [ + "Steve Matteson" + ], + "license": "apache2", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "hebrew", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Arimo was designed by Steve Matteson as an innovative, refreshing sans serif design that is metrically compatible with Arial\u2122. Arimo offers improved on-screen readability characteristics and the pan-European WGL character set and solves the needs of developers looking for width-compatible fonts to address document portability across platforms. Updated in May 2013 with improved hinting and released under the Apache 2.0 license.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Arizonia": { + "name": "Arizonia", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Arizonia was inspired by the lettering found on a construction truck. It has a sign-painterly appearance which features thick and contrasting stokes that have been painted by a pointed brush. It can be used for situations that require a hand lettered, contemporary and sporty feel. As with any script, Arizonia should not be used in ALL Caps. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/arizonia.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Armata": { + "name": "Armata", + "designer": [ + "Viktoriya Grabowska" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Armata is a low contrast sans serif text face, with a mixture of familiar and unfamiliar shapes. The steadiness and strength is juxtaposed with some innovative and delicate gestures. Armata can be used in a wide range of sizes.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Arsenal": { + "name": "Arsenal", + "designer": [ + "Andrij Shevchenko" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Arsenal is a semi-grotesque with traditional forms. It is primarily designed for body text and intended for professional visual communication. The special qualities of these letter shapes, such as subtle contrast modulation, articulate grace and expressivity. Arsenal's somewhat lyrical sentiment abides to the Ukrainian nature of the font. The main design features are the narrow proportions, that allow for economical typesetting, the moderate aperture and the observable contrast. These create some notable traits: Neutrality, clarity, and swiftness. In 2011 this typeface by Andrijbecame a winner of the Ukrainian Type Design Competition Mystetsky Arsenal. The judges sought designs with three main criteria: Hitting the zeitgeist, being practical, and feeling Ukrainian. Andrij's winning entry was crowned with the name Arsenal, and made publicly available under the SIL Open Font License.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Arsenal SC": { + "name": "Arsenal SC", + "designer": [ + "Andrij Shevchenko" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "In 2011 Andrij 's typeface became a winner of Ukrainian Type Design Competition ' Mystetsky Arsenal ' in which three main criteria were sought for: being zeitgeist, practical, and Ukrainian. Andrij's winning entry was crowned Arsenal and made publicly available. Arsenal is a semi-grotesque with traditional forms. It is primarily designed for body text and intended for various professional communication. Its special qualities of letter shapes and subtle contrast modulation articulate grace and expressivity. Arsenal's somewhat lyrical sentiment abides to the Ukrainian nature of the font. Main design features: narrow proportions that allow for economical type-setting, moderate aperture and observable contrast. Notable traits: neutrality, clarity, swiftness. This is the Small Cap sibling family to the main Arsenal family.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Artifika": { + "name": "Artifika", + "designer": [ + "Cyreal" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Artifika is an amiable upright italic for fashionable display titling. Overall features are tender and crisp, descenders short. Settled curves are sculpted with calligraphic elegance, instrokes have a widening as a tribute to it's broad-nib origin. Nearly horizontal flat serifs support left-to-right direction, making the typeface pleasant for reading on screen. Designed by Yulya Zhdanova, Ivan Petrov in 2010-2011. To contribute, see github.com/cyrealtype/Artifika.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Arvo": { + "name": "Arvo", + "designer": [ + "Anton Koovit" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SLAB_SERIF", + "classifications": [], + "description": "Arvo is a geometric slab-serif typeface family suited for screen and print. The family includes 4 cuts: Roman, Italic, Roman Bold, Bold Italic. It is a libre font, first published in Google Fonts. The flavour of the font is rather mixed. It's monolinear-ish, but has a tiny bit of contrast (which increases the legibility a little in Mac OS X.) The name Arvo is a typical Estonian man's name, but is not widely used today. In the Finnish language, Arvo means \"number, value, worth.\" Considering how much programming is involved in hinting, all these meanings are true. In December 2013 Arvo 2.0.1 was released, with support for languages that use the Cyrillic script, the latin script is expanded to Adobe's Glyph List 3, and many truetype hints are improved especially for in smaller sizes (regular cuts start now from 9ppem). Also added PANOSE classification numbers, cleaned up character palette order, and many more smaller bug fixes were made. Updated August 2015: Bold and Bold Italic styles were updated to allow document embedding.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Arya": { + "name": "Arya", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Arya is a Devanagari and Latin type family. It originated with Modular InfoTech's 1201, and was made more smooth. The new and original Latin design is intended to match the Devanagari in weight and and size with an unusual high-contrast sans serif design. This project is led by Eduardo Tunni, a type designed based in Buenos Aires, Argentina. To contribute, visit github.com/etunni/Arya", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Asap": { + "name": "Asap", + "designer": [ + "Omnibus-Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Asap (\"as soon as possible\") is a contemporary sans-serif family with subtle rounded corners. This family, specially developed for screen and desktop use, offers a standarised character width on all styles, which means lines of text remain the same length. This useful feature allows users to change type styles on-the-go without reflowing a text body. Asap has been upgraded to a variable font in 2021, and in October 2022, this variable is completed by a width axis and a larger scope of weight. Axes weight now go from Thin to Black and width from Condensed to Expanded. Asap is based on Ancha (Pablo Cosgaya, Hector Gatti). It is designed by Pablo Cosgaya and Omnibus-Type Team, with the collaboration of Andr\u00e9s Torresi. To contribute, see github.com/Omnibus-Type/Asap.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Asap Condensed": { + "name": "Asap Condensed", + "designer": [ + "Omnibus-Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Asap Condensed is the condensed version of the Asap family. Its a contemporary sans-serif family with subtle rounded corners. Designed by Pablo Cosgaya and Nicol\u00e1s Silva, Asap (\"as soon as possible\") has 8 styles: Regular, Medium, Semibold, Bold and its italics. This family, specially developed for screen and desktop use, offers a standarised character width on all styles, which means lines of text remain the same length. This useful feature allows users to change type styles on-the-go without reflowing a text body. Asap is based on Ancha (designed by Pablo Cosgaya and Hector Gatti), and has been developed with the collaboration of Andr\u00e9s Torresi. To contribute, see github.com/Omnibus-Type/AsapCondensed.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Asar": { + "name": "Asar", + "designer": [ + "Sorkin Type" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Asar is an original Devanagari and Latin typeface that is based on an expanding brush stroke following a heart line. The design is meant to work well with long texts while maintaining a certain charm at large sizes. Asar is partially derived from Pria Ravichadran's Palanquin, starting by interpreting that design's overall proportions and heart lines and glyph set and OpenType features. The design arrives at its own identity by adjusting for the density of certain brush strokes, that dictate wider spacing and new forms. The brush used is the Expand Path feature of Fontlab Studio 5, using a width of 93, an angle of -55, and a roundness of 35. In general the letters are designed so as to not require further adjustment, but where this is not satisfying then manual adjustments are made. This project is led by Sorkin Type, an international type foundry based in Boston. To contribute, see github.com/EbenSorkin/Asar", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Asset": { + "name": "Asset", + "designer": [ + "Riccardo De Franceschi", + "Eben Sorkin" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic-ext", + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Asset was inspired by the engraved letters found on United States dollar bills. Asset belongs to the \"fat face\" category because it is so bold or heavy. It is also a high contrast design and very extended or wide. Although it is legible at medium sizes it will shine most when used large where both its restraint and passion can be seen. This font was made specifically to be used on the web, but will work well in print. To contribute, see github.com/SorkinType/Asset.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Assistant": { + "name": "Assistant", + "designer": [ + "Adobe Systems Inc.", + "Ben Nathan" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "hebrew", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Assistant is a Hebrew and Latin type family, with a contemporary sans serif Hebrew design. The family contains 6 upright styles, from ExtraLight to Black. Hebrew type family was designed by Ben Nathan, to complement the Latin Source Sans Pro that was designed by Paul Hunt at Adobe Type. The Assistant project is led by Ben Nathan, a type designer based in Tel Aviv, Israel. To contribute, see github.com/hafontia/Assistant", + "primary_script": "Hebr", + "article": null, + "minisite_url": null + }, + "Asta Sans": { + "name": "Asta Sans", + "designer": [ + "42dot" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "korean", + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Kore", + "article": "Asta Sans is a modern, highly adaptable typeface designed for seamless use across a wide spectrum of applications. Taking inspiration from the asterisk (ASCII code 42, *), a symbol of universality and openness, Asta Sans embodies clarity, neutrality, and inclusiveness. With its harmonious balance of straight lines that represent cutting-edge technology and gentle curves that exude user-friendliness, Asta Sans reflects the perfect synergy between precision and approachability. The square-like interior shapes bring a sense of structure and organization, aligning seamlessly with the brand\u2019s emphasis on clarity and functionality. This typeface is engineered for exceptional legibility across various contexts, whether in lengthy passages or concise text. The smooth flow of its lines ensures readability in diverse environments, making it an ideal choice for digital interfaces, print media, and beyond. Learn more about the Asta Sans project: github.com/42dot/Asta-Sans", + "minisite_url": null + }, + "Astloch": { + "name": "Astloch", + "designer": [ + "Dan Rhatigan" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Astloch is a set of monolinear display faces \u2014 one delicate, one sturdy \u2014 based on the mix of sharp angles and florid curves found in fraktur lettering.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Asul": { + "name": "Asul", + "designer": [ + "Mariela Monsalve" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Asul can be described as a baroque humanist typface; it has semi-serifs and it is a type revival project developed for editorial use. It is based on a typeface found in some Argentinian books and magazines from the early 20th century.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Athiti": { + "name": "Athiti", + "designer": [ + "Cadson Demak" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "thai", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Athiti is a Thai word for the Sun, and it is an informal sans Latin and loopless Thai typeface. The friendly personality is based on humanist calligraphy, and has an organic look and feel while preserving the traditional construction of Roman type. It all started with a desire to learn more about the origin of strokes in human handwriting. It is designed to reflect a trace of writing tools and convey its inspiration. The family consists of 6 weights that can be used in headlines or body text. The outer curves contrast with the angled inner counter shapes, which distributes feelings of strength and softness at the same time. Athiti can be used with a mixture of formal and informal content, for example in educational work. A similarity between some glyphs such as \u0e01 \u0e16 \u0e20 \u0e24 \u0e26, \u0e0e \u0e0f, \u0e1a \u0e1b, or \u0e02 \u0e0a is something to take into consideration because it might lead to confusion when typesetting very short texts. A specific approach has been taken for dealing with thick and thin strokes in the Thai design. Other type designers may consider this font as an example when developing new fonts. Informal loopless Thai typefaces have slightly simplified details, as compared to the formal looped style, and this allows type designers to extend loopless families to very black weights. Sizes and positions of vowels and tone marks need to be managed carefully because they are all relevant to readability, legibility, and overall texture. Also, in this case, ink trapping is required when connecting two specific strokes of each glyph, and it has to be done carefully, as it has been in Athiti. The Athiti project is led by Cadson Demak, a type foundry in Thailand. To contribute, see github.com/cadsondemak/athiti", + "primary_script": "Thai", + "article": null, + "minisite_url": null + }, + "Atkinson Hyperlegible": { + "name": "Atkinson Hyperlegible", + "designer": [ + "Braille Institute", + "Applied Design Works", + "Elliott Scott", + "Megan Eiswerth", + "Linus Boman", + "Theodore Petrosky" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Atkinson Hyperlegible, named after the founder of the Braille Institute, has been developed specifically to increase legibility for readers with low vision, and to improve comprehension. Having a traditional grotesque sans-serif at its core, it departs from tradition to incorporate unambiguous, distinctive elements\u2014and at times, unexpected forms\u2014always with the goal of increasing character recognition and ultimately improve reading. To contribute, see github.com/googlefonts/atkinson-hyperlegible. From Rebranding to Readability with Atkinson Hyperlegible Distinct and modern, the Atkinson Hyperlegible typeface aims to deliver both legibility and readability According to the World Health Organization (WHO), at least 2.2 billion people have a vision impairment. Major financial burdens can occur when people can\u2019t read fluently or work to their full potential. For example, the WHO estimates that \u201closses associated with vision impairment from uncorrected myopia and presbyopia alone were estimated to be US$ 244 billion and US$ 25.4 billion, respectively.\u201d Typeface design can help. When Braille Institute hired Applied Design Works to create a new brand identity and branding strategy to coincide with their 2019 centennial anniversary, the firm looked for a beautiful and functional font specifically designed for improved legibility and readability. Brad Scott and Elliott Scott of Applied Design Works were concerned about typefaces that look a little like old ransom notes, where each letter and number were dramatically different from each other. They wondered if, despite designers\u2019 intentions, these typefaces could actually be more difficult to read for some people. They decided that no existing typeface met their legibility, readability, and branding goals. So they endeavored to create a new typeface called Atkinson Hyperlegible, named after the organization\u2019s founder J. Robert Atkinson. The work would go on to be recognized with a 2019 Fast Company \u2018Innovation by Design\u2019 Award. Atkinson Hyperlegible uses circular shapes to reference Braille dots. To learn more, visit From Rebranding to Readability with Atkinson Hyperlegible.", + "minisite_url": null + }, + "Atkinson Hyperlegible Mono": { + "name": "Atkinson Hyperlegible Mono", + "designer": [ + "Braille Institute", + "Applied Design Works", + "Elliott Scott", + "Megan Eiswerth", + "Letters From Sweden" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Atkinson Hyperlegible Mono, a monospace version of Atkinson Hyperlegible, offers new opportunities for developers with low vision. Atkinson Hyperlegible Mono includes new weights, refined curves, added symbols, and additional language support. Named after the founder of the Braille Institute, Atkinson Hyperlegible Mono has been developed specifically to increase legibility for readers with low vision, and to improve reading comprehension. Having a traditional grotesque sans-serif at its core, it departs from tradition to incorporate unambiguous, distinctive elements\u2014and at times, unexpected forms\u2014always with the goal of increasing character recognition and ultimately improving reading. To contribute, see github.com/googlefonts/atkinson-hyperlegible-next-mono. From Rebranding to Readability with Atkinson Hyperlegible Distinct and modern, the Atkinson Hyperlegible typeface aims to deliver both legibility and readability According to the World Health Organization (WHO), at least 2.2 billion people have a vision impairment. Major financial burdens can occur when people can\u2019t read fluently or work to their full potential. For example, the WHO estimates that \u201closses associated with vision impairment from uncorrected myopia and presbyopia alone were estimated to be US$ 244 billion and US$ 25.4 billion, respectively.\u201d Typeface design can help. When Braille Institute hired Applied Design Works to create a new brand identity and branding strategy to coincide with their 2019 centennial anniversary, the firm looked for a beautiful and functional font specifically designed for improved legibility and readability. Brad Scott and Elliott Scott of Applied Design Works were concerned about typefaces that look a little like old ransom notes, where each letter and number were dramatically different from each other. They wondered if, despite designers\u2019 intentions, these typefaces could actually be more difficult to read for some people. They decided that no existing typeface met their legibility, readability, and branding goals. So they endeavored to create a new typeface called Atkinson Hyperlegible, named after the organization\u2019s founder J. Robert Atkinson. The work would go on to be recognized with a 2019 Fast Company \u2018Innovation by Design\u2019 Award.", + "minisite_url": null + }, + "Atkinson Hyperlegible Next": { + "name": "Atkinson Hyperlegible Next", + "designer": [ + "Braille Institute", + "Applied Design Works", + "Elliott Scott", + "Megan Eiswerth", + "Letters From Sweden" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Atkinson Hyperlegible Next, a refined version of Atkinson Hyperlegible, improves on the original in every way. It features new weights, improved kerning, refined curves, added symbols, and additional language support. Named after the founder of the Braille Institute, Atkinson Hyperlegible Next has been developed specifically to increase legibility for readers with low vision, and to improve reading comprehension. Having a traditional grotesque sans-serif at its core, it departs from tradition to incorporate unambiguous, distinctive elements\u2014and at times, unexpected forms\u2014always with the goal of increasing character recognition and ultimately improving reading. To contribute, see github.com/googlefonts/atkinson-hyperlegible-next. From Rebranding to Readability with Atkinson Hyperlegible Distinct and modern, the Atkinson Hyperlegible typeface aims to deliver both legibility and readability According to the World Health Organization (WHO), at least 2.2 billion people have a vision impairment. Major financial burdens can occur when people can\u2019t read fluently or work to their full potential. For example, the WHO estimates that \u201closses associated with vision impairment from uncorrected myopia and presbyopia alone were estimated to be US$ 244 billion and US$ 25.4 billion, respectively.\u201d Typeface design can help. When Braille Institute hired Applied Design Works to create a new brand identity and branding strategy to coincide with their 2019 centennial anniversary, the firm looked for a beautiful and functional font specifically designed for improved legibility and readability. Brad Scott and Elliott Scott of Applied Design Works were concerned about typefaces that look a little like old ransom notes, where each letter and number were dramatically different from each other. They wondered if, despite designers\u2019 intentions, these typefaces could actually be more difficult to read for some people. They decided that no existing typeface met their legibility, readability, and branding goals. So they endeavored to create a new typeface called Atkinson Hyperlegible, named after the organization\u2019s founder J. Robert Atkinson. The work would go on to be recognized with a 2019 Fast Company \u2018Innovation by Design\u2019 Award.", + "minisite_url": null + }, + "Atma": { + "name": "Atma", + "designer": [ + "Black Foundry" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "bengali", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Atma is an original Bengali and Latin typeface family with a fun and informal feeling. The Bengali and Latin were developed in parallel as a studio collaboration by Jeremie Hornus, Gregori Vincens, Yoann Minet, and Roxane Gataud. The Atma project is led by Black Foundry, a type design foundry based in Paris, France. To contribute, see github.com/TypefactoryNet/Atma", + "primary_script": "Beng", + "article": null, + "minisite_url": null + }, + "Atomic Age": { + "name": "Atomic Age", + "designer": [ + "James Grieshaber" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Foundry: Sorkin Type Co Atomic Age was inspired by 1950s era connected scripts seen on nameplates of American cars. Atomic Age looses the connection but keeps the spirit of these letters to make a highly legible somewhat mechanical looking font. Atomic Age is usable from very small sizes all the way up to large display sizes. To contribute to the project, visit github.com/EbenSorkin/Atomic-Age Updated: January 2016 to Version 1.007, to correct encoding, improve hinting, and tightened inter-letter spacing (so the vertical and horizontal metrics have changed, causing some reflow.)", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Aubrey": { + "name": "Aubrey", + "designer": [ + "Cyreal" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Aubrey is a playful condensed decorative font with an art nouveau essence. Horizontal elements are unexpectedly cut and swapped with sloped curves creating off-beats in the overall rhythm. Spurs are added to twist and stress the movement. Aubrey can be a good choice for designing holiday decorations and greetings. Works best in medium and large sizes. Designed by Gayaneh Bagdasaryan. To contribute, see github.com/cyrealtype/Aubrey.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Audiowide": { + "name": "Audiowide", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Audiowide is a sans serif, technology styled, typeface composed of soft corner tubular forms. With vague nods to letter styles like that of Handel Gothic and the Converse logo, Audiowide veers off in a direction of its own for a slightly more techno-futuristic and yet cleanly readable typestyle. Designed by Brian J. Bonislawsky for Astigmatic (AOETI). Audiowide is a Unicode typeface family that supports languages that use the Latin script and its variants, and could be expanded to support other scripts. To contribute to the project contact Brian J. Bonislawsky.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Autour One": { + "name": "Autour One", + "designer": [ + "Sorkin Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Autour One is inspired by handwritten letters on Ludwig Hohlwein posters. It has been changed and adapted from the originals in a variety of ways so that it will work in paragraphs of text and on the web. Autour One can be used a in a wide range of sizes. Autour means 'round' in French.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Average": { + "name": "Average", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Average is a typeface that emerged from a long process of research into text typeface families from various different historical periods, both classical and contemporary. The idea was to design an average font for use in text, through a lengthy process of shape measurement and data gathering in spreadsheets. This resulted in a series of parameters which could be used by a designer to determine the proportions, color, spacing and other attributes of a typeface. Once the parameters were defined and best values were selected, the forms for the Average Regular typeface were drawn. In september 2022, Average has been updated to provide a larger glyphset and therefore greater language support. A sans sister family, Average Sans, is also available. To contribute to the project contact To contribute, see github.com/etunni/average.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Average Sans": { + "name": "Average Sans", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Average Sans has the color, structure and proportions of its serif sister family, Average, which it complements harmoniously. The neutrality of the forms create a nice texture, both for texts and short headlines. Use it for online magazines, academic texts and blogs. To contribute to the project contact Eduardo Tunni.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Averia Gruesa Libre": { + "name": "Averia Gruesa Libre", + "designer": [ + "Dan Sayers" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Aver\u00eda means \"breakdown\" or \"mechanical damage\" in Spanish - and is related to the root of the English word \"average.\" Averia Libre is based on the average of 725 fonts in the Google Fonts collection, and both glyph outlines and metrics are the result of the averaging process described at iotic.com/averia Averia Gruesa Libre exists in a Regular style, and there are also the Averia Libre, Averia Sans Libre and Averia Serif Libre families with 6 styles.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Averia Libre": { + "name": "Averia Libre", + "designer": [ + "Dan Sayers" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Aver\u00eda means \"breakdown\" or \"mechanical damage\" in Spanish - and is related to the root of the English word \"average.\" Averia Libre is based on the average of 725 fonts in the Google Fonts collection, and both glyph outlines and metrics are the result of the averaging process described at iotic.com/averia Averia Libre exists in 6 styles, and there are also the Averia Serif Libre, Averia Sans Libre and Averia Gruesa Libre families.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Averia Sans Libre": { + "name": "Averia Sans Libre", + "designer": [ + "Dan Sayers" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Aver\u00eda (\"breakdown\" or \"mechanical damage\" in Spanish - related to the root of the English word \"average\") is a Unicode typeface superfamily created from the average of all fonts on the computer of the creator, Dan Sayers. The process is described at iotic.com/averia. All metrics are the result of an averaging process. The included glyphs are those that existed in a majority of the source fonts. The Averia Libre families of fonts are based on the average of all 725 fonts in the Google Web Fonts project, released under the SIL Open Font License, as of 9 Nov 2011. Averia Sans Libre exists in 6 styles, and there are also the Averia Libre, Averia Serif Libre and Averia Gruesa Libre families. For more information please visit the Aver\u00eda page on the iotic website or send an email to Dan Sayers.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Averia Serif Libre": { + "name": "Averia Serif Libre", + "designer": [ + "Dan Sayers" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Aver\u00eda (\"breakdown\" or \"mechanical damage\" in Spanish - related to the root of the English word \"average\") is a Unicode typeface superfamily created from the average of all fonts on the computer of the creator, Dan Sayers. The process is described at iotic.com/averia. All metrics are the result of an averaging process. The included glyphs are those that existed in a majority of the source fonts. The Averia Libre families of fonts are based on the average of all 725 fonts in the Google Web Fonts project, released under the SIL Open Font License, as of 9 Nov 2011. Averia Serif Libre exists in 6 styles, and there are also the Averia Libre, Averia Sans Libre and Averia Gruesa Libre families. For more information please visit the Aver\u00eda page on the iotic website or send an email to Dan Sayers.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Azeret Mono": { + "name": "Azeret Mono", + "designer": [ + "Displaay", + "Martin V\u00e1cha" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "monospace" + ], + "description": "Azeret Mono is a monospaced typeface with a mono-linear character. The story of the typeface began with a draft that was driven by an exploration of OCR fonts, past and futuristic operating systems, various interfaces and the nineties. The final result is more based on a desire to achieve an appearance of the typeface that could serve in operating systems. Thus the overall character is a conjunction of everything described with details that evoke a specific personality. Azeret is designed by Martin V\u00e1cha and Daniel Quisek. To contribute, see github.com/displaay/Azeret.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "B612": { + "name": "B612", + "designer": [ + "PolarSys", + "Nicolas Chauveau", + "Thomas Paillot", + "Jonathan Favre-Lamarine", + "Jean-Luc Vinot" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "B612 is an highly legible open source font family, designed and tested to be used on aircraft cockpit screens. Its design makes it particularly suitable for degraded contexts (ensuring legibility and readability of data), with a positive effect on reducing visual fatigue and cognitive load. Particular attention was given to the uniformity of the typeface, whether being used for isolated terms, reading information on a map, mixing capital letters and numbers, waypoint lists, long or abbreviated texts, specific terms and data in the aeronautical field. In 2010, Airbus initiated a research collaboration with ENAC and Universit\u00e9 de Toulouse III on a prospective study to define and validate an \u201cAeronautical Font\u201d: the challenge was to improve the display of textual data information on all cockpit screens, concerning more specifically legibility, readability and reading comfort, and to enhance the overall cockpit consistency. The typographical research was conducted through iterations from experimentation to design. Two years later, Airbus came to Intactile DESIGN in order to design and develop the eight variants of the font. Baptized B612 in reference to the imaginary asteroid of the aviator Antoine de Saint\u2011Exup\u00e9ry, the font has been optimised following a calligraphic approach, in order to preserve the readable qualities of humanist typefaces like r\u00e9ales and incises, but also the technical and functional image of sans serif or bitmap. B612 is a two-weight font family including roman and italic styles but also a monospaced variation, B612 Mono. It was designed in 2012 by Nicolas Chauveau, Thomas Paillot and Jonathan Favre-Lamarine from the design agency Intactile DESIGN, and Jean-Luc Vinot from ENAC (French National University of Civil Aviation) Interactive Informatics Team for Laurent Spaggiari from the Airbus Human Factors department \u2014 prior research by Jean\u2011Luc Vinot (DGAC/DSNA) and Sylvie Ath\u00e8nes (Universit\u00e9 de Toulouse III). In 2017, Airbus agreed to publish the font with an open source license (Eclipse Public License) within the Polarsys project, an industry-oriented project hosted by the Eclipse foundation. B612 project was awarded the Observeur du Design: Industry Star in 2018. Updated 2019-03: Updated to latest upstream release. The B612 project is led by Polarsys, an Eclipse Working Group created by large industry players and by tools providers to collaborate on the creation and support of Open Source tools for the development of embedded systems. To contribute, see github.com/polarsys/b612", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "B612 Mono": { + "name": "B612 Mono", + "designer": [ + "Nicolas Chauveau", + "Thomas Paillot", + "Jonathan Favre-Lamarine", + "Jean-Luc Vinot" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "monospace" + ], + "description": "B612 is an highly legible open source font family, designed and tested to be used on aircraft cockpit screens. Its design makes it particularly suitable for degraded contexts (ensuring legibility and readability of data), with a positive effect on reducing visual fatigue and cognitive load. Particular attention was given to the uniformity of the typeface, whether being used for isolated terms, reading information on a map, mixing capital letters and numbers, waypoint lists, long or abbreviated texts, specific terms and data in the aeronautical field. In 2010, Airbus initiated a research collaboration with ENAC and Universit\u00e9 de Toulouse III on a prospective study to define and validate an \u201cAeronautical Font\u201d: the challenge was to improve the display of textual data information on all cockpit screens, concerning more specifically legibility, readability and reading comfort, and to enhance the overall cockpit consistency. The typographical research was conducted through iterations from experimentation to design. Two years later, Airbus came to Intactile DESIGN in order to design and develop the eight variants of the font. Baptized B612 in reference to the imaginary asteroid of the aviator Antoine de Saint\u2011Exup\u00e9ry, the font has been optimised following a calligraphic approach, in order to preserve the readable qualities of humanist typefaces like r\u00e9ales and incises, but also the technical and functional image of sans serif or bitmap. B612 is a two-weight font family including roman and italic styles but also a monospaced variation, B612 Mono. It was designed in 2012 by Nicolas Chauveau, Thomas Paillot and Jonathan Favre-Lamarine from the design agency Intactile DESIGN, and Jean-Luc Vinot from ENAC (French National University of Civil Aviation) Interactive Informatics Team for Laurent Spaggiari from the Airbus Human Factors department \u2014 prior research by Jean\u2011Luc Vinot (DGAC/DSNA) and Sylvie Ath\u00e8nes (Universit\u00e9 de Toulouse III). In 2017, Airbus agreed to publish the font with an open source license (Eclipse Public License) within the Polarsys project, an industry-oriented project hosted by the Eclipse foundation. B612 project was awarded the Observeur du Design: Industry Star in 2018. Updated 2019-03: Updated to latest upstream release. The B612 project is led by Polarsys, an Eclipse Working Group created by large industry players and by tools providers to collaborate on the creation and support of Open Source tools for the development of embedded systems. To contribute, see github.com/polarsys/b612", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "BIZ UDGothic": { + "name": "BIZ UDGothic", + "designer": [ + "Type Bank Co.", + "Morisawa Inc." + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "greek-ext", + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Jpan", + "article": "\u30e2\u30ea\u30b5\u30ef\u306eBIZ UD\u30b4\u30b7\u30c3\u30af\u306f\u3001\u6559\u80b2\u3084\u30d3\u30b8\u30cd\u30b9\u6587\u66f8\u4f5c\u6210\u306a\u3069\u306b\u6d3b\u7528\u3067\u304d\u308b\u3088\u3046\u3001\u3088\u308a\u591a\u304f\u306e\u65b9\u306b\u3068\u3063\u3066\u8aad\u307f\u3084\u3059\u304f\u4f7f\u3044\u3084\u3059\u3044\u3088\u3046\u306b\u8a2d\u8a08\u3055\u308c\u305f\u30e6\u30cb\u30d0\u30fc\u30b5\u30eb\u30c7\u30b6\u30a4\u30f3\u30d5\u30a9\u30f3\u30c8\u3067\u3059\u3002\u8aad\u307f\u3084\u3059\u3055\u3068\u30c7\u30b6\u30a4\u30f3\u30d0\u30e9\u30f3\u30b9\u306b\u512a\u308c\u305f\u3001\u3059\u3063\u304d\u308a\u3068\u3057\u305fUD\u30b4\u30b7\u30c3\u30af\u66f8\u4f53\u3067\u3001\u6f22\u5b57\u306e\u7701\u7565\u3067\u304d\u308b\u30cf\u30cd\u3084\u30b2\u30bf\u3092\u53d6\u308b\u3053\u3068\u3067\u3001\u6587\u5b57\u3092\u30af\u30ea\u30a2\u306b\u898b\u305b\u3066\u3044\u307e\u3059\u3002\u5927\u304d\u3081\u306a\u5b57\u9762\u3067\u3082\u6587\u5b57\u3068\u3057\u3066\u306e\u304b\u305f\u3061\u306e\u30d0\u30e9\u30f3\u30b9\u3092\u640d\u306d\u306a\u3044\u3088\u3046\u3001\u30d5\u30c8\u30b3\u30ed\u306a\u3069\u306e\u7a7a\u9593\u3092\u7d30\u304b\u304f\u8abf\u6574\u3057\u3066\u3044\u307e\u3059\u3002\u304b\u306a\u306f\u6f22\u5b57\u306b\u6bd4\u3079\u3066\u3084\u3084\u5c0f\u3076\u308a\u306b\u4f5c\u3089\u308c\u3066\u304a\u308a\u3001\u7d30\u3044\u30a6\u30a8\u30a4\u30c8\u3067\u9577\u6587\u3092\u7d44\u3080\u3068\u307b\u3069\u3088\u3044\u6291\u63da\u304c\u751f\u307e\u308c\u307e\u3059\u3002 BIZ UD Gothic is a universal design typeface designed to be easy to read and ideal for education and business documentation. It is a highly legible and well-balanced design sans serif. In order to make the kanji more clear and identifiable, the letterforms are simplified by omitting hane (hook) and geta (the vertical lines extending beyond horizontal strokes at the bottom of kanji). Counters and other spaces are finely adjusted so that the overall balance of the type is not impaired even with the use in relatively large size. The kana are made slightly smaller than the kanji to give a good rhythm and flow when setting long texts in the lighter weights. UDGothic includes full-width kana. UDPGothic includes proportional-width kana. To contribute to the project, visit github.com/googlefonts/morisawa-biz-ud-gothic Morisawa BIZ Universal Design (UD) Japanese fonts added to Google Fonts and Google Workspace As part of our larger effort to make great type accessible in more languages, Google Fonts is pleased to announce that the Japanese type foundry Morisawa has made 2 BIZ Universal Design (UD) font families available on Google Fonts, under the SIL Open Font License. These Gothic and Mincho designs, available in regular and bold weights and proportional and full width styles, are now also available in Google Workspace. \u201cHaving these fonts available in Japan allows Google Education to align with the most widely used fonts in education publishing in Japan,\u201d said Stuart Miller, Head of Marketing for Google Education in Asia Pacific (APAC). \u201cThis makes it easier for partners to collaborate with Google Education. It also ensures a more consistent, inclusive, delightful experience for the millions of teachers and students that use Google tools.\u201d Drawing on extensive end-user evaluation, the BIZ UD typefaces were developed using the principles of universal design (UD) to ensure legibility (the ease of differentiating individual characters) and readability (the ease of reading text overall). BIZ UD fonts are especially suited for conveying text accurately\u2014for example, in educational settings, corporate communication environments, and other places that use ICT. To learn more, read Morisawa BIZ Universal Design (UD) Japanese fonts added to Google Fonts and Google Workspace.", + "minisite_url": null + }, + "BIZ UDMincho": { + "name": "BIZ UDMincho", + "designer": [ + "Type Bank Co.", + "Morisawa Inc." + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "greek-ext", + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Jpan", + "article": "\u30e2\u30ea\u30b5\u30ef\u306eBIZ UD\u660e\u671d\u306f\u3001\u6559\u80b2\u3084\u30d3\u30b8\u30cd\u30b9\u6587\u66f8\u4f5c\u6210\u306a\u3069\u306b\u6d3b\u7528\u3067\u304d\u308b\u3088\u3046\u3001\u3088\u308a\u591a\u304f\u306e\u65b9\u306b\u3068\u3063\u3066\u8aad\u307f\u3084\u3059\u304f\u4f7f\u3044\u3084\u3059\u3044\u3088\u3046\u306b\u8a2d\u8a08\u3055\u308c\u305f\u30e6\u30cb\u30d0\u30fc\u30b5\u30eb\u30c7\u30b6\u30a4\u30f3\u30d5\u30a9\u30f3\u30c8\u3067\u3059\u3002\u683c\u8abf\u9ad8\u3044\u660e\u671d\u4f53\u306e\u4f1d\u7d71\u3092\u4fdd\u3061\u306a\u304c\u3089\u3001\u898b\u3084\u3059\u3055\u3001\u8aad\u307f\u3084\u3059\u3055\u3092\u5b9f\u73fe\u3057\u305f\u66f8\u4f53\u3067\u3059\u3002\u4e00\u822c\u7684\u306a\u660e\u671d\u4f53\u306f\u3001\u6a2a\u7dda\u304c\u7d30\u304f\u30c7\u30b6\u30a4\u30f3\u3055\u308c\u3066\u3044\u308b\u305f\u3081\u3001\u8996\u529b\u304c\u5f31\u3044\u65b9\u3084\u30c7\u30a3\u30b9\u30d7\u30ec\u30a4\u306e\u8868\u793a\u306a\u3069\u3067\u306f\u8aad\u307f\u306b\u304f\u3044\u3053\u3068\u304c\u3042\u308a\u307e\u3059\u3002BIZ UD\u660e\u671d\u306f\u5f93\u6765\u306e\u660e\u671d\u4f53\u3088\u308a\u3082\u6a2a\u7dda\u304c\u592a\u3044\u660e\u671d\u4f53\u3092\u30d9\u30fc\u30b9\u306b\u3057\u3066\u304a\u308a\u3001\u6fc1\u70b9\u3084\u534a\u6fc1\u70b9\u3092\u5927\u304d\u304f\u898b\u3084\u3059\u3044\u30c7\u30b6\u30a4\u30f3\u306b\u5909\u66f4\u3057\u3066\u3044\u308b\u307b\u304b\u3001\u5b57\u9762\u3084\u3075\u3068\u3053\u308d\u3092\u5927\u304d\u304f\u3068\u308a\u306a\u304c\u3089\u3082\u6587\u5b57\u306e\u30d5\u30a9\u30eb\u30e0\u3092\u5d29\u3055\u306a\u3044\u30c7\u30b6\u30a4\u30f3\u306b\u8abf\u6574\u3057\u3066\u3044\u307e\u3059\u3002 BIZ UD Mincho is a universal design typeface designed to be easy to read and ideal for education and business documentation. It combines high quality in readability and legibility while carrying on the stately Japanese Mincho type tradition. BIZ UD Mincho bases its design on one of the typefaces from the Morisawa font library, which has thicker horizontal lines than the traditional Mincho type style. Because most Mincho types have thin horizontal strokes, the style can be difficult to read on some displays or signs and for people with low vision. For the universal design version, dakuten (\u309b) and handakuten (\u309c) voicing marks are designed to be more legible, and the letterforms are adjusted to maintain their balance while having a larger face and wider counters. UD Mincho includes full-width kana. UDPMincho includes proportional-wdith kana. To contribute to the project, visit github.com/googlefonts/morisawa-biz-ud-mincho Morisawa BIZ Universal Design (UD) Japanese fonts added to Google Fonts and Google Workspace As part of our larger effort to make great type accessible in more languages, Google Fonts is pleased to announce that the Japanese type foundry Morisawa has made 2 BIZ Universal Design (UD) font families available on Google Fonts, under the SIL Open Font License. These Gothic and Mincho designs, available in regular and bold weights and proportional and full width styles, are now also available in Google Workspace. \u201cHaving these fonts available in Japan allows Google Education to align with the most widely used fonts in education publishing in Japan,\u201d said Stuart Miller, Head of Marketing for Google Education in Asia Pacific (APAC). \u201cThis makes it easier for partners to collaborate with Google Education. It also ensures a more consistent, inclusive, delightful experience for the millions of teachers and students that use Google tools.\u201d Drawing on extensive end-user evaluation, the BIZ UD typefaces were developed using the principles of universal design (UD) to ensure legibility (the ease of differentiating individual characters) and readability (the ease of reading text overall). BIZ UD fonts are especially suited for conveying text accurately\u2014for example, in educational settings, corporate communication environments, and other places that use ICT. To learn more, read Morisawa BIZ Universal Design (UD) Japanese fonts added to Google Fonts and Google Workspace.", + "minisite_url": null + }, + "BIZ UDPGothic": { + "name": "BIZ UDPGothic", + "designer": [ + "Type Bank Co.", + "Morisawa Inc." + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "greek-ext", + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Jpan", + "article": "\u30e2\u30ea\u30b5\u30ef\u306eBIZ UD\u30b4\u30b7\u30c3\u30af\u306f\u3001\u6559\u80b2\u3084\u30d3\u30b8\u30cd\u30b9\u6587\u66f8\u4f5c\u6210\u306a\u3069\u306b\u6d3b\u7528\u3067\u304d\u308b\u3088\u3046\u3001\u3088\u308a\u591a\u304f\u306e\u65b9\u306b\u3068\u3063\u3066\u8aad\u307f\u3084\u3059\u304f\u4f7f\u3044\u3084\u3059\u3044\u3088\u3046\u306b\u8a2d\u8a08\u3055\u308c\u305f\u30e6\u30cb\u30d0\u30fc\u30b5\u30eb\u30c7\u30b6\u30a4\u30f3\u30d5\u30a9\u30f3\u30c8\u3067\u3059\u3002\u8aad\u307f\u3084\u3059\u3055\u3068\u30c7\u30b6\u30a4\u30f3\u30d0\u30e9\u30f3\u30b9\u306b\u512a\u308c\u305f\u3001\u3059\u3063\u304d\u308a\u3068\u3057\u305fUD\u30b4\u30b7\u30c3\u30af\u66f8\u4f53\u3067\u3001\u6f22\u5b57\u306e\u7701\u7565\u3067\u304d\u308b\u30cf\u30cd\u3084\u30b2\u30bf\u3092\u53d6\u308b\u3053\u3068\u3067\u3001\u6587\u5b57\u3092\u30af\u30ea\u30a2\u306b\u898b\u305b\u3066\u3044\u307e\u3059\u3002\u5927\u304d\u3081\u306a\u5b57\u9762\u3067\u3082\u6587\u5b57\u3068\u3057\u3066\u306e\u304b\u305f\u3061\u306e\u30d0\u30e9\u30f3\u30b9\u3092\u640d\u306d\u306a\u3044\u3088\u3046\u3001\u30d5\u30c8\u30b3\u30ed\u306a\u3069\u306e\u7a7a\u9593\u3092\u7d30\u304b\u304f\u8abf\u6574\u3057\u3066\u3044\u307e\u3059\u3002\u304b\u306a\u306f\u6f22\u5b57\u306b\u6bd4\u3079\u3066\u3084\u3084\u5c0f\u3076\u308a\u306b\u4f5c\u3089\u308c\u3066\u304a\u308a\u3001\u7d30\u3044\u30a6\u30a8\u30a4\u30c8\u3067\u9577\u6587\u3092\u7d44\u3080\u3068\u307b\u3069\u3088\u3044\u6291\u63da\u304c\u751f\u307e\u308c\u307e\u3059\u3002 BIZ UD Gothic is a universal design typeface designed to be easy to read and ideal for education and business documentation. It is a highly legible and well-balanced design sans serif. In order to make the kanji more clear and identifiable, the letterforms are simplified by omitting hane (hook) and geta (the vertical lines extending beyond horizontal strokes at the bottom of kanji). Counters and other spaces are finely adjusted so that the overall balance of the type is not impaired even with the use in relatively large size. The kana are made slightly smaller than the kanji to give a good rhythm and flow when setting long texts in the lighter weights. UDGothic includes full-width kana. UDPGothic includes proportional-width kana. To contribute to the project, visit github.com/googlefonts/morisawa-biz-ud-gothic Morisawa BIZ Universal Design (UD) Japanese fonts added to Google Fonts and Google Workspace As part of our larger effort to make great type accessible in more languages, Google Fonts is pleased to announce that the Japanese type foundry Morisawa has made 2 BIZ Universal Design (UD) font families available on Google Fonts, under the SIL Open Font License. These Gothic and Mincho designs, available in regular and bold weights and proportional and full width styles, are now also available in Google Workspace. \u201cHaving these fonts available in Japan allows Google Education to align with the most widely used fonts in education publishing in Japan,\u201d said Stuart Miller, Head of Marketing for Google Education in Asia Pacific (APAC). \u201cThis makes it easier for partners to collaborate with Google Education. It also ensures a more consistent, inclusive, delightful experience for the millions of teachers and students that use Google tools.\u201d Drawing on extensive end-user evaluation, the BIZ UD typefaces were developed using the principles of universal design (UD) to ensure legibility (the ease of differentiating individual characters) and readability (the ease of reading text overall). BIZ UD fonts are especially suited for conveying text accurately\u2014for example, in educational settings, corporate communication environments, and other places that use ICT. To learn more, read Morisawa BIZ Universal Design (UD) Japanese fonts added to Google Fonts and Google Workspace.", + "minisite_url": null + }, + "BIZ UDPMincho": { + "name": "BIZ UDPMincho", + "designer": [ + "Type Bank Co.", + "Morisawa Inc." + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "greek-ext", + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Jpan", + "article": "\u30e2\u30ea\u30b5\u30ef\u306eBIZ UD\u660e\u671d\u306f\u3001\u6559\u80b2\u3084\u30d3\u30b8\u30cd\u30b9\u6587\u66f8\u4f5c\u6210\u306a\u3069\u306b\u6d3b\u7528\u3067\u304d\u308b\u3088\u3046\u3001\u3088\u308a\u591a\u304f\u306e\u65b9\u306b\u3068\u3063\u3066\u8aad\u307f\u3084\u3059\u304f\u4f7f\u3044\u3084\u3059\u3044\u3088\u3046\u306b\u8a2d\u8a08\u3055\u308c\u305f\u30e6\u30cb\u30d0\u30fc\u30b5\u30eb\u30c7\u30b6\u30a4\u30f3\u30d5\u30a9\u30f3\u30c8\u3067\u3059\u3002\u683c\u8abf\u9ad8\u3044\u660e\u671d\u4f53\u306e\u4f1d\u7d71\u3092\u4fdd\u3061\u306a\u304c\u3089\u3001\u898b\u3084\u3059\u3055\u3001\u8aad\u307f\u3084\u3059\u3055\u3092\u5b9f\u73fe\u3057\u305f\u66f8\u4f53\u3067\u3059\u3002\u4e00\u822c\u7684\u306a\u660e\u671d\u4f53\u306f\u3001\u6a2a\u7dda\u304c\u7d30\u304f\u30c7\u30b6\u30a4\u30f3\u3055\u308c\u3066\u3044\u308b\u305f\u3081\u3001\u8996\u529b\u304c\u5f31\u3044\u65b9\u3084\u30c7\u30a3\u30b9\u30d7\u30ec\u30a4\u306e\u8868\u793a\u306a\u3069\u3067\u306f\u8aad\u307f\u306b\u304f\u3044\u3053\u3068\u304c\u3042\u308a\u307e\u3059\u3002BIZ UD\u660e\u671d\u306f\u5f93\u6765\u306e\u660e\u671d\u4f53\u3088\u308a\u3082\u6a2a\u7dda\u304c\u592a\u3044\u660e\u671d\u4f53\u3092\u30d9\u30fc\u30b9\u306b\u3057\u3066\u304a\u308a\u3001\u6fc1\u70b9\u3084\u534a\u6fc1\u70b9\u3092\u5927\u304d\u304f\u898b\u3084\u3059\u3044\u30c7\u30b6\u30a4\u30f3\u306b\u5909\u66f4\u3057\u3066\u3044\u308b\u307b\u304b\u3001\u5b57\u9762\u3084\u3075\u3068\u3053\u308d\u3092\u5927\u304d\u304f\u3068\u308a\u306a\u304c\u3089\u3082\u6587\u5b57\u306e\u30d5\u30a9\u30eb\u30e0\u3092\u5d29\u3055\u306a\u3044\u30c7\u30b6\u30a4\u30f3\u306b\u8abf\u6574\u3057\u3066\u3044\u307e\u3059\u3002 BIZ UD Mincho is a universal design typeface designed to be easy to read and ideal for education and business documentation. It combines high quality in readability and legibility while carrying on the stately Japanese Mincho type tradition. BIZ UD Mincho bases its design on one of the typefaces from the Morisawa font library, which has thicker horizontal lines than the traditional Mincho type style. Because most Mincho types have thin horizontal strokes, the style can be difficult to read on some displays or signs and for people with low vision. For the universal design version, dakuten (\u309b) and handakuten (\u309c) voicing marks are designed to be more legible, and the letterforms are adjusted to maintain their balance while having a larger face and wider counters. UDMincho includes full-width kana. UDPMincho includes proportional-width kana. To contribute to the project, visit github.com/googlefonts/morisawa-biz-ud-mincho Morisawa BIZ Universal Design (UD) Japanese fonts added to Google Fonts and Google Workspace As part of our larger effort to make great type accessible in more languages, Google Fonts is pleased to announce that the Japanese type foundry Morisawa has made 2 BIZ Universal Design (UD) font families available on Google Fonts, under the SIL Open Font License. These Gothic and Mincho designs, available in regular and bold weights and proportional and full width styles, are now also available in Google Workspace. \u201cHaving these fonts available in Japan allows Google Education to align with the most widely used fonts in education publishing in Japan,\u201d said Stuart Miller, Head of Marketing for Google Education in Asia Pacific (APAC). \u201cThis makes it easier for partners to collaborate with Google Education. It also ensures a more consistent, inclusive, delightful experience for the millions of teachers and students that use Google tools.\u201d Drawing on extensive end-user evaluation, the BIZ UD typefaces were developed using the principles of universal design (UD) to ensure legibility (the ease of differentiating individual characters) and readability (the ease of reading text overall). BIZ UD fonts are especially suited for conveying text accurately\u2014for example, in educational settings, corporate communication environments, and other places that use ICT. To learn more, read Morisawa BIZ Universal Design (UD) Japanese fonts added to Google Fonts and Google Workspace.", + "minisite_url": null + }, + "Babylonica": { + "name": "Babylonica", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Babylonica is a dry brush style with hand written calligraphic brush characteristics. It's italicized approach is sometimes interrupted by upright or even back-slanted forms giving it an interrupted stress. This stress gives Babylonica that truly hand lettered appeal. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/babylonica.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Bacasime Antique": { + "name": "Bacasime Antique", + "designer": [ + "The DocRepair Project", + "Claus Eggers S\u00f8rensen" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Bacasime Antique is a DocRepair font, intended to improve compliance with the ISO/IEC 29500 standard by providing fallback for Baskerville Old Face that minimizes text reflow in Office Open XML documents. Bacasime Antique is based on Playfair, which is stylistically a transitional design. To contribute, please visit github.com/docrepair-fonts/bacasime-antique-fonts.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Bad Script": { + "name": "Bad Script", + "designer": [ + "Gaslight" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Bad Script started from a simple six-letter logotype and developed into a separate font, supporting Latin and Cyrillic character sets. It was completely made using a tablet to imitate casual and neat handwriting. Designed to resemble the designer's own handwriting, while making it systematic and smooth. The 2024 update improves kerning and offers better language support. Some bugs have been fixed, and the design has been enhanced. To contribute, see github.com/alexeiva/badscript.", + "primary_script": "Latn", + "article": null, + "minisite_url": null + }, + "Badeen Display": { + "name": "Badeen Display", + "designer": [ + "Hani Alasadi" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "arabic", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Badeen Display isn\u2019t just another typeface\u2014it\u2019s a bold, unapologetic move that challenges the conventions of Arabic typography. Think of it as a bridge between the energy of youth culture and the richness of Arab pop heritage. Badeen Display lives in the space between contrasts, blending thick and thin strokes with a purpose, bringing together soft, rounded forms and sharp, assertive edges. It\u2019s designed to do more than just look good; it\u2019s here to create an impact, to grab attention, and to express a sense of personality that\u2019s both grounded and forward-thinking. This is the font for creators who want to make a statement, who want every letter to have meaning and every word to stand out. Badeen Display is about embodying a vibrant character in a way that\u2019s contemporary, yet unmistakably rooted in culture. It\u2019s a tool to bring your brand to life, to speak with authenticity and clarity, and to capture the spirit of something timeless yet completely new. When you choose Badeen Display, you\u2019re not just choosing a font\u2014you\u2019re making a creative decision to stand out, to resonate, and to inspire. To contribute, see github.com/haniadnansd/Badeen-Display.", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Bagel Fat One": { + "name": "Bagel Fat One", + "designer": [ + "Kyungwon Kim", + "JAMO" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "korean", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Bagel Fat is a very heavy/fat font with rounded details. By these rounded corners, the overall mood is cute and lovely which is inspired by bread, pastries and sweets. Also a large contrast at where the horizontal and the vertical stroke come across makes it unique, not just cute. To contribute, please visit github.com/JAMO-TYPEFACE/BagelFat.", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "Bahiana": { + "name": "Bahiana", + "designer": [ + "Omnibus-Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Bahiana has a rustic, fresh and casual look. Its ideal for composing condensed titles and short texts. The family has OpenType alternatives to make the texture more organic. There are 490 glyphs and diacritics, supporting over 103 Latin languages (including Guarani.) Designed by Daniela Raskovsky and Pablo Cosgaya.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Bahianita": { + "name": "Bahianita", + "designer": [ + "Omnibus-Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Bahianita is an evolution of the Bahiana project, adding lowercase. It has a rustic, fresh and casual appearance, which has been influenced by wood carving. Its proportions are ideal for composing condensed titles and short texts. This To contribute, see github.com/Omnibus-Type/Bahiana/tree/master/Bahianita", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Bai Jamjuree": { + "name": "Bai Jamjuree", + "designer": [ + "Cadson Demak" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "thai", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Bai Jamjuree is a Thai and Latin family which works well for headings and small passages of text. The design was inspired by Eurostyle and other square san serifs.", + "primary_script": "Thai", + "article": null, + "minisite_url": null + }, + "Bakbak One": { + "name": "Bakbak One", + "designer": [ + "Saumya Kishore", + "Sanchit Sawaria" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Bakbak One is a custom brand typeface for All India Bakchod. Owing to its usage, it is a heavyweight display typeface for headings, video titles and posters. It consists of 1 weight and 692 glyphs and borrows from humanist \u2018Johnston\u2019 like arches. Bakbak is loud and present but also neutral enough to render anything from a warning to a mockery. To contribute, please visit github.com/googlefonts/bakbak", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Ballet": { + "name": "Ballet", + "designer": [ + "Omnibus-Type", + "Maximiliano Sproviero" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Ballet is a reinterpretation of the classic Spencerian script style with a few whimsical twists in two different versions: Ballet aligned and crooked, both with Latin GF Plus character set (+630 characters/+800 glyphs). Ballet is designed by Maximiliano Sproviero and developed by Eduardo Tunni. To contribute, see github.com/Omnibus-Type/Ballet", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Baloo 2": { + "name": "Baloo 2", + "designer": [ + "Ek Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "devanagari", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "A perfect blend of pointy paws in a coat of fur, Baloo is an affable display typeface by Ek Type. Available in nine Indian scripts plus Arabic along with a Latin counterpart, the family is Unicode compliant and libre licensed. Baloo 2 is an extension of the earlier Baloo project. The new Baloo 2 includes additional glyphs, engineering improvements, and has been extended to five weights, ranging from the light footed Regular to the affable ExtraBold. The lighter weights retain Baloo\u2019s characteristic bounce, but they do so slightly, infusing life into each word. This allows the new family to freely fraternise with texts of all sizes and temperaments \u2014 be it short bursts or copious reams, demanding headlines or whispering bylines. Carefree yet confident, sprightly yet versatile, the renewed family of Baloo promises to bring warmth to every project. The Baloo 2 project consists of ten font families with unique local names for each of the nine Indic scripts plus Arabic (Baloo Bhaijaan 2). Each family supports one Indic/Arabic script plus Latin, Latin Extended, and Vietnamese. It took a team of committed type designers to rear Baloo and raise it to be the typeface we love. The Gurmukhi is designed by Shuchita Grover; Bangla by Noopur Datye and Sulekha Rajkumar; Odia by Yesha Goshar, Manish Minz, and Shuchita Grover; Gujarati by Noopur Datye and Supriya Tembe; Kannada by Divya Kowshik and Shuchita Grover; Telugu by Maithili Shingre and Omkar Shende; Malayalam by Maithili Shingre and Unnati Kotecha; and Tamil by Aadarsh Rajan. Baloo Devanagari and Latin are collaboratively designed by Ek Type. Font engineering and type design assistance by Girish Dalvi. To contribute to the project, visit github.com/EkType/Baloo2", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Baloo Bhai 2": { + "name": "Baloo Bhai 2", + "designer": [ + "Ek Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "gujarati", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "A perfect blend of pointy paws in a coat of fur, Baloo is an affable display typeface by Ek Type. Available in nine Indian scripts plus Arabic along with a Latin counterpart, the family is Unicode compliant and libre licensed. Baloo 2 is an extension of the earlier Baloo project. The new Baloo 2 includes additional glyphs, engineering improvements, and has been extended to five weights, ranging from the light footed Regular to the affable ExtraBold. The lighter weights retain Baloo\u2019s characteristic bounce, but they do so slightly, infusing life into each word. This allows the new family to freely fraternise with texts of all sizes and temperaments \u2014 be it short bursts or copious reams, demanding headlines or whispering bylines. Carefree yet confident, sprightly yet versatile, the renewed family of Baloo promises to bring warmth to every project. The Baloo 2 project consists of ten font families with unique local names for each of the nine Indic scripts plus Arabic (Baloo Bhaijaan 2). Each family supports one Indic/Arabic script plus Latin, Latin Extended, and Vietnamese. It took a team of committed type designers to rear Baloo and raise it to be the typeface we love. The Gurmukhi is designed by Shuchita Grover; Bangla by Noopur Datye and Sulekha Rajkumar; Odia by Yesha Goshar, Manish Minz, and Shuchita Grover; Gujarati by Noopur Datye and Supriya Tembe; Kannada by Divya Kowshik and Shuchita Grover; Telugu by Maithili Shingre and Omkar Shende; Malayalam by Maithili Shingre and Unnati Kotecha; and Tamil by Aadarsh Rajan. Baloo Devanagari and Latin are collaboratively designed by Ek Type. Font engineering and type design assistance by Girish Dalvi. To contribute to the project, visit github.com/EkType/Baloo2", + "primary_script": "Gujr", + "article": null, + "minisite_url": null + }, + "Baloo Bhaijaan 2": { + "name": "Baloo Bhaijaan 2", + "designer": [ + "Ek Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "arabic", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "A perfect blend of pointy paws in a coat of fur, Baloo is an affable display typeface by Ek Type. Available in nine Indian scripts plus Arabic along with a Latin counterpart, the family is Unicode compliant and libre licensed. Baloo 2 is an extension of the earlier Baloo project. The new Baloo 2 includes additional glyphs, engineering improvements, and has been extended to five weights, ranging from the light footed Regular to the affable ExtraBold. The lighter weights retain Baloo\u2019s characteristic bounce, but they do so slightly, infusing life into each word. This allows the new family to freely fraternise with texts of all sizes and temperaments \u2014 be it short bursts or copious reams, demanding headlines or whispering bylines. Carefree yet confident, sprightly yet versatile, the renewed family of Baloo promises to bring warmth to every project. The Baloo 2 project consists of ten font families with unique local names for each of the nine Indic scripts plus Arabic (Baloo Bhaijaan 2). Each family supports one Indic/Arabic script plus Latin, Latin Extended, and Vietnamese. It took a team of committed type designers to rear Baloo and raise it to be the typeface we love. The Gurmukhi is designed by Shuchita Grover; Bangla by Noopur Datye and Sulekha Rajkumar; Odia by Yesha Goshar, Manish Minz, and Shuchita Grover; Gujarati by Noopur Datye and Supriya Tembe; Kannada by Divya Kowshik and Shuchita Grover; Telugu by Maithili Shingre and Omkar Shende; Malayalam by Maithili Shingre and Unnati Kotecha; and Tamil by Aadarsh Rajan. Baloo Devanagari and Latin are collaboratively designed by Ek Type. Font engineering and type design assistance by Girish Dalvi. To contribute to the project, visit github.com/EkType/Baloo2", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Baloo Bhaina 2": { + "name": "Baloo Bhaina 2", + "designer": [ + "Ek Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "oriya", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "A perfect blend of pointy paws in a coat of fur, Baloo is an affable display typeface by Ek Type. Available in nine Indian scripts plus Arabic along with a Latin counterpart, the family is Unicode compliant and libre licensed. Baloo 2 is an extension of the earlier Baloo project. The new Baloo 2 includes additional glyphs, engineering improvements, and has been extended to five weights, ranging from the light footed Regular to the affable ExtraBold. The lighter weights retain Baloo\u2019s characteristic bounce, but they do so slightly, infusing life into each word. This allows the new family to freely fraternise with texts of all sizes and temperaments \u2014 be it short bursts or copious reams, demanding headlines or whispering bylines. Carefree yet confident, sprightly yet versatile, the renewed family of Baloo promises to bring warmth to every project. The Baloo 2 project consists of ten font families with unique local names for each of the nine Indic scripts plus Arabic (Baloo Bhaijaan 2). Each family supports one Indic/Arabic script plus Latin, Latin Extended, and Vietnamese. It took a team of committed type designers to rear Baloo and raise it to be the typeface we love. The Gurmukhi is designed by Shuchita Grover; Bangla by Noopur Datye and Sulekha Rajkumar; Odia by Yesha Goshar, Manish Minz, and Shuchita Grover; Gujarati by Noopur Datye and Supriya Tembe; Kannada by Divya Kowshik and Shuchita Grover; Telugu by Maithili Shingre and Omkar Shende; Malayalam by Maithili Shingre and Unnati Kotecha; and Tamil by Aadarsh Rajan. Baloo Devanagari and Latin are collaboratively designed by Ek Type. Font engineering and type design assistance by Girish Dalvi. To contribute to the project, visit github.com/EkType/Baloo2", + "primary_script": "Orya", + "article": null, + "minisite_url": null + }, + "Baloo Chettan 2": { + "name": "Baloo Chettan 2", + "designer": [ + "Ek Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "malayalam", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "A perfect blend of pointy paws in a coat of fur, Baloo is an affable display typeface by Ek Type. Available in nine Indian scripts plus Arabic along with a Latin counterpart, the family is Unicode compliant and libre licensed. Baloo 2 is an extension of the earlier Baloo project. The new Baloo 2 includes additional glyphs, engineering improvements, and has been extended to five weights, ranging from the light footed Regular to the affable ExtraBold. The lighter weights retain Baloo\u2019s characteristic bounce, but they do so slightly, infusing life into each word. This allows the new family to freely fraternise with texts of all sizes and temperaments \u2014 be it short bursts or copious reams, demanding headlines or whispering bylines. Carefree yet confident, sprightly yet versatile, the renewed family of Baloo promises to bring warmth to every project. The Baloo 2 project consists of ten font families with unique local names for each of the nine Indic scripts plus Arabic (Baloo Bhaijaan 2). Each family supports one Indic/Arabic script plus Latin, Latin Extended, and Vietnamese. It took a team of committed type designers to rear Baloo and raise it to be the typeface we love. The Gurmukhi is designed by Shuchita Grover; Bangla by Noopur Datye and Sulekha Rajkumar; Odia by Yesha Goshar, Manish Minz, and Shuchita Grover; Gujarati by Noopur Datye and Supriya Tembe; Kannada by Divya Kowshik and Shuchita Grover; Telugu by Maithili Shingre and Omkar Shende; Malayalam by Maithili Shingre and Unnati Kotecha; and Tamil by Aadarsh Rajan. Baloo Devanagari and Latin are collaboratively designed by Ek Type. Font engineering and type design assistance by Girish Dalvi. To contribute to the project, visit github.com/EkType/Baloo2", + "primary_script": "Mlym", + "article": null, + "minisite_url": null + }, + "Baloo Da 2": { + "name": "Baloo Da 2", + "designer": [ + "Ek Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "bengali", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "A perfect blend of pointy paws in a coat of fur, Baloo is an affable display typeface by Ek Type. Available in nine Indian scripts plus Arabic along with a Latin counterpart, the family is Unicode compliant and libre licensed. Baloo 2 is an extension of the earlier Baloo project. The new Baloo 2 includes additional glyphs, engineering improvements, and has been extended to five weights, ranging from the light footed Regular to the affable ExtraBold. The lighter weights retain Baloo\u2019s characteristic bounce, but they do so slightly, infusing life into each word. This allows the new family to freely fraternise with texts of all sizes and temperaments \u2014 be it short bursts or copious reams, demanding headlines or whispering bylines. Carefree yet confident, sprightly yet versatile, the renewed family of Baloo promises to bring warmth to every project. The Baloo 2 project consists of ten font families with unique local names for each of the nine Indic scripts plus Arabic (Baloo Bhaijaan 2). Each family supports one Indic/Arabic script plus Latin, Latin Extended, and Vietnamese. It took a team of committed type designers to rear Baloo and raise it to be the typeface we love. The Gurmukhi is designed by Shuchita Grover; Bangla by Noopur Datye and Sulekha Rajkumar; Odia by Yesha Goshar, Manish Minz, and Shuchita Grover; Gujarati by Noopur Datye and Supriya Tembe; Kannada by Divya Kowshik and Shuchita Grover; Telugu by Maithili Shingre and Omkar Shende; Malayalam by Maithili Shingre and Unnati Kotecha; and Tamil by Aadarsh Rajan. Baloo Devanagari and Latin are collaboratively designed by Ek Type. Font engineering and type design assistance by Girish Dalvi. To contribute to the project, visit github.com/EkType/Baloo2", + "primary_script": "Beng", + "article": null, + "minisite_url": null + }, + "Baloo Paaji 2": { + "name": "Baloo Paaji 2", + "designer": [ + "Ek Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "gurmukhi", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "A perfect blend of pointy paws in a coat of fur, Baloo is an affable display typeface by Ek Type. Available in nine Indian scripts plus Arabic along with a Latin counterpart, the family is Unicode compliant and libre licensed. Baloo 2 is an extension of the earlier Baloo project. The new Baloo 2 includes additional glyphs, engineering improvements, and has been extended to five weights, ranging from the light footed Regular to the affable ExtraBold. The lighter weights retain Baloo\u2019s characteristic bounce, but they do so slightly, infusing life into each word. This allows the new family to freely fraternise with texts of all sizes and temperaments \u2014 be it short bursts or copious reams, demanding headlines or whispering bylines. Carefree yet confident, sprightly yet versatile, the renewed family of Baloo promises to bring warmth to every project. The Baloo 2 project consists of ten font families with unique local names for each of the nine Indic scripts plus Arabic (Baloo Bhaijaan 2). Each family supports one Indic/Arabic script plus Latin, Latin Extended, and Vietnamese. It took a team of committed type designers to rear Baloo and raise it to be the typeface we love. The Gurmukhi is designed by Shuchita Grover; Bangla by Noopur Datye and Sulekha Rajkumar; Odia by Yesha Goshar, Manish Minz, and Shuchita Grover; Gujarati by Noopur Datye and Supriya Tembe; Kannada by Divya Kowshik and Shuchita Grover; Telugu by Maithili Shingre and Omkar Shende; Malayalam by Maithili Shingre and Unnati Kotecha; and Tamil by Aadarsh Rajan. Baloo Devanagari and Latin are collaboratively designed by Ek Type. Font engineering and type design assistance by Girish Dalvi. To contribute to the project, visit github.com/EkType/Baloo2", + "primary_script": "Guru", + "article": null, + "minisite_url": null + }, + "Baloo Tamma 2": { + "name": "Baloo Tamma 2", + "designer": [ + "Ek Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "kannada", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "A perfect blend of pointy paws in a coat of fur, Baloo is an affable display typeface by Ek Type. Available in nine Indian scripts plus Arabic along with a Latin counterpart, the family is Unicode compliant and libre licensed. Baloo 2 is an extension of the earlier Baloo project. The new Baloo 2 includes additional glyphs, engineering improvements, and has been extended to five weights, ranging from the light footed Regular to the affable ExtraBold. The lighter weights retain Baloo\u2019s characteristic bounce, but they do so slightly, infusing life into each word. This allows the new family to freely fraternise with texts of all sizes and temperaments \u2014 be it short bursts or copious reams, demanding headlines or whispering bylines. Carefree yet confident, sprightly yet versatile, the renewed family of Baloo promises to bring warmth to every project. The Baloo 2 project consists of ten font families with unique local names for each of the nine Indic scripts plus Arabic (Baloo Bhaijaan 2). Each family supports one Indic/Arabic script plus Latin, Latin Extended, and Vietnamese. It took a team of committed type designers to rear Baloo and raise it to be the typeface we love. The Gurmukhi is designed by Shuchita Grover; Bangla by Noopur Datye and Sulekha Rajkumar; Odia by Yesha Goshar, Manish Minz, and Shuchita Grover; Gujarati by Noopur Datye and Supriya Tembe; Kannada by Divya Kowshik and Shuchita Grover; Telugu by Maithili Shingre and Omkar Shende; Malayalam by Maithili Shingre and Unnati Kotecha; and Tamil by Aadarsh Rajan. Baloo Devanagari and Latin are collaboratively designed by Ek Type. Font engineering and type design assistance by Girish Dalvi. To contribute to the project, visit github.com/EkType/Baloo2", + "primary_script": "Knda", + "article": null, + "minisite_url": null + }, + "Baloo Tammudu 2": { + "name": "Baloo Tammudu 2", + "designer": [ + "Ek Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "telugu", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "A perfect blend of pointy paws in a coat of fur, Baloo is an affable display typeface by Ek Type. Available in nine Indian scripts plus Arabic along with a Latin counterpart, the family is Unicode compliant and libre licensed. Baloo 2 is an extension of the earlier Baloo project. The new Baloo 2 includes additional glyphs, engineering improvements, and has been extended to five weights, ranging from the light footed Regular to the affable ExtraBold. The lighter weights retain Baloo\u2019s characteristic bounce, but they do so slightly, infusing life into each word. This allows the new family to freely fraternise with texts of all sizes and temperaments \u2014 be it short bursts or copious reams, demanding headlines or whispering bylines. Carefree yet confident, sprightly yet versatile, the renewed family of Baloo promises to bring warmth to every project. The Baloo 2 project consists of ten font families with unique local names for each of the nine Indic scripts plus Arabic (Baloo Bhaijaan 2). Each family supports one Indic/Arabic script plus Latin, Latin Extended, and Vietnamese. It took a team of committed type designers to rear Baloo and raise it to be the typeface we love. The Gurmukhi is designed by Shuchita Grover; Bangla by Noopur Datye and Sulekha Rajkumar; Odia by Yesha Goshar, Manish Minz, and Shuchita Grover; Gujarati by Noopur Datye and Supriya Tembe; Kannada by Divya Kowshik and Shuchita Grover; Telugu by Maithili Shingre and Omkar Shende; Malayalam by Maithili Shingre and Unnati Kotecha; and Tamil by Aadarsh Rajan. Baloo Devanagari and Latin are collaboratively designed by Ek Type. Font engineering and type design assistance by Girish Dalvi. To contribute to the project, visit github.com/EkType/Baloo2", + "primary_script": "Telu", + "article": null, + "minisite_url": null + }, + "Baloo Thambi 2": { + "name": "Baloo Thambi 2", + "designer": [ + "Ek Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "tamil", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "A perfect blend of pointy paws in a coat of fur, Baloo is an affable display typeface by Ek Type. Available in nine Indian scripts plus Arabic along with a Latin counterpart, the family is Unicode compliant and libre licensed. Baloo 2 is an extension of the earlier Baloo project. The new Baloo 2 includes additional glyphs, engineering improvements, and has been extended to five weights, ranging from the light footed Regular to the affable ExtraBold. The lighter weights retain Baloo\u2019s characteristic bounce, but they do so slightly, infusing life into each word. This allows the new family to freely fraternise with texts of all sizes and temperaments \u2014 be it short bursts or copious reams, demanding headlines or whispering bylines. Carefree yet confident, sprightly yet versatile, the renewed family of Baloo promises to bring warmth to every project. The Baloo 2 project consists of ten font families with unique local names for each of the nine Indic scripts plus Arabic (Baloo Bhaijaan 2). Each family supports one Indic/Arabic script plus Latin, Latin Extended, and Vietnamese. It took a team of committed type designers to rear Baloo and raise it to be the typeface we love. The Gurmukhi is designed by Shuchita Grover; Bangla by Noopur Datye and Sulekha Rajkumar; Odia by Yesha Goshar, Manish Minz, and Shuchita Grover; Gujarati by Noopur Datye and Supriya Tembe; Kannada by Divya Kowshik and Shuchita Grover; Telugu by Maithili Shingre and Omkar Shende; Malayalam by Maithili Shingre and Unnati Kotecha; and Tamil by Aadarsh Rajan. Baloo Devanagari and Latin are collaboratively designed by Ek Type. Font engineering and type design assistance by Girish Dalvi. To contribute to the project, visit github.com/EkType/Baloo2", + "primary_script": "Taml", + "article": null, + "minisite_url": null + }, + "Balsamiq Sans": { + "name": "Balsamiq Sans", + "designer": [ + "Michael Angeles" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Balsamiq Sans is the handwritten font created for the Balsamiq Wireframes and has been in use since version 2.1. The font contains 942 glyphs in 2 weights with italics/obliques, and includes the basic and extended latin character set, Cyrillic, Basic Symbols and Dingbats, Math and Technical Symbols, and punctuation To contribute, see github.com/balsamiq/balsamiqsans", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Balthazar": { + "name": "Balthazar", + "designer": [ + "Dario Manuel Muhafara" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Balthazar is a contemporary \"Copperplate Gothic like\" serif typeface inspired by the kind of typefaces used by many bistros and cafes in New York City and Paris. Unusually this type includes lowercase letters. The high x-height gives the text a compact look, true to the original Cooperplate Gothic design. The general form is less condensed. It has diagonal stress, and a soft variation in contrast to improve legibility. It is bolder than normal for better rasterization on screen. The typeface works smoothly at text sizes with its delicate serifs, which gives a crisp effect on the screen. At larger sizes it shows a strong personality with the combination of serif details and the modulation of its strokes. It is useful for both short text and headlines, but it is also comfortable for reading on screen. Designed by Dario Muhafara for tipo foundry.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Bangers": { + "name": "Bangers", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Bangers is a comicbook style font which packs a punch! It was designed in the style of mid-20th century superhero comics cover lettering in mind. To contribute, see github.com/googlefonts/bangers.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Barlow": { + "name": "Barlow", + "designer": [ + "Jeremy Tribby" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Barlow is a slightly rounded, low-contrast, grotesk type family. Drawing from the visual style of the California public, Barlow shares qualities with the state's car plates, highway signs, busses, and trains. This is the Normal family, which is part of the superfamily along with Semi Condensed and Condensed, each with 9 weights in Roman and Italic. The Barlow project is led by Jeremy Tribby, a designer based in San Francisco, USA. To contribute, see github.com/jpt/barlow Updated December 2018: Added Vietnamese.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Barlow Condensed": { + "name": "Barlow Condensed", + "designer": [ + "Jeremy Tribby" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Barlow is a slightly rounded, low-contrast, grotesk type family. Drawing from the visual style of the California public, Barlow shares qualities with the state's car plates, highway signs, busses, and trains. This is the Condensed family, which is part of the superfamily along with Normal and Semi Condensed, each with 9 weights in Roman and Italic. The Barlow project is led by Jeremy Tribby, a designer based in San Francisco, USA. To contribute, see github.com/jpt/barlow Updated December 2018: Added Vietnamese.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Barlow Semi Condensed": { + "name": "Barlow Semi Condensed", + "designer": [ + "Jeremy Tribby" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Barlow is a slightly rounded, low-contrast, grotesk type family. Drawing from the visual style of the California public, Barlow shares qualities with the state's car plates, highway signs, busses, and trains. This is the Semi Condensed family, which is part of the superfamily along with Condensed, and Normal, each with 9 weights in Roman and Italic. The Barlow project is led by Jeremy Tribby, a designer based in San Francisco, USA. To contribute, see github.com/jpt/barlow", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Barriecito": { + "name": "Barriecito", + "designer": [ + "Omnibus-Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Barriecito is an evolution of the Barrio project, adding lowercase. The amateur appearance conveys a friendly and authentic tone which works well for hand crafted products and billboards. It also works well on screens at headline sizes. To contribute, see github.com/Omnibus-Type/Barrio/tree/master/Barriecito", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Barrio": { + "name": "Barrio", + "designer": [ + "Omnibus-Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Barrio is designed to be used on screens, billboards, magazines and promotional material. Its particularly remarkable for its rhythmic contrast and its amateur appearance. These features make it ideal for warm, lively and fun communication. Barrio offers 490 glyphs and diacritics with support for over 103 languages \u200b\u200bLatin (including Guarani.) Designed by Sergio Jim\u00e9nez and Pablo Cosgaya.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Basic": { + "name": "Basic", + "designer": [ + "Magnus Gaarde" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Basic is a low contrast, sans serif text typeface. It mixes familiar forms with a hint of novelty, and is easy to read with a slight elegance. Basic can be used from small sizes to larger display settings.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Baskervville": { + "name": "Baskervville", + "designer": [ + "ANRT" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Baskervville is a revival of Jacob\u2019s revival of Baskerville\u2019s typeface. It was distributed by the Berger-Levrault Foundry from 1815. The font Jacob produced was sold as a \u201cCaract\u00e8res dans le genre Baskerwille\u201d i.e. \u201cBaskerwille alike fonts\u201d \u2014 with a w instead of a v. The particularity of Jacob\u2019s Baskerwille is that the roman is very close to Baskerville\u2019s typefaces while the italic is closer to Didot\u2019s typefaces. The ANRT workshop that took place for five days aimed to digitize Jacob\u2019s font in order to show his work which moves from transitional to modern styles. The typeface was then developed and engineered by Rosalie Wagner. Baskervville was designed by the ANRT students from 2017 (Alexis Faudot, R\u00e9mi Forte, Morgane Pierson, Rafael Ribas, Tanguy Vanlaeys and Rosalie Wagner), under the direction of Charles Maz\u00e9 and Thomas Huot-Marchand. In 2025, a bold weight designed by Thomas Huot-Marchand was added. Rosalie Wagner fixed some kerning and glyphset issues and improved the font's outlines for a better rendering on screen. To contribute, see github.com/anrt-type/ANRT-Baskervville from Baskerville to Baskerwille to Baskervville In 1779, Sarah Eaves manages to sell Baskerville\u2019s punches and supplies to Pierre-Augustin Caron de Beaumarchais. Beaumarchais places his new printing house \u2014Soci\u00e9t\u00e9 Litt\u00e9raire Typographique\u2014 in Kehl, Germany (6 kilometers away from Strasbourg, France) and gives Jean Fran\u00e7ois Letellier the post of director. Letellier is in charge of supervising the negotiations of the sale and the transfer of the material from Birmingham to Kehl. Given the complexity of this work, Letellier hires a former Baskerville employee, presumably John Handy who had worked with Baskerville for a long time, \u201cto check, inspect, and put right if necessary all the punches used by Baskerville\u201d. But this employee being too old to leave England, Letellier decides to send an employee of Soci\u00e9t\u00e9 Litt\u00e9raire Typographique, named Claude Jacob, to Birmingham to carry out this work. 1784. Soon after his return from Birmingham, Jacob has an argument with his employer (probably Letellier) and leaves Kehl with another employee of the Soci\u00e9t\u00e9 Litt\u00e9raire Typographique, Henri Rolland, to settle in Strasbourg. Together they make a request to the Magistrat of Strasbourg for the creation of a typefoundry, called Soci\u00e9t\u00e9 Typographique de Strasbourg. At this time, there is no other type foundry in Strasbourg. 1784-85. A first type specimen is printed: \u00c9preuves des caract\u00e8res de la soci\u00e9t\u00e9 typographique de Strasbourg; Par Jacob \u00e9l\u00e8ve de Baskerville. It is the first appearance of Jacob\u2019s typeface based on Baskerville\u2019s design, in 3 sizes. Jacob & Rolland are not totally honest here stating that Jacob had been \u201ca pupil of Baskerville\u201d (Jacob went to Birmingham 7 years after the death of Baskerville). 1786. Rolland & Jacob want to diversify their activity, and are given the permission to print, in addition to the engraving activity. Apparently, printing in Strasbourg at the time was not something easy, as 5 other printers were already in business, protecting their territory. Rolland went to Paris to present their typefaces to the King, and they obtained the title of \u201cimprimeur du Roi\u201d in 1789. It was apparently too much for the other printers in Strasbourg, and they started a lawsuit against Rolland & Jacob. 1788-89. Despite these complications, a new type specimen is printed: \u00c9preuves des caract\u00e8res de Rolland et Jacob, \u00e0 Strasbourg, including Jacob\u2019s typeface now available in 6 sizes (Great Primer ou Gros Romain, English ou Saint-Augustin, Small-Pica ou Cicero, Long Primer ou Petit Romain, Parangon Petit oeil, Gros-Texte Petit oeil) all in roman and italic, among a few other typefaces, Vignettes and Filets. In 1789 however, Rolland & Jacob are ending their collaboration after a \u201cdisagreement\u201d. In 1790, one of the five printers of Strasbourg, Fran\u00e7ois-Xavier Levrault, took the opportunity to create a new partnership with Claude Jacob and a lawyer named Michel Thomassin, in order to continue to produce typefaces. A contract signed in January 12th and February 9th 1990 by Thomassin, Jacob, and Nicolas Levrault \u2014the eldest of the Levrault family\u2014 states that the association would last 12 years, that Jacob would work for nobody else but the foundry, and that he would create all kinds of typefaces with a minimum of one font per year. The new punches and matrices would belong to the association, and the association would go by the name of Soci\u00e9t\u00e9 typographique Levrault. The story of the printers Levrault is also a very long one, beginning as early as 1676. In fact, Levrault\u2019s printing activities have now stopped but the group still exists today as Berger- Levrault. They now produce software. Back in 1790, the new Soci\u00e9t\u00e9 typographique operated as an annex of the Levrault printing house. Its publications indicated that the text was typeset \u201cAvec les caract\u00e8res de Jacob\u201d. Jacob had to produce these so-called \u201ccaract\u00e8res de Jacob\u201d on behalf of Levrault, but also to be sold to other printers in Strasbourg, in Alsace, in Lorraine, in Avignon, but also in Belgium, Switzerland and Germany. Levrault might have shut down the Soci\u00e9t\u00e9 typographique between 1795 and 1800, and definitively integrated the type foundry to his printing facility. 1800. A new type specimen is printed: \u00c9preuves des caract\u00e8res de la fonderie des Fr\u00e8res Levrault, in Strasbourg, and showing the \u201cCaract\u00e8res dans le genre de Baskerwille\u201d. Jacob must have stopped working for Levrault earlier than in 1802 \u2014he signed a 12-years contract in 1790\u2014, as his name disappears. But the original source of his typeface, Baskerville, finally reappears, although spelled with a w instead of a v. We lose track of Claude Jacob at this point, but his design is preserved by Levrault. 1815. The last known specimen printed by Levrault, \u00c9preuves de la fonderie de Fran\u00e7ois Georges Levrault, \u00e0 Strasbourg, 1815 is still selling Jacob\u2019s \u201cCaract\u00e8res dans le genre de Baskerwille\u201d. In 1871, after the end of the Franco-Prussian War, Strasbourg is part of Imperial Germany and the Levrault decide to move to Nancy. Five years later, in 1876, a fire destroys the printing facility, and they have to build a new one from scratch. But despite all these difficulties, Jacob\u2019s typeface survived and one finally finds it again in 1878, in a publication telling the long story of the Levrault, entitled Notice historique de l\u2019Imprimerie Berger-Levrault & Cie, typesetted in \u201ccaract\u00e8res genre Baskerwille (propri\u00e9t\u00e9 de la Maison)\u201d, as mentioned in the imprint. Font specimen from the foundry Fran\u00e7ois Georges Levrault, Strasbourg, France, 1815.", + "minisite_url": null + }, + "Baskervville SC": { + "name": "Baskervville SC", + "designer": [ + "ANRT" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Baskervville is a revival of Jacob\u2019s revival of Baskerville\u2019s typeface. It was distributed by the Berger-Levrault Foundry from 1815. The font Jacob produced was sold as a \u201cCaract\u00e8res dans le genre Baskerwille\u201d i.e \u201cBaskerwille alike fonts\u201d \u2014 with a w instead of a v. The particularity of Jacob\u2019s Baskerwille is that the roman is very close to Baskerville\u2019s typefaces while the italic is closer to Didot\u2019s typefaces. The ANRT workshop that took place for five days aimed to digitize Jacob\u2019s font in order to show his work which moves from transitional to modern styles. The typeface was then developped and engineered by Rosalie Wagner. Baskervville was designed by the ANRT students from 2017 (Alexis Faudot, R\u00e9mi Forte, Morgane Pierson, Rafael Ribas, TanguyVanlaeys and Rosalie Wagner), under the direction of Charles Maz\u00e9 and Thomas Huot-Marchand. In 2025, a bold weight designed by Thomas Huot-Marchand was added. Rosalie Wagner fixed some kerning and glyphset issues and improved the font's outlines for a better rendering on screen. To contribute, see github.com/anrt-type/ANRT-Baskervville from Baskerville to Baskerwille to Baskervville In 1779, Sarah Eaves manages to sell Baskerville\u2019s punches and supplies to Pierre-Augustin Caron de Beaumarchais. Beaumarchais places his new printing house \u2014Soci\u00e9t\u00e9 Litt\u00e9raire Typographique\u2014 in Kehl, Germany (6 kilometers away from Strasbourg, France) and gives Jean Fran\u00e7ois Letellier the post of director. Letellier is in charge of supervising the negotiations of the sale and the transfer of the material from Birmingham to Kehl. Given the complexity of this work, Letellier hires a former Baskerville employee, presumably John Handy who had work with Baskerville for a long time, \u201cto check, inspect, and put right if necessary all the punches used by Baskerville\u201d. But this employee being too old to leave England, Letellier decides to send an employee of Soci\u00e9t\u00e9 Litt\u00e9raire Typographique, named Claude Jacob, to Birmingham to carry out this work. 1784. Soon after his return from Birmingham, Jacob has an argument with his employer (probably Letellier) and leaves Kehl with another employee of the Soci\u00e9t\u00e9 Litt\u00e9raire Typographique, Henri Rolland, to settle in Strasbourg. Together they make a request to the Magistrat of Strasbourg for the creation of a typefoundry, called Soci\u00e9t\u00e9 Typographique de Strasbourg. At this time, there is no other type foundry in Strasbourg. 1784-85. A first type specimen is printed: \u00c9preuves des caracteres de la soci\u00e9t\u00e9 typographique de Strasbourg; Par Jacob \u00e9l\u00e8ve de Baskerville. It is the first appearance of Jacob\u2019s typeface based on Baskerville\u2019s design, in 3 sizes. Jacob & Rolland are not totally honest here stating that Jacob had been \u201ca pupil of Baskerville\u201d (Jacob went to Birmingham 7 years after the death of Baskerville). 1786. Rolland & Jacob want to diversify their activity, and are given the permission to print, in addition to the engraving activity. Apparently, printing in Strasbourg at the time was not something easy, as 5 other printers were already in business, protecting their territory. Rolland went to Paris to present their typefaces to the King, and they obtained the title of \u201cimprimeur du Roi\u201d in 1789. It was apparently too much for the other printers in Strasbourg, and they started a lawsuit against Rolland & Jacob. 1788-89. Despite these complications, a new type specimen is printed: \u00c9preuves des caract\u00e8res de Rolland et Jacob, \u00e0 Strasbourg, including Jacob\u2019s typeface now available in 6 sizes (Great Primer ou Gros Romain, English ou Saint-Augustin, Small-Pica ou Cicero, Long Primer ou Petit Romain, Parangon Petit oeil, Gros-Texte Petit oeil) all in roman and italic, among a few other typefaces, Vignettes and Filets. In 1789 however, Rolland & Jacob are ending their collaboration after a \u201cdisagreement\u201d. In 1790, one of the five printers of Strasbourg, Fran\u00e7ois-Xavier Levrault, took the opportunity to create a new partnership with Claude Jacob and a lawyer named Michel Thomassin, in order to continue to produce typefaces. A contract signed in January 12th and February 9th 1990 by Thomassin, Jacob, and Nicolas Levrault \u2014the eldest of the Levrault family\u2014 states that the association would last 12 years, that Jacob would work for nobody else but the foundry, and that he would create all kind of typefaces with a minimum of one font per year. The new punches and matrices would belong to the association, and the association would go by the name of Soci\u00e9t\u00e9 typographique Levrault. The story of the printers Levrault is also a very long one, beginning as early as 1676. In fact, Levrault\u2019s printing activities have now stopped but the group still exists today as Berger- Levrault. They now produce softwares. Back in 1790, the new Soci\u00e9t\u00e9 typographique operated as an annex of the Levrault printing house. Its publications indicated that the text was typesetted \u201cAvec les caract\u00e8res de Jacob\u201d. Jacob had to produce these so-called \u201ccaract\u00e8res de Jacob\u201d on behalf of Levrault, but also to be sold to other printers in Strasbourg, in Alsace, in Lorraine, in Avignon, but also in Belgium, Switzerland and Germany. Levrault might have shut down the Soci\u00e9t\u00e9 typographique between 1795 and 1800, and definitively integrated the type foundry to his printing facility. 1800. A new type specimen is printed: \u00c9preuves des caract\u00e8res de la fonderie des Fr\u00e8res Levrault, in Strasbourg, and showing the \u201cCaract\u00e8res dans le genre de Baskerwille\u201d. Jacob must have stopped working for Levrault earlier than in 1802 \u2014he signed a 12-years contract in 1790\u2014, as his name disappears. But the original source of his typeface, Baskerville, finally reappears, although spelled with a w instead of a v. We lose track of Claude Jacob at this point, but his design is preserved by Levrault. 1815. The last known specimen printed by Levrault, \u00c9preuves de la fonderie de Fran\u00e7ois Georges Levrault, \u00e0 Strasbourg, 1815 is still selling Jacob\u2019s \u201cCaract\u00e8res dans le genre de Baskerwille\u201d. In 1871, after the end of the Franco-Prussian War, Strasbourg is part of Imperial Germany and the Levrault decide to move to Nancy. Five years later, in 1876, a fire destroys the printing facility, and they have to build a new one from scratch. But despite all these difficulties, Jacob\u2019s typeface survived and one finally finds it again in 1878, in a publication telling the long story of the Levrault, entitled Notice historique de l\u2019Imprimerie Berger-Levrault & Cie, typesetted in \u201ccaract\u00e8res genre Baskerwille (propri\u00e9t\u00e9 de la Maison)\u201d, as mentioned in the imprint. \u201c\u00c9preuves des caract\u00e8res de la fonderie des fr\u00e8res Levrault\u201d (font speciment from the foundry Fr\u00e8res Levrault), Strasbourg, France, 1815.", + "minisite_url": null + }, + "Battambang": { + "name": "Battambang", + "designer": [ + "Danh Hong" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "khmer", + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Battambang is a Khmer font for body text. The shape is similar to the Battambang legacy font released in the 1990s. To contribute, see github.com/danhhong/Battambang.", + "primary_script": "Khmr", + "article": null, + "minisite_url": null + }, + "Baumans": { + "name": "Baumans", + "designer": [ + "Cyreal" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Baumans is a geometric typeface for headlines. Its letterforms are inspired by Bauhaus typefaces and preconstructivist forms. The concept of the typeface fits with Moholy-Nagy's typography statement that type must be clear, legible, and communicate its message. The main distinctive features are the sharp corners in MVW, curved Z and unicase-like N. Contrast is monolinear and proportions are balanced. Baumans is suitable for medium to large sizes and optimized for screen. Designed by Henadij Zarechnjuk.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Bayon": { + "name": "Bayon", + "designer": [ + "Danh Hong" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "khmer", + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Bayon is a Khmer font for headlines, titles and subtitles, and even banner designs. To contribute, see github.com/danhhong/Bayon.", + "primary_script": "Khmr", + "article": null, + "minisite_url": null + }, + "Be Vietnam Pro": { + "name": "Be Vietnam Pro", + "designer": [ + "L\u00e2m B\u1ea3o", + "Tony Le", + "Vi\u1ec7tAnh Nguy\u1ec5n" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Be Vietnam Pro is a Neo Grotesk which is well suited to tech companies and startups. We have refined Vietnamese letterforms with diacritics adaptive forms and engineered them for the best readability. To contribute, see github.com/bettergui/BeVietnamPro.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Beau Rivage": { + "name": "Beau Rivage", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Beau Rivage is a classic calligraphic with strong contrast between thick and thin strokes. Perfect for invitations and posh events. Utilize the stylistic sets which contain ornamental caps and more flourished lower case forms. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/beau-rivage.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Bebas Neue": { + "name": "Bebas Neue", + "designer": [ + "Ryoichi Tsunekawa" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Bebas Neue is a display family suitable for headlines, captions, and packaging, designed by Ryoichi Tsunekawa. It's based on the original Bebas typeface. The family is suitable for pro users due to its extended character set and OpenType features. To contribute, see https://github.com/dharmatype/Bebas-Neue. http://bebasneue.com", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Beiruti": { + "name": "Beiruti", + "designer": [ + "Boutros Fonts", + "Arlette Boutros", + "Volker Schnebel" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "arabic", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Beiruti is a distinctive modern Arabic typeface, available as a variable font with a weight axis with unlimited styles from Thin to Black. The design was created by Boutros to offer a modern geometric style while still respecting the rules of Arabic calligraphy. The fluid geometry makes it the perfect choice to use in both print and web applications, and alongside its harmonized and built-in Latin typeface companion. The Arabic is designed by Arlette Boutros, while the Latin is designed by Volker Schnebel. To contribute, please see github.com/googlefonts/beiruti.", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Belanosima": { + "name": "Belanosima", + "designer": [ + "The DocRepair Project", + "Santiago Orozco" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Belanosima is a DocRepair font, intended to improve compliance with the ISO/IEC 29500 standard by providing fallback for Berlin Sans FB that minimizes text reflow in Office Open XML documents. Belanosima is based on Josefin Sans, a geometric, elegant family with a vintage feeling, for use at larger sizes. Josefin Sans is inspired by geometric sans serif designs from the 1920s. To contribute, please visit github.com/docrepair-fonts/belanosima-fonts.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Belgrano": { + "name": "Belgrano", + "designer": [ + "LatinoType" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Belgrano is a slab serif type designed initially for printed newspapers. It has been adapted for use on the web, with coarse terminals and larger counterforms that mean it works well in very small sizes.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Bellefair": { + "name": "Bellefair", + "designer": [ + "Nick Shinn", + "Liron Lavi Turkenic" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "hebrew", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Bellefair started life as a Latin typeface designed by Nick Shinn. Then a Hebrew typeface was designed as part of the project by Liron Lavi Turkenich, to be a good match in terms of style, weight and overall color. The Bellefair project is led by Shinntype, a type design foundry based in Toronto, Canada. To contribute, see github.com/shinntype/bellefair", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Belleza": { + "name": "Belleza", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Belleza is a humanist sans serif typeface inspired by the world of fashion. With classic proportions, high contrast in its strokes and special counters, it provides a fresh look that reminds readers of elegant models and feminine beauty. Belleza is a Unicode typeface family that supports languages that use the Latin script and its variants, and could be expanded to support other scripts. The last release in June 2022, offers an major language support update. To contribute, see github.com/etunni/belleza.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Bellota": { + "name": "Bellota", + "designer": [ + "Kemie Guaida" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Bellota is an ornamented, low contrast sans-serif with text and swash alternates. It\u2019s just cute enough! It comes in two variations: Normal and Text. Each of these comes in three weights (Light/Regular/Bold) and Italics. There are stylistic alternates (for swash and non-ornamented characters) and ligatures available through OpenType features. Stylistic Set 1: Text, Stylistic Set 2: Swash caps. To contribute to the project, please go to github.com/kemie/Bellota-Font.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Bellota Text": { + "name": "Bellota Text", + "designer": [ + "Kemie Guaida" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Bellota is an ornamented, low contrast sans-serif with text and swash alternates. It\u2019s just cute enough! It comes in two variations: Normal and Text. Each of these comes in three weights (Light/Regular/Bold) and Italics. There are stylistic alternates (for swash and non-ornamented characters) and ligatures available through OpenType features. Stylistic Set 1: Text, Stylistic Set 2: Swash caps. To contribute to the project, please go to github.com/kemie/Bellota-Font.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "BenchNine": { + "name": "BenchNine", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "The design of BenchNine is loosely based on the look of the ink spreads and bleeds characteristic of traditional or vernacular woodcut type. The design takes a mash-up of a number of old Stephenson Blake designs and rounds the corners a little. In theory the face should work well for headlines that want to stand out just a little from the crowd.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Benne": { + "name": "Benne", + "designer": [ + "John Harrington" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "kannada", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Benne is a Kannada text font developed by John Harrington. The style and weights are designed to harmonise with EB Garamond, originally designed by Georg Duffner. To contribute, see github.com/googlefonts/Benne.", + "primary_script": "Knda", + "article": null, + "minisite_url": null + }, + "Bentham": { + "name": "Bentham", + "designer": [ + "Ben Weiner" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Bentham is inspired by the lettering of nineteenth-century maps, gravestones and the maker\u2019s plates of cast-iron machinery. It is characterized by expressive, flowing, and bulging curves, mannered awkwardness, and the bobbles on the terminals of its characters. The \u2018modern face\u2019 type genre is the typographical equivalent, and it can be found in books printed throughout the nineteenth century. This genre survived in educational textbooks produced throughout the twentieth century, and is preserved in computer science as the style which Donald Knuth adopted for his TEX typesetting system. Bentham is a half-way design; true neither to the type produced during the nineteenth century, nor to the letterforms of cartographers, stonecutters, or engravers. Really it is an examination of the characteristics that these letters share, colored by Ben's approach to type drawing.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Berkshire Swash": { + "name": "Berkshire Swash", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Berkshire Swash is an alluring semi-sweet typestyle with a bold yet feminine flair to it. Designed by Astigmatic (AOETI). To contribute to the project contact Brian J. Bonislawsky.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Besley": { + "name": "Besley", + "designer": [ + "Owen Earl" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SLAB_SERIF", + "classifications": [], + "description": "Besley is a antique slab serif inspired by Robert Besley's Clarendon. It features a full range of weights and matching italics, making it subtle for a variety of uses. A slight rounding of the corners gives a subtle warmth, and OpenType features such as ligatures and contextual substitutions perfect the finer details. It was made with love and will continue to improve with your support. The Besley project is designed by Owen Earl (indestructible type*). To contribute, see https://github.com/indestructible-type/Besley", + "primary_script": null, + "article": null, + "minisite_url": "https://indestructibletype.com/Besley.html" + }, + "Beth Ellen": { + "name": "Beth Ellen", + "designer": [ + "Rob Jelinski", + "Alyson Fraser Diaz" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Beth Ellen\u2122 font is a joyful handwritten font created by Rob Jelinski (Art Direction & Design) and Alyson Fraser Diaz (Typography & Functionality) in 2018. The typeface was crafted after the penmanship of Rob's mom, Beth Ellen Jelinski who passed away from cancer on March 5th, 2017. Upon it's formal release Jelinski stated, \u201cThe purpose of this typeface is to give, so it is totally free to use for personal or commercial projects under the SIL Open Font License. My single request is that you help the legacy of Beth Ellen live on by sending a short note to someone you love each time the font is used. Tell them you love them, encourage them to be their best, or send them a scripture. This is the way Beth Ellen lived her life, writing notes to share love and faith.\u201d To contribute, see github.com/googlefonts/BethEllen", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Bevan": { + "name": "Bevan", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SLAB_SERIF", + "classifications": [ + "display" + ], + "description": "Bevan is a reworking of a traditional slab serif display typeface created by Heinrich Jost in the 1930s. In Bevan, Jost's earlier letter forms have been digitised and then reshaped for use as a webfont, the counters have been opened up a little and the stems optimised for use as bold display font in modern web browsers. Upgrade December 2021: an Italic style was added during the Summer of Type Program 2016, thanks to the contribution of Kalapi Gajjar-Bordawekar and Jacques Le Bailly. To contribute, see github.com/googlefonts/BevanFont.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "BhuTuka Expanded One": { + "name": "BhuTuka Expanded One", + "designer": [ + "Erin McLaughlin" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "gurmukhi", + "latin", + "latin-ext" + ], + "stroke": "SLAB_SERIF", + "classifications": [ + "display" + ], + "description": "BhuTuka Expanded One is a Gurmukhi companion to Aoife Mooney\u2019s BioRhyme Expanded Light typeface. To contribute, see github.com/erinmclaughlin/BhuTuka-Extended-One.", + "primary_script": "Guru", + "article": null, + "minisite_url": null + }, + "Big Shoulders": { + "name": "Big Shoulders", + "designer": [ + "Patric King" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Big Shoulders is a superfamily of condensed American Gothic variable fonts, created for the Chicago Design System, and the citizens of Chicago. The family's tall, sans-serif forms are based in Chicago's multiple histories in railway transport, public political action, and dance. Big Shoulders is used in the Chicago Design System as the primary typeface to identify Chicago and its citizens allowing the Chicagoans to speak with one consistent typographic voice. Big Shoulders Stencil explores Chicago's histories in work and protest, and is designed to apply the Chicagoan voice to those uses. Big Shoulders Inline formalizes a local typographic vernacular for celebration, taking its hypnotic inline design from Black Chicagoans' House parties, and local LGBTQ dance events, a tradition beginning in the early 1980s. To contribute, see github.com/xotypeco/big_shoulders.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Big Shoulders Inline": { + "name": "Big Shoulders Inline", + "designer": [ + "Patric King" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Big Shoulders is a superfamily of condensed American Gothic variable fonts, created for the Chicago Design System, and the citizens of Chicago. The family's tall, sans-serif forms are based in Chicago's multiple histories in railway transport, public political action, and dance. Big Shoulders is used in the Chicago Design System as the primary typeface to identify Chicago and its citizens allowing the Chicagoans to speak with one consistent typographic voice. Big Shoulders Stencil explores Chicago's histories in work and protest, and is designed to apply the Chicagoan voice to those uses. Big Shoulders Inline formalizes a local typographic vernacular for celebration, taking its hypnotic inline design from Black Chicagoans' House parties, and local LGBTQ dance events, a tradition beginning in the early 1980s. To contribute, see github.com/xotypeco/big_shoulders.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Big Shoulders Stencil": { + "name": "Big Shoulders Stencil", + "designer": [ + "Patric King" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Big Shoulders is a superfamily of condensed American Gothic variable fonts, created for the Chicago Design System, and the citizens of Chicago. The family's tall, sans-serif forms are based in Chicago's multiple histories in railway transport, public political action, and dance. Big Shoulders is used in the Chicago Design System as the primary typeface to identify Chicago and its citizens allowing the Chicagoans to speak with one consistent typographic voice. Big Shoulders Stencil explores Chicago's histories in work and protest, and is designed to apply the Chicagoan voice to those uses. Big Shoulders Inline formalizes a local typographic vernacular for celebration, taking its hypnotic inline design from Black Chicagoans' House parties, and local LGBTQ dance events, a tradition beginning in the early 1980s. To contribute, see github.com/xotypeco/big_shoulders.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Bigelow Rules": { + "name": "Bigelow Rules", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "The Bigelow Rules typeface is an odd hybrid from numerous inspirations. Imagine Times Roman feels the squeeze, marries a Didone, and gives birth to something with retro appeal and bounce with some eclectic glyph oddities thrown in for spunk. That is Bigelow Rules. To contribute to the project contact Brian J. Bonislawsky.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Bigshot One": { + "name": "Bigshot One", + "designer": [ + "Gesine Todt" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Bigshot One is a contemporary Didone. The design plays within its systematic features and likes to be cheeky. Bigshot One also likes to show-off and prefers big display sizes.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Bilbo": { + "name": "Bilbo", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Bilbo is a very legible calligraphic style that has a masculine feel. It can be used for more than just display. Use Bilbo in body copy that requires added warmth to a message. Bilbo comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/bilbo.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Bilbo Swash Caps": { + "name": "Bilbo Swash Caps", + "designer": [ + "TypeSETit" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Bilbo Swash Caps is a sister family to the normal Bilbo. It is very legible calligraphic style that has a masculine feel. This family is ideal for headlines and other display uses, while the normal Bilbo can also be used in body copy that requires added warmth to a message.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "BioRhyme": { + "name": "BioRhyme", + "designer": [ + "Aoife Mooney" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SLAB_SERIF", + "classifications": [], + "description": "BioRhyme is a Latin typeface family comprised of two widths, normal and expanded. Previously separated into two distinct families, BioRhyme has been updated in September 2023, and became variable on two axes, offering weights ranging from ExtraLight to ExtraBold. To contribute, see github.com/aoifemooney/makingbiorhyme", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "BioRhyme Expanded": { + "name": "BioRhyme Expanded", + "designer": [ + "Aoife Mooney" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SLAB_SERIF", + "classifications": [ + "display" + ], + "description": "BioRhyme is a Latin typeface family comprised of two widths, a normal family and an expanded family. Each family has 5 weights, and both are intended for use in large and medium sizes. To contribute, see github.com/aoifemooney/makingbiorhyme", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Birthstone": { + "name": "Birthstone", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "The Birthstone Family is a set of fonts that are not only diverse but perfectly compatible to interchange styles in a single block of text. There are 3 precious stylistic sets: Script, Casual, and Formal, plus a Titling set. For added luster, there is the sibling Birthstone Bounce (both Regular and Medium weights) a version that includes caps and ending swashed forms. All the styles are uniquely compatible to one another, but distinctly different. See how easily the fonts may change according to the needs of the look. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/birthstone.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Birthstone Bounce": { + "name": "Birthstone Bounce", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Birthstone Bounce is the sibling family of Birthstone that adds more luster and playfulness to it. Available in Regular and Medium weights, this version includes caps and ending swashed forms. All the styles are uniquely compatible to one another, but distinctly different. See how easily the fonts may change according to the needs of the look. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/birthstone-bounce.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Biryani": { + "name": "Biryani", + "designer": [ + "Dan Reynolds", + "Mathieu R\u00e9guer" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Biryani (\u092c\u093f\u0930\u092f\u093e\u0928\u0940) is a libre font development project. Its fonts are designed in a monolinear, geometric sans serif style. Like several early geometric sans typefaces from the last century, Biryani\u2019s characters have a strong flavor to them; they are more wonky than sterile. Biryani\u2019s fonts are indeed meant for text, just not necessarily for very long, immersive reading-length passages. The letterforms are a bit too \u201cdisplay\u201d for that. Currently, the Biryani fonts support the Latin and Devangari scripts, meaning that Indian languages like Hindi, Marathi, and Nepali may be set with the fonts, in addition to most Western and Central European languages. The Biryani project is led by Dan Reynolds, a type designer based in Berlin, Germany. To contribute, visit github.com/typeoff/biryani", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Bitcount": { + "name": "Bitcount", + "designer": [ + "Petr van Blokland" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "N/A", + "minisite_url": null + }, + "Bitcount Grid Double": { + "name": "Bitcount Grid Double", + "designer": [ + "Petr van Blokland" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "N/A", + "minisite_url": null + }, + "Bitcount Grid Single": { + "name": "Bitcount Grid Single", + "designer": [ + "Petr van Blokland" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "N/A", + "minisite_url": null + }, + "Bitcount Prop Double": { + "name": "Bitcount Prop Double", + "designer": [ + "Petr van Blokland" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "N/A", + "minisite_url": null + }, + "Bitcount Prop Single": { + "name": "Bitcount Prop Single", + "designer": [ + "Petr van Blokland" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "N/A", + "minisite_url": null + }, + "Bitcount Single": { + "name": "Bitcount Single", + "designer": [ + "Petr van Blokland" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "N/A", + "minisite_url": null + }, + "Bitter": { + "name": "Bitter", + "designer": [ + "Sol Matas" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "People read and interact with text on screens more and more each day. What happens on screen ends up being more important than what comes out of the printer. With the accelerating popularity of electronic books, type designers are working hard to seek out the ideal designs for reading on screen. Motivated by her love for the pixel, Sol Matas designed Bitter. A \"contemporary\" slab serif typeface for text, it is specially designed for comfortably reading on any computer or device. The robust design started from the austerity of the pixel grid, based on rational rather than emotional principles. It combines the large x-heights and legibility of the humanistic tradition with subtle characteristics in the characters that inject a certain rhythm to flowing texts. Bitter has little variation in stroke weight and the Regular style is thicker than a usual \u2018Regular\u2019 style for print design. This generates an intense color in paragraphs, accentuated by the serifs that are as thick as strokes with square terminals. Each glyph is carefully designed with an excellent curve quality added to the first stage of the design, that was entirely made in a pixel grid. The typeface is balanced and manually spaced to use very few kerning pairs. To contribute, see github.com/solmatas/BitterPro .", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Black And White Picture": { + "name": "Black And White Picture", + "designer": [ + "AsiaSoft Inc." + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "korean", + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Black And White Picture is a Korean font that expresses the nostalgia of faded black and white photos through its old and scratchy texture. A matching Latin font, Flavors, is built-in for convenience.", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "Black Han Sans": { + "name": "Black Han Sans", + "designer": [ + "Zess Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "korean", + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Black Han Sans is a new Korean Hangul typeface based on ZBLACK Original. With adjustments to the spacing between letters, this typeface has more structurally unified heights and widths. It has also been improved for greater legibility and usability. Black Han Sans has been designed to emphasize square shapes as a font for headlines and titles. It includes 2,580 Korean characters, numbers and punctuation marks. Latin alphabet characters and other symbols are not provided. To contribute, see github.com/zesstype/Black-Han-Sans.", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "Black Ops One": { + "name": "Black Ops One", + "designer": [ + "James Grieshaber", + "Eben Sorkin" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Black Ops One is a low contrast, semi geometric typeface inspired by military stencil lettering. It is heavy, sturdy, punchy, and looks best when used at medium to large sizes because of the small cuts found in stencils. In the July 2022 update, Black Ops One has improved language support. To contribute, see github.com/SorkinType/Black-Ops.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Blaka": { + "name": "Blaka", + "designer": [ + "Mohamed Gaber" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "arabic", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Blaka is an experimental typeface, enriching the gothic feeling of Black Letters by enhancing the geometric features to create midgrounds with the Kufic style for the Arabic letterforms. The aesthetical matching process between the two scripts relies on the features of being hand-drawn with a reed pen. While Latin letterforms maintain sharp edges, Arabic relies on sharp edges and thick strokes to create overlaps to replace a usual baseline in most letterforms, giving the Arabic letterforms contemporary features. The font family comes in two styles, Blaka and Blaka Hollow, featuring an outlined version of the font. Blaka also comes in two variants, the usual monochrome variants as well as an Ink variant Blaka Ink. The Ink variant are color fonts where the colors are defined by the font itself. Support for color fonts is currently limited to few applications like Google Chrome (version 98 or later). To contribute, see github.com/Gue3bara/Blaka.", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Blaka Hollow": { + "name": "Blaka Hollow", + "designer": [ + "Mohamed Gaber" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "arabic", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Blaka is an experimental typeface, enriching the gothic feeling of Black Letters by enhancing the geometric features to create midgrounds with the Kufic style for the Arabic letterforms. The aesthetical matching process between the two scripts relies on the features of being hand-drawn with a reed pen. While Latin letterforms maintain sharp edges, Arabic relies on sharp edges and thick strokes to create overlaps to replace a usual baseline in most letterforms, giving the Arabic letterforms contemporary features. The font family comes in two styles, Blaka and Blaka Hollow, featuring an outlined version of the font. Blaka also comes in two variants, the usual monochrome variants as well as an Ink variant Blaka Ink. The Ink variant are color fonts where the colors are defined by the font itself. Support for color fonts is currently limited to few applications like Google Chrome (version 98 or later). To contribute, see github.com/Gue3bara/Blaka.", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Blaka Ink": { + "name": "Blaka Ink", + "designer": [ + "Mohamed Gaber" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "arabic", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Blaka is an experimental typeface, enriching the gothic feeling of Black Letters by enhancing the geometric features to create midgrounds with the Kufic style for the Arabic letterforms. The aesthetical matching process between the two scripts relies on the features of being hand-drawn with a reed pen. While Latin letterforms maintain sharp edges, Arabic relies on sharp edges and thick strokes to create overlaps to replace a usual baseline in most letterforms, giving the Arabic letterforms contemporary features. The font family comes in two styles, Blaka and Blaka Hollow, featuring an outlined version of the font. Blaka also comes in two variants, the usual monochrome variants as well as an Ink variant Blaka Ink. The Ink variant are color fonts where the colors are defined by the font itself. Support for color fonts is currently limited to few applications like Google Chrome (version 98 or later). This font uses the COLRv1, CPAL and SVG tables. Please visit the gf-guide color page to learn more about Color Fonts technology. To contribute, see github.com/Gue3bara/Blaka", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Blinker": { + "name": "Blinker", + "designer": [ + "Juergen Huber" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Blinker is a low contrast sans serif typeface with a squircle as its basic shape, think squarish curves, or Eurostyle\u2019s flamboyant cousin. It\u2019s best used for medium to large text, rather than a long copy. To do its claim justice Blinker also comes with a headline weight with an extra large x-height, tight spacing, and glyphs drawn more narrowly. Blink! The original 9 weights with a latin extended glyph set were designed by supertype\u2019s J\u00fcrgen Huber in 2019. To contribute, see github.com/supertype-de/Blinker", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Bodoni Moda": { + "name": "Bodoni Moda", + "designer": [ + "Owen Earl" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Bodoni Moda is a no-compromises Bodoni family, built for the digital age. This font family includes a full range of weights, italics, an extended character set, OpenType features, and optical sizes, totalling 64 font files. It was made with love and will continue to improve with your support. The Bodoni Moda project is designed by Owen Earl (indestructible type*). To contribute, see github.com/indestructible-type/Bodoni", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Bodoni Moda SC": { + "name": "Bodoni Moda SC", + "designer": [ + "Owen Earl" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Bodoni Moda is a no-compromises Bodoni family, built for the digital age. This font family includes a full range of weights, italics, an extended character set, OpenType features, and optical sizes, totalling 64 font files. It was made with love and will continue to improve with your support. Bodoni Moda SC is the small caps version of Bodoni Moda. The Bodoni Moda project is designed by Owen Earl (indestructible type*). To contribute, see github.com/indestructible-type/Bodoni", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Bokor": { + "name": "Bokor", + "designer": [ + "Danh Hong" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "khmer", + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Bokor is a display Khmer font, suitable for headlines, titles, subtitles, and even banner designs. To contribute, see github.com/danhhong/Bokor.", + "primary_script": "Khmr", + "article": null, + "minisite_url": null + }, + "Boldonse": { + "name": "Boldonse", + "designer": [ + "Universitype" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "When it comes to making a big impact in design, UT Boldonse is here to help. This bold, condensed sans serif font is packed with personality and strength. It\u2019s more than just a font\u2014it\u2019s the tool you need to make your designs stand out. Let\u2019s explore why UT Boldonse is the perfect choice for your creative projects. To contribute, see github.com/googlefonts/boldonse.", + "minisite_url": null + }, + "Bona Nova": { + "name": "Bona Nova", + "designer": [ + "Capitalics", + "Mateusz Machalski", + "Andrzej Heidrich" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "hebrew", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Bona Nova is a digitisation of Bona, a cursive typeface designed in 1971 by Andrzej Heidrich \u2014 the creator of Polish banknotes. Besides giving it a digital form, this project was the opportunity to expand the character set, design the small caps, alternates and opentype functions for the typeface. Two new versions has been created together with the original author; a Regular and a Bold, to give the family a form of a classical triad. To contribute, see github.com/kosmynkab/Bona-Nova.", + "primary_script": null, + "article": null, + "minisite_url": "http://bonanova.wtf/" + }, + "Bona Nova SC": { + "name": "Bona Nova SC", + "designer": [ + "Capitalics", + "Mateusz Machalski", + "Andrzej Heidrich" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "hebrew", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Bona Nova is a digitisation of Bona, a cursive typeface designed in 1971 by Andrzej Heidrich \u2014 the creator of Polish banknotes. Besides giving it a digital form, this project was the opportunity to expand the character set, design the small caps, alternates and opentype functions for the typeface. Two new versions has been created together with the original author; a Regular and a Bold, to give the family a form of a classical triad. To contribute, see github.com/kosmynkab/Bona-Nova.", + "primary_script": null, + "article": null, + "minisite_url": "http://bonanova.wtf" + }, + "Bonbon": { + "name": "Bonbon", + "designer": [ + "Cyreal" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Bonbon is a fancy handwriting font for cheerful and bright headlines. The letterforms are artistic and naive as if they are written in a teenage girl's diary. It is drawn with a fine marker by author Ksenia Erulevich. Curves are carefully adjusted so that the font will also work well in print - making it a good choice for appetizing product design, greeting cards, or titling in children's books. Extra ornamental characters are included.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Bonheur Royale": { + "name": "Bonheur Royale", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "It's casual and contemporary. BonheurRoyale has the look of a calligraphic hand with a slightly brush feel. The contrast of this and thin strokes gives this clean style a legible quality. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/bonheur-royale.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Boogaloo": { + "name": "Boogaloo", + "designer": [ + "John Vargas Beltr\u00e1n" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Boogaloo was started in 2010 as a complement to the Salsa typeface, while thinking about type used in Latin American music genres and the culture's own identity. The structure of Boogaloo is that of classic American lettering, found so often in old LP albums cover art from the 1960s, when Latin music became very popular and preceding the birth of the musical phenomenon of Salsa. Functionally this typeface can be used to display texts that wish to remind readers of the 1960s, Latin music. There is movement, coolness and happiness across all its forms.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Borel": { + "name": "Borel", + "designer": [ + "Rosalie Wagner" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "math", + "symbols", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "handwriting" + ], + "description": "What considerations should be taken into account when approaching typography in the context of simultaneous learning of reading and writing? Borel is a French cursive primer \u2014 developed with primary school teachers and speech therapists \u2014 which aims aims to harmonise cursive strokes and common typographic structure. This typeface, named in tribute to Suzanne Borel-Maisonny (a pioneer in speech therapy), boasts a sturdy design featuring low contrast and a generous x-height. The letters are intentionally open and clearly differentiated while adhering to the conventions of handwriting in French schools. Due to the specifity of this project, the font only supports a limited set of glyphs allowing to write in French, English, Spanish, Catalan, German, Portuguese, Turkish and Vietnamese. Please submit language requests with images in the issue tracker of the reposotory linked below. Find more documentation here: Fran\u00e7ais | English To contribute, please see github.com/RosaWagner/Borel.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Bowlby One": { + "name": "Bowlby One", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Bowlby One has been designed for use as a utilitarian, all caps display font. A version with lowercase characters is also available. Its forms are a fusion of a handfull of designs scanned from old, early Twentieth Century type specimens. Bowlby One is perfect for big bold headlines and display uses that need a slightly roughened look. Bowlby is a web font, designed to be used freely across the internet by web browsers on desktop computers, laptops, cloud systems and mobile devices.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Bowlby One SC": { + "name": "Bowlby One SC", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Bowlby One SC is designed for use as a utilitarian, All Caps and Small Caps display font. A version with lowercase characters is also available. Its forms are a fusion of a handfull of designs scanned from old, early Twentieth Century type specimens. Bowlby One SC is perfect for big bold headlines and display uses that need a slightly roughened look. Bowlby is a web font, designed to be used freely across the internet by web browsers on desktop computers, laptops, cloud systems and mobile devices.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Braah One": { + "name": "Braah One", + "designer": [ + "Ashish Kumar" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "gurmukhi", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Braah is a display font that perfectly blends boldness and playfulness. The font is available with corresponding Latin/Gurmukhi scripts, making it versatile and adaptable to different languages. Braah was designed by India-based typeface and UX designer Ashish Kumar. An update in May 2023 corrects the original vertical metrics, which may impact line spacing in some layouts. To contribute to the project please see github.com/artandtype/Braah.", + "primary_script": "Guru", + "article": null, + "minisite_url": null + }, + "Brawler": { + "name": "Brawler", + "designer": [ + "Cyreal" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Brawler is a compact typeface with sharp features and a sturdy character, designed for comfortable reading in small sizes. It was initially planned as a typeface for newspapers and tabloids. Thus, the design concept was shaped by the demands of low quality printing media and the aesthetic preferences of periodical publications. To contribute, see github.com/cyrealtype/Brawler.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Bree Serif": { + "name": "Bree Serif", + "designer": [ + "TypeTogether" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "This friendly upright italic is the serif cousin of TypeTogether's award winning family Bree. Designed by Veronika Burian and Jos\u00e9 Scaglione, Bree was originally released in 2008 and became an immediate success because of its originality, charming appearance and versatility.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Bricolage Grotesque": { + "name": "Bricolage Grotesque", + "designer": [ + "Mathieu Triay" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Bricolage Grotesque is a collage of lots of different things: historical sources, technical decisions and personal feelings. It started as a fork of Mayenne Sans, an open-source single weight font designed by J\u00e9r\u00e9my Landes (Studio Triple). It evolved by reinforcing cues from French sources and British sources: the compressed weights lean more towards the anxious and wonky tones of Grotesque N\u00ba9 and the regular weights have a bit more of Antique Olive's relaxed and confident attitude. The smaller optical sizes become more neutral and reflective of contemporary sans serifs, notably through the use of exaggerated ink traps. By blending iconic British and French designs with modern trends and tools, it aims to traverse a complex typographical and emotional landscape. At the same time, it\u2019s so steeped in historical sources and references that it\u2019s hard to call it anything but a re-interpretation of the same ideas but for a different purpose: trying to express visually what it feels like to move countries and rebuild, what it feels like to have a hybrid identity where you cannot be what you were and yet you can never truly be anybody else. To contribute, see github.com/ateliertriay/bricolage.", + "primary_script": null, + "article": null, + "minisite_url": "https://ateliertriay.github.io/bricolage" + }, + "Bruno Ace": { + "name": "Bruno Ace", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Bruno Ace draws inspiration from modern automotive logos. This techno geometric sans has a wide stance with a tall x-height for a strong look and appeal. Both a normal case and small caps font exists. To contribute, see github.com/googlefonts/Bruno-ace.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Bruno Ace SC": { + "name": "Bruno Ace SC", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Bruno Ace draws inspiration from modern automotive logos. This techno geometric sans has a wide stance with a tall x-height for a strong look and appeal. Both a normal case and small caps font exists. To contribute, see github.com/googlefonts/Bruno-ace.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Brygada 1918": { + "name": "Brygada 1918", + "designer": [ + "Capitalics", + "Mateusz Machalski", + "Borys Kosmynka", + "Ania Wielu\u0144ska", + "Przemys\u0142aw Hoffer" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Brygada 1918 is a revival project created for the celebration of the 100 years of independance of the Republic of Poland in 2018, with the support of the \"Independent\" program and the President of the Republic of Poland. The typeface is based on the catalogue entry of the National Type Foundry from 1954, and a set of matrices found at the Book Arts Museum by Janusz Tryzno in 2016. More information is available on the project's website and Google Design. To contribute, see github.com/kosmynkab/Brygada-1918. Reviving a forgotten font: Type detectives give life to Brygada Mysterious Polish font matrices spark interest in a lost and forgotten pre-World War II typeface A man uncovers an unused font in dusty piles of metal plates and blocks. He is intrigued by the mysterious letters \u201cK\u201d and \u201cR\u201d with curly legs, and a handwritten note on old brown paper that says \u201cBrygada.\u201d He starts an archeological quest to research the origins of the font\u2013and inspires a team to revive the font with 21st century software and a microscopic camera. Is this the plot line for a new \u201cIndiana Jones\u201d movie or the origin story for a remade digitized font? It\u2019s the latter. It\u2019s the story of Brygada, a lost and forgotten 20th century typeface remade for the 21st century. Handwritten note with \u201cBrygada\u201d name in Polish It was the summer of 2015 and Mr. Janusz Tryzno was the owner of the Book Art Museum of \u0141\u00f3d\u017a located in a 19th century villa in \u0141\u00f3d\u017a (pronounced \u201cWoodge\u201d), Poland. He dug through piles of font matrices (metal blocks with letter shapes used to cast letters) and metal plates wrapped in brown paper from the Polish National Type Foundry. After uncovering the Brygada matrices, he asked museum volunteers, Przemys\u0142aw Hoffer and Borys Kosmynka, to examine the matrices to see if they could bring the font back to life. To learn more about Brygada, visit: Reviving a forgotten font: Type detectives give life to Brygada(English), Rewitalizacja zapomnianej czcionki: nowe \u017cycie Brygady(Polish).", + "minisite_url": "https://brygada1918.eu/" + }, + "Bubblegum Sans": { + "name": "Bubblegum Sans", + "designer": [ + "Sudtipos" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Bubblegum Sans is upbeat, flavor-loaded, brushalicious letters for the sunny side of the street. It bounces with joy and tells a great story. Designed by Angel Koziupa and produced by Ale Paul, this typeface is a loud 21st century shoutout to the kind of the 1930s lettering that sold everything to everyone through every medium. From Sudtipos.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Bubbler One": { + "name": "Bubbler One", + "designer": [ + "Brenda Gallo" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Bubbler One is an original font with thin strokes that are particularly straight. It is a legible typeface in small sizes. You can use Bubbler One for any kind of text, formal or informal, big or small; I hope you find it useful! Designed by Brenda Gallo and Gustavo Dipre.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Buda": { + "name": "Buda", + "designer": [ + "Ad\u00e8le Antignac" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Against the typographical grey, Buda is a black and white typeface. The letters are shared by two contrasting weights, which clash and balance each other out. This typeface is inspired by Budapest, a paradoxal town, beautiful and ugly, fragile and exuberant. Like this town, the typeface Buda is an assemblage of heterogeneous elements which form a harmony.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Buenard": { + "name": "Buenard", + "designer": [ + "Gustavo Ibarra" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Buenard is a high-quality serif typeface for art books. It is based on the Transitional Roman classical structure, with less contrasted strokes and heavier serifs. It has its own contemporary style, combining elegance, consistency and legibility for all text sizes, making it an excellent choice when selecting a serif font. Buenard was initially designed for an Argentinian art publisher and progressed as a final project in the Postgraduate Career in Typography at the University of Buenos Aires. To contribute, see github.com/googlefonts/buenard.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Bungee": { + "name": "Bungee", + "designer": [ + "David Jonathan Ross" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "In the crowded urban environment, space for signage is always at a premium. From crummy liquor stores to majestic theaters, sometimes signs have nowhere to go but up. Bungee is a font that celebrates urban signs that stack the Latin alphabet, one letter on top of the other, in order to make dramatic use of limited space. Following their lead, Bungee typesets horizontally and vertically, so it is always ready to take your text in a new direction. Bungee\u2019s letterforms were designed to reinforce a sense of verticality. Round characters like O and diagonal characters like A are straight-sided, and letters like L and I gain serifs in order to create vertical words with well-defined left and right edges. To contribute, see github.com/djrrb/Bungee The Bungee family Google Fonts distributes seven variants of Bungee, including two color fonts: Bungee Bungee Hairline Bungee Inline Bungee Outline Bungee Shade Bungee Tint, a COLRv0 font Bungee Spice, a COLRv1 font Bungee\u2019s downloadable releases also includes special layer fonts (for multicolor typesetting in environments where color fonts are not supported) and rotated fonts (for stacked typesetting in environments where vertical text is not supported). The Bungee project is led by David Jonathan Ross, and thanks to support from Google and The Font Bureau, Bungee was released under the SIL Open Font License. In 2023\u201324, Marte Verhaegen and Just van Rossum produced a major revision (v2), which includes an automated build process as well as many enhancements to the vertical features and color fonts.", + "minisite_url": "https://djr.com/bungee" + }, + "Bungee Hairline": { + "name": "Bungee Hairline", + "designer": [ + "David Jonathan Ross" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "In the crowded urban environment, space for signage is always at a premium. From crummy liquor stores to majestic theaters, sometimes signs have nowhere to go but up. Bungee is a font that celebrates urban signs that stack the Latin alphabet, one letter on top of the other, in order to make dramatic use of limited space. Following their lead, Bungee typesets horizontally and vertically, so it is always ready to take your text in a new direction. Bungee\u2019s letterforms were designed to reinforce a sense of verticality. Round characters like O and diagonal characters like A are straight-sided, and letters like L and I gain serifs in order to create vertical words with well-defined left and right edges. To contribute, see github.com/djrrb/Bungee The Bungee family Google Fonts distributes seven variants of Bungee, including two color fonts: Bungee Bungee Hairline Bungee Inline Bungee Outline Bungee Shade Bungee Tint, a COLRv0 font Bungee Spice, a COLRv1 font Bungee\u2019s downloadable releases also includes special layer fonts (for multicolor typesetting in environments where color fonts are not supported) and rotated fonts (for stacked typesetting in environments where vertical text is not supported). The Bungee project is led by David Jonathan Ross, and thanks to support from Google and The Font Bureau, Bungee was released under the SIL Open Font License. In 2023\u201324, Marte Verhaegen and Just van Rossum produced a major revision (v2), which includes an automated build process as well as many enhancements to the vertical features and color fonts.", + "minisite_url": "https://djr.com/bungee" + }, + "Bungee Hairline CFF Test": { + "name": "Bungee Hairline CFF Test", + "designer": [ + "David Jonathan Ross" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Bungee Inline": { + "name": "Bungee Inline", + "designer": [ + "David Jonathan Ross" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "In the crowded urban environment, space for signage is always at a premium. From crummy liquor stores to majestic theaters, sometimes signs have nowhere to go but up. Bungee is a font that celebrates urban signs that stack the Latin alphabet, one letter on top of the other, in order to make dramatic use of limited space. Following their lead, Bungee typesets horizontally and vertically, so it is always ready to take your text in a new direction. Bungee\u2019s letterforms were designed to reinforce a sense of verticality. Round characters like O and diagonal characters like A are straight-sided, and letters like L and I gain serifs in order to create vertical words with well-defined left and right edges. To contribute, see github.com/djrrb/Bungee The Bungee family Google Fonts distributes seven variants of Bungee, including two color fonts: Bungee Bungee Hairline Bungee Inline Bungee Outline Bungee Shade Bungee Tint, a COLRv0 font Bungee Spice, a COLRv1 font Bungee\u2019s downloadable releases also includes special layer fonts (for multicolor typesetting in environments where color fonts are not supported) and rotated fonts (for stacked typesetting in environments where vertical text is not supported). The Bungee project is led by David Jonathan Ross, and thanks to support from Google and The Font Bureau, Bungee was released under the SIL Open Font License. In 2023\u201324, Marte Verhaegen and Just van Rossum produced a major revision (v2), which includes an automated build process as well as many enhancements to the vertical features and color fonts.", + "minisite_url": "https://djr.com/bungee" + }, + "Bungee Outline": { + "name": "Bungee Outline", + "designer": [ + "David Jonathan Ross" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "In the crowded urban environment, space for signage is always at a premium. From crummy liquor stores to majestic theaters, sometimes signs have nowhere to go but up. Bungee is a font that celebrates urban signs that stack the Latin alphabet, one letter on top of the other, in order to make dramatic use of limited space. Following their lead, Bungee typesets horizontally and vertically, so it is always ready to take your text in a new direction. Bungee\u2019s letterforms were designed to reinforce a sense of verticality. Round characters like O and diagonal characters like A are straight-sided, and letters like L and I gain serifs in order to create vertical words with well-defined left and right edges. To contribute, see github.com/djrrb/Bungee The Bungee family Google Fonts distributes seven variants of Bungee, including two color fonts: Bungee Bungee Hairline Bungee Inline Bungee Outline Bungee Shade Bungee Tint, a COLRv0 font Bungee Spice, a COLRv1 font Bungee\u2019s downloadable releases also includes special layer fonts (for multicolor typesetting in environments where color fonts are not supported) and rotated fonts (for stacked typesetting in environments where vertical text is not supported). The Bungee project is led by David Jonathan Ross, and thanks to support from Google and The Font Bureau, Bungee was released under the SIL Open Font License. In 2023\u201324, Marte Verhaegen and Just van Rossum produced a major revision (v2), which includes an automated build process as well as many enhancements to the vertical features and color fonts.", + "minisite_url": "https://djr.com/bungee" + }, + "Bungee Shade": { + "name": "Bungee Shade", + "designer": [ + "David Jonathan Ross" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "In the crowded urban environment, space for signage is always at a premium. From crummy liquor stores to majestic theaters, sometimes signs have nowhere to go but up. Bungee is a font that celebrates urban signs that stack the Latin alphabet, one letter on top of the other, in order to make dramatic use of limited space. Following their lead, Bungee typesets horizontally and vertically, so it is always ready to take your text in a new direction. Bungee\u2019s letterforms were designed to reinforce a sense of verticality. Round characters like O and diagonal characters like A are straight-sided, and letters like L and I gain serifs in order to create vertical words with well-defined left and right edges. To contribute, see github.com/djrrb/Bungee The Bungee family Google Fonts distributes seven variants of Bungee, including two color fonts: Bungee Bungee Hairline Bungee Inline Bungee Outline Bungee Shade Bungee Tint, a COLRv0 font Bungee Spice, a COLRv1 font Bungee\u2019s downloadable releases also includes special layer fonts (for multicolor typesetting in environments where color fonts are not supported) and rotated fonts (for stacked typesetting in environments where vertical text is not supported). The Bungee project is led by David Jonathan Ross, and thanks to support from Google and The Font Bureau, Bungee was released under the SIL Open Font License. In 2023\u201324, Marte Verhaegen and Just van Rossum produced a major revision (v2), which includes an automated build process as well as many enhancements to the vertical features and color fonts.", + "minisite_url": "https://djr.com/bungee" + }, + "Bungee Spice": { + "name": "Bungee Spice", + "designer": [ + "David Jonathan Ross" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "In the crowded urban environment, space for signage is always at a premium. From crummy liquor stores to majestic theaters, sometimes signs have nowhere to go but up. Bungee is a font that celebrates urban signs that stack the Latin alphabet, one letter on top of the other, in order to make dramatic use of limited space. Following their lead, Bungee typesets horizontally and vertically, so it is always ready to take your text in a new direction. Bungee\u2019s letterforms were designed to reinforce a sense of verticality. Round characters like O and diagonal characters like A are straight-sided, and letters like L and I gain serifs in order to create vertical words with well-defined left and right edges. This font uses the COLRv1, CPAL and SVG tables. Please visit the gf-guide color page to learn more about Color Fonts technology. To contribute, see github.com/djrrb/Bungee Bungee\u2019s color fonts Bungee was an early experimental color font, and has been updated as color font technology has developed over the past decade. Both Bungee Tint (flat colors) and Bungee Spice (gradients) contain multiple color palettes, so it is possible to create chromatic effects even in the most basic typesetting environments. Hopefully these fonts will help designers and developers explore the possibilities of what color fonts have to offer. The Bungee family Google Fonts distributes seven variants of Bungee, including two color fonts: Bungee Bungee Hairline Bungee Inline Bungee Outline Bungee Shade Bungee Tint, a COLRv0 font Bungee Spice, a COLRv1 font Bungee\u2019s downloadable releases also includes special layer fonts (for multicolor typesetting in environments where color fonts are not supported) and rotated fonts (for stacked typesetting in environments where vertical text is not supported). The Bungee project is led by David Jonathan Ross, and thanks to support from Google and The Font Bureau, Bungee was released under the SIL Open Font License. In 2023\u201324, Marte Verhaegen and Just van Rossum produced a major revision (v2), which includes an automated build process as well as many enhancements to the vertical features and color fonts.", + "minisite_url": "https://djr.com/bungee" + }, + "Bungee Tint": { + "name": "Bungee Tint", + "designer": [ + "David Jonathan Ross" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "In the crowded urban environment, space for signage is always at a premium. From crummy liquor stores to majestic theaters, sometimes signs have nowhere to go but up. Bungee is a font that celebrates urban signs that stack the Latin alphabet, one letter on top of the other, in order to make dramatic use of limited space. Following their lead, Bungee typesets horizontally and vertically, so it is always ready to take your text in a new direction. Bungee\u2019s letterforms were designed to reinforce a sense of verticality. Round characters like O and diagonal characters like A are straight-sided, and letters like L and I gain serifs in order to create vertical words with well-defined left and right edges. This font uses the COLRv0 and CPAL tables. Please visit the gf-guide color page to learn more about Color Fonts technology. To contribute, see github.com/djrrb/Bungee Bungee\u2019s color fonts Bungee was an early experimental color font, and has been updated as color font technology has developed over the past decade. Both Bungee Tint (flat colors) and Bungee Spice (gradients) contain multiple color palettes, so it is possible to create chromatic effects even in the most basic typesetting environments. Hopefully these fonts will help designers and developers explore the possibilities of what color fonts have to offer. The Bungee family Google Fonts distributes seven variants of Bungee, including two color fonts: Bungee Bungee Hairline Bungee Inline Bungee Outline Bungee Shade Bungee Tint, a COLRv0 font Bungee Spice, a COLRv1 font Bungee\u2019s downloadable releases also includes special layer fonts (for multicolor typesetting in environments where color fonts are not supported) and rotated fonts (for stacked typesetting in environments where vertical text is not supported). The Bungee project is led by David Jonathan Ross, and thanks to support from Google and The Font Bureau, Bungee was released under the SIL Open Font License. In 2023\u201324, Marte Verhaegen and Just van Rossum produced a major revision (v2), which includes an automated build process as well as many enhancements to the vertical features and color fonts.", + "minisite_url": "https://djr.com/bungee" + }, + "Butcherman": { + "name": "Butcherman", + "designer": [ + "Typomondo" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Butcherman is a zombified display font, hacked and chopped and left for dead, yet still crawling.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Butterfly Kids": { + "name": "Butterfly Kids", + "designer": [ + "Tart Workshop" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Cute and flirty, Butterfly Kids flits about spreading cheer! Be fun. Be cute. Be happy!", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Bytesized": { + "name": "Bytesized", + "designer": [ + "Baltdev" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Bytesized is a miniscule monospace pixel font - 3x4 modulo diacritics - made to be as legible as possible within these restrictions. The name comes from the fact that, if you restrict the font to ASCII only, you can store it raw in just under 150 bytes! While a few compromises had to be made to fit it into such a small profile, namely only supporting the Latin Core character set, and some \"creative\" glyph designs, so to speak, it's still quite readable! To contribute, see github.com/balt-dev/bytesized-gf.", + "minisite_url": null + }, + "Cabin": { + "name": "Cabin", + "designer": [ + "Impallari Type", + "Rodrigo Fuenzalida" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Cabin is a humanist sans inspired by Edward Johnston's and Eric Gill's typefaces, with a touch of modernism. Cabin incorporates modern proportions, optical adjustments, and some elements of the geometric sans. It remains true to its roots, but has its own personality. The Cabin font family comes in two variable fonts, roman and true italic, with a Weight range from Regular to Bold, and a Width range from normal to Condensed. The stroke contrast is almost monolinear, although top and bottom curves are slightly thinned. Counters of the b, g, p and q are rounded, and all are optically adjusted. Cabin has wide language support, including full Latin coverage of Vietnamese, additional to all Western, Central, and South/Eastern European languages. To contribute, see github.com/impallari/Cabin", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Cabin Condensed": { + "name": "Cabin Condensed", + "designer": [ + "Impallari Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "This is the condensed set of styles of the Cabin font family. The compete family is available as a variable font, with a Weight range from Regular to Bold, and a Width range from Normal to Condensed.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Cabin Sketch": { + "name": "Cabin Sketch", + "designer": [ + "Impallari Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "The Cabin Font is a humanist sans inspired by Edward Johnston\u2019s and Eric Gill\u2019s typefaces, with a touch of modernism.Cabin incorporates modern proportions, optical adjustments, and some elements of the geometric sans. This is the Sketch version, with the texture of a teenage doodle.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Cactus Classical Serif": { + "name": "Cactus Classical Serif", + "designer": [ + "Henry Chan", + "Tian Haidong", + "Moonlit Owen" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "chinese-traditional", + "cyrillic", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "\"Cactus Classical Serif\" is an open source font suitable for Traditional Chinese environments. This font uses inherited glyphs, largely adhering to the Inherited Glyphs standard maintained by the I.Font Project, combined with other commonly seen inherited glyphs, to produce a Chinese typeface with glyphs in the traditional style. This font is produced by Tian Haidong. Moonlit Owen has assisted in the font production and is also a maintainer. The CJK characters are based on glyphs prepared by Henry Chan on GlyphWiki, with modifications and characters supplemented by Tian Haidong. The Latin characters, Kana characters, and other symbols are based on glyphs from the Genyo Font developed by But Ko based on Source Han Serif. To contribute, see github.com/MoonlitOwen/CactusSerif.", + "primary_script": "Hant", + "article": null, + "minisite_url": null + }, + "Caesar Dressing": { + "name": "Caesar Dressing", + "designer": [ + "Open Window" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Caesar Dressing is a 'Markers' take on a Greek alphabet. Open Window fonts gravitate towards more experimental or spontaneous renderings and this one doesn't look out of place next to the most experimental of those. It also maintains the geometric balance of a classic Greek-font quite effectively. Designed by Dathan Boardman of Open Window.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Cagliostro": { + "name": "Cagliostro", + "designer": [ + "MADType" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Cagliostro was inspired by the early 20th Century lettering work of Ozwald Bruce Cooper. Care was taken to preserve the original hand-lettered feel of his work while updating the style for modern use. The x-height was increased from the original style and some of the more quirky aspects were toned back. The end result is a very handsome and unique sans that is very useful for titles and short blocks of text. Documentation can be found at www.madtype.com and to contribute to the project contact Matthew Desmond at mattdesmond@gmail.com", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Cairo": { + "name": "Cairo", + "designer": [ + "Mohamed Gaber", + "Accademia di Belle Arti di Urbino" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "arabic", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Cairo is a contemporary multilingual typeface family. Mohamed Gaber extended the Latin typeface family Titillum Web to support the Arabic script, with a design that is based on the Kufi calligraphic style. Now available as a variable font. Cairo balances classic and contemporary tastes with wide open counters and short ascenders and descenders that minimize length while maintaining easy readability. The lighter weights can be used for body text while the heavier weights are perfect for headlines and display typography. The Arabic component has a wide glyph set that supports the Arabic, Farsi and Urdu languages. The Cairo project is led by Mohamed Gaber, a type designer based in Cairo, Egypt. To contribute, see github.com/Gue3bara/Cairo", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Cairo Play": { + "name": "Cairo Play", + "designer": [ + "Mohamed Gaber", + "Accademia di Belle Arti di Urbino" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "arabic", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Cairo Play is a color font version of Cairo which features colored marks. This font uses the COLRv0 and CPAL tables. Please visit the gf-guide color page to learn more about Color Fonts technology. To contribute, see github.com/Gue3bara/Cairo.", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Cal Sans": { + "name": "Cal Sans", + "designer": [ + "Mark Davis", + "Cal.com Inc." + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Cal Sans is a geometric sans-serif typeface designed for display, particularly large point sizes. It was created by Mark Davis for Cal.com by Peer Richelsen and Bailey Pumfleet, with interface design by Ciar\u00e1n Hanrahan, and is open source. The design aims for a serious and geometric aesthetic, ensuring circular shapes throughout the \u201ccal.com\u201d lettering. To contribute, see github.com/calcom/font. Introduction Cal Sans is a geometric sans-serif tuned for display, that is, large point sizes. It is an Open Source typeface to adorn the headlines and interfaces of Cal.com, a company founded by Peer Richelsen and Bailey Pumfleet and interface design by Ciar\u00e1n Hanrahan. The basis of Cal Sans is my initial answer to what my Futura would be. It fit well with Peer\u2019s brief, for something serious and and geometric so that the letters of \u201ccal.com\u201d would have circular shapes throughout. It was decided early on that it be open source for all! Design Philosophy and Unique Characteristics As this design was created for display, and is currently a single static font, an unusual approach is taken for its texture and default typography. Letters are intentionally spaced to be extremely close for tight headlines \u201cout of the box.\u201d For smaller subheadings, positive letter spacing must be applied. There are currently no other Open Source geometric sanserifs geared as intentionally for \u201ctight but not touching\u201d typesetting\u2014as it is more labor intensive to produce with accurate texture. But for typesetters, if they would letterspace another design as tight as Cal Sans, the results would not be as consistent. So, for end users, more flexibility is available when the tightest typesetting extreme edge case is gracefully addressed. One may create looser typesetting as needed. Features While the default design is fairly ahistorical, there are historical design options. Using Stylistic Set 01 (ss01), Futura-specific alternates can be deployed. Including diacritic variants, there are 48 alternates for this set. I give credit to Rasmus Andersson implementing in his design Inter Character Variants to offer more control in website typography. Cal Sans also employs this feature. There are six Character Variants in Cal Sans, for Cc (cv01), j (cv02), t (cv03), u (cv04), 0 (cv05), and 1 (cv06). In celebration of Futura\u2019s geometrically extreme ligatures, Cal Sans has an experimental approach to ligatures, Stylistic Set 02 (ss02) is identical to ss01, but also combines eligible letters as historical Futura ligatures. This is included as a stylistic set and not as discretionary ligatures because default characters really do not match these historical ligatures. (But they were included anyway!) Probably the most novel OpenType feature of Cal Sans is its third Stylistic Set (ss03). The best way to exhibit the need of ss03 is to see how \u201ctight but not touching\u201d affects spacing with consecutive diagonals. Some designers would never want their letters to overlap or touch in a headline, or very large title. Diagonals\u2019 corners are kerned from eachother, and some might say this causes more problems than the \u201cstock\u201d kerning solves. Such letter combinations aren\u2019t\u2026incredibly common. But they are not rare, nor is spacing letters in a way that is sometimes consistent a goal of mine. But, I see merits in both paths. So, ss03 overrides diagonal-to-diagonal kerning pairs with new ones that let diagonal corners \u201ccrash.\u201d I don\u2019t know of any other typefaces that has many kerning options, hopefully this feature is of use! Thanks to Tal Leming\u2019s OpenType Cook Book for technical details.", + "minisite_url": null + }, + "Caladea": { + "name": "Caladea", + "designer": [ + "Andr\u00e9s Torresi", + "Carolina Giovanolli" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Caladea is a free modern, friendly serif font family based on Cambo, designed by Carolina Giovagnoli and Andr\u00e9s Torresi for Huerta Tipogr\u00e1fica. Caladea has the following differences: More condensed width New metrics 4 styles. Regular, Bold, Italic, and Bold Italic Character set expanded to WGL (418 glyphs) To contribute, see github.com/huertatipografica/Caladea.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Calistoga": { + "name": "Calistoga", + "designer": [ + "Yvonne Sch\u00fcttler", + "Sorkin Type", + "Eben Sorkin" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Calistoga is a cheerful, space saving display typeface. It was inspired by Oscar M. Bryn's lettering as seen on the posters made for the Western US based Santa Fe Railroad. Its vintage railroad flavor is found in the whole design. Calistoga includes proportional, tabular, old style and lining figures. It also offers fractions, superiors, inferiors, a broad range of symbols, and it includes case sensitive forms. Calistoga is an original typeface designed by Yvonne Schuttler. Eben Sorkin expanded the language support and refined the design in 2018 and 2022. To contribute, see github.com/SorkinType/Calistoga", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Calligraffitti": { + "name": "Calligraffitti", + "designer": [ + "Open Window" + ], + "license": "apache2", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Calligraffitti by Open Window owes its credit to mom and all her years of Calligraphic experience. This impromptu rendering of her calligraphic alphabet captures her years or formal practice blended with a rare encounter with the mood altering music of Santana.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Cambay": { + "name": "Cambay", + "designer": [ + "Pooja Saxena" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Cambay is a libre Devanagari typeface family designed to match the Latin Cantarell. It comes in two weights, Regular and Bold, in upright and oblique styles. The oblique styles are slanted with only the absolutely necessary optical corrections. This project is led by Pooja Saxena, a type designer based in Bangalore, India. To contribute, see Cambay on GitHub.", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Cambo": { + "name": "Cambo", + "designer": [ + "Huerta Tipogr\u00e1fica" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Cambo is a modern Latin typeface inspired by the contrast, style and ornaments of Khmer typefaces and writing styles. Its main objective is to be used to write Latin texts in a Khmer context, but it is also an elegant choice for all kinds of texts. Designed by Carolina Giovagnoli and Andr\u00e9s Torresi for Huerta Tipogr\u00e1fica.", + "primary_script": null, + "article": null, + "minisite_url": "https://huertatipografica.com/en/fonts/cambo-ht" + }, + "Candal": { + "name": "Candal", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Candal is an original and fun sans serif type design by Vernon Adams which was inspired by historical types.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Cantarell": { + "name": "Cantarell", + "designer": [ + "Dave Crossland" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "The Cantarell typeface family was designed during Dave Crossland's study of MA Typeface Design in 2009 in the Department of Typography at the University of Reading (UK). The typeface is designed as a contemporary Humanist sans serif, and was developed for on-screen reading; in particular, reading web pages on an HTC Dream mobile phone. This family was developed using only open-source softwares, mainly FontForge. Typeface designs are tools too, and therefore these font files are licensed in a way that respects your freedom \u2014 you are invited to extend them to meet your needs, such as to add the glyphs missing from your own writing systems, under the terms of the Open Font License. In October 2022 some metadata were fixed such as license clification, style name and style linking. Users may notice that the style \"Oblique\" has changed to \"Italic\". To contribute, see github.com/davelab6/cantarell.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Cantata One": { + "name": "Cantata One", + "designer": [ + "Joana Correia" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Cantata One is a high contrast extended Didone style text face. In addition to being useful in medium to large text sizes, Cantata One is meant to evoke luxury when used in display sizes. Cantata One was originally inspired by hand written letters made with a pointed pen on an old handmade map of New York City.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Cantora One": { + "name": "Cantora One", + "designer": [ + "Impallari Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Cantora ('Singer' in Spanish) is a friendly semi formal, semi condensed, semi sans serif. It has reminiscences of hand lettering, mixing straight and bowed stems, and natural curves. It was born as an experiment in drawing from the outside to the inside (drawing the space surrounding the letters first, instead of drawing the letters themselves) in trying to apply the ideas and methods of Michael Harvey and Evert Bloemsma to my own glyphs construction. In 0ctober 2022 naming inconcistencies between the font file and the API were fixed, users maybe cautious with using this update as the font name now aligns with the family name displayed by the API: Cantora One (instead of CantoraOne). Although Cantora is a sans, the lowercase letters have serif proportions. It's perfect for headlines (H1, H2, H3) in sizes larger than 20px.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Caprasimo": { + "name": "Caprasimo", + "designer": [ + "The DocRepair Project", + "Phaedra Charles", + "Flavia Zimbardi" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Caprasimo is a DocRepair font, intended to improve compliance with the ISO/IEC 29500 standard by providing fallback for Cooper Black that minimizes text reflow in Office Open XML documents. Caprasimo is based on Fraunces, a display, old-style soft-serif typeface inspired by the mannerisms of early 20th century typefaces such as the Cooper Series. Fraunces was designed by Phaedra Charles and Flavia Zimbardi, partners at Undercase Type. To contribute, please visit github.com/docrepair-fonts/caprasimo-fonts.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Capriola": { + "name": "Capriola", + "designer": [ + "Viktoriya Grabowska" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Capriola is a sans-serif typeface whose unique style draws upon forms seen in handwriting and italic types. Skeletons of the most characteristic glyphs are inspired by quick handwriting and based on a single hand movement (G,a,g,k,e). Capriola ambitiously seeks to push the boundaries of originality in the genre without losing legibility. The unusual glyphs are quite noticeable in large sizes which allows for distinctive headlines. However in small sizes these gestures become less noticeable, making it possible to set longer texts. The name means somersault in Latin. The a, e and G are the real acrobats, and the \"g\" makes a double salto! Capriola was spaced for use on the web. Capriola's originality combined with utility makes it ideal for a wide range of uses.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Caramel": { + "name": "Caramel", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "The Caramel Family is a fun, hand lettered script with three variations that are combined in the latest version of the font. Use alternates and style sets to customize your work. Caramel comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/caramel", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Carattere": { + "name": "Carattere", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Carattere is a beautiful italic style that is perfect for invitations and other uses where formal elegance and beauty are essential. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/carattere.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Cardo": { + "name": "Cardo", + "designer": [ + "David Perry" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "gothic", + "greek", + "greek-ext", + "hebrew", + "latin", + "latin-ext", + "old-italic", + "runic" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Cardo is a large Unicode font specifically designed for the needs of classicists, Biblical scholars, medievalists, and linguists. It also works well for general typesetting in situations where a high-quality Old Style font is appropriate. Its large character set supports many modern languages as well as those needed by scholars. Cardo also contains features that are required for high-quality typography such as ligatures, text figures (also known as old style numerals), true small capitals and a variety of punctuation and space characters.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Carlito": { + "name": "Carlito", + "designer": [ + "\u0141ukasz Dziedzic" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Carlito is a font designed derived from Lato (also designed by \u0141ukasz Dziedzic) that is metric-compatible with Calibri. It comes with Latin and Cyrillic character sets. To contribute, see github.com/googlefonts/carlito", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Carme": { + "name": "Carme", + "designer": [ + "Rub\u00e9n Prol" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Carme (Version 1.0) is a clean sans-serif font, specially designed for texts. It contains 206 glyphs and it was given visual metrics and kerning. The bold version is about to be released.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Carrois Gothic": { + "name": "Carrois Gothic", + "designer": [ + "Carrois Apostrophe" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Carrois Gothic is a well balanced and modern gothic type family. Clean and beautiful. What more do you need? There is the Small Caps sister family too, useful for all noble and significant applications. Learn more at carrois.com", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Carrois Gothic SC": { + "name": "Carrois Gothic SC", + "designer": [ + "Carrois Apostrophe" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Carrois Gothic is a well balanced and modern gothic type family. Clean and beautiful. What more do you need? This is the Small Caps sister family to the regular family, useful for all noble and significant applications. Learn more at carrois.com", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Carter One": { + "name": "Carter One", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Carter is a reworking of particular casual typeforms that were popular around the mid 20th century, often found used in advertising or pulp fiction book covers. The letterforms have been reshaped and digitized for use on the web, such as opening up the counterforms a little and optimizing the stems for use in display typography.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Cascadia Code": { + "name": "Cascadia Code", + "designer": [ + "Aaron Bell", + "Mohamad Dakak", + "Viktoriya Grabowska", + "Liron Lavi Turkenich" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "arabic", + "braille", + "cyrillic", + "cyrillic-ext", + "greek", + "hebrew", + "latin", + "latin-ext", + "symbols2", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Cascadia Code is a fun open source font that originated from the Windows Terminal project as a replacement for Consolas. It was intended to bring personality to monospace environemnts (especially in the italic!), while still maintaining a high degree of legibility and performance even on lower resolution screens at smaller sizes. It also offers broad language coverage, including extended Latin (and Vietnamese), Greek, Cyrillic, Arabic and Hebrew. Cascadia Code also has an alternate version available\u2014Cascadia Mono\u2014which has the programming ligatures disabled for those who prefer to see one glyph per square. For more information or to contribute to the project, please visit the github repository", + "minisite_url": null + }, + "Cascadia Mono": { + "name": "Cascadia Mono", + "designer": [ + "Aaron Bell", + "Mohamad Dakak", + "Viktoriya Grabowska", + "Liron Lavi Turkenich" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "arabic", + "braille", + "cyrillic", + "cyrillic-ext", + "greek", + "hebrew", + "latin", + "latin-ext", + "symbols2", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Cascadia Code is a fun open source font that originated from the Windows Terminal project as a replacement for Consolas. It was intended to bring personality to monospace environemnts (especially in the italic!), while still maintaining a high degree of legibility and performance even on lower resolution screens at smaller sizes. It also offers broad language coverage, including extended Latin (and Vietnamese), Greek, Cyrillic, Arabic and Hebrew. Cascadia Code also has an alternate version available\u2014Cascadia Mono\u2014which has the programming ligatures disabled for those who prefer to see one glyph per square. For more information or to contribute to the project, please visit the github repository", + "minisite_url": null + }, + "Castoro": { + "name": "Castoro", + "designer": [ + "Tiro Typeworks", + "John Hudson", + "Paul Hanslow", + "Kaja S\u0142ojewska" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Castoro began as a synthesis of aspects of assorted Dutch types from the 16\u201318th Centuries and was initially made for the Indic fonts that Tiro produced for Harvard University Press. The version released as Castoro retains the extensive diacritic set for transliteration of South Asian languages and additional characters for an increased number of European languages. Castoro is named for the North American beaver, Castor canadensis. Robust serif text types with extensive language and typographic layout support are sometimes referred to as 'workhorse' types. Castoro may be thought of as a busy beaver. The roman was designed by John Hudson, and the italic with his Tiro colleague Paul Hanslow, assisted by Kaja S\u0142ojewska. To contribute, see github.com/TiroTypeworks/Castoro.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Castoro Titling": { + "name": "Castoro Titling", + "designer": [ + "Tiro Typeworks", + "John Hudson" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Castoro Titling is an all-caps font in which the uppercase of the Castoro text typeface has been \u2018re-hung\u2019 on the proportions of Roman inscriptional letters. These lighter, elegant forms are ideal for larger sizes. The font covers the same set of extended diacritics for European orthographies and for transliteration of Indian languages. Castoro Titling was designed by John Hudson. To contribute, see github.com/TiroTypeworks/Castoro.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Catamaran": { + "name": "Catamaran", + "designer": [ + "Pria Ravichandran" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "tamil" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Catamaran is a Unicode-compliant Latin and Tamil text type family designed for the digital age. The Tamil is monolinear and was designed alongside the sans serif Latin and Devanagari family Palanquin. It currently comprises of 9 text weights, making it a versatile family that strikes a balance between typographic conventions and that bit of sparkle. (A catamaran is a multihulled vessel consisting of two parallel hulls of equal size. The catamaran concept is a relative newcomer for Western boat designers, been used since time immemorial among the Dravidian people, in South India.) The Catamaran project is led by Pria Ravichandran, a type designer from India. To contribute, visit github.com/VanillaandCream/Catamaran", + "primary_script": "Taml", + "article": null, + "minisite_url": null + }, + "Caudex": { + "name": "Caudex", + "designer": [ + "Nidud" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "greek", + "greek-ext", + "latin", + "latin-ext", + "runic", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Caudex is a Unicode TrueType font created with FontForge. It is developed on SourceForge. It includes most of the Medieval Unicode Font Initiative (MUFI) version 3.0 recommendations. The font was originally made in the late nineties using the ISO 8859-1 character set, and used for printing some old handwritten text. Greek is also included.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Caveat": { + "name": "Caveat", + "designer": [ + "Impallari Type" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Caveat is a handwriting type family designed by Pablo Impallari. It is designed for both short annotations and body text usage. For a different style, there is also a sister family, Caveat Brush The fonts have OpenType features that enable the letters to have slight variations according to their occurrence within a word, for a natural handwritten feel. The Caveat project was commissioned by Google from Impallari Type, a type design foundry in Rosario, Argentina. To contribute, see github.com/googlefonts/caveat Updated June 2019 to v1.500: Adding extended Cyrillic, by Cyreal, a type design foundry in Moscow, Russia.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Caveat Brush": { + "name": "Caveat Brush", + "designer": [ + "Impallari Type" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Caveat is a handwriting type family designed by Pablo Impallari. It is designed for short annotations. For a different style, there is also a sister family, Caveat The fonts have OpenType features that enable the letters to have slight variations according to their occurrence within a word, for a natural handwritten feel.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Cedarville Cursive": { + "name": "Cedarville Cursive", + "designer": [ + "Kimberly Geswein" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Cederville Cursive is based on the handwriting of a cheerful young preschool teacher. From her love of her Cedarville University alma mater to her passion for her students, she is a delightful, dependable person. Her handwriting contains that same blend of fun appeal with restrained discipline. Many handwritten script fonts have large flourishes, but this is a more simple script, similar to authentic daily handwriting.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ceviche One": { + "name": "Ceviche One", + "designer": [ + "Miguel Hernandez" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Ceviche One is a bold expressionist sans. Tasty, wild and delicious curves are inspired in lettering from the 1960s. Ceviche One is a great and dynamic option for large headlines, displays and posters.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Chakra Petch": { + "name": "Chakra Petch", + "designer": [ + "Cadson Demak" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "thai", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Chakra Petch is a Thai and Latin family which features Thai's traditional looped letterforms. It's a square sans serif with tapered corners. Due to the design, it works well for both digital and print based media.", + "primary_script": "Thai", + "article": null, + "minisite_url": null + }, + "Changa": { + "name": "Changa", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "arabic", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Changa is intended for text usage, with its short ascenders and descenders and a set of lowercase letters inscribed within a square. The uppercase letters gains slightly more in height form a single height so that typographers can set text with minimum line spacing. Changa One is also available, the initial style that is an extra-bold sister family intended for display usage. In November 2019, it was updated with a Variable Font \"Weight\" axis. To contribute, see github.com/googlefonts/changa-vf.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Changa One": { + "name": "Changa One", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Changa One is intended for titles, with its short ascenders and descenders and a set of lowercase letters inscribed within a square. The uppercases case gains slightly more in height and develops its morphology in a single height in order to make it possible to create text composition with minimum line spacing. Its counter-shapes are rectangular, featuring small curvatures in opposite vertexes which accompany and break the shapes, thus evoking a modern style. A script type by Eduardo Tunni, and more documentation can be found at www.tipo.net.ar", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Chango": { + "name": "Chango", + "designer": [ + "Fontstage" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Chango is a display face based on letters drawn by Mexican illustrator Ernesto \u201cChango\u201d Garc\u00eda Cabral. It\u2019s big and heavy, ideal for head-line body sizes with a humorous touch.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Charis SIL": { + "name": "Charis SIL", + "designer": [ + "SIL International" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "The Charis project is intended to provide a free and open font family for all current languages and writing systems that use Latin and Cyrillic scripts. It supports almost the complete range of Unicode characters for these scripts, including a comprehensive range of diacritics and a large set of symbols useful for linguistics and literacy work. Smart font routines automatically adjust the position of diacritics to support and optimize arbitrary base+diacritic combinations. This project uses a UFO-based design and production workflow, with all sources in open formats and a completely open-source build toolkit. Learn more at software.sil.org/charis. To contribute, see github.com/silnrsi/font-charis.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Charm": { + "name": "Charm", + "designer": [ + "Cadson Demak" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "thai", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Charm is a handwritten Thai and Latin family. The letterforms were created using a flat tip pen on paper. It works well for Thai religous texts.", + "primary_script": "Thai", + "article": null, + "minisite_url": null + }, + "Charmonman": { + "name": "Charmonman", + "designer": [ + "Cadson Demak" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "thai", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Charmonman is a Thai and Latin family which takes inspiration from Zapfino. It features tall ascenders and descenders with swashed letterforms.", + "primary_script": "Thai", + "article": null, + "minisite_url": null + }, + "Chathura": { + "name": "Chathura", + "designer": [ + "Appaji Ambarisha Darbha" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "telugu" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Chathura was developed initially as an ASCII font in 2009 in the Ezi Fonts collection, which consists 42 Telugu ASCII fonts. In 2015 Chathura was developed into a Unicode font family with support for Telugu and Latin. The design is useful for invitations, headings, in print and on the web. Each letter has rectangular forms and a uniform stroke thickness. The Telugu component was designed by Appaji Ambarisha Darbha. The Latin component was added from Rajdhani, a Latin and Devanagari font family developed by Shiva Nalleperumal at Indian Type Foundry. The Chathura project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India. To contribute, see github.com/appajid/Chathura", + "primary_script": "Telu", + "article": null, + "minisite_url": null + }, + "Chau Philomene One": { + "name": "Chau Philomene One", + "designer": [ + "Vicente Lam\u00f3naca" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Chau Philomene One is one of four families within the Chau superfamily. Hardy, ideal for headings and highlighted text, with narrow letters and sharp angles that have a distinctive personality.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Chela One": { + "name": "Chela One", + "designer": [ + "Miguel Hernandez" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Chela One is a bold and condensed brush script typeface from Chilean type foundry LatinoType.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Chelsea Market": { + "name": "Chelsea Market", + "designer": [ + "Tart Workshop" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Chelsea Market has a quirky bohemian feel.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Chenla": { + "name": "Chenla", + "designer": [ + "Danh Hong" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "khmer" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "The Chenla fonts are designed for readable and beautiful rendering of text in the Khmer script, the national language of Cambodia. The designer, Danh Hong, has many years of experience creating fonts for Khmer and other Southeast Asian languages, and is actively involved in the KhmerOS project, dedicated to a vision where Cambodians can learn and use computers in their own language.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Cherish": { + "name": "Cherish", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Cherish is a gorgeous dry brush style that adds expression and sophistication to your design creations. Perfect for captions and short phrases combined with modern sans fonts. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/cherish.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Cherry Bomb One": { + "name": "Cherry Bomb One", + "designer": [ + "Satsuyako" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "japanese", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Satsuyako first released the kana font CherryBomb in 2012 with the concept, \"Cute with a kick.\" Its round and modern bounciness has made it appealing for diverse use from title logos and food packaging to children' s magazines. To publish on Google Fonts, the designer adjusted the outline and balance of all the letters, added symbols and Latin glyphs, and made it into a proportional font that could also be used in the vertical writing style. To contribute to the project, visit github.com/satsuyako/CherryBomb", + "primary_script": "Hira", + "article": null, + "minisite_url": null + }, + "Cherry Cream Soda": { + "name": "Cherry Cream Soda", + "designer": [ + "Font Diner" + ], + "license": "apache2", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Cruise in to your favorite soda fountain and ask the jerk behind the counter to pull you a sweet red cherry cream soda! This extra wide sans-serif will take you back to the world of the 1950s teenager complete with bubbly enthusiasm and an optimistic outlook!", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Cherry Swash": { + "name": "Cherry Swash", + "designer": [ + "Nataliya Kasatkina" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Cherry Swash is a contemporary, monolinear slab-serif with eye-catching forms and elegant swash capitals. This typeface is at its best in headlines and logos.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Chewy": { + "name": "Chewy", + "designer": [ + "Sideshow" + ], + "license": "apache2", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "A font you can really sink your teeth into. And unlike all those tasteless fonts, Chewy never loses its flavor! Chewy is sealed for freshness in an easy-open package. Be sure to sample Squid's other main courses and side dishes!", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Chicle": { + "name": "Chicle", + "designer": [ + "Sudtipos" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "In a much needed break from complex scripts and polished packaging fonts, Koziupa and Paul decided to show their playful side. Chicle has bold, stretchable, kid-proof, pet-resistant letters. This font is made to take the abuse of software used to put together the elaborate, attention-scrambling artwork of candy, cereal, and toy packaging, or whatever boxed obscenity contains cat and dog treats. Chicle is Spanish for bubble gum. Its a definite sugar fix \u2014 no substitutes.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Chilanka": { + "name": "Chilanka", + "designer": [ + "SMC", + "Santhosh Thottingal" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "malayalam" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Chilanka is Malayalam handwriting style font designed by Santhosh Thottingal. It follows the common style one can see in everyday handwriting of Malayalam. It has a comprehensive Malayalam glyph set that contains most of the unique Malayalam conjuncts. To contribute, see gitlab.com/smc/fonts/chilanka.", + "primary_script": "Mlym", + "article": null, + "minisite_url": null + }, + "Chiron Hei HK": { + "name": "Chiron Hei HK", + "designer": [ + "Tamcy" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "chinese-hongkong", + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext", + "symbols2", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Hant", + "article": "Chiron Hei HK (\u662d\u6e90\u9ed1\u9ad4) is a Traditional Chinese sans typeface based on Adobe's Source Han Sans (a.k.a. Google's Noto Sans CJK). The font aims at providing a modern, region-agnostic glyph set adopting the \"modern\" glyph style that is similar to the prevailing, usually commercial, typefaces in the Traditional Chinese regions. In Chiron Hei HK, glyph shapes in Source Han Sans Traditional Chinese (Hong Kong) are reviewed and adjusted for the better display effect on screen and in print. The font takes references from the glyph shapes of typefaces commonly seen in daily life to provide a set of regional agnostic, modern-style glyphs that balance standard glyph shapes and the usual stroke forms of printed typefaces. The glyph set is similar to the prevailing, usually commercial, typefaces in the Traditional Chinese communities. To contribute, see github.com/chiron-fonts/chiron-hei-hk.", + "minisite_url": null + }, + "Chiron Sung HK": { + "name": "Chiron Sung HK", + "designer": [ + "Tamcy" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "chinese-hongkong", + "cyrillic", + "cyrillic-ext", + "greek", + "latin", + "latin-ext", + "symbols2", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Hant", + "article": "Chiron Sung HK (\u662d\u6e90\u5b8b\u9ad4) is a Traditional Chinese serif typeface based on Adobe's Source Han Serif (branded as Noto Serif CJK by Google). The font aims to provide a modern, region-agnostic glyph set that adopts the \u201cmodern\u201d glyph style similar to the prevailing, usually commercial, typefaces in Traditional Chinese regions. In Chiron Sung HK, glyph shapes in Source Han Serif Traditional Chinese (Hong Kong) are reviewed and adjusted for the better display effect on screen and in print. The font takes references from the glyph shapes of typefaces commonly seen in daily life to provide a set of regional agnostic, modern-style glyphs that balance standard glyph shapes and the usual stroke forms of printed typefaces. The glyph set is similar to the prevailing, usually commercial, typefaces in the Traditional Chinese communities. To contribute, see github.com/chiron-fonts/chiron-sung-hk.", + "minisite_url": null + }, + "Chivo": { + "name": "Chivo", + "designer": [ + "Omnibus-Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Chivo (\"Goat\" in Spanish) is Omnibus-Type's first grotesque family. The strength of Chivo Black makes it ideal for highlights and headlines whilst Chivo Regular's elegance is ideal for continuous reading. Its design details make it an indispensable ally for any designer. In october 2022, the family is upgraded to a variable font ranging from Thin to Black, including matching italics. The glyphset has also been extended, supporting now a wider number of languages. The family was developed by H\u00e9ctor Gatti. To contribute, see github.com/Omnibus-Type/Chivo.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Chivo Mono": { + "name": "Chivo Mono", + "designer": [ + "Omnibus-Type" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "monospace" + ], + "description": "Chivo (\u2018goat\u2019 in Spanish) is the first Omnibus-Type neo-grotesque typeface family. Its solidness and balanced strokes give Chivo both elegance and practicality. Chivo Mono is the monospace sibling of Chivo. Likewise, Chivo Mono is a variable font ranging from Thin to Black with matching Italics. The family was developed by H\u00e9ctor Gatti. To contribute, see github.com/Omnibus-Type/Chivo.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Chocolate Classical Sans": { + "name": "Chocolate Classical Sans", + "designer": [ + "Moonlit Owen" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "chinese-traditional", + "cyrillic", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "\"Chocolate Classical Sans\" is an open source font suitable for Traditional Chinese environments. This font uses inherited glyphs, largely adhering to the Inherited Glyphs standard maintained by the I.Font Project, combined with other commonly seen inherited glyphs, to produce a Chinese typeface with glyphs in the traditional style.. This font is produced by Tian Haidong, with modifications from Moonlit Owen. This font is based on the \"Source Han Sans\" font jointly developed by Adobe and Google, incorporating modifications and additional glyphs by using open source contributions from Steve Yuu, GuiWonder and ChiuMing. To contribute, see github.com/MoonlitOwen/ChocolateSans.", + "primary_script": "Hant", + "article": null, + "minisite_url": null + }, + "Chokokutai": { + "name": "Chokokutai", + "designer": [ + "Font Zone 108" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "japanese", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Chokokutai is a display Japanese font family whose characters have a funky appearance. To contribute to the project, visit github.com/go108go/Chokokutai", + "primary_script": "Hira", + "article": null, + "minisite_url": null + }, + "Chonburi": { + "name": "Chonburi", + "designer": [ + "Cadson Demak" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "thai", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Chonburi is a new Thai + Latin typeface for display usage, with an formal looped + serif design. The Chonburi project is led by Cadson Demak, a type foundry in Thailand. To contribute, see github.com/cadsondemak/chonburi", + "primary_script": "Thai", + "article": null, + "minisite_url": null + }, + "Cinzel": { + "name": "Cinzel", + "designer": [ + "Natanael Gama" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Cinzel is a typeface inspired in first century roman inscriptions, and based on classical proportions. However it\u2019s not a simple revivalism, while it conveys all the ancient history of the latin alphabet it also merges a contemporary feel onto it. To contribute, see github.com/NDISCOVER/Cinzel.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Cinzel Decorative": { + "name": "Cinzel Decorative", + "designer": [ + "Natanael Gama" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Cinzel is a typeface inspired in first century roman inscriptions, and based on classical proportions. However it\u2019s not a simple revivalism, while it conveys all the ancient history of the latin alphabet it also merges a contemporary feel onto it.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Clicker Script": { + "name": "Clicker Script", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Clicker Script finds its inspiration from RCA Records Stereo Action Series from the 1960's. This signature elegant yet slightly bouncy script truly sings, and lends a happy go lucky flavor to any design. Designed by Brian J. Bonislawsky and Jim Lyles for Astigmatic (AOETI). To contribute to the project contact Brian J. Bonislawsky.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Climate Crisis": { + "name": "Climate Crisis", + "designer": [ + "Daniel Coull", + "Eino Korkala" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "Climate Crisis, is a variable font designed to help visualise the urgency of climate change, designed for Helsingin Sanomat, the largest Nordic newspaper. The typeface\u2019s weight responds to the levels of Arctic sea ice from 1979 to 2019 and predictions for 2050, based on data from the National Snow and Ice Data Center. Case study on the mini website. To contribute, see github.com/dancoull/ClimateCrisis. Show your type melting over time like a glacier with Climate Crisis and its Year axis As mentioned in the recent article about the Tilt family, Google Fonts is adding a bunch of new expressive variable fonts and axes to the library. Check out the latest release, Climate Crisis. Climate Crisis, with its new variable axis called Year, was commissioned by the Nordic newspaper \"Helsingin Sanomat\" to use in its own editorial and marketing. It visualizes the urgency of climate change by appearing to degrade over time, like each character is a glacier melting away. More than just a metaphor, the font reflects actual data from the National Snow and Ice Data Center to represent the levels of Arctic sea ice from 1979 to 2019. Satellite measuring began in 1979. Predictive data from The Intergovernmental Panel on Climate Change (IPCC) is used to visualize the ice melting through 2050. The typeface's designers, Daniel Coull and Eino Korkala included eight masters for the Year axis. (When type designers create a variable font, they need to embed masters at each extreme end of a variable axis, but often they embed multiple masters along the axis in order to give the in-between instances more finesse.) The heaviest weight represents the Arctic sea ice in 1979. The lightest weight represents the IPCC's 2050 forecast, when only 30% of the ice will remain. To learn more, read:Show your type melting over time like a glacier with Climate Crisis and its Year axis. Climate Crisis minisite", + "minisite_url": "https://kampanjat.hs.fi/climatefont" + }, + "Coda": { + "name": "Coda", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Eye-catching, no-messing, bandwidth-saving, Coda's Heavy (800) style is designed to be an unassuming, practical, impact heavy display font for the world wide web. Designed to be used in large sizes to bring bold information to web pages, it is complemented by a Regular weight for use in text and display contexts. These webfonts are designed to be used freely across the internet by web browsers on desktop computers, laptops and mobile devices.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Codystar": { + "name": "Codystar", + "designer": [ + "Neapolitan" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "As you stroll down Manhattan streets and through Times Square, look all around you at the sizzling lights! Sparkling. Brilliant. Codystar. Designed by Crystal Kluge of Neapolitan (a DBA of Font Diner, Inc.) To contribute to the project contact Font Diner.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Coiny": { + "name": "Coiny", + "designer": [ + "Marcelo Magalh\u00e3es" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "tamil", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Coiny is a typeface designed originally for the Latin and Tamil scripts in parallel. Naturally bold, and born on street to shine on screen. It has a structure based on simple geometrical shapes, and is inspired by the vernacular designs seen around every big city. The forms are similar to those found with writing made with a rounded brush point. It is a lot of fun for titles and headlines. The Coiny project is led by Marcelo Magalh\u00e3es, a type designer based in S\u00e3o Paulo, Brasil. To contribute, see github.com/marcelommp/Coiny", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Combo": { + "name": "Combo", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Combo has a simple structure, based on the elliptical arcs and strokes of a flat-tipped marker pen. This display typeface is suitable for use in advertisements, headlines and short texts.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Comfortaa": { + "name": "Comfortaa", + "designer": [ + "Johan Aakerlund" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Comfortaa is a rounded geometric sans-serif type design intended for large sizes. It is absolutely free, both for personal and commercial use. If you like it please visit my DeviantArt page and fav it (but obviously only if you like it.) You are also more than welcome to comment about anything you want (I'm open to critique). I obviously would love to see how my font is being used, so feel free to comment with a link to your work, or send me a message. I hope you will enjoy using my font!", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Comforter": { + "name": "Comforter", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "cyrillic", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Comforter is a bouncy, upright brush style script. Its look is appealing for many usages. It\u2019s contemporary, and non- traditional. It\u2019s sophisticated, yet fun and funky. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/comforter.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Comforter Brush": { + "name": "Comforter Brush", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "cyrillic", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Comforter Brush is the \"brushy\" companion of Comforter, a bouncy, upright brush style script a contemporary, and non- traditional script font. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/comforter-brush.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Comic Neue": { + "name": "Comic Neue", + "designer": [ + "Craig Rozynski", + "Hrant Papazian" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Comic Neue is an original reinterpretation of the classic, Comic Sans. Comic Neue aspires to be the casual script choice for everyone, including the typographically savvy. The squashed, wonky, and weird glyphs of Comic Sans have been beaten into shape \u2013 while maintaining the honesty that made Comic Sans so popular. Don't miss the project homepage, comicneue.com The Comic Neue project was initiated by Craig Rozynski, a designer living in Australia and Japan. To contribute or report any issues, see github.com/crozynski/comicneue", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Comic Relief": { + "name": "Comic Relief", + "designer": [ + "Jeff Davis" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "greek", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Comic Relief is a typeface designed to be metrically equivalent to the popular Comic Sans MS. Comic Relief can be used in place of Comic Sans MS without having to move, resize, or reset any part of the copy. Perfect for missing cat posters and all of your WordArt needs! To contribute, see github.com/loudifier/Comic-Relief.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Coming Soon": { + "name": "Coming Soon", + "designer": [ + "Open Window" + ], + "license": "apache2", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Coming Soon by Open Window is based on the handwriting from mom when she was in 6th grade. Solid balance, masterful strokes, and just a touch of lemonade stand for good measure!", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Comme": { + "name": "Comme", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Comme is a variable Sans Serif font forked from the Oxygen family. Language support is improved in this version, and the font is variable, with a weight axis ranging from thin to black. To contribute, please see github.com/googlefonts/comme.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Commissioner": { + "name": "Commissioner", + "designer": [ + "Kostas Bartsokas" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Commissioner is a low-contrast humanist sans-serif with almost classical proportions, conceived as a variable family. The family consists of three \u201cvoices\u201d. The default style is a grotesque with straight stems. As the flair axis grows the straight grotesque terminals develop a swelling and become almost glyphic serifs and the joints become more idiosyncratic. The volume axis transforms the glyphic serifs to wedge-like ones. Each voice of Commissioner comes in a range of styles from Thin to Black including italics. The diverse proportions of lowercase and capitals add warmth and appeal to texts across sizes, while the different voices can express a variation in the typographic texture that ranges from delicate in text sizes to exuberant in larger sizes. To contribute, please see github.com/kosbarts/Commissioner.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Concert One": { + "name": "Concert One", + "designer": [ + "Johan Kallas", + "Mihkel Virkus" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Concert One is a rounded grotesque typeface inspired by 19th century 3D lettering from a leaflet announcing a chamber concert. To contribute to the project contact Johan Kallas or Mihkel Virkus.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Condiment": { + "name": "Condiment", + "designer": [ + "Sudtipos" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Condiment adds flavor to your design, with soft and brush-drawn letters. This font is designed by Angel Koziupa and Ale Paul.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Content": { + "name": "Content", + "designer": [ + "Danh Hong" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "khmer" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "The Content fonts are designed for readable and beautiful rendering of text in the Khmer script, the national language of Cambodia. The designer, Danh Hong, has many years of experience creating fonts for Khmer and other Southeast Asian languages, and is actively involved in the KhmerOS project, dedicated to a vision where Cambodians can learn and use computers in their own language.", + "primary_script": "Khmr", + "article": null, + "minisite_url": null + }, + "Contrail One": { + "name": "Contrail One", + "designer": [ + "Riccardo De Franceschi" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Contrail One is based on handmade sans-serif letters seen on UK posters. The slight slant and bouncy quality suggest the emerging jet age, and a state of excited anticipation. The rounded corners give it an approachable friendly feeling. As a low contrast design it is suitable for use in medium to large sizes, including headlines. This font was made specifically to be used as web type.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Convergence": { + "name": "Convergence", + "designer": [ + "Nicol\u00e1s Silva", + "John Vargas Beltr\u00e1n" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Convergence is a low contrast Upright Italic Sans Serif Typeface with a large x-height. It was created by two designers with very different ideas, who took advantage of their divergent criteria to draw glyphs that made the Upright and Italic styles converge without mixing them. In this way, it was possible to converge the inclination of an Upright Sans Serif with a Sans Serif Italic. Looking at the font in detail, the bottom halves of the glyphs have Transitive serifs while the upper halves conserve the Sans Serif terminals. Other specific details can be seen in the a, g, and e glyphs, which have an Italic structure, not an Upright one. In addition, the glyph for the letter r has a relatively closed instroke. The references used to develop this font were Bree from TypeTogether, Parisine de Porchez Typofonderie, and, undeniably, Ludovico Degli Arrighi's manuscript about the structure the \"humanistic cursive\" that is Convergence. Designed by Nicola\u0087s Silva (@zar_nicolas20) and John Vargas (@vargas74)", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Cookie": { + "name": "Cookie", + "designer": [ + "Ania Kruk" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Cookie is a script typeface based on brush calligraphy. It has a little bit of 1950s style that makes you think about all the beautiful ads and pin-ups from this time. It is sweet and friendly - but not too decorative; simple and legible even in text sizes.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Copse": { + "name": "Copse", + "designer": [ + "Dan Rhatigan" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Copse is a low-contrast slab serif that is a little soft around the edges, but with a clear and sturdy posture.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Coral Pixels": { + "name": "Coral Pixels", + "designer": [ + "Tanukizamurai" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "Coral Pixels is a color font inspired by subpixel rendering techniques. It enhances the retro pixel font style commonly seen in games and digital art by adding color, creating a more vivid digital aesthetic. This font uses the COLRv0 and CPAL tables. Please visit the gf-guide color page to learn more about Color Fonts technology. To contribute, see github.com/tanukifont/Coral-Pixels. Coral Pixels is a color font inspired by subpixel rendering techniques. It elevates the retro pixel font style commonly seen in games and digital art by infusing it with color, creating a more vibrant and dynamic digital aesthetic. Beyond being merely a font, it offers a new dimension for visual expression. Subpixel Rendering Expression: By applying display technology to font design, Coral Pixels creates a depth and dimensionality not typically found in traditional fonts. This innovative approach could inspire new ideas for retro game pixel art. Rich Color Expression: The font's glyphs, when viewed from a distance, appear as blurred black text. However, upon closer inspection, they reveal a random arrangement of colorful dots, offering a unique and visually engaging experience. Transparency Implementation: Coral Pixels incorporates transparency into its color elements to minimize the occurrence of unsightly fringes. While this design choice enhances the font's appearance, it can result in a loss of color vibrancy when used against dark backgrounds. As a temporary workaround, we recommend using color inversion or other adjustments within your application.", + "minisite_url": null + }, + "Corben": { + "name": "Corben", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Corben is a simple web friendly display font with ample curves and ligatures. Corben is designed to be easy on the eye with a touch of classic display lettering.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Corinthia": { + "name": "Corinthia", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Corinthia flows with perfect connections and beautiful curves. It\u2019s a delightful design that offers wide usage... All three weights are perfect for creating elegant design work from packaging and romance novels, to invitations and social expression products. This award winning font comes with over 500 glyphs, covering Latin Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/corinthia.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Cormorant": { + "name": "Cormorant", + "designer": [ + "Christian Thalmann" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Cormorant is a free display type family developed by Christian Thalmann. The project currently comprises a total of 45 font files spanning 9 different visual styles (Roman, Italic, Infant, Infant Italic, Garamond, Garamond Italic, Upright Cursive, Small Caps, and Unicase) and 5 weights (Light, Regular, Medium, SemiBold, and Bold.) Cormorant was conceived, drawn, spaced, kerned, programmed, interpolated, and produced in its entirety by Christian Thalmann of Catharsis Fonts. For an illustrated presentation and description of the family, please visit its B\u0113hance page. While this project was heavily inspired by Claude Garamont's immortal legacy, Christian did not use any specific font as a starting point or direct reference for the designs. Most glyphs were drawn from scratch; when he needed guidance on a specific character, he searched for the term Garamond and skimmed through the results for a general impression. He is grateful to the creative souls on the Typophile, TypeDrawers and Typografie forums, and Github, for a wealth of knowledge about type design, and for providing a large amount of excellent feedback on Cormorant during its development. He also thanks the tireless folks at Glyphs, in particular Rainer Erich Scheichelbauer of Schriftlabor and Georg Seifert. Special thanks go to Dave Crossland and Google Fonts for making the libre release of this font family possible through generous funding of the development process. The Cormorant project is led by Christian Thalmann, a type designer based in Zurich, Switzerland. To contribute, see github.com/CatharsisFonts/Cormorant", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Cormorant Garamond": { + "name": "Cormorant Garamond", + "designer": [ + "Christian Thalmann" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Cormorant is a free display type family developed by Christian Thalmann. The project currently comprises a total of 45 font files spanning 9 different visual styles (Roman, Italic, Infant, Infant Italic, Garamond, Garamond Italic, Upright Cursive, Small Caps, and Unicase) and 5 weights (Light, Regular, Medium, SemiBold, and Bold.) Cormorant was conceived, drawn, spaced, kerned, programmed, interpolated, and produced in its entirety by Christian Thalmann of Catharsis Fonts. For an illustrated presentation and description of the family, please visit its B\u0113hance page. While this project was heavily inspired by Claude Garamont's immortal legacy, Christian did not use any specific font as a starting point or direct reference for the designs. Most glyphs were drawn from scratch; when he needed guidance on a specific character, he searched for the term Garamond and skimmed through the results for a general impression. He is grateful to the creative souls on the Typophile, TypeDrawers and Typografie forums, and Github, for a wealth of knowledge about type design, and for providing a large amount of excellent feedback on Cormorant during its development. He also thanks the tireless folks at Glyphs, in particular Rainer Erich Scheichelbauer of Schriftlabor and Georg Seifert. Special thanks go to Dave Crossland and Google Fonts for making the libre release of this font family possible through generous funding of the development process. The Cormorant project is led by Christian Thalmann, a type designer based in Zurich, Switzerland. To contribute, see github.com/CatharsisFonts/Cormorant", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Cormorant Infant": { + "name": "Cormorant Infant", + "designer": [ + "Christian Thalmann" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Cormorant is a free display type family developed by Christian Thalmann. The project currently comprises a total of 45 font files spanning 9 different visual styles (Roman, Italic, Infant, Infant Italic, Garamond, Garamond Italic, Upright Cursive, Small Caps, and Unicase) and 5 weights (Light, Regular, Medium, SemiBold, and Bold.) Cormorant was conceived, drawn, spaced, kerned, programmed, interpolated, and produced in its entirety by Christian Thalmann of Catharsis Fonts. For an illustrated presentation and description of the family, please visit its Behance page. While this project was heavily inspired by Claude Garamont's immortal legacy, Christian did not use any specific font as a starting point or direct reference for the designs. Most glyphs were drawn from scratch; when he needed guidance on a specific character, he searched for the term Garamond and skimmed through the results for a general impression. He is grateful to the creative souls on the Typophile, TypeDrawers and Typografie forums, and Github, for a wealth of knowledge about type design, and for providing a large amount of excellent feedback on Cormorant during its development. He also thanks the tireless folks at Glyphs, in particular Rainer Erich Scheichelbauer of Schriftlabor and Georg Seifert. Special thanks go to Dave Crossland and Google Fonts for making the libre release of this font family possible through generous funding of the development process. The Cormorant project is led by Christian Thalmann, a type designer based in Zurich, Switzerland. To contribute, see github.com/CatharsisFonts/Cormorant", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Cormorant SC": { + "name": "Cormorant SC", + "designer": [ + "Christian Thalmann" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Cormorant is a free display type family developed by Christian Thalmann. The project currently comprises a total of 45 font files spanning 9 different visual styles (Roman, Italic, Infant, Infant Italic, Garamond, Garamond Italic, Upright Cursive, Small Caps, and Unicase) and 5 weights (Light, Regular, Medium, SemiBold, and Bold.) Cormorant was conceived, drawn, spaced, kerned, programmed, interpolated, and produced in its entirety by Christian Thalmann of Catharsis Fonts. For an illustrated presentation and description of the family, please visit its B\u0113hance page. While this project was heavily inspired by Claude Garamont's immortal legacy, Christian did not use any specific font as a starting point or direct reference for the designs. Most glyphs were drawn from scratch; when he needed guidance on a specific character, he searched for the term Garamond and skimmed through the results for a general impression. He is grateful to the creative souls on the Typophile, TypeDrawers and Typografie forums, and Github, for a wealth of knowledge about type design, and for providing a large amount of excellent feedback on Cormorant during its development. He also thanks the tireless folks at Glyphs, in particular Rainer Erich Scheichelbauer of Schriftlabor and Georg Seifert. Special thanks go to Dave Crossland and Google Fonts for making the libre release of this font family possible through generous funding of the development process. The Cormorant project is led by Christian Thalmann, a type designer based in Zurich, Switzerland. To contribute, see github.com/CatharsisFonts/Cormorant", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Cormorant Unicase": { + "name": "Cormorant Unicase", + "designer": [ + "Christian Thalmann" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Cormorant is a free display type family developed by Christian Thalmann. The project currently comprises a total of 45 font files spanning 9 different visual styles (Roman, Italic, Infant, Infant Italic, Garamond, Garamond Italic, Upright Cursive, Small Caps, and Unicase) and 5 weights (Light, Regular, Medium, SemiBold, and Bold.) Cormorant was conceived, drawn, spaced, kerned, programmed, interpolated, and produced in its entirety by Christian Thalmann of Catharsis Fonts. For an illustrated presentation and description of the family, please visit its B\u0113hance page. While this project was heavily inspired by Claude Garamont's immortal legacy, Christian did not use any specific font as a starting point or direct reference for the designs. Most glyphs were drawn from scratch; when he needed guidance on a specific character, he searched for the term Garamond and skimmed through the results for a general impression. He is grateful to the creative souls on the Typophile, TypeDrawers and Typografie forums, and Github, for a wealth of knowledge about type design, and for providing a large amount of excellent feedback on Cormorant during its development. He also thanks the tireless folks at Glyphs, in particular Rainer Erich Scheichelbauer of Schriftlabor and Georg Seifert. Special thanks go to Dave Crossland and Google Fonts for making the libre release of this font family possible through generous funding of the development process. The Cormorant project is led by Christian Thalmann, a type designer based in Zurich, Switzerland. To contribute, see github.com/CatharsisFonts/Cormorant", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Cormorant Upright": { + "name": "Cormorant Upright", + "designer": [ + "Christian Thalmann" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Cormorant is a free display type family developed by Christian Thalmann. The project currently comprises a total of 45 font files spanning 9 different visual styles (Roman, Italic, Infant, Infant Italic, Garamond, Garamond Italic, Upright Cursive, Small Caps, and Unicase) and 5 weights (Light, Regular, Medium, SemiBold, and Bold.) Cormorant was conceived, drawn, spaced, kerned, programmed, interpolated, and produced in its entirety by Christian Thalmann of Catharsis Fonts. For an illustrated presentation and description of the family, please visit its B\u0113hance page. While this project was heavily inspired by Claude Garamont's immortal legacy, Christian did not use any specific font as a starting point or direct reference for the designs. Most glyphs were drawn from scratch; when he needed guidance on a specific character, he searched for the term Garamond and skimmed through the results for a general impression. He is grateful to the creative souls on the Typophile, TypeDrawers and Typografie forums, and Github, for a wealth of knowledge about type design, and for providing a large amount of excellent feedback on Cormorant during its development. He also thanks the tireless folks at Glyphs, in particular Rainer Erich Scheichelbauer of Schriftlabor and Georg Seifert. Special thanks go to Dave Crossland and Google Fonts for making the libre release of this font family possible through generous funding of the development process. The Cormorant project is led by Christian Thalmann, a type designer based in Zurich, Switzerland. To contribute, see github.com/CatharsisFonts/Cormorant", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Courgette": { + "name": "Courgette", + "designer": [ + "Karolina Lach" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Courgette is a medium-contrast, brushy, italic-script typeface. The genre is traditionally used at large sizes but Courgette was carefully made for the web, with low stroke contrast that works well in smaller sizes and even in text.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Courier Prime": { + "name": "Courier Prime", + "designer": [ + "Alan Dague-Greene" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "monospace" + ], + "description": "Courier Prime is a new take on IBM's Courier which was designed in 1956 by Howard Kettler. It's a monospaced family, designed specifically for screenplays. Overall the family is more refined than its predecessor. The serifs are crisper and less rounded. The counters are subtly wider. The bold weight is a bit darker and the italics are more cursive. To contribute, see github.com/quoteunquoteapps/CourierPrime", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Cousine": { + "name": "Cousine", + "designer": [ + "Steve Matteson" + ], + "license": "apache2", + "category": "MONOSPACE", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "hebrew", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "monospace" + ], + "description": "Cousine was designed by Steve Matteson as an innovative, refreshing sans serif design that is metrically compatible with Courier New\u2122. Cousine offers improved on-screen readability characteristics and the pan-European WGL character set and solves the needs of developers looking for width-compatible fonts to address document portability across platforms.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Coustard": { + "name": "Coustard", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Coustard is a display and text serif webfont designed to be used freely across the internet by web browsers on desktop computers, laptops and mobile devices. Coustard has been developed from a fork of Tienne, another font in the Google Font Directory, available under the SIL Open Font License which allows for remixing fonts.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Covered By Your Grace": { + "name": "Covered By Your Grace", + "designer": [ + "Kimberly Geswein" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Covered By Your Grace is based on the adorable handwriting of a very sweet teacher friend. The whimsical curves and extensions are wonderful.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Crafty Girls": { + "name": "Crafty Girls", + "designer": [ + "Tart Workshop" + ], + "license": "apache2", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Crafty Girls is inspired by crochet hooks, yarn, button boxes, thread, and glitter. This delightfully playful casual handwriting script font was hand drawn by Crystal Kluge and makes the perfect compliment to all your projects. Use it in your very best creative projects, then blog about them in the same font!", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Creepster": { + "name": "Creepster", + "designer": [ + "Sideshow" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Creepster is a fright-filled font, perfect for all of your grisly graphic needs!", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Crete Round": { + "name": "Crete Round", + "designer": [ + "TypeTogether" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Crete Round is a warm slab serif providing a hint of softness to texts. It started as a tailored version of the original Crete fonts, created specially to serve as corporate typeface for the type design competition Letter2. Crete Round is more independent from the original with modified terminals and serifs to create two new fonts that deliver a more contemporary and functional appearance. The tall x-height, low contrast and sturdy slabs prove to be surprisingly efficient for web use.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Crimson Pro": { + "name": "Crimson Pro", + "designer": [ + "Jacques Le Bailly" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Crimson Pro is a serif typeface family: Contemporary, clear, classic and rounded/open. Something for a college textbook, editorial websites and any reading experience with book-length texts It contributes to the tradition of beautiful Garamond-inspired typefaces, often called \u201cGaralde\u201d or \u201cOld Style,\u201d and has 8 named weights, in Roman and Italic, and is available as a Variable Font with a Weight axis. The first Crimson design was initiated by Sebastian Kosch in 2009, and he later completely redrew a new version called Crimson Prime. Google commissioned Jacques Le Bailly to review both typefaces, and develop Crimson Pro as a new design that synthesises both designs into a final authoritative family, first released in January 2019. All decisions were made to enable better readability for longer texts and the ability to make good and diverse typography. The Crimson Pro project is led by Jacques Le Bailly, a type designer based in Den Haag, Netherlands. To contribute, see github.com/Fonthausen/CrimsonPro", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Crimson Text": { + "name": "Crimson Text", + "designer": [ + "Sebastian Kosch" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Crimson Text is a font family for book production in the tradition of beautiful oldstyle typefaces. There are a lot of great free fonts around, but one kind is missing: those Garamond-inspired types with all the little niceties like oldstyle figures, small caps, fleurons, math characters and the like. In fact, a lot of time is spend developing free knock-offs of ugly \"standards\" like Times and Helvetica. Crimson Text is inspired by the fantastic work of people like Jan Tschichold, Robert Slimbach and Jonathan Hoefler. We hope that the free type community will one day be able to enjoy Crimson Text as a beautiful workhorse. Several important bug fixes have been brought in March 2022, including the harmonisation of the line-spacing across all styles. To contribute, see github.com/googlefonts/Crimson.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Croissant One": { + "name": "Croissant One", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Croissant is a typeface inspired by the Parisian spirit, in the people and the landscapes there. The lowercase letters have smooth round shapes, and a nice long out-stroke to connect nearly every glyph, reminding the reader of elegant French handwriting. The uppercases have a classical structure and soft terminals that embody the spirit of this multi-purpose typeface. To contribute to the project contact Eduardo Tunni.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Crushed": { + "name": "Crushed", + "designer": [ + "Astigmatic" + ], + "license": "apache2", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Crushed was designed in 2010 as a headline and display typeface. Featuring a condensed body width and subtlely tapered vertical strokes, Crushed is a unicase design, tossing aside the traditional lowercase for one that matches the cap height. Though intended for display, Crushed actually looks great and reads well in text usage. The gentle taper of the stems add a certain class and the basic letterforms are modern and fresh.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Cuprum": { + "name": "Cuprum", + "designer": [ + "Jovanny Lemonad" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Cuprum was created in 2006 based on the works Miles Newlyn. Cuprum is a narrow grotesque. It is quite versatile. Mostly how it is now, I do not like myself, because as time passed and since then I have learned to make fonts much better. An interesting history of the appearance of his name: Cuprum is copper, not gold or silver. Copper is too noble, but it is much cheaper and copper is not used for medals \u2013 only pots.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Cute Font": { + "name": "Cute Font", + "designer": [ + "TypoDesign Lab. Inc" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "korean", + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Cute Font is a Korean and Latin font", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "Cutive": { + "name": "Cutive", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SLAB_SERIF", + "classifications": [ + "display" + ], + "description": "The design of Cutive, and this monospace sister family Cutive Mono, is based on a number of classic typewriter typefaces, in particular the faces of IBM's 'Executive,' and the older 'Smith-Premier.' In Cutive these old faces re-emerge as webfonts that are useful for adding character to body texts as well as in larger sizes for headers and display. To contribute to the project see Cutive on GitHub.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Cutive Mono": { + "name": "Cutive Mono", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "monospace" + ], + "description": "The design of Cutive , and this monospace sister family Cutive Mono, is based on a number of classic typewriter typefaces, in particular the faces of IBM's 'Executive,' and the older 'Smith-Premier.' In Cutive these old faces re-emerge as webfonts that are useful for adding character to body texts as well as in larger sizes for headers and display. To contribute to the project see github.com/googlefonts/cutivemono .", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "DM Mono": { + "name": "DM Mono", + "designer": [ + "Colophon Foundry" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "monospace" + ], + "description": "DM Mono is a three weight, three style family designed for DeepMind. DM Mono was loosely based off of DM Sans, with a reduction in contrast and less geometric proportions. The type design and font development was commissioned from Colophon Foundry, with Creative Direction from the DeepMind team. To contribute, see github.com/googlefonts/dm-mono.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "DM Sans": { + "name": "DM Sans", + "designer": [ + "Colophon Foundry" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "DM Sans is a low-contrast geometric sans serif design, intended for use at smaller text sizes. DM Sans supports a Latin Extended glyph set, enabling typesetting for English and other Western European languages. It was designed by Colophon Foundry (UK), who started from the Latin portion of Indian Type Foundry's Poppins. In May 2023 DM Sans is updated, expanding the coverage of the weight range to Thin & ExtraBlack (100\u20131000 weight range) along with a new optical size axis. To contribute, see github.com/googlefonts/dm-fonts", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "DM Serif Display": { + "name": "DM Serif Display", + "designer": [ + "Colophon Foundry" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "DM Serif Display is a high-contrast transitional face. With delicate serifs and fine detailing, the design has been shaped for use in super-sized poster settings. It is accompanied by DM Serif Text, for use in smaller point ranges. DM Serif Display supports a Latin Extended glyph set, enabling typesetting for English and other Western European languages. It was designed by Colophon Foundry (UK), that started from the Latin portion of Adobe Source Serif Pro, by Frank Grie\u00dfhammer. To contribute, see github.com/googlefonts/dm-fonts", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "DM Serif Text": { + "name": "DM Serif Text", + "designer": [ + "Colophon Foundry" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "DM Serif Text is a lower-contrast counterpart to the high-contrast DM Serif Display. While the serifs remain delicate, the DM Serif Text family is a more robust variant of the Display sibling, intended for smaller sub-headings and text sizes. DM Serif Text supports a Latin Extended glyph set, enabling typesetting for English and other Western European languages. It was designed by Colophon Foundry (UK), that started from the Latin portion of Adobe Source Serif Pro, by Frank Grie\u00dfhammer. To contribute, see github.com/googlefonts/dm-fonts", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Dai Banna SIL": { + "name": "Dai Banna SIL", + "designer": [ + "SIL International" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "new-tai-lue" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Dai Banna provides a libre and open font family for the New Tai Lue (Xishuangbanna Dai) script. The New Tai Lue (Xishuangbanna Dai) script is used by approximately 300,000 people who speak the Xishuangbanna Dai language in Yunnan, China. It is a simplification of the Tai Tham (Old Tai Lue) script as used for this language for hundreds of years. To contribute, please see github.com/silnrsi/font-daibannasil.", + "primary_script": "Talu", + "article": null, + "minisite_url": null + }, + "Damion": { + "name": "Damion", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Damion is a casual script face derived from some typical mid C20 casual typefaces such as that drawn by Max Kaufmann in 1936 for American Type Founders. Damion has taken these and similar type forms and also added some of it's own forms to create a casual webfont for Display use on modern web pages. Latest upgrade from April 2024 expands the Latin script language coverage. To contribute, see github.com/googlefonts/damionFont.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Dancing Script": { + "name": "Dancing Script", + "designer": [ + "Impallari Type" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Dancing Script is a lively casual script where the letters bounce and change size slightly. Caps are big, and goes below the baseline. Dancing Script references popular scripts typefaces from the 50's. It relates to Murray Hill (Emil Klumpp. 1956) in his weight distribution, and to Mistral (Roger Excoffon. 1953) in his lively bouncing effect. Use it when you want a friendly, informal and spontaneous look. Updated May 18th 2011 with bold! In November 2019, it was updated with a Variable Font \"Weight\" axis. To contribute, see github.com/impallari/DancingScript.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Danfo": { + "name": "Danfo", + "designer": [ + "Afrotype", + "Seyi Olusanya", + "Eyiyemi Adegbite", + "David Udoh", + "Mirko Velimirovi\u0107" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "Danfo, a variable-axis font, is the result of a collaboration between Afrotype and Abu, a lettering artist from Ojota Bus Stop. It is inspired by the cut-out shapes of vinyl sticker lettering on public transportation buses in Lagos, Nigeria. This font, the first project from Afrotype, is an improved version of the 2018 design, now featuring a richer character set that supports all of Sub-Saharan African Latin. Danfo is the base set of a family of Danfo fonts Afrotype plans to release. To contribute, please see github.com/Afrotype/danfo.", + "minisite_url": "https://www.afrotype.com/danfo" + }, + "Dangrek": { + "name": "Dangrek", + "designer": [ + "Danh Hong" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "khmer", + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Dangrek is a Khmer font for headlines, titles and subtitles, and even banner designs. To contribute, see github.com/danhhong/Dangrek.", + "primary_script": "Khmr", + "article": null, + "minisite_url": null + }, + "Darker Grotesque": { + "name": "Darker Grotesque", + "designer": [ + "Gabriel Lam", + "Vi\u1ec7tAnh Nguy\u1ec5n" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Darker Grotesque is a contemporary grotesque designed by Gabriel Lam, inspired by the post-modern and brutalism typographic trends. This is an original Vietnamese typeface designed by a Vietnamese type designer, Vi\u1ec7tAnh Nguy\u1ec5n. In 2023, an upgrade fixed some issues, taking the opportunity to make the font variable. To contribute, see github.com/bettergui/DarkerGrotesque. Darker Grotesque l\u00e0 b\u1ed9 m\u1eb7t ch\u1eef kh\u00f4ng ch\u00e2n \u0111\u01b0\u01a1ng \u0111\u1ea1i \u0111\u01b0\u1ee3c thi\u1ebft k\u1ebf b\u1edfi Gabriel Lam (Gia L\u00e2m B\u1ea3o) v\u00e0 \u0111\u01b0\u1ee3c truy\u1ec1n c\u1ea3m h\u1ee9ng t\u1eeb phong tr\u00e0o thi\u1ebft k\u1ebf ch\u1eef post-modern v\u00e0 brutalism. C\u1ea3 b\u1ed9 ch\u1eef bao g\u1ed3m 14 ki\u1ec3u, 7 lo\u1ea1i tr\u1ecdng l\u01b0\u1ee3ng kh\u00e1c nhau k\u00e8m theo phi\u00ean b\u1ea3n nghi\u00eang. \u0110\u00e2y l\u00e0 m\u1ed9t thi\u1ebft k\u1ebf m\u1eb7t ch\u1eef Vi\u1ec7t Nam \u0111\u01b0\u1ee3c thi\u1ebft k\u1ebf b\u1edfi ng\u01b0\u1eddi Vi\u1ec7t Nam. N\u0103m 2023 c\u00f3 th\u00eam b\u1ea3n n\u00e2ng c\u1ea5p \u0111\u1ec3 s\u1eeda m\u1ed9t s\u1ed1 l\u1ed7i nh\u1ecf v\u00e0 h\u1ed7 tr\u1ee3 ph\u00f4ng ch\u1eef \u0111a h\u00ecnh. H\u00e3y \u0111\u00f3ng g\u00f3p cho d\u1ef1 \u00e1n c\u1ee7a ch\u00fang t\u00f4i \u1edf github.com/bettergui/DarkerGrotesque.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Darumadrop One": { + "name": "Darumadrop One", + "designer": [ + "Maniackers Design" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Darumdrop is a flavorful handwritten font inspired by Japanese handwriting and \"Daruma Otoshi\" which is a Japanese folk craft game. To contribute to the project, visit github.com/ManiackersDesign/darumadrop", + "primary_script": "Hira", + "article": null, + "minisite_url": null + }, + "David Libre": { + "name": "David Libre", + "designer": [ + "Monotype Imaging Inc.", + "SIL International", + "Meir Sadan" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "hebrew", + "latin", + "latin-ext", + "math", + "symbols", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "David Libre is a Libre David Hebrew, based on David Hadash Formal, released by Monotype Corporation in 2012. David Hadash Formal is a modern digitization made from original large scale technical drawings for the typeface drawn by Ismar David. Google has worked with Monotype to release the 3 book weights (Regular, Medium and Bold) under the SIL Open Font License and create a new version for use by the public. This project includes working with the David Hadash sources to create a new version, that fits the requirements of Israeli instituions, since David is the official font for Israeli correspondence. Some glyphs were updated, such as the Sheqel symbol. It was redesigned to be recognizable by contemporary Hebrew readers, since the original Sheqel symbol is too far from today's standard. Latin characters from the Gentium typeface were derived and integrated to accommodate cases in which Latin and Hebrew characters will be used in tandem. Each font includes OpenType features required for diacritic marks (nikud) and Hebrew-specific uses, including alternative Hebrew-height numerals (available as Stylistic Set 1) an alternative \"Hebrew ampersand\" symbol designed by Ismar David (available in Stylistic Set 2) and an alternative Sheqel symbol designed by Ismar David (available in Stylistic Set 3.) Every effort was made to keep the original designs intact, and the type's original spacing is well preserved. However, several changes have been made to fit with David Libre's goal to be used as a free alternative to the David font commonly installed on PCs. In order to be compatible with documents previously set in the version of David bundled with Microsoft Windows, David Hadash's glyph size has been reduced by 12.5%. This was made to prevent cases in which documents previously typed in Microsoft's David to take up more pages and cause odd line breaks. Please note that this does not guarantee full compatibility with that David, only a close approximation. Diacritic marks have been repositioned. Biblical cantillation marks are not supported. The construction of David Libre was made by Meir Sadan, commissioned by Google for the Google Fonts project. The David Libre project is led by Meir Sadan, a type designer based in Tel Aviv, Israel. To contribute, see github.com/meirsadan/david-libre.", + "primary_script": "Hebr", + "article": null, + "minisite_url": null + }, + "Dawning of a New Day": { + "name": "Dawning of a New Day", + "designer": [ + "Kimberly Geswein" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Dawning of a New Day is based on the handwriting of a friend. The title was chosen by my friend, but also had great meaning to me. I like to think of each new day as a chance to start fresh, free from past mistakes. It is my desire that the light, fluid motions of this script mimic that hopeful feeling.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Days One": { + "name": "Days One", + "designer": [ + "Jovanny Lemonad" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Days One is an experiment, which was established in 2008 by three people: Alexander Kalachev, Ivan Gladkikh, Alexei Maslov. Letterforms are wide, and the strokes are thick. This makes Days One good for headlines. It is similar to the more Regular weight font 'Numans' also available in Google Web Fonts.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Dekko": { + "name": "Dekko", + "designer": [ + "Sorkin Type" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "handwriting" + ], + "description": "Dekko\u2019s personality is both warm and casual. It originated with Modular InfoTech's 4948, and was modified to feel more written and regular in appearance and weight. The inter-letter spacing of the design is now wider, allowing for it to be used at smaller sizes on screens. Dekko also comes with a complete set of Latin which matches the Devanagari in weight and and size, and originates with Short Stack. Both the Devanagari and the Latin are based on written forms, and their stroke contrast has thick horizontals. The pen angles traditionally associated with Devanagari has some diagonal stress, but here the Latin script uses a vertical stress. This project is led by Eben Sorkin at Sorkin Type Co, a type foundry based in Boston, USA. To contribute, visit github.com/EbenSorkin/Dekko Updated: Improvements made to OpenType shaping and vertical metrics in May 2015.", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Dela Gothic One": { + "name": "Dela Gothic One", + "designer": [ + "artakana" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "greek", + "japanese", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "DelaGothic is a flat, very thick Gothic body. Its stability and strength make it ideal for use on posters and packaging. To contribute to the project, visit github.com/syakuzen/DelaGothic", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "Delicious Handrawn": { + "name": "Delicious Handrawn", + "designer": [ + "Agung Rohmat" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Delicious Handrawn is a font inspired by Agung Rohmat's handwriting. He drew all the glyphs on his iPad using the Procreate app. It took a lot of testing to find the perfect design as he felt his handwriting was not neat. To contribute, see github.com/alphArtype/Delicious-Handrawn.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Delius": { + "name": "Delius", + "designer": [ + "Natalia Raices" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Delius is a high quality comic book lettering typeface super-family; it has several families, Delis, Delius Unicase and Delius Swash Caps. A round marker was used to define Delius's stroke: the line gets thicker at both ends to define the beginning and end of the stroke, as a marker line would do, and the ductus imitates the movements of handwriting.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Delius Swash Caps": { + "name": "Delius Swash Caps", + "designer": [ + "Natalia Raices" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Delius Swash Caps is part of a high quality comic book lettering typeface super-family. It has special uppercase letters for special uses, such as in titles and logos. It has companion families, Delius and Delius Unicase. A round marker was used to define Delius's stroke: the line gets thicker at both ends to define the beginning and end of the stroke, as a marker line would do, and the ductus imitates the movements of handwriting.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Delius Unicase": { + "name": "Delius Unicase", + "designer": [ + "Natalia Raices" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "handwriting", + "display" + ], + "description": "Delius Unicase is part of a high quality comic book lettering typeface super-family. It has mixed uppercase and lowercase letters for 'unicase' uses, such as in comic strip lettering. It has companion families, Delius and Delius Swash Caps. A round marker was used to define Delius's stroke: the line gets thicker at both ends to define the beginning and end of the stroke, as a marker line would do, and the ductus imitates the movements of handwriting.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Della Respira": { + "name": "Della Respira", + "designer": [ + "Nathan Willis" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Della Respira is a revival of the 1913 Della Robbia typeface by American Type Founders, based on T.M. Cleland\u2019s typeface of the same name. To contribute, see launchpad.net/revivalism-fonts", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Denk One": { + "name": "Denk One", + "designer": [ + "Sorkin Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Denk One is a medium contrast display sans serif. It was inspired by a hand painted German sign. It has been carefully adjusted to the restrictions of the screen. Despite having display characteristics, Denk One can be used in a wide range of sizes. Latest upgrade from February 2023 expands the Latin script language coverage. To contribute, see github.com/SorkinType/Denk-One.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Devonshire": { + "name": "Devonshire", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Devonshire is a non-connecting brush script typeface of medium weight. Its playful brush letterforms are reminiscent of old sign painter scripts, while being restricted to none of the rules of a connecting script font, allowing it to visually dance.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Dhurjati": { + "name": "Dhurjati", + "designer": [ + "Purushoth Kumar Guttula" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "telugu" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Dhurjati is a Telugu font with a square design and round corners. It has ornamental vowel marks that evoke a traditional Indian feeling and is suitable for headlines, invitations, posters and other uses at large sizes. Dhurjati is named after the Telugu poet from the court of the king Krishnadevaraya, and was one of the Astadiggajalu (literally eight legends) there. The Telugu and Latin is designed and developed by Purushoth Kumar Guttula in 2013 and made available by Silicon Andhra under the SIL Open Font License v1.1. The Dhurjati project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India. To contribute, see github.com/appajid/dhurjati", + "primary_script": "Telu", + "article": null, + "minisite_url": null + }, + "Didact Gothic": { + "name": "Didact Gothic", + "designer": [ + "Daniel Johnson", + "Cyreal" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Didact Gothic is a sans-serif font designed to present each letter in the form most often used in elementary classrooms. This makes it suitable for literacy efforts. Initially designed by Daniel Johnson, the entire font was revised by Alexei Vanyashin at Cyreal in 2017. To contribute, see github.com/ossobuffo/didact-gothic", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Diphylleia": { + "name": "Diphylleia", + "designer": [ + "Minha Hyung", + "JAMO" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "korean", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Diphylleia is a typeface based on the motif of the song \"Diphylleia grayi\" by singer Jonghyun of SHINee; designed to better convey his sentimental lyrics. The typeface was inspired by the affectionate expression of the song about how the flower becomes transparent and disappearing, and puts these impressions into the brush style strokes. Diphylleia grayi is a mysterious flower that gets transparent when the water touches its petals. To contribute, please visit github.com/JAMO-TYPEFACE/Diphylleia.", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "Diplomata": { + "name": "Diplomata", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Diplomata started several years ago when a friend in the printing industry who had an old metal typeface wanted it to be digitalized for offset printing. He brought everything the original type offered as a start, a set of upper case characters, numbers, and some punctuation marks. But what he brought in printed form was not enough to meet his needs, and letterforms that did not exist had to be created. It is a fine job to reinterpret a design, to make decisions on what already exists and also have in mind the changes needed for the new technological context where Diplomata will be used. Its style, similar to Bodoni, has a remarkable degree of horizontal expansion; a weight which indicates verticality; areas between serif and stem softened by a curve connecting them, and the light in the main stroke of each glyph is a detail that lightens up and gives prominence to Diplomata. It is a distinct typeface, ideal for composing headlines and small prestigious pieces of text. The February 2023 update features a bigger glyphset, fractions and some minor aesthetic modifications. To improve and expand the use of Diplomata, it was necessary to create small caps and a lower case, which ended up constituting this family that has two variables today. To contribute, see github.com/etunni/diplomata.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Diplomata SC": { + "name": "Diplomata SC", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Diplomata started several years ago when a friend in the printing industry who had an old metal typeface wanted it to be digitalized for offset printing. He brought everything the original type offered as a start, a set of upper case characters, numbers, and some punctuation marks. But what he brought in printed form was not enough to meet his needs, and letterforms that did not exist had to be created. It is a fine job to reinterpret a design, to make decisions on what already exists and also have in mind the changes needed for the new technological context where Diplomata will be used. Its style, similar to Bodoni, has a remarkable degree of horizontal expansion; a weight which indicates verticality; areas between serif and stem softened by a curve connecting them, and the light in the main stroke of each glyph is a detail that lightens up and gives prominence to Diplomata. It is a distinct typeface, ideal for composing headlines and small prestigious pieces of text. The February 2023 update features a bigger glyphset, fractions and some minor aesthetic modifications. To improve and expand the use of Diplomata, it was necessary to create small caps and a lower case, which ended up constituting this family that has two variables today. To contribute, see github.com/etunni/diplomata.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Do Hyeon": { + "name": "Do Hyeon", + "designer": [ + "Woowahan Brothers" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "korean", + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Do Hyeon Is a Korean and Latin font", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "Dokdo": { + "name": "Dokdo", + "designer": [ + "FONTRIX" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "korean", + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Dokdo is a Korean and Latin font.", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "Domine": { + "name": "Domine", + "designer": [ + "Impallari Type" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "From the very first steps in the design process, Domine was designed, tested and optimized for body text on the web. Harmless to the eyes when reading long texts, Domine is a perfect choice for newspapers or magazines websites, where text is the main focus. It shines at px sizes 14 and 16, and can even be used as small as 11 px. Friendly in appearance, it combines the classic elements of familiar typefaces that have been in use from more than 100 years like Clarendon, Century, Cheltenham and Clearface. The rounded letters (b, c, d, e, o, p, q) are a bit squarish on the inside. This feature opens up the counters for better rendering and also make it look a bit more up-to-date than the classic typefaces previously referenced. The serifs are a bit shorter than usual. Another feature that improves the rendering by allowing more \"air\" between each letter pair. The joins of the stems to the branches in letters like h, m, n are deep enough to prevent dark spots, also improving legibility at small sizes. The friendly lowercase 'a', with the curve starting from the bottom of the stem, is reminiscent of Cheltenham and Clearface. That soft curve is also echoed in the curves of the f, j, n, m and r. The spacing is also optimized for body text on the web, clearly more open than that of typefaces made for print or for headlines. To contribute, see github.com/googlefonts/Dominee.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Donegal One": { + "name": "Donegal One", + "designer": [ + "Gary Lonergan" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Donegal One is a text typeface designed to be highly legible and comfortable when reading on screen. The cut interior curves associated with W.A. Dwiggins are one of many features that contribute to the distinctive and pleasing character. This personality is visibile from small text sizes to large headlines.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Dongle": { + "name": "Dongle", + "designer": [ + "Yanghee Ryu" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "korean", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Dongle(\ub3d9\uae00) is a rounded sans-serif typeface for display. It is a modular Hangeul with the de-square frame, creating a playful and rhythmic movement. The name, Dongle(\ub3d9\uae00) comes from a Korean onomatopoeia, meaning 'rounded or curved shape(with adorable impression)\u2019. To contribute to the project, visit https://github.com/yangheeryu/Dongle", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "Doppio One": { + "name": "Doppio One", + "designer": [ + "Szymon Celej" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Doppio One is a robust, low-contrast sans serif typeface with a contemporary feeling. It will work well at small text sizes and large display sizes. Thes boxy style makes it especially suitable for on-screen use.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Dorsa": { + "name": "Dorsa", + "designer": [ + "Santiago Orozco" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "I always been attracted to condensed typefaces, and one of the first I came across was Empire, designed by Morris Benton Fuller for ATF in 1937. I first spotted it in an architecture book at my college's library while doing homework. Dorsa is a modern interpretation of Empire with some personal details. When I start sketching I knew it would be a little less condensed than the original Empire because I wanted it to be used for use in titles, and combined with positive letter spacing it gives an elegant look to text. Although the original hasn't got a lowercase, I studied a lot of skyline typefaces and drew a fully original lowercase. I started with lowercase \u201co\u201d, which isn't completely geometric, it is expanded to the outside, keeping the same whitespace through all weights. And this repeats all over the typeface, because the construction of all the characters was modular, based on that \u201co\u201d; the \u201cf\u201d is designed to not meet any of the diacritics; and uppercase \u201cA\u201d has a traditional form, because I think this is more legible.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Dosis": { + "name": "Dosis", + "designer": [ + "Impallari Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Dosis is a rounded sans-serif type family. It started with the Extra Light style, useful only at size 36pt or upm and the Extended Latin character set included many alternative characters, all designed by Edgar Tolentino and Pablo Impallari. Dosis was expanded into a complete set of weights in September 2011. Dosis was remastered as a variable font in 2019. To contribute updates or file issues, see https://github.com/eliheuer/dosis-vf.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "DotGothic16": { + "name": "DotGothic16", + "designer": [ + "Fontworks Inc." + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Dotgothic 16 is based on the old 16x16 Gothic bitmap font that recreates the feel of pixel fonts from old video games, cell phones and computer screens on print. With its high readability, this font has become more popular in recent years due to the growing popularity of pixel art. To contribute to the project, visit github.com/fontworks-fonts/DotGothic16", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "Doto": { + "name": "Doto", + "designer": [ + "\u00d3liver Lalan" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "Doto is a bit-map inspired, open-source, variable, monospace and geometric typeface family, designed for display purposes. Each glyph is built using a 6x10 reference matrix, and the typeface supports two variable axes: one controlling the size of the dots and another controlling the roundness of the dots. To contribute, see github.com/oliverlalan/Doto.", + "minisite_url": null + }, + "Dr Sugiyama": { + "name": "Dr Sugiyama", + "designer": [ + "Sudtipos" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "The Charles Bluemlein Script Collection is an intriguing reminder of the heady days of hand lettering and calligraphy in the United States. From the early 1930s through World War II, there were about 200 professional hand letterers working in New York City alone. This occupation saw its demise with the advent of photo lettering, and after digital typography it became virtually extinct. The odd way in which the Bluemlein scripts were assembled and created - by collecting different signatures and then building complete alphabets from them - is a fascinating calligraphic adventure. Because the set of constructed designs looked nothing like the original signatures, fictitious names were assigned to the new script typefaces. The typeface styles were then showcased in Higgins Ink catalogs. Alejandro Paul and Sudtipos bring the Bluemlein scripts back to life in a set of expanded digital versions, reflecting the demands of today\u2019s designer. Extreme care has been taken to render the original scripts authentically, keeping the fictitious names originally assigned to them by Bluemlein.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Duru Sans": { + "name": "Duru Sans", + "designer": [ + "Onur Yaz\u0131c\u0131gil" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Duru Sans is a low contrast sans serif, a classic 20th century genre. It is a new take on mixing the humanist urge with the modernist one, that manages to be elegant and a workhorse at the same time. It can be used at a wide range of sizes.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "DynaPuff": { + "name": "DynaPuff", + "designer": [ + "Toshi Omagari", + "Jennifer Daniel" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic-ext", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "Dynapuff\u2019s loveable demeanor and hand-drawn charm makes it well suited for your, \u201czomg\u2019s\u201d and \u201casdfajlskdfjalksdfjkj\u2019s\u201d. \ud83d\ude02\ud83d\ude02\ud83d\ude02\ud83d\ude02\ud83d\ude02 Dynapuff features OpenType code that alternates the vertical position of the letters to make those \u201cnoooooooooo waaaaaaay\u201ds appear hand-drawn and less like a robot texting on a typewriter. Give it a whirl in Google\u2019s keyboard (Gboard) where you can transform text messages into typographic stickers. Plain text \u201chahas\u201d are a thing of the past after you\u2019ve sent an \u201clol\u201d in Dynapuff. What Dynapuff might lack in subtlety, it makes up for it with its playful and flexible typographic energy. Designed by Toshi Omagari, this casual typeface is optimized for legibility in small text environments like stickers or candy packaging. It also manages to be large when displayed in children\u2019s books to shop signage. To contribute see github.com/googlefonts/dynapuff. Have fun making stickers with DynaPuff Create custom text stickers on Android and Pixel phones There\u2019s a new way to make stickers in Android and Pixel phones, with the DynaPuff typeface. Tired of writing \u201cGood night\u201d and \u201cHappy birthday\u201d in boring text-only messages? Perhaps you have fond memories of getting stickers when you were a kid and would like to send stickers as greetings to your friends... But it just takes too long to search for stickers on the keyboard when writing messages. You can make custom text stickers with the DynaPuff typeface on Google\u2019s keyboard, Gboard, running on Android and Pixel devices. Most recently, this project was recognized as a finalist in Fast Company\u2019s Innovation Design Awards. To read more, visit Have fun making stickers with DynaPuff.", + "minisite_url": null + }, + "Dynalight": { + "name": "Dynalight", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Dynalight is a dynamic high speed script inspired by a vintage luggage tag for the Southern Pacific 4449 Daylight steam locomotive. Loaded with curves and soft angles, this connecting script is an attention getter.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "EB Garamond": { + "name": "EB Garamond", + "designer": [ + "Georg Duffner", + "Octavio Pardo" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "EB Garamond is intended to be an excellent, classical, Garamond. It is a community project to create a revival of Claude Garamont\u2019s famous humanist typefaces from the mid-16th century. This digital version reproduces the original design by Claude Garamont closely: The source for the letterforms is a scan of a specimen known as the \u201cBerner specimen,\u201d which was composed in 1592 by Conrad Berner, the son-in-law of Christian Egenolff and his successor at the Egenolff print office. This specimen shows Garamont\u2019s roman and Granjon\u2019s italic types at different sizes. Hence the name of this project: Egenolff-Berner Garamond. Why another Garamond? That typeface is a key moment in the history of typography, and European type designers have been reacting to this work ever since. It is probably the most revived typeface in the world and many are excellent. In the world of free/libre culture, however, only a few Garamond-inspired types exist, and none share the scope of this project. In November 2019, the family has been updated to a variable font family. This project is led by Georg Duffner, and developed at github.com/georgd/EB-Garamond", + "primary_script": null, + "article": null, + "minisite_url": "https://googlefonts.github.io/ebgaramond-specimen/" + }, + "Eagle Lake": { + "name": "Eagle Lake", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "The Eagle Lake typeface is a calligraphic lettering style based on the practical Running Book Hand. It has shorter capitals that create a visually taller x-height lending to high legibility and fluidity.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "East Sea Dokdo": { + "name": "East Sea Dokdo", + "designer": [ + "YoonDesign Inc" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "korean", + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "East Sea Dokdo is a Korean and Latin font", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "Eater": { + "name": "Eater", + "designer": [ + "Typomondo" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Eater is a display font infected by the darkest of rare disease that slowly spreads at night while the webfont user sleeps.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Economica": { + "name": "Economica", + "designer": [ + "Vicente Lam\u00f3naca" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Economica is the first digital typeface created in Montevideo, Uruguay, to be distributed internationally. The development of the typeface took most of 2007 and received the assistance of type design colleagues from all over Latin America. Economica has four basic styles: Regular, Bold, Italic and Bold Italic. It includes a comprehensive character set that lets you work with diverse European languages. This typeface family was designed for the output of inkjet printers. It was inspired by the concept of saving space in publishing texts without loss of height. This means it is a very condensed type. The visual advantage of Econ\u0097omica is that accomplishes this horizontal compression while keeping a strong personality. It is not a typical, neutral, sans serif. The open forms and tendency towards flattened curves allow it to be used in very small spaces while retaining high legibility. To contribute to the project contact Vicente Lam\u00f3naca.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Eczar": { + "name": "Eczar", + "designer": [ + "Rosetta", + "Vaibhav Singh" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "devanagari", + "greek", + "greek-ext", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Eczar started as a student project in 2010\u201311 during Vaibhav Singh\u2019s MA studies in Typeface Design at the University of Reading. Eczar was designed to bring liveliness and vigor to multi-script typesetting in Latin and Devanagari \u2013 with the intention of providing an alternative to existing designs by imparting a strong mix of personality and performance, both at text sizes and in display settings. The family offers a wide expressive range and the display qualities of the design intensify with corresponding increase in weight, making the heaviest weights best suited for headlines and display purposes. To contribute, see github.com/rosettatype/eczar.", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Edu AU VIC WA NT Arrows": { + "name": "Edu AU VIC WA NT Arrows", + "designer": [ + "Tina Anderson", + "Corey Anderson" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "The AU School Handwriting Fonts are an English language, OpenType, variable typeface family designed specifically to meet Australian Education standards. While weights, widths and optical sizes were carefully crafted to work well in an Australian classroom environment, they are just as comfortable to read and work with in the home environment. This font represents the forms used in Victoria, Western Australia and the Northern Territory. To contribute, see github.com/SorkinType/VICWANTSchoolhandAustralia.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Edu AU VIC WA NT Dots": { + "name": "Edu AU VIC WA NT Dots", + "designer": [ + "Tina Anderson", + "Corey Anderson" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "The AU School Handwriting Fonts are an English language, OpenType, variable typeface family designed specifically to meet Australian Education standards. While weights, widths and optical sizes were carefully crafted to work well in an Australian classroom environment, they are just as comfortable to read and work with in the home environment. This font represents the forms used in Victoria, Western Australia and the Northern Territory. To contribute, see github.com/SorkinType/VICWANTSchoolhandAustralia.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Edu AU VIC WA NT Guides": { + "name": "Edu AU VIC WA NT Guides", + "designer": [ + "Tina Anderson", + "Corey Anderson" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "The AU School Handwriting Fonts are an English language, OpenType, variable typeface family designed specifically to meet Australian Education standards. While weights, widths and optical sizes were carefully crafted to work well in an Australian classroom environment, they are just as comfortable to read and work with in the home environment. This font represents the forms used in Victoria, Western Australia and the Northern Territory. To contribute, see github.com/SorkinType/VICWANTSchoolhandAustralia.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Edu AU VIC WA NT Hand": { + "name": "Edu AU VIC WA NT Hand", + "designer": [ + "Tina Anderson", + "Corey Anderson" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "handwriting" + ], + "description": "The AU School handwriting Fonts are an English language, OpenType, variable typeface family designed specifically to meet Australian Education standards. While weights, widths and optical sizes were carefully crafted to work well in an Australian classroom environment, they are just as comfortable to read and work with in the home environment. This font represents the forms used in Victoria, Western Australia and the Northern Territory. To contribute, see github.com/SorkinType/VICWANTSchoolhandAustralia.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Edu AU VIC WA NT Pre": { + "name": "Edu AU VIC WA NT Pre", + "designer": [ + "Tina Anderson", + "Corey Anderson" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "The AU School Handwriting Fonts are an English language, OpenType, variable typeface family designed specifically to meet Australian Education standards. While weights, widths and optical sizes were carefully crafted to work well in an Australian classroom environment, they are just as comfortable to read and work with in the home environment. This font represents the forms used in Victoria, Western Australia and the Northern Territory. To contribute, see github.com/SorkinType/VICWANTSchoolhandAustralia.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Edu NSW ACT Cursive": { + "name": "Edu NSW ACT Cursive", + "designer": [ + "Tina Anderson", + "Corey Anderson" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "The AU School Handwriting Fonts are an English language, OpenType, variable typeface family designed specifically to meet Australian Education standards. While weights, widths and optical sizes were carefully crafted to work well in an Australian classroom environment, they are just as comfortable to read and work with in the home environment. This font represents the forms used in New South Wales an the Australian Capital Territory. To contribute, see github.com/SorkinType/VICWANTSchoolHandAustralia.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Edu NSW ACT Foundation": { + "name": "Edu NSW ACT Foundation", + "designer": [ + "Tina Anderson", + "Corey Anderson" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "The Foundation Fonts for Australian Schools collection is a set of handwriting fonts designed specifically to meet Australian Education standards. While weights, widths and optical sizes were carefully crafted to work well in an Australian classroom environment, they are just as comfortable to read and work with in the home environment. Each Australian state teaches different handwriting styles in lower primary school (although some states do share the same style). There are essentially three stages involved with each state's styles: The foundational stage involves learning basic letter formation. The transitional stage adds joining ligatures to some letters. The cursive stage joins almost all letters (with some exceptions). The NSW ACT School Fonts include both: New South Wales Foundation Print - a simple sloped print for early primary school. New South Wales Foundation Cursive - transitional joining letter alternates (pre-cursive stage). Students in New South Wales and Australian Capital Territory learn Foundation Print from years 1 to 2 and Beginner Cursive from year 3. Google Workspace users are provided standard versions online, however they may download or build the complete OpenType versions from GitHub for local installations. To download the full version, or to contribute, see github.com/MezMerrit/AU-School-Handwriting-Fonts. The handwriting fonts that help Australian students learn how to read and write are now available in Google Workspace Google for Education Australia and Google Fonts partnered to make Foundation Fonts for Australian Schools available on Google Workspace, including Google Workspace for Education. The fonts are also available for download from the Google Fonts website. Australian teachers are required to use state-mandated handwriting styles to teach reading and writing to school children from ages four to nine. Designed by Tina and Corey Anderson, the five Foundation Fonts exemplify proper handwriting for English and other languages using the Latin writing system, and include common math symbols. The regular weight of each font imitates the pencil thickness of handwriting, making the fonts easy for students to recognize as they learn how to write letter shapes. The availability of these fonts on Google Docs, Sheets, and Slides is also important for the adoption of Chromebooks and Google Workspace for Education in Australian schools. To read more, visit The handwriting fonts that help Australian students learn how to read and write are now available in Google Workspace", + "minisite_url": null + }, + "Edu NSW ACT Hand": { + "name": "Edu NSW ACT Hand", + "designer": [ + "Tina Anderson", + "Corey Anderson" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "The AU School Handwriting Fonts are an English language, OpenType, variable typeface family designed specifically to meet Australian Education standards. While weights, widths and optical sizes were carefully crafted to work well in an Australian classroom environment, they are just as comfortable to read and work with in the home environment. This font represents the forms used in New South Wales an the Australian Capital Territory. To contribute, see github.com/SorkinType/NSWACTSchoolHandAustralia.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Edu NSW ACT Hand Pre": { + "name": "Edu NSW ACT Hand Pre", + "designer": [ + "Tina Anderson", + "Corey Anderson" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "The AU School Handwriting Fonts are an English language, OpenType, variable typeface family designed specifically to meet Australian Education standards. While weights, widths and optical sizes were carefully crafted to work well in an Australian classroom environment, they are just as comfortable to read and work with in the home environment. This font represents the forms used in New South Wales an the Australian Capital Territory. To contribute, see github.com/SorkinType/VICWANTSchoolHandAustralia.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Edu QLD Beginner": { + "name": "Edu QLD Beginner", + "designer": [ + "Tina Anderson", + "Corey Anderson" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "The Foundation Fonts for Australian Schools collection is a set of handwriting fonts designed specifically to meet Australian Education standards. While weights, widths and optical sizes were carefully crafted to work well in an Australian classroom environment, they are just as comfortable to read and work with in the home environment. Each Australian state teaches different handwriting styles in lower primary school (although some states do share the same style). There are essentially three stages involved with each state's styles: The foundational stage involves learning basic letter formation. The transitional stage adds joining ligatures to some letters. The cursive stage joins almost all letters (with some exceptions). The QLD School Fonts include both: Queensland Beginners Alphabet - a simple sloped print for early primary school. Queensland Beginners Cursive - transitional joining letter alternates (pre-cursive stage). Students in Queensland learn QBeginners from years 1 to 3 and QCursive from year 4. Google Workspace users are provided standard versions online, however they may download or build the complete OpenType versions from GitHub for local installations. To download the full version, or to contribute, see github.com/MezMerrit/AU-School-Handwriting-Fonts. The handwriting fonts that help Australian students learn how to read and write are now available in Google Workspace Google for Education Australia and Google Fonts partnered to make Foundation Fonts for Australian Schools available on Google Workspace, including Google Workspace for Education. The fonts are also available for download from the Google Fonts website. Australian teachers are required to use state-mandated handwriting styles to teach reading and writing to school children from ages four to nine. Designed by Tina and Corey Anderson, the five Foundation Fonts exemplify proper handwriting for English and other languages using the Latin writing system, and include common math symbols. The regular weight of each font imitates the pencil thickness of handwriting, making the fonts easy for students to recognize as they learn how to write letter shapes. The availability of these fonts on Google Docs, Sheets, and Slides is also important for the adoption of Chromebooks and Google Workspace for Education in Australian schools. To read more, visit The handwriting fonts that help Australian students learn how to read and write are now available in Google Workspace", + "minisite_url": null + }, + "Edu QLD Hand": { + "name": "Edu QLD Hand", + "designer": [ + "Tina Anderson", + "Corey Anderson" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "The AU School Handwriting Fonts are an English language, OpenType, variable typeface family designed specifically to meet Australian Education standards. While weights, widths and optical sizes were carefully crafted to work well in an Australian classroom environment, they are just as comfortable to read and work with in the home environment. This font represents the forms used in Queensland. To contribute, see github.com/SorkinType/QLDSchoolHandAustralia.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Edu SA Beginner": { + "name": "Edu SA Beginner", + "designer": [ + "Tina Anderson", + "Corey Anderson" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "The Foundation Fonts for Australian Schools collection is a set of handwriting fonts designed specifically to meet Australian Education standards. While weights, widths and optical sizes were carefully crafted to work well in an Australian classroom environment, they are just as comfortable to read and work with in the home environment. Each Australian state teaches different handwriting styles in lower primary school (although some states do share the same style). There are essentially three stages involved with each state's styles: The foundational stage involves learning basic letter formation. The transitional stage adds joining ligatures to some letters. The cursive stage joins almost all letters (with some exceptions). The SA School Fonts include: South Australia Beginner Alphabet - a simple sloped print for early primary school. Students in South Australia learn the Beginners Alphabet from years 1 and 2, moving on to Pre-Cursive from year 3. Google Workspace users are provided standard versions online, however they may download or build the complete OpenType versions from GitHub for local installations. To download the full version, or to contribute, see github.com/MezMerrit/AU-School-Handwriting-Fonts. The handwriting fonts that help Australian students learn how to read and write are now available in Google Workspace Google for Education Australia and Google Fonts partnered to make Foundation Fonts for Australian Schools available on Google Workspace, including Google Workspace for Education. The fonts are also available for download from the Google Fonts website. Australian teachers are required to use state-mandated handwriting styles to teach reading and writing to school children from ages four to nine. Designed by Tina and Corey Anderson, the five Foundation Fonts exemplify proper handwriting for English and other languages using the Latin writing system, and include common math symbols. The regular weight of each font imitates the pencil thickness of handwriting, making the fonts easy for students to recognize as they learn how to write letter shapes. The availability of these fonts on Google Docs, Sheets, and Slides is also important for the adoption of Chromebooks and Google Workspace for Education in Australian schools. To read more, visit The handwriting fonts that help Australian students learn how to read and write are now available in Google Workspace", + "minisite_url": null + }, + "Edu SA Hand": { + "name": "Edu SA Hand", + "designer": [ + "Tina Anderson", + "Corey Anderson" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "The AU School Handwriting Fonts are an English language, OpenType, variable typeface family designed specifically to meet Australian Education standards. While weights, widths and optical sizes were carefully crafted to work well in an Australian classroom environment, they are just as comfortable to read and work with in the home environment. This font represents the forms used in South Australia. To contribute, see github.com/SorkinType/SASchoolHandAustralia.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Edu TAS Beginner": { + "name": "Edu TAS Beginner", + "designer": [ + "Tina Anderson", + "Corey Anderson" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "The Foundation Fonts for Australian Schools collection is a set of handwriting fonts designed specifically to meet Australian Education standards. While weights, widths and optical sizes were carefully crafted to work well in an Australian classroom environment, they are just as comfortable to read and work with in the home environment. Each Australian state teaches different handwriting styles in lower primary school (although some states do share the same style). There are essentially three stages involved with each state's styles: The foundational stage involves learning basic letter formation. The transitional stage adds joining ligatures to some letters. The cursive stage joins almost all letters (with some exceptions). The TAS School Fonts include: Tasmania Beginners Alphabet - a simple sloped print for early primary school. Students in Tasmania learn the Beginners Alphabet from years 1 and 2, moving on to Pre-Cursive from year 3. Google Workspace users are provided standard versions online, however they may download or build the complete OpenType versions from GitHub for local installations. To download the full version, or to contribute, see github.com/MezMerrit/AU-School-Handwriting-Fonts. The handwriting fonts that help Australian students learn how to read and write are now available in Google Workspace Google for Education Australia and Google Fonts partnered to make Foundation Fonts for Australian Schools available on Google Workspace, including Google Workspace for Education. The fonts are also available for download from the Google Fonts website. Australian teachers are required to use state-mandated handwriting styles to teach reading and writing to school children from ages four to nine. Designed by Tina and Corey Anderson, the five Foundation Fonts exemplify proper handwriting for English and other languages using the Latin writing system, and include common math symbols. The regular weight of each font imitates the pencil thickness of handwriting, making the fonts easy for students to recognize as they learn how to write letter shapes. The availability of these fonts on Google Docs, Sheets, and Slides is also important for the adoption of Chromebooks and Google Workspace for Education in Australian schools. To read more, visit The handwriting fonts that help Australian students learn how to read and write are now available in Google Workspace", + "minisite_url": null + }, + "Edu VIC WA NT Beginner": { + "name": "Edu VIC WA NT Beginner", + "designer": [ + "Tina Anderson", + "Corey Anderson" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "The Foundation Fonts for Australian Schools collection is a set of handwriting fonts designed specifically to meet Australian Education standards. While weights, widths and optical sizes were carefully crafted to work well in an Australian classroom environment, they are just as comfortable to read and work with in the home environment. Each Australian state teaches different handwriting styles in lower primary school (although some states do share the same style). There are essentially three stages involved with each state's styles: The foundational stage involves learning basic letter formation. The transitional stage adds joining ligatures to some letters. The cursive stage joins almost all letters (with some exceptions). The VIC WA NT School Fonts include: Victoria, Western Australia and Northern Territory Label Print Alphabet - a simple sloped print for early primary school. Students in Victoria, Western Australia and Northern Territory learn Label Print from years 1 to 3 and Infant Cursive from year 4. Google Workspace users are provided standard versions online, however they may download or build the complete OpenType versions from GitHub for local installations. To download the full version, or to contribute, see github.com/MezMerrit/AU-School-Handwriting-Fonts. The handwriting fonts that help Australian students learn how to read and write are now available in Google Workspace Google for Education Australia and Google Fonts partnered to make Foundation Fonts for Australian Schools available on Google Workspace, including Google Workspace for Education. The fonts are also available for download from the Google Fonts website. Australian teachers are required to use state-mandated handwriting styles to teach reading and writing to school children from ages four to nine. Designed by Tina and Corey Anderson, the five Foundation Fonts exemplify proper handwriting for English and other languages using the Latin writing system, and include common math symbols. The regular weight of each font imitates the pencil thickness of handwriting, making the fonts easy for students to recognize as they learn how to write letter shapes. The availability of these fonts on Google Docs, Sheets, and Slides is also important for the adoption of Chromebooks and Google Workspace for Education in Australian schools. To read more, visit The handwriting fonts that help Australian students learn how to read and write are now available in Google Workspace", + "minisite_url": null + }, + "Edu VIC WA NT Hand": { + "name": "Edu VIC WA NT Hand", + "designer": [ + "Tina Anderson", + "Corey Anderson" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "The AU School Handwriting Fonts are an English language, OpenType, variable typeface family designed specifically to meet Australian Education standards. While weights, widths and optical sizes were carefully crafted to work well in an Australian classroom environment, they are just as comfortable to read and work with in the home environment. This font represents the forms used in Victoria, Western Australia and the Northern Territory. To contribute, see github.com/SorkinType/VICWANTSchoolHandAustralia.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Edu VIC WA NT Hand Pre": { + "name": "Edu VIC WA NT Hand Pre", + "designer": [ + "Tina Anderson", + "Corey Anderson" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "The AU School Handwriting Fonts are an English language, OpenType, variable typeface family designed specifically to meet Australian Education standards. While weights, widths and optical sizes were carefully crafted to work well in an Australian classroom environment, they are just as comfortable to read and work with in the home environment. This font represents the forms used in Victoria, Western Australia and the Northern Territory. To contribute, see github.com/SorkinType/VICWANTSchoolHandAustralia.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "El Messiri": { + "name": "El Messiri", + "designer": [ + "Mohamed Gaber", + "Jovanny Lemonad" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "arabic", + "cyrillic", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "El Messiri is a modern Arabic typeface family designed by Mohamed Gaber (Arabic) that began with Jovanny Lemonad's Latin and Cyrillic typeface Philosopher. The Arabic started with the concept of a curvy Arabic typeface inspired by the beauty of Naskh and drawn as if with a brush instead of the traditional bamboo pen. The idea took form with wide counters that improve readability at smaller text sizes, and has subtle details that make it a great display face at larger sizes. El Messiri current comes in 4 weights (Light, Regular, SemiBold and Bold) and the Arabic component has a wide glyph set that supports the Arabic, Farsi and Urdu languages. The font has been upgraded to a variable font with a weight axis (Regular to Bold) in August 2021. To contribute, see github.com/Gue3bara/El-Messiri", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Electrolize": { + "name": "Electrolize", + "designer": [ + "Gaslight" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Lettering in a Russian commuter train inspired designer Valery Zaveryaev to create the Electrolize typeface with an accurate techno character. It came out solid enought to work well in any size from body copy to headlines. Electrolize can be best described as a squarish geometric typeface with humanistic proportions. It has an accurate techno character, holds the baseline well because of its rectangular modular-based construction. At display sizes its detailing in terminals become noticeable. It is optimized for screen, and will work well in print thank to its simple and straight outlines.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Elsie": { + "name": "Elsie", + "designer": [ + "Alejandro Inler" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Elsie is inspired by feminine energy. This new typeface was created to celebrate the world of women, glamour and fashion. It combines the strength of Bodoni with the softness of italics. Sensitive, attractive, full of personality, innovative and subtle with both classic and new design features. I aimed to add expressive features to the letters, providing nuances that make this a unique vision of Bodoni type. It provides an option to the type which readers often encounter. The font was developed by Alejandro Inler in conjunction with Ana Sanfelippo. There are two Elsie families, this Regular family and a Swash Caps family, each with a regular weight and a black weight suitable for large display usage.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Elsie Swash Caps": { + "name": "Elsie Swash Caps", + "designer": [ + "Alejandro Inler" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Elsie is inspired by feminine energy. This new typeface was created to celebrate the world of women, glamour and fashion. It combines the strength of Bodoni with the softness of italics. Sensitive, attractive, full of personality, innovative and subtle with both classic and new design features. I aimed to add expressive features to the letters, providing nuances that make this a unique vision of Bodoni type. It provides an option to the type which readers often encounter. The font was developed by Alejandro Inler in conjunction with Ana Sanfelippo. There are two Elsie families, a Regular family and this Swash Caps family, each with a regular weight and a black weight suitable for large display usage.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Emblema One": { + "name": "Emblema One", + "designer": [ + "Riccardo De Franceschi" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Emblema One is inspired by UK Victorian era bold italic display type. It breaks from tradition by using a stenciled kind of construction. The stencil style too is atypical and gives the font its distinctive feeling. Emblema One has been made for display purposes and should be used from medium to large sizes.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Emilys Candy": { + "name": "Emilys Candy", + "designer": [ + "Neapolitan" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Sweet Emily got a quarter from her grandpa for being such a good girl! She took a walk downtown to the local dimestore for some penny candy and loaded up a heaping sackful she'd love to share with you! Enjoy! Designed by Crystal Kluge of Neapolitan (a DBA of Font Diner, Inc.) To contribute to the project, contact Font Diner.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Encode Sans": { + "name": "Encode Sans", + "designer": [ + "Impallari Type", + "Andres Torresi", + "Jacques Le Bailly" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Encode Sans is a versatile workhorse sans-serif superfamily ready for all kinds of typographic challenges, offering a unique blend of warmth and practicality. Its humanist aspects of simple letterforms and open apertures keep it crisp and legible, while its geometric approach of rounded letters with partially-straightened sides delivers a friendly but precise tone. It includes 5 widths from Condensed to Expanded, each with 9 weights from Light to Black. To simplify the use of smallcaps in word processors, there are also small-cap versions of each family. This project was initially designed by Pablo Impallari and Andres Torresi, refined by Jacques Le Bailly, and upgraded as a variable font by Stephen Nixon and Marc Foley. To contribute, see github.com/thundernixon/Encode-Sans", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Encode Sans Condensed": { + "name": "Encode Sans Condensed", + "designer": [ + "Impallari Type", + "Andres Torresi", + "Jacques Le Bailly" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Encode Sans is a versatile workhorse sans serif design, featuring a huge range of weights and widths, ready for all kind of typographic challenges. This is the Condensed family, which is part of the superfamily along with Normal, Semi Condensed, Semi Expanded, and Expanded families, each with 9 weights. This project is led by Impallari Type, a foundry based in Rosario, Argentina. It was initially designed by Pablo Impallari and Andres Torresi. To contribute, see github.com/impallari/Encode-Sans", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Encode Sans Expanded": { + "name": "Encode Sans Expanded", + "designer": [ + "Impallari Type", + "Andres Torresi", + "Jacques Le Bailly" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Encode Sans is a versatile workhorse sans serif design, featuring a huge range of weights and widths, ready for all kind of typographic challenges. This is the Expanded family, which is part of the superfamily along with Normal, Condensed, Semi Condensed, and Semi Expanded, families, each with 9 weights. This project is led by Impallari Type, a foundry based in Rosario, Argentina. It was initially designed by Pablo Impallari and Andres Torresi. To contribute, see github.com/impallari/Encode-Sans", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Encode Sans SC": { + "name": "Encode Sans SC", + "designer": [ + "Impallari Type", + "Andres Torresi", + "Jacques Le Bailly" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Encode Sans is a versatile workhorse sans-serif superfamily ready for all kinds of typographic challenges, offering a unique blend of warmth and practicality. Its humanist aspects of simple letterforms and open apertures keep it crisp and legible, while its geometric approach of rounded letters with partially-straightened sides delivers a friendly but precise tone. It includes 5 widths from Condensed to Expanded, each with 9 weights from Light to Black. To simplify the use of smallcaps in word processors, there are also small-cap versions of each family. This project was initially designed by Pablo Impallari and Andres Torresi, refined by Jacques Le Bailly, and upgraded as a variable font by Stephen Nixon and Marc Foley. To contribute, see github.com/thundernixon/Encode-Sans", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Encode Sans Semi Condensed": { + "name": "Encode Sans Semi Condensed", + "designer": [ + "Impallari Type", + "Andres Torresi", + "Jacques Le Bailly" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Encode Sans is a versatile workhorse sans serif design, featuring a huge range of weights and widths, ready for all kind of typographic challenges. This is the Semi Condensed family, which is part of the superfamily along with Normal, Condensed, Semi Expanded, and Expanded families, each with 9 weights. This project is led by Impallari Type, a foundry based in Rosario, Argentina. It was initially designed by Pablo Impallari and Andres Torresi. To contribute, see github.com/impallari/Encode-Sans", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Encode Sans Semi Expanded": { + "name": "Encode Sans Semi Expanded", + "designer": [ + "Impallari Type", + "Andres Torresi", + "Jacques Le Bailly" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Encode Sans is a versatile workhorse sans serif design, featuring a huge range of weights and widths, ready for all kind of typographic challenges. This is the Semi Expanded family, which is part of the superfamily along with Normal, Condensed, Semi Condensed, and Expanded families, each with 9 weights. This project is led by Impallari Type, a foundry based in Rosario, Argentina. It was initially designed by Pablo Impallari and Andres Torresi. To contribute, see github.com/impallari/Encode-Sans", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Engagement": { + "name": "Engagement", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Semi-formal with a steady hand and soft contours, Engagement is a brush script that dances a line between vintage and modern flair.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Englebert": { + "name": "Englebert", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display", + "handwriting" + ], + "description": "Englebert draws inspiration from the title screen of the 1930's film titled Der blue Engel, starring Marlene Dietrich. It is casual and playful in a mild manner, yet striking enough to catch the eye. To contribute, see github.com/librefonts/englebert.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Enriqueta": { + "name": "Enriqueta", + "designer": [ + "FontFuror" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Enriqueta is a serif typeface designed to meet the technical demands of silkscreen printing. Since that is a grid system, this makes it an excellent candidate for digital display applications too since they are built in pixels. Its a slab serif type with clear, direct and not so subtle features, that was conceived as a hybrid that takes from the Egyptian style some robustness and strong serifs, and from Roman fonts the proportions and soft humanist tones, resulting in a harmonic and legible typeface for texts. Enriqueta was selected to be exhibit at Tipos Latinos 2010, fourth Latin-american tipography biennial and to be part of the German editorial project Typodarium 2012.In July 2019, the family was updated to include Medium and SemiBold styles.To contribute, see github.com/vv-monsalve/Enriqueta_2019.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ephesis": { + "name": "Ephesis", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Ephesis is a contemporary script great for casual invitations, cards, tubes, scrapbooking. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/ephesis.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Epilogue": { + "name": "Epilogue", + "designer": [ + "Tyler Finck", + "ETC" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Epilogue is a sans serif variable font with a weight axis. 9 weights, upright and italic. It supports a wide range of languages in the latin script scope. The Epilogue project is led by Tyler Finck \u2014 type designer running Etcetera Type Co in Ithaca, New-York, USA. To contribute, see github.com/Etcetera-Type-Co/Epilogue", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Epunda Sans": { + "name": "Epunda Sans", + "designer": [ + "Typofactur" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Epunda Sans is a simple sans serif font. Its characteristic features are its slanted indentations. It is an unadorned but friendly font that remains easy to read even at small font sizes and on screens thanks to its high x-height and large interior spaces. Epunda Sans was originally designed by Simon Atzbach in 2007, based on the completely symmetric Epunda. In 2022 it was redesigned as a variable font. The variable font has a weight axis that ranges from Light (300) to Black (900). To contribute, see github.com/typofactur/epundasans.", + "minisite_url": null + }, + "Erica One": { + "name": "Erica One", + "designer": [ + "Miguel Hernandez" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Erica is a voluptuous contemporary tribute to the sans serif work of Eric Gill that is mixed with the painter Botero.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Esteban": { + "name": "Esteban", + "designer": [ + "Ang\u00e9lica D\u00edaz" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Esteban is a typeface intended to be used in texts, specially literature and poetry. Its a serif font with medium contrast, tall x height, medium compression, and robust serifs. It offers personality, readability and economy. One of the most important features of Esteban is its stroke, that loses or gains weight in the stems. This feature was defined from the manuscripts of Jorge Alfredo D\u00edaz Esteban, a writer who used a tool that can generate modulated strokes. This means the stroke width varies due to the pressure of the pen on the paper, and this quality allows the font to have a presence on the page that makes texts more dynamic. The precise level of contrast was decided by experimenting with various 'colors' of density that emerge in text settings. This allows Esteban to achieve good performance even in medium and low quality prints and as a web font.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Estonia": { + "name": "Estonia", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Estonia is based on the calligraphic style found in the east European country of Estonia. The swash stylistic sets are designed to be used in conjunction with the regular version. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/estonia.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Euphoria Script": { + "name": "Euphoria Script", + "designer": [ + "Sabrina Mariela Lopez" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Euphoria Script is an informal script type. It began with letterform sketches made by hand with a copperplate nib, which were redrawn digitally with the stroke endings of a brush script. This makes the type seem playful, which is important in casual scripts. It has very fast curves, thanks to the slight slant angle, but it remains highly legible. It will be perfect for titles and short phrases in branding, magazines, content about food, fashion, music - anything which is as lively as the font itself.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ewert": { + "name": "Ewert", + "designer": [ + "Johan Kallas", + "Mihkel Virkus" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Ewert is slab serif wood type inspired by and loosely based on the collection of cultural infographic maps by Estonian graphic artist Olev Soans. Ewert has been higly simplified for screen usage yet still includes the characteristic \"ornamental leg\" of the letterform. Ewert was designed by Johan Kallas and Mihkel Virkus.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Exile": { + "name": "Exile", + "designer": [ + "Bart\u0142omiej R\u00f3zga" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "Exile is a display stencil font inspired by music and iconic logo of The Rolling Stones. The author saw it as a great challenge to design custom fonts for bands as a personal project. Their idea was to create a stencil typeface due to its practicality. It needed to be bold and loud, without compromising on design &emdash; making an all-caps approach essential. The contrast between swashy, soft, tongue-like elements and sharp, heavy slab serifs gave it the unique look the author envisioned. Its name was inspired by one of the author\u2019s favorite Rolling Stones albums, Exile on Main St. To contribute, please see github.com/rozgatype/Exile.", + "minisite_url": null + }, + "Exo": { + "name": "Exo", + "designer": [ + "Natanael Gama", + "Robin Mientjes" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Exo is a contemporary geometric sans serif typeface that tries to convey a technological/futuristic feeling while keeping an elegant design. Exo was meant to be a very versatile font, so it has 9 weights (the maximum on the web) each with a true italic version. It works great as a display face but it also works good for small to intermediate size texts. Update December 2013: Exo was completely redrawn and published as Exo 2, with a more organic look that will perform much better at small text sizes and in long texts. Update April 2020: The family has been updated to a variable font family. To contribute, see github.com/NDISCOVER/Exo-1.0.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Exo 2": { + "name": "Exo 2", + "designer": [ + "Natanael Gama" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Exo 2 is a complete redrawing of Exo, a contemporary geometric sans serif typeface that tries to convey a technological/futuristic feeling while keeping an elegant design. Exo is a very versatile font, so it has 9 weights (the maximum on the web) and each with a true italic version. Exo 2 has a more organic look that will perform much better at small text sizes and in long texts. In March 2020, the family has been updated to a variable font family. To contribute, see github.com/googlefonts/Exo-2.0.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Expletus Sans": { + "name": "Expletus Sans", + "designer": [ + "Designtown" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "Expletus Sans is a display typeface, which means that it is not recommended for long pieces of text. However, it's very effective for setting headers and other large sized text, due to it's way of pulling in the reader. It comes in 4 weights and will include italics from May 2011. Expletus Sans has been upgraded to a variable font in November 2021. Line spacing has also been adjusted to improve user experience. To contribute, see github.com/googlefonts/Expletus-Sans. Jasper de Waard, born in 1996, first came in contact with the beauty of type design when he was 10, and developed his skills as a type and graphic designer ever since. He was born and raised in Rotterdam, the Netherlands, and went to a bilingual high school there, training him to read and write English fluently and have a more international focus. He is currently in his third year, three years before his exam. He hopes to continue his practices in the fields of type and graphic design after he finishes school and release many more typefaces in the future. His love for the tiny details, balance in proportions and urge for perfection made him into what he is today. However, the great support and feedback from people on several forums can't be denied as a great source of inspiration and evaluation material, giving him a greater understanding of the method behind type design. He is also available for custom type work and identity design. To learn more, visit Introducing Expletus Sans.", + "minisite_url": null + }, + "Explora": { + "name": "Explora", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "cherokee", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Explora is a beautiful calligraphic typeface with swash forms. Its light and delicate strokes contribute to its elegance. In addition, it features one of the few fonts that contains the entire Cherokee Nation language glyphs. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/explora.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Faculty Glyphic": { + "name": "Faculty Glyphic", + "designer": [ + "Koto Studio" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Latn", + "article": "Faculty Glyphic is a typeface that captures the essence of Faculty, a global leader in applied AI. Designed at Koto London in 2024, it reflects London\u2019s rich history and innovative legacy in computing, drawing inspiration from carved typography and the works of Berthold Wolpe and Edward Johnston. This typeface is a modern tribute to Wolpe's iconic Albertus, which appears on the street signs of the City of London, becoming a defining symbol of the City\u2019s identity after World War II. By marrying timeless design with contemporary digital optimization, Faculty Glyphic pays homage to its home city while seamlessly merging tradition and modernity. To contribute, see github.com/DylanYoungKoto/FacultyGlyphic.", + "minisite_url": null + }, + "Fahkwang": { + "name": "Fahkwang", + "designer": [ + "Cadson Demak" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "thai", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Fahkwang is a Thai and Latin san serif family which features a high contrast. It has been inspired by headlines in old Thai newspapers.", + "primary_script": "Thai", + "article": null, + "minisite_url": null + }, + "Familjen Grotesk": { + "name": "Familjen Grotesk", + "designer": [ + "Familjen STHLM AB" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Familjen Grotesk is a sans serif typeface with a contemporary appearance intended for both text and display. Large notches known as \"ink traps\" add style to headlines and clarity to small size text. The large x-height, closed apertures and sturdy upper-case letters relate to the grotesque subgenre of sans serifs. To contribute, see github.com/Familjen-Sthlm/Familjen-Grotesk.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Fanwood Text": { + "name": "Fanwood Text", + "designer": [ + "Barry Schwartz" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Fanwood Text is a revival of Fairfield, the typeface first published in 1940 and designed by Rudolph Ruzicka, a famous Czech-American type designer. The roman and italic are slightly darker and reduced in contrast than the original; this was tailored for increased readability on the Amazon Kindle 3 e-book reader hardware. To learn more, see bitbucket.org/sortsmill/sortsmill-fonts and the theleagueofmoveabletype.com/fanwood", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Farro": { + "name": "Farro", + "designer": [ + "Grayscale" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Farro is an artsy, four-weighted, display typeface that has a peculiar personality flowing through its European humanist silhouette. To contribute, see github.com/grayscaleltd/farro>.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Farsan": { + "name": "Farsan", + "designer": [ + "Pooja Saxena" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "gujarati", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "handwriting" + ], + "description": "Farsan is a single-weight typeface that supports the Gujarati and Latin scripts. The Farsan project is led by Pooja Saxena, a type designer based in Bangalore, India. To contribute, see github.com/anexasajoop/farsan", + "primary_script": "Gujr", + "article": null, + "minisite_url": null + }, + "Fascinate": { + "name": "Fascinate", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Fascinate and Fascinate Inline are nods to Art Deco yesteryear and typefaces like Broadway, yet they have an exaggerated x-height and softness that give them a friendly yet sophisticated vibe. Even with their high contrast weighting, the Fascinate family is cleanly legible at small sizes, although the Inline version is better visible at larger display sizes.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Fascinate Inline": { + "name": "Fascinate Inline", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Fascinate and Fascinate Inline are nods to Art Deco yesteryear and typefaces like Broadway, yet they have an exaggerated x-height and softness that give them a friendly yet sophisticated vibe. Even with their high contrast weighting, the Fascinate family is cleanly legible at small sizes, although the Inline version is better visible at larger display sizes.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Faster One": { + "name": "Faster One", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Faster One was developed from a sans serif italics. In order to create an impression of velocity, the horizontal and gradual lines generate the idea of the image of the wind. Ideal for writing headlines where efficiency and speed are priorities. Updated September 2015: Internal metadata corrected. The February 2023 update features a bigger glyphset, fractions and some minor aesthetic modifications. To contribute, see github.com/etunni/faster.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Fasthand": { + "name": "Fasthand", + "designer": [ + "Danh Hong", + "Neapolitan" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "khmer", + "latin" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Fasthand is a Khmer font for body text. The Khmer design is inspired by a popular style of Khmer handwriting letterforms that are written quickly. The Latin design is a copy of Seaweed Script, by Neapolitan. To contribute, see github.com/danhhong/Fasthand", + "primary_script": "Khmr", + "article": null, + "minisite_url": null + }, + "Fauna One": { + "name": "Fauna One", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Fauna is a modern typeface with low contrast strokes and soft terminals that form traditional serifs. Its structure is soft and slightly condensed. It reads clearly in paragraph composition and looks beautiful in headlines. The January 2023 update features a bigger glyphset, fractions and some minor aesthetic modifications. To contribute, see github.com/etunni/fauna-one.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Faustina": { + "name": "Faustina", + "designer": [ + "Omnibus-Type" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Faustina is part of the Omnibus-Type Press Series, designed by Alfonso Garcia for editorial typography (books, newspapers and magazines) in print and online. In September 2019, the family has been converted into a variable font family. To contribute to the project, visit github.com/Omnibus-Type", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Federant": { + "name": "Federant", + "designer": [ + "Cyreal" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Federant revives the Reklameschrift typeface Feder Antiqua by Otto Ludwig N\u00e4gele (1911). The main challenge of designing a modern interpretation was to balance between applying visual corrections for overall consistency and staying close to the original source. In certain cases the historical authenticy was sacrificed in favour of an even typographic color. This project required research of historic type specimens in search for the missing letterforms. The unusual interpretation of the Yen currency symbol can be found in typefaces of that period. Designed by Olexa M.Volochay, Alexei Vanyashin for Cyreal. To contribute to the project, visit github.com/cyrealtype/Federant", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Federo": { + "name": "Federo", + "designer": [ + "Cyreal" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Federo is a display webfont that references Jakob Erbar's Feder Grotesk. The goal was to keep the typeface as close as possible to the original 1909 design while adapting it for crisp web typography. Details were refined and contrast was slightly reduced for consistency. Figures obtained regular proportions and counters were increased for better legibility. Designed by Olexa Volochay in 2011.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Felipa": { + "name": "Felipa", + "designer": [ + "Fontstage" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Felipa is a carefully written calligraphic font based on a traditional Italian chancery cursive, though reinterpreted with a contemporary feeling.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Fenix": { + "name": "Fenix", + "designer": [ + "Fernando D\u00edaz" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Fenix is a serif typeface designed for use in both display and long text. Very inspired by calligraphy, it has strong serifs and rough strokes. Its proportions are designed to gain space savings in text, both in height and width. It is elegant at large sizes and legible at the same time, with a lot of rhythm in small sizes.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Festive": { + "name": "Festive", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "It's Festive! But don't let the name fool you\u2026 It's a fun script font (that includes a Roman stylistic set) accompanied by an assortment of exciting ornamental dingbats suitable for any occasion where festivities abound from New Years to Graduation, Baby & Wedding Showers, Thanksgiving, and much more, even Sports. The base font works well with bodies of copy, while the alternate glyphs can be used to swap out individual characters to give a custom, hand written look. Be sure to scroll thru to see all the stylistic sets. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/festive.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Figtree": { + "name": "Figtree", + "designer": [ + "Erik Kennedy" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Figtree is a clean yet friendly geometric sans serif font for usage in web and mobile apps. It's light-hearted and crisp when used for text, yet still retains some punch when used in uppercase \u2013 perfect for buttons and short labels. The thicker weights have a distinctly friendlier character, great for headlines of more personable brands. Figtree comes as a variable font with 7 legacy weights, light through black, and supports 280+ Latin languages. In November 2022, the italic style is added to complete the family. To contribute, see github.com/erikdkennedy/figtree.", + "minisite_url": "https://www.erikdkennedy.com/projects/figtree.html" + }, + "Finger Paint": { + "name": "Finger Paint", + "designer": [ + "Carrois Apostrophe" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Finger Paint began as an experiment with artistic brush effects and then became a real typeface. Learn more at carrois.com", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Finlandica": { + "name": "Finlandica", + "designer": [ + "Helsinki Type Studio", + "Niklas Ekholm", + "Juho Hiilivirta", + "Jaakko Suomalainen" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "The official typeface of Finland commissioned by the Prime ministers office and Business Finland for the promotion of Finnish exports. Its strong and compressed shapes embody a traditional virtue in Finnish culture: honest and resilient determination - \"Sisu\". Ink traps like cuts from a blunt ax, makes the typeface reliable in small sizes and gives it character in large headlines. Like the Finnhorse it's a breed suitable both as riding horse and workhorse. To contribute, see github.com/HelsinkiTypeStudio/Finlandica.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Fira Code": { + "name": "Fira Code", + "designer": [ + "The Mozilla Foundation", + "Telefonica S.A.", + "Nikita Prokopov" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext", + "symbols2" + ], + "stroke": null, + "classifications": [ + "monospace" + ], + "description": "Programmers use a lot of symbols, often encoded with several characters. For the human brain, sequences like ->, <= or := are single logical tokens, even if they take two or three characters on the screen. Your eye spends a non-zero amount of energy to scan, parse and join multiple characters into a single logical one. Ideally, all programming languages should be designed with full-fledged Unicode symbols for operators, but that\u2019s not the case yet. Fira Code is an extension of the Fira Mono font containing a set of ligatures for common programming multi-character combinations. This is just a font rendering feature: underlying code remains ASCII-compatible. This helps to read and understand code faster. For some frequent sequences like .. or //, ligatures allow us to correct spacing. To contribute, see https://github.com/tonsky/FiraCode.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Fira Mono": { + "name": "Fira Mono", + "designer": [ + "Carrois Apostrophe" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext", + "symbols2" + ], + "stroke": null, + "classifications": [ + "monospace" + ], + "description": "Designed to integrate with the character of the FirefoxOS, the Fira typefaces also aim to cover the legibility needs for a large range of handsets varying in screen quality and rendering. The Fira font family comes in a Sans Serif with 4 weights (Light, Regular, Medium and Bold) all accompanied by italic styles. The package also includes this Mono Spaced variant with 3 weights (Regular, Medium, Bold.) See the Mozilla FirefoxOS Style Guide for more details.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Fira Sans": { + "name": "Fira Sans", + "designer": [ + "Carrois Apostrophe" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Designed to integrate with the character of the Mozilla FirefoxOS, the Fira typefaces also aim to cover the legibility needs for a large range of handsets varying in screen quality and rendering. The Fira font family comes in 3 widths, all accompanied by italic styles. The package also includes a Mono Spaced variant. This project is led by Carrois, a type foundry based in Berlin. To contribute, see github.com/mozilla/Fira", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Fira Sans Condensed": { + "name": "Fira Sans Condensed", + "designer": [ + "Carrois Apostrophe" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Designed to integrate with the character of the Mozilla FirefoxOS, the Fira typefaces also aim to cover the legibility needs for a large range of handsets varying in screen quality and rendering. The Fira font family comes in 3 widths, all accompanied by italic styles. The package also includes a Mono Spaced variant. This project is led by Carrois, a type foundry based in Berlin. To contribute, see github.com/mozilla/Fira", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Fira Sans Extra Condensed": { + "name": "Fira Sans Extra Condensed", + "designer": [ + "Carrois Apostrophe" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Designed to integrate with the character of the Mozilla FirefoxOS, the Fira typefaces also aim to cover the legibility needs for a large range of handsets varying in screen quality and rendering. The Fira font family comes in 3 widths, all accompanied by italic styles. The package also includes a Mono Spaced variant. This project is led by Carrois, a type foundry based in Berlin. To contribute, see github.com/mozilla/Fira", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Fjalla One": { + "name": "Fjalla One", + "designer": [ + "Sorkin Type", + "Irina Smirnova" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Fjalla One is a medium contrast display sans serif. Fjalla One has been carefully adjusted to the restrictions of the screen. Despite having display characteristics Fjalla One can be used in a wide range of sizes. Latest upgrade from March 2023 expands the Latin script language coverage and improves the overhall horizontal space for a better readability. To contribute, see github.com/SorkinType/FjallaOne.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Fjord One": { + "name": "Fjord One", + "designer": [ + "Viktoriya Grabowska" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Fjord One is a serif typeface designed with printed books in mind, and particularly intended for long texts in small print sizes. It features sturdy construction, prominent serifs, low-contrast modulation and long elegant ascenders and descenders relative to the x height. Fjord performs well at text sizes and because of the careful detailing it can also be a distinctive choice for headlines and in corporate design. It is inspired by both renaissance and contemporary typeface designs.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Flamenco": { + "name": "Flamenco", + "designer": [ + "LatinoType" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Flamenco is a semi-serif slab typeface. It is inspired by the bird of the same name; its long ascenders and descenders provide elegance and a classic touch, while it is monolinear humanist structure and rounded terminals give it a kind and smooth feeling.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Flavors": { + "name": "Flavors", + "designer": [ + "Sideshow" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Does your blog taste bland? Is you website cooked up from the same old recipe? Ladies and gentlemen, we have the missing ingredient! With Flavors you'll get the zest and zing not found in those boring vanilla fonts. Another tasty typeface designed by Squid and brought to you by Dave 'Squid' Cohen of Sideshow", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Fleur De Leah": { + "name": "Fleur De Leah", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Fleur De Leah is a formal script with a floral flavour. One of the first fonts to incorporate embellishment design elements within the letterforms. Use it sparingly for captions and short phrases and as with any script font, but never use it in all caps. Enjoy! It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/fleurdeleah.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Flow Block": { + "name": "Flow Block", + "designer": [ + "Dan Ross" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "symbols", + "display" + ], + "description": null, + "primary_script": null, + "article": "Flow is a font family built for abstracting content and code for design mockups, wireframing, presentations, and websites. It's not perfect, but neither are your wireframes. Flow has sub-pixels, artifacts, overlaps and other imperfections. Flow comes in three styles: Circular, Rounded and Block. Check out danross.co/flow/. To contribute, see github.com/HYPD/flow-typeface. Flow and Redacted: Check out these new options for wireframes and other early-stage designs Give your simulated text a realistic look while making it easy to add copy later on with Dan Ross\u2019s Flow Fonts and Christian Naths\u2019s Redacted. Showing text in an early-stage wireframe can be distracting, even if it\u2019s just Lorem ipsum placeholder copy. After all, a successful wireframe is clean and simple, with just enough information to communicate an idea. But how do you convey \u201cthis is text\u201d without showing text? One popular technique is to draw shapes that resemble a block of redacted text. (Redacted text is usually used as a security or privacy measure in a document to make certain words unreadable.) Another technique is to use handwritten scribbles. This creates a sketch-like look that\u2019s especially suited to quick concepting. To learn more, visit Flow and Redacted: Check out these new options for wireframes and other early-stage designs", + "minisite_url": null + }, + "Flow Circular": { + "name": "Flow Circular", + "designer": [ + "Dan Ross" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "symbols", + "display" + ], + "description": null, + "primary_script": null, + "article": "Flow is a font family built for abstracting content and code for design mockups, wireframing, presentations, and websites. It's not perfect, but neither are your wireframes. Flow has sub-pixels, artifacts, overlaps and other imperfections. Flow comes in three styles: Circular Rounded and Block. Check out danross.co/flow/. To contribute, see github.com/HYPD/flow-typeface. Flow and Redacted: Check out these new options for wireframes and other early-stage designs Give your simulated text a realistic look while making it easy to add copy later on with Dan Ross\u2019s Flow Fonts and Christian Naths\u2019s Redacted. Showing text in an early-stage wireframe can be distracting, even if it\u2019s just Lorem ipsum placeholder copy. After all, a successful wireframe is clean and simple, with just enough information to communicate an idea. But how do you convey \u201cthis is text\u201d without showing text? One popular technique is to draw shapes that resemble a block of redacted text. (Redacted text is usually used as a security or privacy measure in a document to make certain words unreadable.) Another technique is to use handwritten scribbles. This creates a sketch-like look that\u2019s especially suited to quick concepting. To learn more, visit Flow and Redacted: Check out these new options for wireframes and other early-stage designs", + "minisite_url": null + }, + "Flow Rounded": { + "name": "Flow Rounded", + "designer": [ + "Dan Ross" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "symbols", + "display" + ], + "description": null, + "primary_script": null, + "article": "Flow is a font family built for abstracting content and code for design mockups, wireframing, presentations, and websites. It's not perfect, but neither are your wireframes. Flow has sub-pixels, artifacts, overlaps and other imperfections. Flow comes in three styles: Circular, Rounded and Block. Check out danross.co/flow/. To contribute, see github.com/HYPD/flow-typeface. Flow and Redacted: Check out these new options for wireframes and other early-stage designs Give your simulated text a realistic look while making it easy to add copy later on with Dan Ross\u2019s Flow Fonts and Christian Naths\u2019s Redacted. Showing text in an early-stage wireframe can be distracting, even if it\u2019s just Lorem ipsum placeholder copy. After all, a successful wireframe is clean and simple, with just enough information to communicate an idea. But how do you convey \u201cthis is text\u201d without showing text? One popular technique is to draw shapes that resemble a block of redacted text. (Redacted text is usually used as a security or privacy measure in a document to make certain words unreadable.) Another technique is to use handwritten scribbles. This creates a sketch-like look that\u2019s especially suited to quick concepting. To learn more, visit Flow and Redacted: Check out these new options for wireframes and other early-stage designs", + "minisite_url": null + }, + "Foldit": { + "name": "Foldit", + "designer": [ + "Sophia Tai" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Foldit is a variable-gradient COLRv1 font which uses gradients to play with dimensions and give a sense of space. The concept of this design was, as the name suggests, based on a folded paper strip. This font uses the COLRv1 and CPAL tables. Please visit the gf-guide color page to learn more about Color Fonts technology. To contribute, see https://github.com/SophiaDesign/Foldit.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Fondamento": { + "name": "Fondamento", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Fondamento and Fondamento Italic are calligraphic lettering styles based on the traditional Foundational Hand, a basic teaching style created by Edward Johnston in the early 20th century. The letterforms are clear and cleanly legible, basic and formal.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Fontdiner Swanky": { + "name": "Fontdiner Swanky", + "designer": [ + "Font Diner" + ], + "license": "apache2", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Atomic Age science meets ultra cool with this swingin' retro latin sharp serif font we call Fontdiner Swanky! Like the older much hipper brother of it's Loungy counterpart, Swanky brings his bolder style and charming good looks when it's time to really let the neighbors know you mean business!", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Forum": { + "name": "Forum", + "designer": [ + "Denis Masharov" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Forum has antique, classic \"Roman\" proportions. It can be used to set body texts and works well in titles and headlines too. It is truly multilingual, with glyphs for Central and Eastern Europe, Baltics, Cyrillic and Asian Cyrillic communities.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Fragment Mono": { + "name": "Fragment Mono", + "designer": [ + "Wei Huang", + "URW Design Studio" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "cyrillic-ext", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "monospace" + ], + "description": "Fragment Mono is a monospaced coding version of Helvetica created by modifying and extending Nimbus Sans by URW Design Studio. Fragment Mono is designed by Wei Huang based on Nimbus Sans by URW Design Studio, based on Helvetica by Max Miedinger. To contribute, see github.com/weiweihuanghuang/fragment-mono/", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Francois One": { + "name": "Francois One", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Francois One is a reworking of many traditional sans serif gothic display typeface forms. These letterforms have been reshaped for use on the web, such as opening up the counters a little and optimizing the stems for use in bold display typography. Slanted stem terminals have been added to give a hint of playfulness to the design.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Frank Ruhl Libre": { + "name": "Frank Ruhl Libre", + "designer": [ + "Yanek Iontef" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "hebrew", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Frank Ruhl Libre is an open source version of the classic Hebrew typeface Frank R\u00fchl, the most ubiquitous Hebrew typeface in print. Frank R\u00fchl was designed in 1908 by Rafael Frank in collaboration with Auto R\u00fchl of the C. F. R\u00fchl foundry of Leipzig. A final version was released in 1910. Many Israeli books, newspapers and magazines use Frank R\u00fchl as their main body text typeface. Made to accommodate the growing need for typefaces in secular Hebrew writings, the typeface was fitted to modern printing demands and designed to be readable in longform text, with and without vowel marks. Frank R\u00fchl has Sephardi proportions (mem-height is approximately 4\u00bd stroke widths), and is based roughly on Venetian typefaces used by printer Daniel Bomberg. Frank wrote of his design that he wishes to combine the simpleness of Antiqua with the \"pleasantness\" of Fraktur, leading him to \"quieten\" the letterforms by reducing the contrast between its thin and thick strokes. This newly designed revival by Yanek Iontef is a family of 7 weights, Light to Black (the original typeface had only one) and in November 2022, it became variable and offers a larger choice of weights. To contribute, see github.com/fontef/frankruhllibre.", + "primary_script": "Hebr", + "article": null, + "minisite_url": null + }, + "Fraunces": { + "name": "Fraunces", + "designer": [ + "Undercase Type", + "Phaedra Charles", + "Flavia Zimbardi" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Fraunces is a display, \"Old Style\" soft-serif typeface inspired by the mannerisms of early 20th century typefaces such as Windsor, Souvenir, and the Cooper Series. Fraunces was designed by Phaedra Charles and Flavia Zimbardi, partners at Undercase Type. Fraunces is a Variable Font with four axes: Weight (wght), Optical Size (opsz), Softness (SOFT), and Wonky (WONK). The Softness axis controls the \u201cwetness\u201d or \u201cinkiness\u201d of the typeface. The Wonky axis controls the manual substitution of \u201cwonky\u201d characters, such as the lean of the h, n, and m glyphs in the Roman, and the flagged ball terminals of the b, d, h, k, l, v, and w glyphs of the Italic. To contribute, please see github.com/undercasetype/Fraunces. Wonky, goofy, playful, elegant and a workhorse: Meet a new breed of \u201cOld Style\u201d typeface Fraunces is a variable font that offers a variety of styles for text and display typography. In 2018, Google Fonts commissioned Flavia Zimbardi and Phaedra Charles of Undercase Type to make a new display typeface that would demonstrate the power and promise of variable fonts with a sense of humor. Their solution to this challenge is inspired by the early 20th century typefaces such as Windsor, Souvenir, and the Cooper Series. Fraunces Black Soft Wonky at 14pt \u201cFraunces probably leans a little more (pun intended) towards the mannerism in Windsor than any of the others, but they all have some qualities common with each other. Those typefaces were meant to evoke a hand-drawn quality more appropriate for display advertising. The leaning \u2018n\u2019 in Windsor is a very distinctive characteristic of this style and is probably the most direct comparison. Fraunces does something unique by creating a design space that incorporates both heavy inky qualities, as well as thinner, more refined and delicate qualities seen in the lighter weights of Windsor. The italic pairing for Fraunces is also very distinct and draws influences from Cooper Nouveau, which blends Art Nouveau influences,\u201d said Phaedra Charles. Using variable font technology gives more flexibility; Fraunces embraces the new variable font technology with four axes\u2013softness, weight, wonk, and optical size\u2013making it much more versatile and customizable than any typeface released in the 1970\u2019s. To learn more, read Wonky, goofy, playful, elegant and a workhorse: Meet a new breed of \u201cOld Style\u201d typeface.", + "minisite_url": "https://fraunces.undercase.xyz" + }, + "Freckle Face": { + "name": "Freckle Face", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Freckle Face draws its inspiration from Pillbury's Funny Face drink mix packages. I loved these drink mixes when I was a kid, not only because of the great flavors, but also the fun packaging. Who knew I'd renew the love affair later by finding myself loving the lettering too! Designed by Brian J. Bonislawsky for Astigmatic (AOETI). To contribute to the project contact Brian J. Bonislawsky.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Fredericka the Great": { + "name": "Fredericka the Great", + "designer": [ + "Tart Workshop" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Fredericka recalls my college days of nights spent creating handdrawn presentation boards, architectural sketches and student union posters. She's fun, she's casual, she's preppy, she's classic, she's Great! Designed by Crystal Kluge of Tart Workshop.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Fredoka": { + "name": "Fredoka", + "designer": [ + "Milena Brand\u00e3o", + "Hafontia" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "hebrew", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Fredoka is a big, round, bold font that is perfect for adding a little fun to any headline or large text. The initial Latin component was designed by Milena Brand\u00e3o. The later Hebrew component was designed by Ben Nathan. Fredoka is a variable font with a width and weight axes. The Fredoka project is led by Ben Nathan, a type design foundry based in Israel. To contribute, see github.com/hafontia/Fredoka-One.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Freehand": { + "name": "Freehand", + "designer": [ + "Danh Hong" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "khmer", + "latin" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Freehand is a Khmer font for body text. The design is inspired by a popular style of Khmer handwriting letterforms. To contribute, see github.com/danhhong/Freehand.", + "primary_script": "Khmr", + "article": null, + "minisite_url": null + }, + "Freeman": { + "name": "Freeman", + "designer": [ + "Rodrigo Fuenzalida", + "Aoife Mooney", + "Vernon Adams" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Freeman is a re-interpretation of the traditional display sans serif gothic typeface where some elements of the handwritten style are added to give a bit more personality to the design. In Freeman, the counters have opened up a little, and the stems are optimized for use as a bold display font in modern web browsers. Sloped stem terminals have been added to give the face added visual play. Freeman language support now includes African Latin and full coverage of Vietnamese, in addition to all Western, Central, and South-Eastern European languages. To contribute, see github.com/rfuenzalida/Freeman.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Fresca": { + "name": "Fresca", + "designer": [ + "Fontstage" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "A very friendly font for display use with a fresh atmosphere, Fresca gives the text an alternative to comic settings.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Frijole": { + "name": "Frijole", + "designer": [ + "Sideshow" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Frijole is bold, spicy and satisfying!", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Fruity Girl": { + "name": "Fruity Girl", + "designer": [ + "Unknown" + ], + "license": "apache2", + "category": "SANS_SERIF", + "subsets": [], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "N/A", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Fruktur": { + "name": "Fruktur", + "designer": [ + "Viktoriya Grabowska", + "Eben Sorkin" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Fruktur initially appears to be a playful and powerful black letter type with a warm friendly feeling. However its construction is closer to that of an upright italic. Fruktur offers some of the feeling of a black letter but with higher legibility and greater utility than is typical of black letter type. Fruktur will be most useful from medium to large sizes. To contribute to the project, visit github.com/EbenSorkin/Fruktur Updated: January 2016, to v1.004 with additional language support, improved hinting (visible in Windows browsers at smaller font sizes) and other minor fixes. August 2022, expanded glyph set, better language support. Italic style has been added to complement Roman.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Fugaz One": { + "name": "Fugaz One", + "designer": [ + "LatinoType" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Fugaz One is a sans serif with very geometric features and gestural characteristics, which brings it away from its formal beginnings. Combined with its italic inclination, Fugaz One has become a very dynamic font.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Fuggles": { + "name": "Fuggles", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Take a little Inspiration, mix in some Sassy Frass and a splash of Waterfall; add hundreds of alternate forms and you have the recipe for a versatile handwriting font. This fun, scribbly little font can fool you. At first glance it looks crude and simple. But, with over 1600 glyphs, combine the right character pairs and suddenly Fuggles is a powerful script that can be used for sophisticated commercial design. Some characters are quirky, some are swashy, some are scribbly and others are elegant. Fuggles comes with Latin Character sets including Western, Central, and Vietnamese language support. The name comes from classic English beer brewing, a kind of aroma hop cultivated in 1875 by Mr Richard Fuggle. To contribute, see github.com/googlefonts/fuggles", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Funnel Display": { + "name": "Funnel Display", + "designer": [ + "NORD ID", + "Kristian M\u00f6ller" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "Funnel Sans and Funnel Display are modern sans-serif typefaces with both clarity and character, originally developed by NORD ID and Kristian M\u00f6ller for Funnel. The typefaces are inspired by the movement and shapes of data points. In Funnel Display, certain parts of the stems are shifted to further enhance the sense of movement. To contribute, see github.com/Dicotype/Funnel.", + "minisite_url": null + }, + "Funnel Sans": { + "name": "Funnel Sans", + "designer": [ + "NORD ID", + "Kristian M\u00f6ller" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Funnel Sans and Funnel Display are modern sans-serif typefaces with both clarity and character, originally developed by NORD ID and Kristian M\u00f6ller for Funnel. The typefaces are inspired by the movement and shapes of data points. Funnel Sans is a functional yet personal sans-serif, featuring both square and circular shapes in its letterforms. To contribute, see github.com/Dicotype/Funnel.", + "minisite_url": null + }, + "Fustat": { + "name": "Fustat", + "designer": [ + "Mohamed Gaber", + "Laura Garcia Mut", + "Khaled Hosny" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "arabic", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Fustat Arabic designed by Mohamed Gaber and engineered by Khaled Hosny, draws its inspiration from the traditional manuscript Kufi style. The typeface uniquely balances modernization with the authentic elements of Arabic script. It supports a large number of languages that use Arabic script, and includes a number of OpenType features for finer typography, including stylistic sets, proportional and tabular digits, super/subscripts, and fractions. Additionally, Fustat is a variable that providing dynamic flexibility for various design applications, and includes seven pre-defined weight instances: ExtraLight, Light, Regular, Medium, SemiBold, Bold, and ExtraBold. Fustat Latin designed by Laura Garcia Mut, was developed to match the Arabic script, implementing features and subtle details from the Arabic strokes and flows. With a mix of simple grotesque structure and other geometric forms, it is a very low-contrast sans serif family with a neutral and kind texture. With a high x-height, it works in many sizes and purposes, allowing compact consistency. It supports a Latin Extended glyph set, and includes many OpenType features and Stylistic Sets with alternate geometric forms and tailed ends, looking for a more connected feeling. Fustat is optimized for web usage, offering an authentic yet contemporary presence online. It is ideal for titles due to its distinct style, yet it also performs well in body text, ensuring readability. This makes it perfect for creating a strong, authentic brand identity with a modern twist. The typeface supports both Arabic and Latin scripts, making it versatile for bilingual design projects. Its extensive character set and the manuscript-inspired modern approach to Kufi style ensure that it meets diverse design needs. Published under the Open Font License (OFL), Fustat promotes free and open use while ensuring quality and consistency. Embrace the rich heritage of the Kufi manuscript style with the modern versatility of Fustat, the go-to typeface for authentic and contemporary Arabic design. To contribute, see github.com/Kief-Type-Foundry/Fustat .", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Fuzzy Bubbles": { + "name": "Fuzzy Bubbles", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Fuzzy Bubbles is a cute juvenile style. Playful and loose, its innocence is perfect for children's parties. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/fuzzy-bubbles.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "GFS Didot": { + "name": "GFS Didot", + "designer": [ + "Greek Font Society" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "greek", + "greek-ext", + "latin", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Under the influence of the neoclassical ideals of the late 18th century, the famous French typecutter Firmin Didot in Paris designed a new Greek typeface (1805) which was immediately used in the publishing programme of Adamantios Korais, the prominent intellectual figure of the Greek diaspora and leading scholar of the Greek Enligntment. The typeface eventually arrived in Greece, with the field press which came with Didot\u2019s grandson Ambroise Firmin Didot, during the Greek Revolution in 1821. Since then the typeface enjoyed an unrivaled success as the type of choice for almost every kind of publication, until the last decades of the 20th century. Didot\u2019s type was the base for a new font, GFS Didot (1994), which was designed by Takis Katsoulidis, and digitised by George Matthiopoulos, of the Greek Font Society. The typeface is accompanied by a matching Latin design, inspired by Hermann Zapf\u2019s Palatino.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "GFS Neohellenic": { + "name": "GFS Neohellenic", + "designer": [ + "Greek Font Society" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "greek", + "greek-ext", + "latin", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "The design of new Greek typefaces always followed the growing needs of the Classical Studies in the major European Universities. Furthermore, by the end of the 19th century bibliology had become an established section of Historical Studies, and, as John Bowman commented, the prevailing attitude was that Greek types should adhere to a lost idealized, yet undefined, greekness of yore. Especially in Great Britain this tendency remained unchallenged in the first decades of the 20th century, both by Richard Proctor, curator of the incunabula section in the British Museum Library and his successor Victor Scholderer. In 1927, Scholderer, on behalf of the Society for the Promotion of Greek Studies, got involved in choosing and consulting the design and production of a Greek type called New Hellenic cut by the Lanston Monotype Corporation. He chose the revival of a round, and almost monoline type which had first appeared in 1492 in the edition of Macrobius, ascribable to the printing shop of Giovanni Rosso (Joannes Rubeus) in Venice. New Hellenic was the only successful typeface in Great Britain after the introduction of Porson Greek well over a century before. The type, since to 1930\u2019s, was also well received in Greece, albeit with a different design for \u039e and \u03a9. GFS digitized the typeface (1993-1994) funded by the Athens Archeological Society with the addition of a new set of epigraphical symbols. Later (2000) more weights were added (italic, bold and bold italic) as well as a latin version.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ga Maamli": { + "name": "Ga Maamli", + "designer": [ + "Afotey Clement Nii Odai", + "Ama Diaka", + "David Abbey-Thompson" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "Inspired by the historic handwritten posters found in the vibrant coastal communities of Accra, Ga Maamli is a font that embodies the spirited essence of the Ga people. Originally used to announce social events like concerts, boxing matches, and parties, these original posters exuded a distinct flair and vivacity. Ga Maamli has been adapted and reworked into an extended character set that preserves the dynamism and allure of its traditional counterpart. This font\u2019s variations and nuances exude a charm that pays homage to its vernacular origins while embracing modern typographic standards. Ga Maamli is more than just a font \u2013 it captures and celebrates the lively culture of the people of Accra. To contribute, see github.com/SorkinType/GaMaamli/.", + "minisite_url": "https://aayalolo.com/fonts/ga-maamli" + }, + "Gabarito": { + "name": "Gabarito", + "designer": [ + "Naipe Foundry", + "Leandro Assis", + "\u00c1lvaro Franca", + "Felipe Casaprima" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "Gabarito is a light-hearted geometric sans typeface with 6 weights ranging from Regular to Black originally designed for an online learning platform in Brazil. Named after the Brazilian Portuguese work for an answer sheet, Gabarito was made to help young people learn and overcome the university entry exams known as \"vestibular\", and it did that by packing lots of high-school level symbols and figures into a very friendly voice that was equal parts functional and engaging. Beyond the Google Fonts Latin Core Character set which supports over several latin alphabet languages, Gabarito also includes things like Logic and Set Theory symbols, scientific inferiors and superiors, extensive math operators, roman numerals and anything else a high-schooler may need for their homework. The initial design was comissioned in 2017, started by Leandro Assis and \u00c1lvaro Franca, it then got developed and improved further in 2020 by \u00c1lvaro Franca and Felipe Casaprima, and finally in 2023 it got a little bit of a makeover in order for it's debut in the commons, that last part with a lot of help from Henrique Beier of Harbor Type. To contribute, please see github.com/naipefoundry/gabarito.", + "minisite_url": null + }, + "Gabriela": { + "name": "Gabriela", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Gabriela is a Latin and Cyrillic serif typeface with soft shapes, and special terminal forms which are shaped like curls. They connect each letter to create attractive word shapes and text blocks with a fine texture. In small bodies of text it works well for reading, and in headlines provides interesting details to catch the eye. In 2015, the design was extended to the Devanagari writing system and published as Kurale. It was updated in 2023 with additional Latin language support and a bigger glyphset, proper fractions, and minor aesthetic improvements. To contribute, see github.com/etunni/Gabriela", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Gaegu": { + "name": "Gaegu", + "designer": [ + "JIKJI SOFT" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "korean", + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Gaegu is a Korean and Latin font", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "Gafata": { + "name": "Gafata", + "designer": [ + "Lautaro Hourcade" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Gafata is a font designed for small sizes in medium-long text, mixing elegance and readability which is why it has great applicability in books, magazines and web pages. In the process of finding the finest legibility, particular features emerged making this whimsical sans serif different from the rest, creating an original mark to the text it's applied to.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Gajraj One": { + "name": "Gajraj One", + "designer": [ + "Saurabh Sharma" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Gajraj (the king of elephants) is a Latin display typeface with Devanagari language support, designed for use in large hoardings, signage, and print materials for branding and advertising. It is a single variant display typeface, created as the designer's first attempt at designing in the Devanagari script. To contribute, see github.com/xconsau/GajrajOne.", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Galada": { + "name": "Galada", + "designer": [ + "Black Foundry" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "bengali", + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Galada is a Bengali and Latin font that started with the famous Latin Lobster font, and extended the design to Bengali. The Bengali was developed as a studio collaboration by Jeremie Hornus, Yoann Minet, and Juan Bruce. The Galada project is led by Black Foundry, a type design foundry based in Paris, France. To contribute, see github.com/TypefactoryNet/Galada", + "primary_script": "Beng", + "article": null, + "minisite_url": null + }, + "Galdeano": { + "name": "Galdeano", + "designer": [ + "Dario Manuel Muhafara" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Galdeano is a humanist san serif typeface with strong variation in its stroke weight. The general form is slightly condensed. It has soft variation in its contrast, diagonal stress and open forms to improve legibility. The relation between x-height, ascender and descenders gives the text a bright color on the screen. It has only the necessary curves and it is a little darker for better rasterization. The typeface works smooth at text sizes and shows strong personality in larger sizes too. It is best recommended for short text and headlines, but it is also comfortable for reading on screen. Designed by Dario Muhafara for tipo foundry.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Galindo": { + "name": "Galindo", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "The Galindo typeface is an inspired spin off light-hearted animated fonts with geometric counters.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Gamja Flower": { + "name": "Gamja Flower", + "designer": [ + "YoonDesign Inc" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "korean", + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Gamja Flower is a Korean and Latin font.", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "Gantari": { + "name": "Gantari", + "designer": [ + "Lafontype" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Gantari is a sans serif font with a geometric touch, designed by Anugrah Pasau from Lafontype. Gantari is not purely geometric, proportions have been designed so that all characters can look harmonious. The font was originally designed for large sizes, but it also reads well at small sizes. To contribute, see github.com/Lafontype/Gantari.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Gasoek One": { + "name": "Gasoek One", + "designer": [ + "Jiashuo Zhang", + "JAMO" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "korean", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "When people mention \"Soek\" in South Korea, they will think of the Chinese character. This word gives the impression of being as thick and hard as a stone. Ga means \"to add\" in Korean. So this typeface, Gasoek, is a much thicker typeface than usual typefaces. The thick strokes fill up the embox, but by giving the right angle at the end of stroke to match with Hangeul characteristics, the font has natural counter spaces with good legibility. So, Gasoek is not just a thick font but a font that has a character and gives a unique impression. To contribute, please visit github.com/JAMO-TYPEFACE/Gasoek.", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "Gayathri": { + "name": "Gayathri", + "designer": [ + "SMC", + "Binoy Dominic" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "malayalam" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "A gentle and modern Malayalam display typeface. Available in three weights, Gayathri is best suited for headlines, posters, titles and captions. Unicode compliant and libre licensed. To contribute, see gitlab.com/smc/fonts/gayathri.", + "primary_script": "Mlym", + "article": null, + "minisite_url": null + }, + "Geist": { + "name": "Geist", + "designer": [ + "Andr\u00e9s Briganti", + "Mateo Zaragoza", + "Guillermo Rauch", + "Evil Rabbit", + "Jos\u00e9 Rago", + "Facundo Santana" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Latn", + "article": "Geist Sans is a sans-serif typeface designed to complement its monospace counterpart, Geist Mono. This geometric typeface offers a clean, modern aesthetic that is ideal for headlines, logos, posters, and other large display sizes. Created by Vercel in collaboration with Basement Studio, it embodies their design principles of simplicity, minimalism, and speed, drawing inspiration from the renowned Swiss design movement. With precision, clarity, and functionality at its core, Geist enhances the visual experience of developers and designers, empowering them to effectively communicate their ideas. To contribute, see github.com/vercel/geist-font.", + "minisite_url": "https://vercel.com/font" + }, + "Geist Mono": { + "name": "Geist Mono", + "designer": [ + "Andr\u00e9s Briganti", + "Mateo Zaragoza", + "Guillermo Rauch", + "Evil Rabbit", + "Jos\u00e9 Rago", + "Facundo Santana" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "cyrillic", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "monospace" + ], + "description": null, + "primary_script": "Latn", + "article": "Geist Mono is a monospace typeface that prioritizes readability and seamless integration into coding environments. It is complemented by its sans-serif counterpart, Geist. Created by Vercel in collaboration with Basement Studio, Geist fonts embody their design principles of simplicity, minimalism, and speed, drawing inspiration from the renowned Swiss design movement. With precision, clarity, and functionality at its core, Geist enhances the visual experience of developers and designers, empowering them to effectively communicate their ideas. To contribute, see github.com/vercel/geist-font.", + "minisite_url": "https://vercel.com/font" + }, + "Gelasio": { + "name": "Gelasio", + "designer": [ + "Eben Sorkin" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Gelasio is an original typeface that is metrics compatible with Georgia in its Regular, Bold, Italic and Bold Italic weights. Its design was inspired by an original printed sample of a French Transitional typeface which follows the Romain Du Roi typeface introduced in 1702. As a transitional type, it is marked by an interest in rational planning and it has a tension between rigor and expression. It feels generally formal and rational but its rounded terminals make it more contemporary and friendly. It also offers an occasional flourish, especially in the italics. The June 2022 update offers an major language support update. In March 2024, the glyph set for GF Africa Pri has been enhanced with improved diacritics, along with the addition of some other basic language support from the 'Beyond' glyph set. Updates were also made to currency symbols, other symbols, spaces, and NSM localization. To contribute, see github.com/SorkinType/Gelasio.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Gemunu Libre": { + "name": "Gemunu Libre", + "designer": [ + "Mooniak" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "sinhala" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Gemunu Libre is the Unicode compliant version of the popular Sinhala typeface \u2018FM Gemunu\u2019 and includes Latin support as well. This font family has been improved in many ways over FM Gemunu during the Unicode adaptation process by acquiring more breathing space, bigger counters and smooth uniformity in curves. What sets Gemunu Libre apart from all the other Sinhala typefaces currently in use is the distinctive smooth and square edge, which was perfected whilst completely redrawing the set of characters in order to cater to the requirements of web and screens. Gemunu Libre comes in 7 weights from Extra Light to Extra Bold, and each weight contains the complete Sinhala script and a matching Latin characters. The project is led by Mooniak in collaboration with Pushpananda Ekanayake. Latin set is designed by Sol Matas. Initial development and release was funded by Google Fonts in 2015. Project sources are hosted and developed on Github and Mooniak welcomes suggestions and contributions to the development.", + "primary_script": "Sinh", + "article": null, + "minisite_url": null + }, + "Genos": { + "name": "Genos", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cherokee", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Genos is a modern display font with a futuristic feel. Within the Genos family are fourteen variations ranging from Thin to Black. Whether it be futuristic, industrial, or technical, Genos may be what you're looking for. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/genos.", + "primary_script": "Cher", + "article": null, + "minisite_url": null + }, + "Gentium Book Plus": { + "name": "Gentium Book Plus", + "designer": [ + "SIL International" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Gentium Book Plus is the new version of the reduced character set families, Gentium Book Basic. This 'Basic' familie only cover a limited range of Latin, and none of Gentium Book Plus's Ext Latin, Cyrillic, or Greek (both modern and ancient). Gentium Book Plus now extends the same 4 styles/weights of the previous Gentium Book Basic and to the full character set that complete Gentium Plus (also on github). This update brings many other improvements, including a very significant improvement in hinting for Windows users and WOFF2 versions. These fonts cover a far greater character set than the Gentium Book Basic, so are larger, but since GF subsets the difference won't affect users. You can find here the Gentium Plus, a very similar family that has a slightly lighter weight. To contribute, see github.com/silnrsi/font-gentium.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Gentium Plus": { + "name": "Gentium Plus", + "designer": [ + "SIL International" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Gentium Plus is the new version of the two reduced character set families, Gentium Basic and Gentium Book Basic. Those 'Basic' families only cover a limited range of Latin, and none of Gentium Plus's Ext Latin, Cyrillic, or Greek (both modern and ancient). Gentium Plus now extends the same 8 styles/weights of the previous Gentium Basic and to the full character set, packaged as two R B I BI families: Gentium Plus and Gentium Book Plus (also on github). This update brings many other improvements, including a very significant improvement in hinting for Windows users and WOFF2 versions. These fonts cover a far greater character set than the Gentium Basic, so are larger, but since GF subsets the difference won't affect users. The Gentium Book Plus family is very similar but has a slightly darker weight. To contribute, see github.com/silnrsi/font-gentium.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Geo": { + "name": "Geo", + "designer": [ + "Ben Weiner" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Geo is a simple geometric typeface in the mould of some of the experimental faces designed during the 1920s by well-known modernists such as Theo van Doesberg and Herbert Bayer. It expresses both the directness of the 1920s faces and the rather disingenuous consumerist thrust of their 80s and 90s descendants.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Geologica": { + "name": "Geologica", + "designer": [ + "Monokrom", + "Sindre Bremnes", + "Frode Helland" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Geologica is grounded in the humanist genre, but leans assertively into geometric, constructed letterforms to find its stability. The wide stance, generous spacing, large apertures and even colour makes Geologica a serious text typeface. The stylistic \u201cSharpness\u201d axis adds a rational interpretation of calligraphic pen strokes - a modernist echo of the roots of writing. Variable axes: Cursive (CRSV) Sharpness (SHRP) Weight (wght) Slant (slnt) To contribute, please see https://github.com/googlefonts/geologica.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Georama": { + "name": "Georama", + "designer": [ + "Production Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Georama is an original typeface available in several widths and weights. It supports Google Fonts Latin Plus glyph set, enabling the typesetting of English, Western European languages as well as Vietnamese and 130+ other languages. To contribute, please see github.com/productiontype/Georama.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Geostar": { + "name": "Geostar", + "designer": [ + "Joe Prince" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Geostar is a great font for large headlines on websites. Its single weight allows for easy legibility and captivates the audience at first glance. Because Geostar is so symmetrical, it is a fantastic option to add charisma and sophistication to any web page.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Geostar Fill": { + "name": "Geostar Fill", + "designer": [ + "Joe Prince" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Geostar is a great font for large headlines on websites. Its single weight allows for easy legibility and captivates the audience at first glance. Because Geostar is so symmetrical, it is a fantastic option to add charisma and sophistication to any web page.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Germania One": { + "name": "Germania One", + "designer": [ + "John Vargas Beltr\u00e1n" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Germania One is a hybrid between two historical and functional concepts found in German typography, the old fraktur and the simplified geometric sans serif forms from the Bauhaus. I sought to create a new font that mixes these two styles to provide a new and original typeface. Something modern and at the same time old, reworking the geometric forms in a contemporary and expressive way.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Gideon Roman": { + "name": "Gideon Roman", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Based on a Roman character set, Gideon is a traditional typeface with classic forms. Perfect for uses from invitations, greeting cards and menus, to display advertising. The upper case letters have a tradition Roman feel that adds warmth and sophistication to text while the legibility allows for larger blocks of copy to be easily read. Gideon comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/gideon.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Gidole": { + "name": "Gidole", + "designer": [ + "Andreas Larsen" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "greek", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Gidole is a small, beautiful mountain town in southern Ethiopia where the font\u2019s author grew up. The font, his first, is a humanist and minimal variation of the original DIN 1451 design. The author wishes that you thank him for the design by donating to the Ethiopian Red Cross Society. To contribute, see https://github.com/googlefonts/gidole.", + "minisite_url": null + }, + "Gidugu": { + "name": "Gidugu", + "designer": [ + "Purushoth Kumar Guttula" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "telugu" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Gidugu is a Telugu font suitable for headlines, invitations and posters and is best used at large sizes. Gidugu is named after Gidugu Venkata Ramamurthy, who championed using Telugu as a language for everyone, not only a scholastic language. The Telugu is designed and developed by Purushoth Kumar Guttula, and made available under the SIL Open Font License v1.1 by Silicon Andhra. The Latin is newly designed for this project by Eduardo Tunni, a type designer in Buenos Aires, Argentina. The Gidugu project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India. To contribute, see github.com/googlefonts/gidugu", + "primary_script": "Telu", + "article": null, + "minisite_url": null + }, + "Gilda Display": { + "name": "Gilda Display", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Gilda Display is a font of classic proportions, in which we can see the finest treatment of curves, strokes and serifs. The high stroke contrast has especially smooth transitions, making this type perfect for the world of fashion, jewelry and luxury items. Gilda Display typically contributes all its glamor to headlines, but the considered design of this font gives it potential for use in longer texts with a fine page texture. Since Junuary 2023, the glyphset is completed and and the font has a bigger language support To contribute, see github.com/etunni/gilda-display.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Girassol": { + "name": "Girassol", + "designer": [ + "Liam Spradlin" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Girassol is a display typeface inspired by the hand-painted street signs in and around Carcavelos, Portugal. It attempts to collect, synthesize, and lovingly evoke the identity and spirit of the region in which the original forms were encountered, while acknowledging my own relationship to and presence in the place and the design. The primary characteristics that define Girassol include its condensed proportions, moderate contrast following the expansion model, a thorny, decorative serif construction that pierces the baseline and cap height, and playful flourishes that mimic the decoration possible in hand-painted signage. Numerous discretionary ligatures play on the typeface's angular and thorny construction to evoke a sense of improvisation in the signs on which the forms are based. The smallcaps are the result of my effort to capture the secondary style found in the Carcavelos signs. My approach to the smallcaps lead to a set of letters that perfectly complements the main caps but which simultaneously becomes softer and more gentle because of its more square proportion. Girassol feels at home set in large, striking titles and smaller graphical vignettes. To contribute, see github.com/liamspradlin/Girassol-Display.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Give You Glory": { + "name": "Give You Glory", + "designer": [ + "Kimberly Geswein" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "This mixed-case font is a quirky, fun font infused with that special \u201csomething\u201d that makes it feel authentic. I love that it isn\u2019t perfect or traditional but that it has the flow of real handwriting \u2013 complete with the mixed-case style so many of us use in our daily writing.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Glass Antiqua": { + "name": "Glass Antiqua", + "designer": [ + "Denis Masharov" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "handwriting" + ], + "description": "This is revival of the 1913 typeface \"Glass Antiqua\" by \"Genzsch & Heyse\" found in the Taschen book \"Type: A Visual History of Typefaces and Graphic Styles, 1901-1938.\" A magnificent and unique design with a Jugenstile fleur, combining Slab Serif and Antiqua, plus elements of cursive calligraphy. It is suitable for any purpose, giving a text a retro feel and soft informal look. The character set is extended but the originals are carefully restored, and all are patiently spaced and kerned.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Glegoo": { + "name": "Glegoo", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SLAB_SERIF", + "classifications": [], + "description": "Glegoo, a truly modern slab serif. It has a precise balance of shapes, counterforms and strokes. Glegoo is slightly condensed, has a large x-height, short ascenders/descenders and large counterforms. These attributes all add up to help reading text, even in very small sizes. Its careful design and proper choice of weight generate a nice texture in paragraphs of text, but the design is also intended to work well when composing headlines with presence and elegance. Large usage will show off the delicate modulation of strokes that are in this font. Updated August 2014: A Bold style was added, the family was hinted with ttfautohint, and a Devanagari subset was included. Contribute to the project at github.com/etunni/glegoo", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Gloock": { + "name": "Gloock", + "designer": [ + "Duarte Pinto" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic-ext", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Gloock is a contemporary high-contrast serif typeface intended for display use. It draws inspiration from newspaper's headlines but with a contemporary approach. Its main focus is the smooth relationship between the thin and thick strokes. It's a perfect typeface for headlines and has a great performance anywhere in big sizes. To contribute, see github.com/duartp/gloock.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Gloria Hallelujah": { + "name": "Gloria Hallelujah", + "designer": [ + "Kimberly Geswein" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "This font is based on the handwriting of a Korean high school student. It is fun and reminds me of a comic style writing. It looks great in all caps and is easy to read.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Glory": { + "name": "Glory", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Glory is a modern sans serif font. The rounded corners give it a soft, contemporary feel. While the characters are slightly condensed, this medium contrast sans features subtly curved vertical strokes. It was created with graphic design in mind. It is suitable for logos, headlines and body text with the available six weights within a variable font Weight axis. Combine Glory with other script styles to give your work warmth and contrast. For a truly professional look, team up Glory with its script companion, Hurricane. Glory comes with a wide Latin Glyph set including support for Western, Central, Eastern European languages and also Vietnamese. To contribute, see github.com/googlefonts/glory", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Gluten": { + "name": "Gluten", + "designer": [ + "Tyler Finck", + "ETC" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Gluten is a delicious font! It's also slightly loud, very round, and 100% fun. Gluten is filling, we'll put it that way. Hope you're hungry. To contribute see github.com/Etcetera-Type-Co/Gluten.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Goblin One": { + "name": "Goblin One", + "designer": [ + "Riccardo De Franceschi" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Goblin One belongs to the category of display types called \"Latin\". This is because of its sharp triangular serifs. Goblin One was inspired by a hand painted sign above a pub in the town of Reading (UK). Goblin One is a somewhat wide medium contrast design with a large x-height. Goblin One is both attention-getting and fun. Goblin is suitable for use in medium to large sizes including headlines. This font was made specifically to be web type.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Gochi Hand": { + "name": "Gochi Hand", + "designer": [ + "Huerta Tipogr\u00e1fica" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Gochi Hand is a typographic interpretation of the handwriting of a teenager. The style is fresh, not like the letters made by a calligrapher, but those of an ordinary person. The text line is spontaneous but solid and consistent, expressive and works well on screen, even in small sizes. The glyphs were carefully designed with a good curve quality that makes it able to look good when printed too. Designed by Juan Pablo del Peral for Huerta Tipogr\u00e1fica. To contribute, see github.com/huertatipografica/gochi-hand.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Goldman": { + "name": "Goldman", + "designer": [ + "Jaikishan Patel" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Goldman is a Latin display typeface designed by Jaikishan Patel. It was exclusively designed for posters of Genre: Passion, Science Fiction, Sports, Drama, Thriller genres. The Goldman font family includes two weights. Regular, designed for the large headers or titles, and Bold, designed for heavyweight title designs. Each font includes 640 glyphs that covers Western, Central and South Latin as well as Vietnamese. To contribute, see https://github.com/magictype/goldman", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Golos Text": { + "name": "Golos Text", + "designer": [ + "Alexandra Korolkova", + "Vitaly Kuzmin" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Golos is a versatile closed sans-serif commissioned by Smena and AIC Media for state and social service websites. Golos Text suits perfectly for continuous reading on screen. It includes five weights from Regular to Black. Golos was designed by Alexandra Korolkova and Vitaly Kuzmin and released by Paratype in 2019. To contribute, see github.com/googlefonts/golos-text.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Gorditas": { + "name": "Gorditas", + "designer": [ + "Gustavo Dipre" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Gorditas is a fun and funky display slab serif typeface family, with heart details - cute like a newborn puppy! Designed by Brenda Gallo and Gustavo Dipre.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Gothic A1": { + "name": "Gothic A1", + "designer": [ + "HanYang I&C Co" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "korean", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Gothic A1 is a Korean and Latin font.", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "Gotu": { + "name": "Gotu", + "designer": [ + "Ek Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Rotund curves, large loops and voluminous counters. Gotu reimagines Devanagari calligraphy while at the same time reinterprets what high contrast Latin typefaces can be. Though the Devanagari is penned with a traditional canted nib, the structures are improvised with an expressive whim that belies conventions of structure and challenges notions of consistency. Swooping calligraphic strokes inspire forms that are lyrical without being too opulent. The same spirit resonates within a modulated sans serif style Latin as letters retain a calligraphic stress and keep the delicate typographic quirks. Furnished with such typographic subtleties, Gotu can lend its distinct style to a quaint monograph, a striking headline, an ornate invite or even a chic brand. This project is led by Ek Type, a collective of type designers based in Mumbai focused on designing contemporary Indian typefaces. To contribute, see github.com/EkType/Gotu", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Goudy Bookletter 1911": { + "name": "Goudy Bookletter 1911", + "designer": [ + "Barry Schwartz" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Based on Frederic Goudy\u2019s Kennerley Oldstyle. A few words on why I think Kennerley Oldstyle is beautiful: In making this font, I discovered that Kennerley fits together tightly and evenly with almost no kerning. Thus the following words from Monotype specimen books are just: \u201c[W]hen composed into words the characters appear to lock into one another with a closeness common in early types, but not so often seen in later-day creations.\u201d These are letters that take command of the space around them; notice, for instance, the bowed shapes of the v and w.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Gowun Batang": { + "name": "Gowun Batang", + "designer": [ + "Yanghee Ryu" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "korean", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Gowun Batang(\uace0\uc6b4\ubc14\ud0d5) is a serif text typeface inspired by neat, pencil-written handwriting letterforms. Gowun means \u2018neat and delicate\u2019 in Korean and this typeface has a warm and friendly impression. Batang is the style name for serif Hangeul text typeface. To contribute to the project, visit github.com/yangheeryu/Gowun-Batang", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "Gowun Dodum": { + "name": "Gowun Dodum", + "designer": [ + "Yanghee Ryu" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "korean", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Gowun Dodum(\uace0\uc6b4\ub3cb\uc6c0) is a humanist sans-serif typeface with a touch of hand movement. Gowun means \u2018neat and delicate\u2019 in Korean and this typeface has a warm and friendly impression. Dodum is the style name for sans-serif Hangeul text typeface. To contribute to the project, visit https://github.com/yangheeryu/Gowun-Dodum", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "Graduate": { + "name": "Graduate", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SLAB_SERIF", + "classifications": [ + "display" + ], + "description": "Graduate is a high quality example of the classic college block style of lettering used across very campus in the USA. To contribute to the project contact Eduardo Tunni.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Grand Hotel": { + "name": "Grand Hotel", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Grand Hotel finds its inspiration from the title screen of the 1937 film \"Cafe Metropole\" starring Tyrone Power. This condensed upright connecting script has a classic vibe to it. It has a wonderful weight to it that feels subtly tied to Holiday and Bakery themed designs, even though it can work outside that genre. Designed by Brian J. Bonislawsky and Jim Lyles for Astigmatic (AOETI). To contribute to the project contact Brian J. Bonislawsky.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Grandiflora One": { + "name": "Grandiflora One", + "designer": [ + "Haesung Cho", + "JAMO" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "korean", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display", + "handwriting" + ], + "description": "Grandiflora, or in its original language, Neungsohwa is a decorative Hangeul typeface inspired by the Art Nouveau style of the 20th century. It is presented exclusively in hairline weight to highlight the elegant curves and ornamental characteristics of Hangeul. As Art Nouveau is commonly represented by vines and florals, the typeface was named after the most beloved summer vines of Korea, Campsis grandiflora (Neungsohwa). To contribute, please visit github.com/JAMO-TYPEFACE/Grandiflora.", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "Grandstander": { + "name": "Grandstander", + "designer": [ + "Tyler Finck", + "ETC" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Grandstander is a display variable font with a weight axis. 9 weights, upright and italic. It supports a wide range of languages in the latin script scope. The Grandstander project is led by Tyler Finck \u2014 type designer running Etcetera Type Co in Ithaca, New-York, USA. To contribute, see github.com/Etcetera-Type-Co/Grandstander", + "primary_script": null, + "article": null, + "minisite_url": "https://etceteratype.co/grandstander" + }, + "Grape Nuts": { + "name": "Grape Nuts", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Grape Nuts is a simple handwritten casual font. The name is derived from a well-known breakfast cereal that dates back to the late 1800s. This cute style can be used for any casual or even humorous situation. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/grapenuts.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Gravitas One": { + "name": "Gravitas One", + "designer": [ + "Riccardo De Franceschi" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Gravitas One is modeled on the \"UK fat face\" which is a kind of very heavy advertising type created during the industrial revolution in England. The letter forms are characterized by an attention getting and strong contrast between the very heavy vertical shapes and the thin horizontal ones. The contrast of the design means that it will be most useful when set from medium to large sizes.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Great Vibes": { + "name": "Great Vibes", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Great Vibes is a beautifully flowing script with casual uppercase forms combined with more formal lowercase letters. It has over 2000 glyphs, with smooth connecting ligatures and alternate characters. In March 2024, Great Vibes was updated to provide extended language support, including Sub-Saharan Latin and Cyrillic. To contribute, see github.com/googlefonts/great-vibes.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Grechen Fuemen": { + "name": "Grechen Fuemen", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Grechen Fuemen is a playful font with an unorthodox use of thick and thin weights. Don't take this font too seriously because there's not a serious stroke in the font. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/grechen-fuemen.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Grenze": { + "name": "Grenze", + "designer": [ + "Omnibus-Type" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Grenze is a large text family which features nine weights with matching italics. It draws inspiration from Roman and Blackletter typefaces. It was originally designed to be used in magazines. To contribute, see github.com/Omnibus-Type/Grenze.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Grenze Gotisch": { + "name": "Grenze Gotisch", + "designer": [ + "Omnibus-Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Grenze Gotisch is a Blackletter version of Grenze, which has more dramatic details in certain letters. To contribute, see github.com/Omnibus-Type/Grenze-Gotisch.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Grey Qo": { + "name": "Grey Qo", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "A contemporary calligraphic script, Grey Qo combines traditional uppercase calligraphics with more stylized script lowercase forms. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/grey-qo.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Griffy": { + "name": "Griffy", + "designer": [ + "Neapolitan" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "He's one cool customer with that crazy casual beatnik outfit, a long silky goatee and a touch of spooky just to give you the creeps... They call him Griffy! Dig this fun and wacky hip new font from Squid and Neapolitan and turn your L7 designs into way out masterpieces! Designed by Dave 'Squid' Cohen of Neapolitan (a DBA of Font Diner, Inc)", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Gruppo": { + "name": "Gruppo", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Gruppo was conceived as a display typeface for style conscious, laid-back branding where 'little is more', or, in Jasper Morrison's words, \"Special is generally less useful than normal\". The Mai 2023 update features a bigger glyphset and some minor aesthetic modifications. To contribute, see github.com/googlefonts/GruppoFont.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Gudea": { + "name": "Gudea", + "designer": [ + "Agustina Mingote" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Gudea is a readable, clear and functional typeface family, with a simple and condensed structure that brings a pleasant feeling when used at any size. Inspired by engineering documentation, it expresses the technical feeling of graphic information enjoyed by those who are interested in areas such as engineering, land surveying and architecture. Initially this type was developed for use in labels and maps, but it is now a versatile family that seamlessly suits any piece of design.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Gugi": { + "name": "Gugi", + "designer": [ + "TAE System & Typefaces Co." + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "korean", + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Gugi is a Korean and Latin font.", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "Gulzar": { + "name": "Gulzar", + "designer": [ + "Borna Izadpanah", + "Fiona Ross", + "Alice Savoie", + "Simon Cozens" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "arabic", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": "Arab", + "article": "Gulzar is a contemporary Urdu Nasta\u2019liq typeface \u2013 and its Latin counterpart \u2013 designed and developed through a collaboration by Borna Izadpanah (Principal Designer and Project Leader), Simon Cozens (Font Engineering), Alice Savoie (Designer, Gulzar Latin), Fiona Ross (Consultant, Gulzar Urdu), Amir Mahdi Moslehi (Calligraphic adviser, Gulzar Urdu) and Martin Dodds (Consultant, Gulzar Urdu). This typeface was designed to provide an effective textual communication tool primarily for Urdu readers on digital platforms and in print. In Gulzar, the aim has been to produce a typeface which is legible at text sizes and suitable for sustained reading. The first phase of this project involved conducting research into the history of Urdu digital typefaces from the early 1980s. The design of Gulzar was inspired by carefully collected specimens of Urdu calligraphy and lettering which were closely studied to achieve an accurate representation of the Urdu flavour of the Nasta\u2019liq style. Once the Nasta\u2019liq design was firmly established, a proposal was made for a Latin counterpart that took inspiration from two eminent humanistic references: the versatile and sturdy proportions of Robert Granjon\u2019s types, coupled with the sharp and distinctive feel of Hendrik van den Keere\u2019s work. The Latin letterforms thus feature some subtle references to their calligraphic roots and echo the contrast present in the Nasta\u2019liq, while remaining embedded in their classical typographic proportions. Gulzar is not the first OpenType Nasta\u2019liq typeface, but it is the first Nasta\u2019liq type for which an original Latin counterpart was designed. It covers all the required transliterations characters to transcribe Arabic, Persian and Urdu languages. You can read more about the inspiration, design, and engineering of Gulzar at gulzarfont.org. To contribute, see github.com/googlefonts/Gulzar/. Gulzar: Expanding the variety of Urdu Nasta'liq options Making of Gulzar To give Urdu speakers more typeface choices, in July 2022, Google Fonts added Gulzar, a new Nasta'liq Urdu typeface. 1. Gulzar Nasta'liq 2. Gulzar Latin \"All human beings are born free and equal in terms of rights and dignity.\" In Urdu (Gulzar Nasta'liq) and transliterated in Latin (Gulzar Latin). Simon Cozens, Dr. Borna Izadpanah, and Dr. Fiona Ross conducted their own research and consulted with Urdu language specialists in Pakistan and the United Kingdom to create the Gulzar Urdu Nasta'liq typeface project. Gulzar means \"flower meadow\" in Urdu. Izadpanah is a native Persian speaker from Tehran, Iran. He learned Nasta'liq as a model for Persian handwriting in primary school. \"Designing a digital Nasta'liq typeface was my long-held dream,\" Izadpanah stated. As the principal Gulzar designer, he conducted the preliminary research and drew the glyphs. Ross was familiar with the Urdu language and type design from her language studies and earlier work on two Nasta'liq typefaces, Sheeraz and Qalmi, for which Linotype acquired a patent. To make a modern digital font based on the Urdu flavor of the Nasta'liq style, Izadpanah studied the proportions, stroke modulation, and character features in calligraphy manuals and a collection of lettering specimens To learn more, visit \"Gulzar: Expanding the variety of Urdu Nasta'liq options\" (English, Urdu) and \"Why are there so few Urdu fonts?\" (English, Urdu).", + "minisite_url": "https://gulzarfont.org" + }, + "Gupter": { + "name": "Gupter", + "designer": [ + "Octavio Pardo" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Gupter is a condensed serif font inspired by early 20th century English fonts such as Times New Roman. The family excels in small spaces due to its large x-height and condensed letterforms. The light stems and subtle details give it a gentle personality and a nice color balance on the page. To contribute, see github.com/octaviopardo/GUPTER", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Gurajada": { + "name": "Gurajada", + "designer": [ + "Purushoth Kumar Guttula" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "telugu" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Gurajada is Telugu handwriting font, suitable for headings, posters, and invitations. The Telugu is designed and developed by Purushoth Kumar Guttula in 2013 and made available by Silicon Andhra under the SIL Open Font License v1.1. The Latin is developed by Juan Pablo del Peral at Huerta Tipografia, a type foundry in Argentina, and originally published as Alegreya Sans. The Gurajada project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India. To contribute, see github.com/appajid/gurajada", + "primary_script": "Telu", + "article": null, + "minisite_url": null + }, + "Gwendolyn": { + "name": "Gwendolyn", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "This is a charming semi-formal script style. Need an enchanting look to go with a fantasy-like bedtime story? Gwendolyn will work beautifully. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/gwendolyn.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Habibi": { + "name": "Habibi", + "designer": [ + "Magnus Gaarde" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Habibi is a high contrast serifed text face. Habibi is easy to read and offers a certain elegance to go with this. Habibi draws both on the qualities of 15th and 16th century text faces and on crisp contenporary ones. Habibi can be used from small sizes to larger display settings.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Hachi Maru Pop": { + "name": "Hachi Maru Pop", + "designer": [ + "Nonty" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "cyrillic", + "japanese", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "HachiMaruPop is a cute font that was popular among young Japanese girls in the 1970s and 1980s. It has an informal handwritten appearance which works well at larger sizes. To contribute to the project, visit github.com/noriokanisawa/HachiMaruPop", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "Hahmlet": { + "name": "Hahmlet", + "designer": [ + "Hypertype" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "korean", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Hahmlet is inspired by a poster for the Korean \u2018Hamlet\u2019 movie from the 1940\u2019s, created by an unknown letterer. The distinct and sharp, quirky and attention seeking details inspired Minjoo Ham to use it for a rather uncommon revival project and turn it into a robust, contemporary typeface. Once the Hangeul was finished, Mark Fr\u00f6mberg took on the challenge to translate the characteristics to the Latin design. A lively exploration into the possible and impossible began. Hahmlet is great for any kind of typesetting, print or screen but also a perfect eyecatcher for signage and poster designs. We highly recommend to use it for Hangeul and Latin bilingual typography. To contribute to the project, visit https://github.com/hyper-type/hahmlet/", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "Halant": { + "name": "Halant", + "designer": [ + "Indian Type Foundry" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Halant is a typeface family supporting the Devanagari and Latin scripts. This is an Open Source font family, first published by the Indian Type Foundry in 2014. The Devanagari glyphs in the Halant project were designed by Vivek Sadamate and Ninad Kale. The Latin is by Jonny Pinhorn. The Indian Type Foundry first published Halant in 2014.", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Hammersmith One": { + "name": "Hammersmith One", + "designer": [ + "Nicole Fally" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Foundry: Sorkin Type Co Hammersmith One is a very low contrast typeface inspired by the Johnston UK lettering tradition. Hammersmith One shows the quirks of a somewhat naive, handmade, brush written letters including a wider than normal \"e\" and \"s\" as well as dark joins between stroke which are normally compensated for in type. The sources for this design have been adapted not just for type but specifically for use as a web type. This font works well to even smaller sizes than was originally expected. Source files are available from Google Code. To contribute to the project contact Eben Sorkin.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Hanalei": { + "name": "Hanalei", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Hanalei is for the Polynesian fan. Inspired by the bamboo lettering of the iconic Mai Kai restaurant logo, Hanalei has all the flavor of the genre without compromise. Great for titling and larger typesetting. Hanalei Fill is a compliment to Hanalei. Designed by Brian J. Bonislawsky for Astigmatic (AOETI). To contribute to the project contact Brian J. Bonislawsky.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Hanalei Fill": { + "name": "Hanalei Fill", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Hanalei Fill is for the Polynesian fan. Inspired by the bamboo lettering of the iconic Mai Kai restaurant logo, Hanalei Fill has all the flavor of the genre without compromise. Great for titling and larger typesetting. Hanalei Fill is a compliment to Hanalei (the outline version.) Designed by Brian J. Bonislawsky for Astigmatic (AOETI). To contribute to the project contact Brian J. Bonislawsky.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Handjet": { + "name": "Handjet", + "designer": [ + "Rosetta", + "David B\u0159ezina" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "arabic", + "armenian", + "cyrillic", + "cyrillic-ext", + "greek", + "hebrew", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Handjet is an element-based variable font (aka pixel font, modular font, \u2026) where every glyph is composed using multiple copies of the same element. Each element can take one of 23 shapes and transition smoothly between them while creating various effects. The font currently supports these scripts: Arabic, Armenian, Cyrillic, Greek, Hebrew, and Latin. Due to rendering issues specific to Mac OS, the font may show aberrations and visual artifacts, resulting in an unusual appearance. Handjet is designed by David B\u0159ezina with the contribution of Johannes Neumeier, Borna Izadpanah, Khajag Apelian and Meir Sadan. To contribute see github.com/rosettatype/handjet.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Handlee": { + "name": "Handlee", + "designer": [ + "Joe Prince" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "handwriting" + ], + "description": "Handlee is loosely based on the handwriting of typographer Joe Prince. Its inconsistent curves give it a nice, human-like quality that is reflected in the characters. Each glyph is stationed at a different position in respect to the baseline, and ascenders and descenders vary, which all contribute to the human-like qualities of the font. Handlee is a great font for any web page looking to add some personality and charisma. There was careful attention to detail in removing unnecessary overlap between letters, which allows Handlee to be scaled down to very small sizes while still maintaining legibility. The diaritics were purposefully designed at a slightly larger scale than normal to add to the ability to be scaled down. Also, the accents on the accented characters were not automatically generated but were rather hand placed individually to portray asymmetry and inconsistency that is typically found in handwriting. All of the little details and careful considerations in Handlee make it the perfect font for any project.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Hanken Grotesk": { + "name": "Hanken Grotesk", + "designer": [ + "Alfredo Marco Pradil", + "Hanken Design Co." + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Hanken Grotesk is a sans serif typeface inspired by the classic grotesques. Geometry, metrics, punctuations and OpenType features have been updated to support a wide range of projects such as environmental signage, textface for books and magazines, Interface, Websites and Mobile Applications. The Hanken Grotesk project is led by Alfredo Marco Pradil. To contribute, see github.com/marcologous/hanken-grotesk", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Hanuman": { + "name": "Hanuman", + "designer": [ + "Danh Hong" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "khmer", + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Hanuman is a Khmer font for body text, that pairs well with Latin serif fonts. To contribute, see github.com/danhhong/Hanuman.", + "primary_script": "Khmr", + "article": null, + "minisite_url": null + }, + "Happy Monkey": { + "name": "Happy Monkey", + "designer": [ + "Brenda Gallo" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Happy Monkey is a display sans serif typeface family, with thin and rounded strokes. Suitable for informal headlines and all your fun typography! Designed by Brenda Gallo and Gustavo Dipre.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Harmattan": { + "name": "Harmattan", + "designer": [ + "SIL International" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "arabic", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Harmattan, named after the trade winds that blow during the winter in West Africa, is designed in a Warsh style to suit the needs of languages using the Arabic script in West Africa. This font provides a simplified rendering of Arabic script, using basic connecting glyphs but not including a wide variety of additional ligatures or contextual alternates (only the required lam-alef ligatures.) Harmattan Version 2.000 (released in June 2020) now includes a Bold style and contains near complete coverage of all the characters defined in Unicode 13.0 for Arabic script (excluding the Arabic Presentation Forms blocks, which are not recommended for normal use). It has full support for the Arabic and Arabic Supplement Unicode blocks, and the Arabic Extended-A block with the exception of U+08D3..U+08E2. In 2023 an additional two weights for this typeface family were added for a total of four weights now. The glyphset was expanded to support all of the Unicode 15.0 character set. Support for the Kyrgyz language was added. Bob Hallissy does Graphite, OpenType, and TypeTuner code, and build support. Becca Hirsbrunner is the Lead Designer. George W. Nuss is the Original Designer. Iska Routamaa is a Contributing Designer. The Harmattan project is maintained by SIL International. Harmattan is released under the SIL Open Font License. Harmattan is a trademark of SIL International. For further information about this font, including Unicode ranges supported, Graphite and OpenType font features and how to use them, and licensing, please see the documentation on the website software.sil.org/Harmattan. To contribute, see github.com/silnrsi/font-harmattan.", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Headland One": { + "name": "Headland One", + "designer": [ + "Gary Lonergan" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Headland One is a text typeface designed to be highly legible and comfortable when reading screens. Headland One is useful from very small sizes to headlines. Headland One's personality recalls the geniality of the UK private press movement types made at the turn of the 20th century. Headland One's eccentric details contribute to the distinctive feeling of the type at smaller sizes but do not become obvious until the type becomes much larger.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Hedvig Letters Sans": { + "name": "Hedvig Letters Sans", + "designer": [ + "Kanon Foundry", + "Alexander \u00d6rn", + "Tor Weibull", + "Hedvig" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Hedvig is a digital insurance company that is challenging the traditional insurance industry by providing a predictable insurance experience. The Hedvig typeface family was created by Kanon Foundry in collaboration with Hedvig\u2019s in-house design department. The typface reflects Hedvig\u2019s brand philosophy \u201cStuff happens\u201d \u2013 embracing all the things that happen in life, without worry or fear. The typeface family Hedvig Letters consists of two fonts: Hedvig Letters Serif is designed to balance punchy and honest copy with responsibility and comfort. Hedvig Letters Sans takes the role of the work-horse typeface in Hedvig\u2019s visual toolbox. The concept for the typeface was developed by approaching a \u201cnon-type-designer\u201d point of view. Optical corrections are usually applied to a typeface to fool the eye that certain shapes are balanced or aligned, when in reality they are not. For this typeface, the imperfections were embraced instead of corrected. The result is a typeface where some letters have a slightly odd, yet characteristic look that effectively communicates Hedvig\u2019s brand and design philosophy. To contribute, please see github.com/KanonFoundry/HedvigLetters.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Hedvig Letters Serif": { + "name": "Hedvig Letters Serif", + "designer": [ + "Kanon Foundry", + "Alexander \u00d6rn", + "Tor Weibull", + "Hedvig" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Hedvig is a digital insurance company that is challenging the traditional insurance industry by providing a predictable insurance experience. The Hedvig typeface family was created by Kanon Foundry in collaboration with Hedvig\u2019s in-house design department. The typface reflects Hedvig\u2019s brand philosophy \u201cStuff happens\u201d \u2013 embracing all the things that happen in life, without worry or fear. The typeface family Hedvig Letters consists of two fonts: Hedvig Letters Serif is designed to balance punchy and honest copy with responsibility and comfort. Hedvig Letters Sans takes the role of the work-horse typeface in Hedvig\u2019s visual toolbox. The concept for the typeface was developed by approaching a \u201cnon-type-designer\u201d point of view. Optical corrections are usually applied to a typeface to fool the eye that certain shapes are balanced or aligned, when in reality they are not. For this typeface, the imperfections were embraced instead of corrected. The result is a typeface where some letters have a slightly odd, yet characteristic look that effectively communicates Hedvig\u2019s brand and design philosophy. To contribute, please see github.com/KanonFoundry/HedvigLetters.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Heebo": { + "name": "Heebo", + "designer": [ + "Oded Ezer" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "hebrew", + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Heebo is a Hebrew and Latin typeface family, which extends Christian Roberton's Roboto Latin to Hebrew. The Hebrew was drawn by Oded Ezer and the font files were mastered by Meir Sadan. Since the Hebrew design of this family is primary, the vertical metrics are different to the original Roboto family. This family is auto-hinted, whereas Roboto is hand-hinted, so the rendering quality of Roboto may be better on older Windows machines. In May 2020, the family has been updated to a variable font family. The November 2023 update fixed some Hebrew bugs and improve the langage support. The Heebo project is led by Oded Ezer, a type designer based in Tel Aviv, Israel. To contribute, see github.com/OdedEzer/heebo", + "primary_script": "Hebr", + "article": null, + "minisite_url": null + }, + "Henny Penny": { + "name": "Henny Penny", + "designer": [ + "Brownfox" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Henny Penny is an offbeat display font with loads of personality, named in honour of the fairy-tale character chicken Henny Penny. It is a friendly and playful decorative typeface. Its classical nature is successfully hidden behind its very informal structure: There is no common baseline, no common character size and no common slope of the letters. This makes the typeface very amusing. HennyPenny is a headline typeface for use in large size fonts. It may be used for childrens books, magazines and websites. Designed by Olga Umpeleva for Brownfox. To contribute to the project contact Gayaneh Bagdasaryan.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Hepta Slab": { + "name": "Hepta Slab", + "designer": [ + "Mike LaGattuta" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SLAB_SERIF", + "classifications": [], + "description": "Hepta Slab is a slab-serif revival based on specimens of antique genre types from Bruce and Co., primarily Antique 307. The family is a variable font which consists of 10 weights with the extremes intended for display use and the middle weights for setting text. To contribute, see github.com/mjlagattuta/Hepta-Slab.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Herr Von Muellerhoff": { + "name": "Herr Von Muellerhoff", + "designer": [ + "Sudtipos" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "The Charles Bluemlein Script Collection is an intriguing reminder of the heady days of hand lettering and calligraphy in the United States. From the early 1930s through World War II, there were about 200 professional hand letterers working in New York City alone. This occupation saw its demise with the advent of photo lettering, and after digital typography it became virtually extinct. The odd way in which the Bluemlein scripts were assembled and created - by collecting different signatures and then building complete alphabets from them - is a fascinating calligraphic adventure. Because the set of constructed designs looked nothing like the original signatures, fictitious names were assigned to the new script typefaces. The typeface styles were then showcased in Higgins Ink catalogs. Alejandro Paul and Sudtipos bring the Bluemlein scripts back to life in a set of expanded digital versions, reflecting the demands of today\u2019s designer. Extreme care has been taken to render the original scripts authentically, keeping the fictitious names originally assigned to them by Bluemlein.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Hi Melody": { + "name": "Hi Melody", + "designer": [ + "YoonDesign Inc" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "korean", + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Hi Melody is a Korean and Latin font.", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "Hina Mincho": { + "name": "Hina Mincho", + "designer": [ + "Satsuyako" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "japanese", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Hina Mincho is old-fashined and cute Japanese font. It includes Google Latin Plus, hiragana, katakana, JIS level 1 and 2 kanji glyphs. This font is licensed under the SIL Open Font License, Version 1.1. To contribute to the project, visit github.com/satsuyako/Hina-Mincho", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "Hind": { + "name": "Hind", + "designer": [ + "Indian Type Foundry" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Hind is an Open Source typeface supporting the Devanagari and Latin scripts. Developed explicitly for use in User Interface design, the Hind font family includes five styles. Hind\u2019s letterforms have a humanist-style construction, which is paired with seemingly monolinear strokes. Most of these strokes have flat endings: they either terminate with a horizontal or a vertical shear, rather than on a diagonal. This helps create clear-cut counter forms between the characters. In addition to this, Hind\u2019s letterforms feature open apertures. The entire typeface family feels very legible when used to set text. The Devanagari and Latin script components are scaled in relation to each other so that the Devanagari headline falls just below the Latin capital-height. In other words, the Devanagari base characters are 94% as tall as the Latin uppercase. Text set in the Devanagari script sits nicely alongside the Latin lowercase, too. Hind\u2019s Devanagari vowel marks take forms that tends toward the traditional end of the design spectrum, while the knotted terminals inside of the base characters feature a treatment that appears more contemporary. Each font in the Hind family has 1146 glyphs, which include hundreds of unique Devanagari conjuncts. These ensure full support for the major languages written with the Devanagari script. The Latin component\u2019s character set is a basic western one, which enables typesetting in English and the other Western European languages. Hind is a solid choice for UI design, and a wise selection for electronic display embedding. Manushi Parikh designed Hind for the Indian Type Foundry, who first published the fonts in 2014. The Hind project is led by Indian Type Foundry, a type design foundry based in Ahmedabad, India. To contribute, see github.com/itfoundry/hind", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Hind Guntur": { + "name": "Hind Guntur", + "designer": [ + "Indian Type Foundry" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "telugu" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Hind Guntur is a family of five Telugu fonts, which are part of the Indian Type Foundry\u2019s larger Open Source Hind Multi-Script project. In addition to Telugu, the Hind Guntur fonts also include Latin-script characters. Developed explicitly for use in User Interface design, Hind Guntur\u2019s letterforms have a humanist-style construction, paired with seemingly monolinear strokes. Most strokes have flat endings: they either terminate with a horizontal or a vertical shear, rather than on a diagonal. This helps create clear-cut counter forms between the characters. Additionally, Hind Guntur\u2019s letterforms feature open apertures and counterforms. The entire family feels very legible when used to set text. Hind Guntur is a solid alternate when choosing typefaces for UI design, and a wise selection for electronic display embedding. Hind Guntur is named after Guntur, a city where Telugu is used. The Hind Guntur project is led by Indian Type Foundry, a type design foundry based in Ahmedabad, India. To contribute, see github.com/itfoundry/hind-guntur", + "primary_script": "Telu", + "article": null, + "minisite_url": null + }, + "Hind Madurai": { + "name": "Hind Madurai", + "designer": [ + "Indian Type Foundry" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "tamil" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Hind Madurai is a family of five Tamil fonts, which are part of the Indian Type Foundry\u2019s larger Open Source Hind Multi-Script project. In addition to Tamil, the Hind Madurai fonts also include Latin-script characters. Developed explicitly for use in User Interface design, Hind\u2019s letterforms have a humanist-style construction, paired with seemingly monolinear strokes. Most of these strokes have flat endings: they either terminate with a horizontal or a vertical shear, rather than on a diagonal. This helps create clear-cut counter forms between the characters. Additionally, Hind\u2019s letterforms feature open apertures and counterforms. The entire family feels very legible when used to set text. The Tamil and Latin script components are scaled in relation to each other so that the head of the Tamil characters falls just below the Latin capital-height. Depending in the font weight, Tamil letters appear to be about 80\u201385% of the height of the Latin uppercase. Text set in the Tamil script sits nicely alongside the Latin\u2019s lowercase, too. Although Hind Madurai is a \u201cmonolinear sans\u201d face, much of its design features tends toward the traditional end of the design spectrum. Each font in the Hind Madurai family has 552 glyphs, which includes all of the characters needed to write Tamil. The Latin character set is Adobe Latin 3, enabling typesetting for English and other Western European languages. Hind Madurai is a solid alternate when choosing typefaces for UI design, and a wise selection for electronic display embedding. Jyotish Sonowal designed Hind Madurai for ITF, who first published the fonts in 2015. Hind Madurai is named after Madurai, a city in Tamil Nadu, India. The Hind Madurai project is led by Indian Type Foundry, a type design foundry based in Ahmedabad, India. To contribute, see github.com/itfoundry/hind-madurai", + "primary_script": "Taml", + "article": null, + "minisite_url": null + }, + "Hind Mysuru": { + "name": "Hind Mysuru", + "designer": [ + "Indian Type Foundry" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "kannada", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Hind Mysuru is a family of five Kannada fonts, which are part of the Indian Type Foundry\u2019s larger Open Source Hind Multi-Script project. Hind Multi-Script is a type system providing nine stylistically-matching font families \u2013 one for each of the following writing systems used in Bangladesh, India, Nepal, and Sri Lanka: Bengali, Devanagari, Gujarati, Gurmukhi, Kannada, Malayalam, Tamil, Telugu, and Sinhala. In addition to Kannada, the Hind Mysuru fonts also include Latin-script characters. Developed explicitly for use in User Interface design, Hind\u2019s letterforms have a humanist-style construction, paired with seemingly monolinear strokes. Most of these strokes have flat endings: they either terminate with a horizontal or a vertical shear, rather than on a diagonal. This helps create clear-cut counter forms between the characters. Additionally, Hind\u2019s letterforms feature open apertures and counterforms. The entire family feels very legible when used to set text. Hind Mysuru\u2019s Kannada and Latin script components are scaled in relation to each other so that multi-script texts will sits nicely alongside each other. Since Hind Mysuru\u2019s Kannada characters are monolinear, they have a nice, fresh feeling, and appear very modern. Aside from the Latin glyphs, each of the five Hind Mysuru fonts has 444 Kannada glyphs, including many unique conjuncts. These ensure full support for the writing of the Kannada language. The Latin script\u2019s character set is Adobe Latin 3, enabling the typesetting of English and other Western European languages. Hind Mysuru is a solid alternate when choosing typefaces for UI design, and a wise selection for electronic display embedding. Manushi Parikh designed Hind Mysuru for ITF, who first published the fonts in 2015. Hind Mysuru is named after Mysuru, a city in Karnataka, India. The Hind Mysuru project is led by Indian Type Foundry, a type design foundry based in Ahmedabad, India. To contribute, see github.com/itfoundry/hind-mysuru", + "primary_script": "Knda", + "article": null, + "minisite_url": null + }, + "Hind Siliguri": { + "name": "Hind Siliguri", + "designer": [ + "Indian Type Foundry" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "bengali", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Hind Siliguri is a family of five Bengali fonts, which are part of the Indian Type Foundry\u2019s larger Open Source Hind Multi-Script project. Hind Multi-Script is a type system providing nine stylistically-matching font families \u2013 one for each of the following writing systems used in Bangladesh, India, Nepal, and Sri Lanka: Bengali, Devanagari, Gujarati, Gurmukhi, Kannada, Malayalam, Tamil, Telugu, and Sinhala. In addition to Bengali, the Hind Siliguri fonts also include Latin-script characters. Developed explicitly for use in User Interface design, Hind\u2019s letterforms have a humanist-style construction, paired with seemingly monolinear strokes. Most of these strokes have flat endings: they either terminate with a horizontal or a vertical shear, rather than on a diagonal. This helps create clear-cut counter forms between the characters. Additionally, Hind\u2019s letterforms feature open apertures. The entire family feels very legible when used to set text. The Bengali and Latin script components are scaled in relation to each other so that the Bengali headline is more or less at the same visual height as the Latin capital letters share. The exact height of the Bengali headline increases vis \u00e0 vis the capital height as the family increases in weight, just as the Latin lowercase does. Each font in the Hind Siliguri family has 820 glyphs, including many unique Bengali conjuncts. These ensure support for the languages written with the Bengali script. The Latin component\u2019s character set is Adobe Latin 3, which enables typesetting in English and the other Western European languages. Hind Siliguri is a solid alternate when choosing typefaces for UI design, and a wise selection for electronic display embedding. Jyotish Sonowal designed Hind Siliguri for ITF, who first published the fonts in 2015. Hind Siliguri is named after Siliguri, a city in West Bengal, India. The Hind Siliguri project is led by Indian Type Foundry, a type design foundry based in Ahmedabad, India. To contribute, see github.com/itfoundry/hind-siliguri", + "primary_script": "Beng", + "article": null, + "minisite_url": null + }, + "Hind Vadodara": { + "name": "Hind Vadodara", + "designer": [ + "Indian Type Foundry" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "gujarati", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Hind Vadodara is a family of five Gujarati fonts, which are part of the Indian Type Foundry\u2019s larger Open Source Hind Multi-Script project. Hind Multi-Script is a type system providing nine stylistically-matching font families \u2013 one for each of the following writing systems used in Bangladesh, India, Nepal, and Sri Lanka: Bengali, Devanagari, Gujarati, Gurmukhi, Kannada, Malayalam, Tamil, Telugu, and Sinhala. In addition to Gujarati, the Hind Vadodara fonts also include Latin-script characters. Developed explicitly for use in User Interface design, Hind\u2019s letterforms have a humanist-style construction, paired with seemingly monolinear strokes. Most of these strokes have flat endings: they either terminate with a horizontal or a vertical shear, rather than on a diagonal. This helps create clear-cut counter forms between the characters. Additionally, Hind\u2019s letterforms feature open apertures and counterforms. The entire family feels very legible when used to set text. The Gujarati and Latin script components are scaled in relation to each other so that the height of the Gujarati base characters is more or less at the same visual height that the Latin capital letters share. The exact height of the Gujarati characters increases vis \u00e0 vis the capital height as the family increases in weight, just as the Latin lowercase does. Each font in the Hind Vadodara family has 851 glyphs, which include many unique Gujarati conjuncts. These ensure full support for the writing of the Gujarati language. The Latin component\u2019s character set is Adobe Latin 3, which enables typesetting in English and the other Western European languages. Hind Vadodara is a solid alternate when choosing typefaces for UI design, and a wise selection for electronic display embedding. Hitesh Malaviya designed Hind Vadodara for ITF, who first published the fonts in 2015. Hind Vadodara is named after Vadodara, a city in Gujarat, India. The Hind Vadodara project is led by Indian Type Foundry, a type design foundry based in Ahmedabad, India. To contribute, see github.com/itfoundry/hind-vadodara", + "primary_script": "Gujr", + "article": null, + "minisite_url": null + }, + "Holtwood One SC": { + "name": "Holtwood One SC", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SLAB_SERIF", + "classifications": [ + "display" + ], + "description": "Holtwood is a bold display font developed for use with modern web browsers. It has a lot of the look of some traditional woodblock poster typefaces of the Nineteenth Century but updated for the Twenty First. Holtwood was envisioned to be used in big and bold text sizes, but it still works well when running as smaller headlines too. To contribute, see github.com/googlefonts/HoltwoodFont.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Homemade Apple": { + "name": "Homemade Apple", + "designer": [ + "Font Diner" + ], + "license": "apache2", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Nothing says down-home goodness like a delicious Homemade Apple pie. For a good one, you have to make it yourself. Should you find yourself lacking in the recipe department, use this beautifully drawn cursive handwriting script font to give a personal touch.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Homenaje": { + "name": "Homenaje", + "designer": [ + "Constanza Artigas Preller", + "Agustina Mingote" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Homenaje is inspired by the bronze cemetery art found in the Recoleta and Chacaritas districts of Buenos Aires, Argentina. A grotesque and narrow type, it provides economy in text setting without losing its strong, straight and steady features. The name \u201cHomenaje\u201d means tribute in Spanish, a modest way to honor the patient and accurate work of the lettering artists whose bronze letters honor a lifetime. Designed by Constanza Artigas Preller and Agustina Mingote.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Honk": { + "name": "Honk", + "designer": [ + "Ek Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "math", + "symbols", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Loud, bright, and exuberantly fun! Honk is a variable colour font from Ek Type. It is a riotous digital interpretation of the bold and boisterous lettering seen on Indian trucks. An extravaganza of form and colour, Honk is a modular system with ten distinct styles, shadows, and colour palettes. An embodiment of India's colourful complexity, it effortlessly oscillates between simple and subtle to over-the-top and ornate. It's the kind of font that doesn't just speak; it shouts, honks, and sings with its varied styles, dynamic shape-shifting and use of colorv1 technology. Honk reflects the essence of India's vibrant spirit, and it does so with an audacious flair. So, the next time you need a font that's as lively as an Indian street corner, give Honk a try. It is a typographic adventure you won't forget! This project is designed, engineered and maintained by Ek Type; a collective of type designers focused on designing contemporary Indian typefaces. Honk is designed by Noopur Datye and Yesha Goshar, and engineered by Sidharth Jaishankar and Girish Dalvi, emojis are designed by Athul Jayaraman and testing is done by Taresh Vohra and team Ek Type. A big honk to all the amazing designers who helped by open sourcing their color/element-based variable fonts. This font uses the COLRv1 and CPAL tables. Please visit the gf-guide color page to learn more about Color Fonts technology. To contribute, see github.com/EkType/Honk", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Host Grotesk": { + "name": "Host Grotesk", + "designer": [ + "Element Type", + "Do\u011fukan Karap\u0131nar", + "\u0130brahim Ka\u00e7t\u0131o\u011flu" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Latn", + "article": "Host Grotesk is a uniwidth sans serif variable font tailored by Element Type for modern user interfaces. It features uniform letter widths and spacing across all weights and corresponding italics, ensuring seamless adaptability without compromising layout consistency. To contribute, see github.com/Element-Type/HostGrotesk A uniwidth typeface As a uniwidth typeface, Host Grotesk allows for smooth transitions between font weights without disrupting overall design and layouts. For instance, a button's size remains constant even when the font weight increases during a hover state. Similarly, making a part of a sentence bolder will not push the letters to the next line. Calibrated for both display and text applications, Host Grotesk has low contrast stroke modulation and closed terminals that complement the straightforward construction of its letterforms, making it an excellent choice for digital media. The proportions are balanced between a generous geometric sans and a compact grotesque, suitable for both display sizes and small body copy. The Host Grotesk family is built on Jonny Pinhorn's beloved Poppins (Indian Type Foundry, 2020). While most letters are reworked and modified for the new look and duplexed proportions, Poppins' soft and approachable essence remains visible. A reliable and cohesive type family for user interfaces, branding, and communication materials, combining the contemporary workhorse category with the elevated functionality of uni-width proportions.", + "minisite_url": "https://elementtype.co/host-grotesk" + }, + "Hubballi": { + "name": "Hubballi", + "designer": [ + "Erin McLaughlin" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "kannada", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Hubballi is a Kannada and Latin typeface designed by Erin McLaughlin. Hubballi is a monolinear typeface with an informal, friendly appearance. To contribute to the project, visit github.com/erinmclaughlin/Hubballi", + "primary_script": "Knda", + "article": null, + "minisite_url": null + }, + "Hubot Sans": { + "name": "Hubot Sans", + "designer": [ + "Tobias Bjerrome Ahlin", + "Github", + "Degarism Studio", + "Sebastian Carewe" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Latn", + "article": "Hubot Sans is Mona Sans\u2019s robotic sidekick. The typeface is designed with more geometric accents to lend a technical and idiosyncratic feel\u2014perfect for headers and pull-quotes. Made together with Degarism. Hubot Sans is a variable font. Variable fonts enable different variations of a typeface to be incorporated into one single file, and are supported by all major browsers. To contribute, see github.com/github/hubot-sans.", + "minisite_url": "https://github.com/mona-sans" + }, + "Huninn": { + "name": "Huninn", + "designer": [ + "Justfont" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "chinese-traditional", + "cyrillic", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Hant", + "article": "Huninn is an open-source Traditional Chinese round typeface based on the Kosugi Maru and Varela Round fonts, specially designed for better use in Taiwan. The font includes commonly used characters in Taiwan, Zhuyin (Bopomofo) symbols, and even adds Taigi and Hokkien phonetic symbols and characters to meet local requirements.Besides creating more than 2,000 new characters, the designers also refined the typographic settings and improved the grayscale quality of the original sources. To contribute to this font, please visit the font github repository: github.com/justfont/Huninn", + "minisite_url": null + }, + "Hurricane": { + "name": "Hurricane", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "A storm has been brewing. It\u2019s Hurricane. Flair and excitement abounds with this fast moving spirited brush script. There are three regular styles incorporated into the PRO version of the this font, plus graphics to add an extra breeze to your work. The Script stylistic set swaps the caps out for the more flourished uppercase. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/hurricane.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "IBM Plex Mono": { + "name": "IBM Plex Mono", + "designer": [ + "Mike Abbink", + "Bold Monday" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "monospace" + ], + "description": "IBM Plex\u00ae is the corporate typeface for IBM worldwide and an open-source project developed by the IBM Brand & Experience team (BX&D). Plex is an international typeface family designed to capture IBM\u2019s brand spirit and history and to illustrate the unique relationship between mankind and machine\u2014a principal theme for IBM since the turn of the century. The result is a neutral yet friendly Grotesque style typeface that balances design with the engineered details that make Plex distinctly IBM. The family includes a Sans, Sans Condensed, Mono, and Serif and has excellent legibility in print, web, and mobile interfaces. Plex\u2019s three designs work well independently and even better together. Use the Sans as a contemporary compadre, the Serif for editorial storytelling, or the Mono to show code snippets. The unexpectedly expressive nature of the italics gives you even more options for your designs. Currently, IBM Plex Sans supports Extended Latin, Arabic, Cyrillic, Devanagari, Greek, Hebrew, Japanese, Korean and Thai.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "IBM Plex Sans": { + "name": "IBM Plex Sans", + "designer": [ + "Mike Abbink", + "Bold Monday" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "IBM Plex\u2122 is an international typeface family designed by Mike Abbink, IBM BX&D, in collaboration with Bold Monday, an independent Dutch type foundry. Plex was designed to capture IBM\u2019s spirit and history, and to illustrate the unique relationship between mankind and machine\u2014a principal theme for IBM since the turn of the century. The result is a neutral, yet friendly Grotesque style typeface that includes a Sans, Sans Condensed, Mono, Serif, and several other styles for several languages, and has excellent legibility in print, web and mobile interfaces. Plex\u2019s three designs work well independently, and even better together. Use the Sans as a contemporary compadre, the Serif for editorial storytelling, or the Mono to show code snippets. The unexpectedly expressive nature of the italics give you even more options for your designs. To contribute, see github.com/googlefonts/plex.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "IBM Plex Sans Arabic": { + "name": "IBM Plex Sans Arabic", + "designer": [ + "Mike Abbink", + "Bold Monday" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "arabic", + "cyrillic-ext", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "IBM Plex\u2122 is an international typeface family designed by Mike Abbink, IBM BX&D, in collaboration with Bold Monday, an independent Dutch type foundry. Plex was designed to capture IBM\u2019s spirit and history, and to illustrate the unique relationship between mankind and machine\u2014a principal theme for IBM since the turn of the century. The result is a neutral, yet friendly Grotesque style typeface that includes a Sans, Sans Condensed, Mono, Serif, and several other styles for several languages, and has excellent legibility in print, web and mobile interfaces. Plex\u2019s three designs work well independently, and even better together. Use the Sans as a contemporary compadre, the Serif for editorial storytelling, or the Mono to show code snippets. The unexpectedly expressive nature of the italics give you even more options for your designs.", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "IBM Plex Sans Condensed": { + "name": "IBM Plex Sans Condensed", + "designer": [ + "Mike Abbink", + "Bold Monday" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "IBM Plex\u00ae is the corporate typeface for IBM worldwide and an open-source project developed by the IBM Brand & Experience team (BX&D). Plex is an international typeface family designed to capture IBM\u2019s brand spirit and history and to illustrate the unique relationship between mankind and machine\u2014a principal theme for IBM since the turn of the century. The result is a neutral yet friendly Grotesque style typeface that balances design with the engineered details that make Plex distinctly IBM. The family includes a Sans, Sans Condensed, Mono, and Serif and has excellent legibility in print, web, and mobile interfaces. Plex\u2019s three designs work well independently and even better together. Use the Sans as a contemporary compadre, the Serif for editorial storytelling, or the Mono to show code snippets. The unexpectedly expressive nature of the italics gives you even more options for your designs. Currently, IBM Plex Sans supports Extended Latin, Arabic, Cyrillic, Devanagari, Greek, Hebrew, Japanese, Korean and Thai.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "IBM Plex Sans Devanagari": { + "name": "IBM Plex Sans Devanagari", + "designer": [ + "Mike Abbink", + "Bold Monday" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic-ext", + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "IBM Plex\u00ae is the corporate typeface for IBM worldwide and an open-source project developed by the IBM Brand & Experience team (BX&D). Plex is an international typeface family designed to capture IBM\u2019s brand spirit and history and to illustrate the unique relationship between mankind and machine\u2014a principal theme for IBM since the turn of the century. The result is a neutral yet friendly Grotesque style typeface that balances design with the engineered details that make Plex distinctly IBM. The family includes a Sans, Sans Condensed, Mono, and Serif and has excellent legibility in print, web, and mobile interfaces. Plex\u2019s three designs work well independently and even better together. Use the Sans as a contemporary compadre, the Serif for editorial storytelling, or the Mono to show code snippets. The unexpectedly expressive nature of the italics gives you even more options for your designs. Currently, IBM Plex Sans supports Extended Latin, Arabic, Cyrillic, Devanagari, Greek, Hebrew, Japanese, Korean and Thai.", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "IBM Plex Sans Hebrew": { + "name": "IBM Plex Sans Hebrew", + "designer": [ + "Mike Abbink", + "Bold Monday" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic-ext", + "hebrew", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "IBM Plex\u00ae is the corporate typeface for IBM worldwide and an open-source project developed by the IBM Brand & Experience team (BX&D). Plex is an international typeface family designed to capture IBM\u2019s brand spirit and history and to illustrate the unique relationship between mankind and machine\u2014a principal theme for IBM since the turn of the century. The result is a neutral yet friendly Grotesque style typeface that balances design with the engineered details that make Plex distinctly IBM. The family includes a Sans, Sans Condensed, Mono, and Serif and has excellent legibility in print, web, and mobile interfaces. Plex\u2019s three designs work well independently and even better together. Use the Sans as a contemporary compadre, the Serif for editorial storytelling, or the Mono to show code snippets. The unexpectedly expressive nature of the italics gives you even more options for your designs. Currently, IBM Plex Sans supports Extended Latin, Arabic, Cyrillic, Devanagari, Greek, Hebrew, Japanese, Korean and Thai.", + "primary_script": "Hebr", + "article": null, + "minisite_url": null + }, + "IBM Plex Sans JP": { + "name": "IBM Plex Sans JP", + "designer": [ + "Mike Abbink", + "Bold Monday" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "IBM Plex\u00ae is the corporate typeface for IBM worldwide and an open-source project developed by the IBM Brand & Experience team (BX&D). Plex is an international typeface family designed to capture IBM\u2019s brand spirit and history and to illustrate the unique relationship between mankind and machine\u2014a principal theme for IBM since the turn of the century. The result is a neutral yet friendly Grotesque style typeface that balances design with the engineered details that make Plex distinctly IBM. The family includes a Sans, Sans Condensed, Mono, and Serif and has excellent legibility in print, web, and mobile interfaces. Plex\u2019s three designs work well independently and even better together. Use the Sans as a contemporary compadre, the Serif for editorial storytelling, or the Mono to show code snippets. The unexpectedly expressive nature of the italics gives you even more options for your designs. Currently, IBM Plex Sans supports Extended Latin, Arabic, Cyrillic, Devanagari, Greek, Hebrew, Japanese, Korean and Thai.", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "IBM Plex Sans KR": { + "name": "IBM Plex Sans KR", + "designer": [ + "Mike Abbink", + "Bold Monday" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "korean", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "IBM Plex\u00ae is the corporate typeface for IBM worldwide and an open-source project developed by the IBM Brand & Experience team (BX&D). Plex is an international typeface family designed to capture IBM\u2019s brand spirit and history and to illustrate the unique relationship between mankind and machine\u2014a principal theme for IBM since the turn of the century. The result is a neutral yet friendly Grotesque style typeface that balances design with the engineered details that make Plex distinctly IBM. The family includes a Sans, Sans Condensed, Mono, and Serif and has excellent legibility in print, web, and mobile interfaces. Plex\u2019s three designs work well independently and even better together. Use the Sans as a contemporary compadre, the Serif for editorial storytelling, or the Mono to show code snippets. The unexpectedly expressive nature of the italics gives you even more options for your designs. Currently, IBM Plex Sans supports Extended Latin, Arabic, Cyrillic, Devanagari, Greek, Hebrew, Japanese, Korean and Thai.", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "IBM Plex Sans Thai": { + "name": "IBM Plex Sans Thai", + "designer": [ + "Mike Abbink", + "Bold Monday" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic-ext", + "latin", + "latin-ext", + "thai" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "IBM Plex\u00ae is the corporate typeface for IBM worldwide and an open-source project developed by the IBM Brand & Experience team (BX&D). Plex is an international typeface family designed to capture IBM\u2019s brand spirit and history and to illustrate the unique relationship between mankind and machine\u2014a principal theme for IBM since the turn of the century. The result is a neutral yet friendly Grotesque style typeface that balances design with the engineered details that make Plex distinctly IBM. The family includes a Sans, Sans Condensed, Mono, and Serif and has excellent legibility in print, web, and mobile interfaces. Plex\u2019s three designs work well independently and even better together. Use the Sans as a contemporary compadre, the Serif for editorial storytelling, or the Mono to show code snippets. The unexpectedly expressive nature of the italics gives you even more options for your designs. Currently, IBM Plex Sans supports Extended Latin, Arabic, Cyrillic, Devanagari, Greek, Hebrew, Japanese, Korean and Thai.", + "primary_script": "Thai", + "article": null, + "minisite_url": null + }, + "IBM Plex Sans Thai Looped": { + "name": "IBM Plex Sans Thai Looped", + "designer": [ + "Mike Abbink", + "Bold Monday" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic-ext", + "latin", + "latin-ext", + "thai" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "IBM Plex\u00ae is the corporate typeface for IBM worldwide and an open-source project developed by the IBM Brand & Experience team (BX&D). Plex is an international typeface family designed to capture IBM\u2019s brand spirit and history and to illustrate the unique relationship between mankind and machine\u2014a principal theme for IBM since the turn of the century. The result is a neutral yet friendly Grotesque style typeface that balances design with the engineered details that make Plex distinctly IBM. The family includes a Sans, Sans Condensed, Mono, and Serif and has excellent legibility in print, web, and mobile interfaces. Plex\u2019s three designs work well independently and even better together. Use the Sans as a contemporary compadre, the Serif for editorial storytelling, or the Mono to show code snippets. The unexpectedly expressive nature of the italics gives you even more options for your designs. Currently, IBM Plex Sans supports Extended Latin, Arabic, Cyrillic, Devanagari, Greek, Hebrew, Japanese, Korean and Thai.", + "primary_script": "Thai", + "article": null, + "minisite_url": null + }, + "IBM Plex Serif": { + "name": "IBM Plex Serif", + "designer": [ + "Mike Abbink", + "Bold Monday" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "IBM Plex\u00ae is the corporate typeface for IBM worldwide and an open-source project developed by the IBM Brand & Experience team (BX&D). Plex is an international typeface family designed to capture IBM\u2019s brand spirit and history and to illustrate the unique relationship between mankind and machine\u2014a principal theme for IBM since the turn of the century. The result is a neutral yet friendly Grotesque style typeface that balances design with the engineered details that make Plex distinctly IBM. The family includes a Sans, Sans Condensed, Mono, and Serif and has excellent legibility in print, web, and mobile interfaces. Plex\u2019s three designs work well independently and even better together. Use the Sans as a contemporary compadre, the Serif for editorial storytelling, or the Mono to show code snippets. The unexpectedly expressive nature of the italics gives you even more options for your designs. Currently, IBM Plex Sans supports Extended Latin, Arabic, Cyrillic, Devanagari, Greek, Hebrew, Japanese, Korean and Thai.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "IM Fell DW Pica": { + "name": "IM Fell DW Pica", + "designer": [ + "Igino Marini" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "STANLEY MORISON, in his \u201cTHE ROMAN ITALIC & BLACK LETTER bequeathed to the University of Oxford by Dr. JOHN FELL\u201d (Oxford University Press, Oxford, 1951), began this way the description of the FELL TYPES: \"The Oxford Printing house holds the oldest punches and matrices surviving in England, material not only treasured but used; types cast therefrom being employed for the composition of books and other printed matter.\"It\u2019s essentially the inheritance of the will of John Fell, D.D. who died on 10 July 1686, aged 61, Bishop of Oxford and Dean of Christ Church. Since 1668 he spent his life creating a \u2018learned press\u2019 in Oxford, endowed with invaluable equipment, setting a high standard for the future of his publishing. He wrote: \"The foundation of all successe must be layd in doing things well, and I am sure that will not be don with English letters\" (to Jenkins, 2 Dec. 1672). So he collectected types available in the foreign market: mainly France, Holland and Germany. Fell decided to develop types in its own \u2018workhouse\u2019 too.Peter De Walpergen became his personal type-founder. Says Harry Carter in \u201cTHE FELL TYPES. What has been done in and about them\u201d (Oxford University Press, New York, 1968): \"He was born at Frankfurt am Main, descended from a Protestant refugee from Antwerp. He was engaged by the Dutch East India Company in 1671 to work as a type-founder and printer in Java. The comparative crudity of his letter design makes it seems unlikely that he had been trained to cut punches.\"John Fell entrusted him with the cut of the larger bodies: Great Primer Roman and Italic; Double Pica Roman and Italic; French Canon Roman and Italic; Three Lines Pica Roman. De Walpergen cut other types and letters for existing types to be harmonized with the larger bodies. Commented Morison: \"The design of these large Fell Types is difficult to characterize and impossible wholly to approve. It has some affinity with the Dutch work of the second half of the seventeenth century, especially with the bigger size of type shown in the Widow Elsevier\u2019s specimen-sheet of types attributed to Christoffel van Dyck; but De Walpergen went much further in the contrasting weight of thick and thin strokes and his design has crudities about it of which Van Dyck would not have been capable.\"In 1686 John Fell died. In his \u201cwill\u201d he bequeathed the entire collection of type to the University of Oxford. Remembers Morison: \"This entire collection of \u2018founding Materialls of Punchions Matrices Moulds\u2019 was \u2018got together\u2019 by John Fell \u2018and others at great expense\u2019. Fell\u2019s instructions that they \u2018be carefully kept together\u2019 by his executors were duly observed. The Chancellor, Masters, and Scholars of the University of Oxford honourably played their part in sustaining the interests of \u2018learning and printing\u2019 and thus the collection was not dissipated but manteined entire.\"", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "IM Fell DW Pica SC": { + "name": "IM Fell DW Pica SC", + "designer": [ + "Igino Marini" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "STANLEY MORISON, in his \u201cTHE ROMAN ITALIC & BLACK LETTER bequeathed to the University of Oxford by Dr. JOHN FELL\u201d (Oxford University Press, Oxford, 1951), began this way the description of the FELL TYPES: \"The Oxford Printing house holds the oldest punches and matrices surviving in England, material not only treasured but used; types cast therefrom being employed for the composition of books and other printed matter.\"It\u2019s essentially the inheritance of the will of John Fell, D.D. who died on 10 July 1686, aged 61, Bishop of Oxford and Dean of Christ Church. Since 1668 he spent his life creating a \u2018learned press\u2019 in Oxford, endowed with invaluable equipment, setting a high standard for the future of his publishing. He wrote: \"The foundation of all successe must be layd in doing things well, and I am sure that will not be don with English letters\" (to Jenkins, 2 Dec. 1672). So he collectected types available in the foreign market: mainly France, Holland and Germany. Fell decided to develop types in its own \u2018workhouse\u2019 too.Peter De Walpergen became his personal type-founder. Says Harry Carter in \u201cTHE FELL TYPES. What has been done in and about them\u201d (Oxford University Press, New York, 1968): \"He was born at Frankfurt am Main, descended from a Protestant refugee from Antwerp. He was engaged by the Dutch East India Company in 1671 to work as a type-founder and printer in Java. The comparative crudity of his letter design makes it seems unlikely that he had been trained to cut punches.\"John Fell entrusted him with the cut of the larger bodies: Great Primer Roman and Italic; Double Pica Roman and Italic; French Canon Roman and Italic; Three Lines Pica Roman. De Walpergen cut other types and letters for existing types to be harmonized with the larger bodies. Commented Morison: \"The design of these large Fell Types is difficult to characterize and impossible wholly to approve. It has some affinity with the Dutch work of the second half of the seventeenth century, especially with the bigger size of type shown in the Widow Elsevier\u2019s specimen-sheet of types attributed to Christoffel van Dyck; but De Walpergen went much further in the contrasting weight of thick and thin strokes and his design has crudities about it of which Van Dyck would not have been capable.\"In 1686 John Fell died. In his \u201cwill\u201d he bequeathed the entire collection of type to the University of Oxford. Remembers Morison: \"This entire collection of \u2018founding Materialls of Punchions Matrices Moulds\u2019 was \u2018got together\u2019 by John Fell \u2018and others at great expense\u2019. Fell\u2019s instructions that they \u2018be carefully kept together\u2019 by his executors were duly observed. The Chancellor, Masters, and Scholars of the University of Oxford honourably played their part in sustaining the interests of \u2018learning and printing\u2019 and thus the collection was not dissipated but manteined entire.\"", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "IM Fell Double Pica": { + "name": "IM Fell Double Pica", + "designer": [ + "Igino Marini" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "STANLEY MORISON, in his \u201cTHE ROMAN ITALIC & BLACK LETTER bequeathed to the University of Oxford by Dr. JOHN FELL\u201d (Oxford University Press, Oxford, 1951), began this way the description of the FELL TYPES: \"The Oxford Printing house holds the oldest punches and matrices surviving in England, material not only treasured but used; types cast therefrom being employed for the composition of books and other printed matter.\"It\u2019s essentially the inheritance of the will of John Fell, D.D. who died on 10 July 1686, aged 61, Bishop of Oxford and Dean of Christ Church. Since 1668 he spent his life creating a \u2018learned press\u2019 in Oxford, endowed with invaluable equipment, setting a high standard for the future of his publishing. He wrote: \"The foundation of all successe must be layd in doing things well, and I am sure that will not be don with English letters\" (to Jenkins, 2 Dec. 1672). So he collectected types available in the foreign market: mainly France, Holland and Germany. Fell decided to develop types in its own \u2018workhouse\u2019 too.Peter De Walpergen became his personal type-founder. Says Harry Carter in \u201cTHE FELL TYPES. What has been done in and about them\u201d (Oxford University Press, New York, 1968): \"He was born at Frankfurt am Main, descended from a Protestant refugee from Antwerp. He was engaged by the Dutch East India Company in 1671 to work as a type-founder and printer in Java. The comparative crudity of his letter design makes it seems unlikely that he had been trained to cut punches.\"John Fell entrusted him with the cut of the larger bodies: Great Primer Roman and Italic; Double Pica Roman and Italic; French Canon Roman and Italic; Three Lines Pica Roman. De Walpergen cut other types and letters for existing types to be harmonized with the larger bodies. Commented Morison: \"The design of these large Fell Types is difficult to characterize and impossible wholly to approve. It has some affinity with the Dutch work of the second half of the seventeenth century, especially with the bigger size of type shown in the Widow Elsevier\u2019s specimen-sheet of types attributed to Christoffel van Dyck; but De Walpergen went much further in the contrasting weight of thick and thin strokes and his design has crudities about it of which Van Dyck would not have been capable.\"In 1686 John Fell died. In his \u201cwill\u201d he bequeathed the entire collection of type to the University of Oxford. Remembers Morison: \"This entire collection of \u2018founding Materialls of Punchions Matrices Moulds\u2019 was \u2018got together\u2019 by John Fell \u2018and others at great expense\u2019. Fell\u2019s instructions that they \u2018be carefully kept together\u2019 by his executors were duly observed. The Chancellor, Masters, and Scholars of the University of Oxford honourably played their part in sustaining the interests of \u2018learning and printing\u2019 and thus the collection was not dissipated but manteined entire.\"", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "IM Fell Double Pica SC": { + "name": "IM Fell Double Pica SC", + "designer": [ + "Igino Marini" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "STANLEY MORISON, in his \u201cTHE ROMAN ITALIC & BLACK LETTER bequeathed to the University of Oxford by Dr. JOHN FELL\u201d (Oxford University Press, Oxford, 1951), began this way the description of the FELL TYPES: \"The Oxford Printing house holds the oldest punches and matrices surviving in England, material not only treasured but used; types cast therefrom being employed for the composition of books and other printed matter.\"It\u2019s essentially the inheritance of the will of John Fell, D.D. who died on 10 July 1686, aged 61, Bishop of Oxford and Dean of Christ Church. Since 1668 he spent his life creating a \u2018learned press\u2019 in Oxford, endowed with invaluable equipment, setting a high standard for the future of his publishing. He wrote: \"The foundation of all successe must be layd in doing things well, and I am sure that will not be don with English letters\" (to Jenkins, 2 Dec. 1672). So he collectected types available in the foreign market: mainly France, Holland and Germany. Fell decided to develop types in its own \u2018workhouse\u2019 too.Peter De Walpergen became his personal type-founder. Says Harry Carter in \u201cTHE FELL TYPES. What has been done in and about them\u201d (Oxford University Press, New York, 1968): \"He was born at Frankfurt am Main, descended from a Protestant refugee from Antwerp. He was engaged by the Dutch East India Company in 1671 to work as a type-founder and printer in Java. The comparative crudity of his letter design makes it seems unlikely that he had been trained to cut punches.\"John Fell entrusted him with the cut of the larger bodies: Great Primer Roman and Italic; Double Pica Roman and Italic; French Canon Roman and Italic; Three Lines Pica Roman. De Walpergen cut other types and letters for existing types to be harmonized with the larger bodies. Commented Morison: \"The design of these large Fell Types is difficult to characterize and impossible wholly to approve. It has some affinity with the Dutch work of the second half of the seventeenth century, especially with the bigger size of type shown in the Widow Elsevier\u2019s specimen-sheet of types attributed to Christoffel van Dyck; but De Walpergen went much further in the contrasting weight of thick and thin strokes and his design has crudities about it of which Van Dyck would not have been capable.\"In 1686 John Fell died. In his \u201cwill\u201d he bequeathed the entire collection of type to the University of Oxford. Remembers Morison: \"This entire collection of \u2018founding Materialls of Punchions Matrices Moulds\u2019 was \u2018got together\u2019 by John Fell \u2018and others at great expense\u2019. Fell\u2019s instructions that they \u2018be carefully kept together\u2019 by his executors were duly observed. The Chancellor, Masters, and Scholars of the University of Oxford honourably played their part in sustaining the interests of \u2018learning and printing\u2019 and thus the collection was not dissipated but manteined entire.\"", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "IM Fell English": { + "name": "IM Fell English", + "designer": [ + "Igino Marini" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "STANLEY MORISON, in his \u201cTHE ROMAN ITALIC & BLACK LETTER bequeathed to the University of Oxford by Dr. JOHN FELL\u201d (Oxford University Press, Oxford, 1951), began this way the description of the FELL TYPES: \"The Oxford Printing house holds the oldest punches and matrices surviving in England, material not only treasured but used; types cast therefrom being employed for the composition of books and other printed matter.\"It\u2019s essentially the inheritance of the will of John Fell, D.D. who died on 10 July 1686, aged 61, Bishop of Oxford and Dean of Christ Church. Since 1668 he spent his life creating a \u2018learned press\u2019 in Oxford, endowed with invaluable equipment, setting a high standard for the future of his publishing. He wrote: \"The foundation of all successe must be layd in doing things well, and I am sure that will not be don with English letters\" (to Jenkins, 2 Dec. 1672). So he collectected types available in the foreign market: mainly France, Holland and Germany. Fell decided to develop types in its own \u2018workhouse\u2019 too.Peter De Walpergen became his personal type-founder. Says Harry Carter in \u201cTHE FELL TYPES. What has been done in and about them\u201d (Oxford University Press, New York, 1968): \"He was born at Frankfurt am Main, descended from a Protestant refugee from Antwerp. He was engaged by the Dutch East India Company in 1671 to work as a type-founder and printer in Java. The comparative crudity of his letter design makes it seems unlikely that he had been trained to cut punches.\"John Fell entrusted him with the cut of the larger bodies: Great Primer Roman and Italic; Double Pica Roman and Italic; French Canon Roman and Italic; Three Lines Pica Roman. De Walpergen cut other types and letters for existing types to be harmonized with the larger bodies. Commented Morison: \"The design of these large Fell Types is difficult to characterize and impossible wholly to approve. It has some affinity with the Dutch work of the second half of the seventeenth century, especially with the bigger size of type shown in the Widow Elsevier\u2019s specimen-sheet of types attributed to Christoffel van Dyck; but De Walpergen went much further in the contrasting weight of thick and thin strokes and his design has crudities about it of which Van Dyck would not have been capable.\"In 1686 John Fell died. In his \u201cwill\u201d he bequeathed the entire collection of type to the University of Oxford. Remembers Morison: \"This entire collection of \u2018founding Materialls of Punchions Matrices Moulds\u2019 was \u2018got together\u2019 by John Fell \u2018and others at great expense\u2019. Fell\u2019s instructions that they \u2018be carefully kept together\u2019 by his executors were duly observed. The Chancellor, Masters, and Scholars of the University of Oxford honourably played their part in sustaining the interests of \u2018learning and printing\u2019 and thus the collection was not dissipated but manteined entire.\"", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "IM Fell English SC": { + "name": "IM Fell English SC", + "designer": [ + "Igino Marini" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "STANLEY MORISON, in his \u201cTHE ROMAN ITALIC & BLACK LETTER bequeathed to the University of Oxford by Dr. JOHN FELL\u201d (Oxford University Press, Oxford, 1951), began this way the description of the FELL TYPES: \"The Oxford Printing house holds the oldest punches and matrices surviving in England, material not only treasured but used; types cast therefrom being employed for the composition of books and other printed matter.\"It\u2019s essentially the inheritance of the will of John Fell, D.D. who died on 10 July 1686, aged 61, Bishop of Oxford and Dean of Christ Church. Since 1668 he spent his life creating a \u2018learned press\u2019 in Oxford, endowed with invaluable equipment, setting a high standard for the future of his publishing. He wrote: \"The foundation of all successe must be layd in doing things well, and I am sure that will not be don with English letters\" (to Jenkins, 2 Dec. 1672). So he collectected types available in the foreign market: mainly France, Holland and Germany. Fell decided to develop types in its own \u2018workhouse\u2019 too.Peter De Walpergen became his personal type-founder. Says Harry Carter in \u201cTHE FELL TYPES. What has been done in and about them\u201d (Oxford University Press, New York, 1968): \"He was born at Frankfurt am Main, descended from a Protestant refugee from Antwerp. He was engaged by the Dutch East India Company in 1671 to work as a type-founder and printer in Java. The comparative crudity of his letter design makes it seems unlikely that he had been trained to cut punches.\"John Fell entrusted him with the cut of the larger bodies: Great Primer Roman and Italic; Double Pica Roman and Italic; French Canon Roman and Italic; Three Lines Pica Roman. De Walpergen cut other types and letters for existing types to be harmonized with the larger bodies. Commented Morison: \"The design of these large Fell Types is difficult to characterize and impossible wholly to approve. It has some affinity with the Dutch work of the second half of the seventeenth century, especially with the bigger size of type shown in the Widow Elsevier\u2019s specimen-sheet of types attributed to Christoffel van Dyck; but De Walpergen went much further in the contrasting weight of thick and thin strokes and his design has crudities about it of which Van Dyck would not have been capable.\"In 1686 John Fell died. In his \u201cwill\u201d he bequeathed the entire collection of type to the University of Oxford. Remembers Morison: \"This entire collection of \u2018founding Materialls of Punchions Matrices Moulds\u2019 was \u2018got together\u2019 by John Fell \u2018and others at great expense\u2019. Fell\u2019s instructions that they \u2018be carefully kept together\u2019 by his executors were duly observed. The Chancellor, Masters, and Scholars of the University of Oxford honourably played their part in sustaining the interests of \u2018learning and printing\u2019 and thus the collection was not dissipated but manteined entire.\"", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "IM Fell French Canon": { + "name": "IM Fell French Canon", + "designer": [ + "Igino Marini" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "STANLEY MORISON, in his \u201cTHE ROMAN ITALIC & BLACK LETTER bequeathed to the University of Oxford by Dr. JOHN FELL\u201d (Oxford University Press, Oxford, 1951), began this way the description of the FELL TYPES: \"The Oxford Printing house holds the oldest punches and matrices surviving in England, material not only treasured but used; types cast therefrom being employed for the composition of books and other printed matter.\"It\u2019s essentially the inheritance of the will of John Fell, D.D. who died on 10 July 1686, aged 61, Bishop of Oxford and Dean of Christ Church. Since 1668 he spent his life creating a \u2018learned press\u2019 in Oxford, endowed with invaluable equipment, setting a high standard for the future of his publishing. He wrote: \"The foundation of all successe must be layd in doing things well, and I am sure that will not be don with English letters\" (to Jenkins, 2 Dec. 1672). So he collectected types available in the foreign market: mainly France, Holland and Germany. Fell decided to develop types in its own \u2018workhouse\u2019 too.Peter De Walpergen became his personal type-founder. Says Harry Carter in \u201cTHE FELL TYPES. What has been done in and about them\u201d (Oxford University Press, New York, 1968): \"He was born at Frankfurt am Main, descended from a Protestant refugee from Antwerp. He was engaged by the Dutch East India Company in 1671 to work as a type-founder and printer in Java. The comparative crudity of his letter design makes it seems unlikely that he had been trained to cut punches.\"John Fell entrusted him with the cut of the larger bodies: Great Primer Roman and Italic; Double Pica Roman and Italic; French Canon Roman and Italic; Three Lines Pica Roman. De Walpergen cut other types and letters for existing types to be harmonized with the larger bodies. Commented Morison: \"The design of these large Fell Types is difficult to characterize and impossible wholly to approve. It has some affinity with the Dutch work of the second half of the seventeenth century, especially with the bigger size of type shown in the Widow Elsevier\u2019s specimen-sheet of types attributed to Christoffel van Dyck; but De Walpergen went much further in the contrasting weight of thick and thin strokes and his design has crudities about it of which Van Dyck would not have been capable.\"In 1686 John Fell died. In his \u201cwill\u201d he bequeathed the entire collection of type to the University of Oxford. Remembers Morison: \"This entire collection of \u2018founding Materialls of Punchions Matrices Moulds\u2019 was \u2018got together\u2019 by John Fell \u2018and others at great expense\u2019. Fell\u2019s instructions that they \u2018be carefully kept together\u2019 by his executors were duly observed. The Chancellor, Masters, and Scholars of the University of Oxford honourably played their part in sustaining the interests of \u2018learning and printing\u2019 and thus the collection was not dissipated but manteined entire.\"", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "IM Fell French Canon SC": { + "name": "IM Fell French Canon SC", + "designer": [ + "Igino Marini" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "STANLEY MORISON, in his \u201cTHE ROMAN ITALIC & BLACK LETTER bequeathed to the University of Oxford by Dr. JOHN FELL\u201d (Oxford University Press, Oxford, 1951), began this way the description of the FELL TYPES: \"The Oxford Printing house holds the oldest punches and matrices surviving in England, material not only treasured but used; types cast therefrom being employed for the composition of books and other printed matter.\"It\u2019s essentially the inheritance of the will of John Fell, D.D. who died on 10 July 1686, aged 61, Bishop of Oxford and Dean of Christ Church. Since 1668 he spent his life creating a \u2018learned press\u2019 in Oxford, endowed with invaluable equipment, setting a high standard for the future of his publishing. He wrote: \"The foundation of all successe must be layd in doing things well, and I am sure that will not be don with English letters\" (to Jenkins, 2 Dec. 1672). So he collectected types available in the foreign market: mainly France, Holland and Germany. Fell decided to develop types in its own \u2018workhouse\u2019 too.Peter De Walpergen became his personal type-founder. Says Harry Carter in \u201cTHE FELL TYPES. What has been done in and about them\u201d (Oxford University Press, New York, 1968): \"He was born at Frankfurt am Main, descended from a Protestant refugee from Antwerp. He was engaged by the Dutch East India Company in 1671 to work as a type-founder and printer in Java. The comparative crudity of his letter design makes it seems unlikely that he had been trained to cut punches.\"John Fell entrusted him with the cut of the larger bodies: Great Primer Roman and Italic; Double Pica Roman and Italic; French Canon Roman and Italic; Three Lines Pica Roman. De Walpergen cut other types and letters for existing types to be harmonized with the larger bodies. Commented Morison: \"The design of these large Fell Types is difficult to characterize and impossible wholly to approve. It has some affinity with the Dutch work of the second half of the seventeenth century, especially with the bigger size of type shown in the Widow Elsevier\u2019s specimen-sheet of types attributed to Christoffel van Dyck; but De Walpergen went much further in the contrasting weight of thick and thin strokes and his design has crudities about it of which Van Dyck would not have been capable.\"In 1686 John Fell died. In his \u201cwill\u201d he bequeathed the entire collection of type to the University of Oxford. Remembers Morison: \"This entire collection of \u2018founding Materialls of Punchions Matrices Moulds\u2019 was \u2018got together\u2019 by John Fell \u2018and others at great expense\u2019. Fell\u2019s instructions that they \u2018be carefully kept together\u2019 by his executors were duly observed. The Chancellor, Masters, and Scholars of the University of Oxford honourably played their part in sustaining the interests of \u2018learning and printing\u2019 and thus the collection was not dissipated but manteined entire.\"", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "IM Fell Great Primer": { + "name": "IM Fell Great Primer", + "designer": [ + "Igino Marini" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "STANLEY MORISON, in his \u201cTHE ROMAN ITALIC & BLACK LETTER bequeathed to the University of Oxford by Dr. JOHN FELL\u201d (Oxford University Press, Oxford, 1951), began this way the description of the FELL TYPES: \"The Oxford Printing house holds the oldest punches and matrices surviving in England, material not only treasured but used; types cast therefrom being employed for the composition of books and other printed matter.\"It\u2019s essentially the inheritance of the will of John Fell, D.D. who died on 10 July 1686, aged 61, Bishop of Oxford and Dean of Christ Church. Since 1668 he spent his life creating a \u2018learned press\u2019 in Oxford, endowed with invaluable equipment, setting a high standard for the future of his publishing. He wrote: \"The foundation of all successe must be layd in doing things well, and I am sure that will not be don with English letters\" (to Jenkins, 2 Dec. 1672). So he collectected types available in the foreign market: mainly France, Holland and Germany. Fell decided to develop types in its own \u2018workhouse\u2019 too.Peter De Walpergen became his personal type-founder. Says Harry Carter in \u201cTHE FELL TYPES. What has been done in and about them\u201d (Oxford University Press, New York, 1968): \"He was born at Frankfurt am Main, descended from a Protestant refugee from Antwerp. He was engaged by the Dutch East India Company in 1671 to work as a type-founder and printer in Java. The comparative crudity of his letter design makes it seems unlikely that he had been trained to cut punches.\"John Fell entrusted him with the cut of the larger bodies: Great Primer Roman and Italic; Double Pica Roman and Italic; French Canon Roman and Italic; Three Lines Pica Roman. De Walpergen cut other types and letters for existing types to be harmonized with the larger bodies. Commented Morison: \"The design of these large Fell Types is difficult to characterize and impossible wholly to approve. It has some affinity with the Dutch work of the second half of the seventeenth century, especially with the bigger size of type shown in the Widow Elsevier\u2019s specimen-sheet of types attributed to Christoffel van Dyck; but De Walpergen went much further in the contrasting weight of thick and thin strokes and his design has crudities about it of which Van Dyck would not have been capable.\"In 1686 John Fell died. In his \u201cwill\u201d he bequeathed the entire collection of type to the University of Oxford. Remembers Morison: \"This entire collection of \u2018founding Materialls of Punchions Matrices Moulds\u2019 was \u2018got together\u2019 by John Fell \u2018and others at great expense\u2019. Fell\u2019s instructions that they \u2018be carefully kept together\u2019 by his executors were duly observed. The Chancellor, Masters, and Scholars of the University of Oxford honourably played their part in sustaining the interests of \u2018learning and printing\u2019 and thus the collection was not dissipated but manteined entire.\"", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "IM Fell Great Primer SC": { + "name": "IM Fell Great Primer SC", + "designer": [ + "Igino Marini" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "STANLEY MORISON, in his \u201cTHE ROMAN ITALIC & BLACK LETTER bequeathed to the University of Oxford by Dr. JOHN FELL\u201d (Oxford University Press, Oxford, 1951), began this way the description of the FELL TYPES: \"The Oxford Printing house holds the oldest punches and matrices surviving in England, material not only treasured but used; types cast therefrom being employed for the composition of books and other printed matter.\"It\u2019s essentially the inheritance of the will of John Fell, D.D. who died on 10 July 1686, aged 61, Bishop of Oxford and Dean of Christ Church. Since 1668 he spent his life creating a \u2018learned press\u2019 in Oxford, endowed with invaluable equipment, setting a high standard for the future of his publishing. He wrote: \"The foundation of all successe must be layd in doing things well, and I am sure that will not be don with English letters\" (to Jenkins, 2 Dec. 1672). So he collectected types available in the foreign market: mainly France, Holland and Germany. Fell decided to develop types in its own \u2018workhouse\u2019 too.Peter De Walpergen became his personal type-founder. Says Harry Carter in \u201cTHE FELL TYPES. What has been done in and about them\u201d (Oxford University Press, New York, 1968): \"He was born at Frankfurt am Main, descended from a Protestant refugee from Antwerp. He was engaged by the Dutch East India Company in 1671 to work as a type-founder and printer in Java. The comparative crudity of his letter design makes it seems unlikely that he had been trained to cut punches.\"John Fell entrusted him with the cut of the larger bodies: Great Primer Roman and Italic; Double Pica Roman and Italic; French Canon Roman and Italic; Three Lines Pica Roman. De Walpergen cut other types and letters for existing types to be harmonized with the larger bodies. Commented Morison: \"The design of these large Fell Types is difficult to characterize and impossible wholly to approve. It has some affinity with the Dutch work of the second half of the seventeenth century, especially with the bigger size of type shown in the Widow Elsevier\u2019s specimen-sheet of types attributed to Christoffel van Dyck; but De Walpergen went much further in the contrasting weight of thick and thin strokes and his design has crudities about it of which Van Dyck would not have been capable.\"In 1686 John Fell died. In his \u201cwill\u201d he bequeathed the entire collection of type to the University of Oxford. Remembers Morison: \"This entire collection of \u2018founding Materialls of Punchions Matrices Moulds\u2019 was \u2018got together\u2019 by John Fell \u2018and others at great expense\u2019. Fell\u2019s instructions that they \u2018be carefully kept together\u2019 by his executors were duly observed. The Chancellor, Masters, and Scholars of the University of Oxford honourably played their part in sustaining the interests of \u2018learning and printing\u2019 and thus the collection was not dissipated but manteined entire.\"", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Iansui": { + "name": "Iansui", + "designer": [ + "But Ko" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "chinese-traditional", + "latin", + "latin-ext", + "symbols2" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": "Hant", + "article": "Iansui is based on Fontworks' Klee Semibold font, which is a script font handwritten by pencil or pen. Its quiet design has an elegant and slightly feminine look that sets itself apart from traditional script and textbook fonts. Ideal for body text. Iansui further modifies the existing design to meet the Ministry of Education's requirements for Taiwanese use. To contribute, see https://github.com/ButTaiwan/iansui", + "minisite_url": null + }, + "Ibarra Real Nova": { + "name": "Ibarra Real Nova", + "designer": [ + "Jos\u00e9 Mar\u00eda Ribagorda", + "Octavio Pardo" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "In 2007, The Calcograf\u00eda Nacional Espa\u00f1ola organized a project directed by Jos\u00e9 Mar\u00eda Ribagorda with the objective of divulging the invaluable typographic heritage produced in Spain in the 18th century through the \"Imprenta Real\". This project included the recovery of the types designed by Geronimo Gil for the edition of the most beautiful \"Quixote\" never edited, printed by Joaqu\u00edn Ibarra for the \u201cReal Academia de la Lengua\u201d in 1780. This font was called \u201cIbarra Real\u201d. Jos\u00e9 Mar\u00eda Ribagorda decided in 2015 that Octavio Pardo would be the first collaborator to play the design. Octavio was the first student of the University of Reading MA Typeface Design program to study this project. The Ornaments made by celebrated Latin American and Spanish designers would not be included until their authors allow them to be distributed under the SIL Open Source License. To contribute, see Ibarra Real GitHub", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Iceberg": { + "name": "Iceberg", + "designer": [ + "Cyreal" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Iceberg is a slim condensed decorative webfont by Victor Kharyk suitable for medium to large sizes. It is monolinear and mostly monospaced, has long ascenders and descenders, and a modular construction that builds a rhythm. These features improve overall readability. Its monolinear strokes and 45 degree cuts echo letters made from folded tape.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Iceland": { + "name": "Iceland", + "designer": [ + "Cyreal" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "The idea of geometric typefaces with a look reminiscent of the machinery, technology, and interior design of the 1950s originated in Eurostile family by Aldo Novarese and Alessandro Butti (1952). Iceland is a modular square-shaped webfont by Victor Kharyk with a cold brutal character designed with the intention to perform well on screen starting from low resolutions. For this purpose the strokes are deliberatly kept vertical and diagonal cuts have a 45\u00b0 angle, outlines are rounded. Features like wide proportions and generous x-height are introduced for better legibility. Unconventional and simplified letterforms like k, f, r aid readability at small sizes. While at display sizes they add a crisp and sharp impression. Uppercase letters are decently heavier compared to lowercase as a tribute to the old typographic tradition. This way uppercase is easily distinguished from lowercase, and allows scaling down to be used as Small Caps. Because of its ascetic modular character and squarish proportions Iceland webfont is easily integrated in modular grids and logotypes.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Imbue": { + "name": "Imbue", + "designer": [ + "Tyler Finck", + "ETC" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Imbue is a variable condensed didone made for your special occasion. The result is something crisp and curvy with two variable axes: weight and optical size. Imbue was designed by Tyler Finck. To contribute, see github.com/Etcetera-Type-Co/Imbue", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Imperial Script": { + "name": "Imperial Script", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Imperial Script is a formal script font with clean connections and an elegant look. The thin connectors combined with the heavier shade strokes makes Imperial perfect for invitations, formal events and seasonal settings. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/imperial-script.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Imprima": { + "name": "Imprima", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Imprima looks excellent even on cheap home printers because it has broad counters, strong joins between stems and inktraps that enable it to perform well in very small sizes. Professionally printed documents will make it look even better, especially in large sizes, because there the details of its design that are distinctive become clearly visible. The design of this typeface family is cared for as one cares for your own family. Each component has been treated humanely, by hand. The February 2023 update features a bigger glyphset, fractions and some minor aesthetic modifications. To contribute, see github.com/etunni/imprima.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Inclusive Sans": { + "name": "Inclusive Sans", + "designer": [ + "Olivia King" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Inclusive Sans is a text font designed for accessibility and readability. It is inspired by the friendly personality of contemporary neo-grotesques while incorporating key features to make it highly legible in all uses. To contribute, see github.com/LivKing/Inclusive-Sans.", + "primary_script": "Zinh", + "article": null, + "minisite_url": null + }, + "Inconsolata": { + "name": "Inconsolata", + "designer": [ + "Raph Levien" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "monospace" + ], + "description": "Inconsolata was Raph Levien's first serious original font release. It is a monospace font, designed for printed code listings and the like. There are a great many \u201cprogrammer fonts,\u201d designed primarily for use on the screen, but in most cases do not have the attention to detail for high resolution rendering. Inconsolata draws from many inspirations and sources. I was particularly struck by the beauty of Luc(as) de Groot's Consolas, which is his monospaced design for Microsoft's Vista release. This font, similar to his earlier TheSansMono, demonstrated clearly to me that monospaced fonts do not have to suck. The development of the Regular style by Raph Levien was started in 2006 using his own Spiro-based tools and FontForge. The Bold style was designed by Kirill Tkachev and the Cyreal foundry in 2012. Updated September 2015: Internal metadata corrected. Updated April 2020: Family has been upgraded to a variable font family. To contribute, see github.com/googlefonts/inconsolata.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Inder": { + "name": "Inder", + "designer": [ + "Sorkin Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Inder is a low contrast workhorse sans serif text face design. It was inspired by German art noveau style lettering and the Amsterdam School of architecture. Inder has been carefully adjusted to the restrictions of the screen. Inder can be used in a wide range of sizes.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Indie Flower": { + "name": "Indie Flower", + "designer": [ + "Kimberly Geswein" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "This handwriting font feels carefree and open to me with the bubbly, rounded edges. It is easy to read and a bit bolder than some of my other fonts.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ingrid Darling": { + "name": "Ingrid Darling", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Ingrid Darling is a cute script font originally created for greeting cards. It is based on a cursive hand writing style that has a playful, whimsical appeal. It would be best served as a display font and should be used sparingly rather than in larger bodies of type. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/ingrid-darling.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Inika": { + "name": "Inika", + "designer": [ + "Constanza Artigas" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Inspired by Easter Island and its Rapa Nui language and culture, this typeface captures the essence of an island located in Chile, South America, full of mystery, sacred places and stories of the past. \u201cInika\u201d means \u201cink\u201d in the Rapa Nui language, and it represents the tradition of the rongo-rongo writing, used by people on the island thousands of years ago. The tiki style was worked into the characters with a light touch while developing the upper and lowercase letters forms to evoke the spirit of the island. Inika is useful for both long text setting, document titles, and even large display sizes.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Inknut Antiqua": { + "name": "Inknut Antiqua", + "designer": [ + "Claus Eggers S\u00f8rensen" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "\u00bbInknut Antiqua\u00ab is an Antiqua typeface for literature and long-form text. Approaching the idea of web-publishing as a modern day private press, it is designed to evoke Venetian incunabula and humanist manuscripts, but with the quirks and idiosyncrasies of the kinds of typefaces you find in this artisanal tradition. It comes with a complement of typographical sorts and OpenType features for the purpose. The proportions of Inknut Antiqua make it well suited for low-resolution screens. The Inknut (Terminalia Chebula), called \u00bbharad\u00ab in Hindi, is a nut-like fruit that can be used for ink making and is purported to cure blindness. The tree it grows from is native to the Indian sub-continent and south-east Asia. The Inknut Antiqua project is led by Claus Eggers S\u00f8rensen, a type designer based in Amsterdam. To contribute, see github.com/clauseggers/Inknut-Antiqua", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Inria Sans": { + "name": "Inria Sans", + "designer": [ + "Gr\u00e9gori Vincens", + "J\u00e9r\u00e9mie Hornus" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Inria Sans and Inria Serif are the two members of a type family design for the communication of Inria, a national institute dedicated to numeric research. The Institute needed a font showing its values at the crossroad of humanity, technology, excellence and creativity. Black[Foundry] created a humanist typeface with a unapologetically contemporary design as the Sans-Serif part and a more rational drawing for the Serif. Both members come in 3 weights with matching Italics. To contribute, see github.com/BlackFoundryCom/InriaFonts.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Inria Serif": { + "name": "Inria Serif", + "designer": [ + "Gr\u00e9gori Vincens", + "J\u00e9r\u00e9mie Hornus" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Inria Sans and Inria Serif are the two members of a type family design for the communication of Inria, a national institute dedicated to numeric research. The Institute needed a font showing its values at the crossroad of humanity, technology, excellence and creativity. Black[Foundry] created a humanist typeface with a unapologetically contemporary design as the Sans-Serif part and a more rational drawing for the Serif. Both members come in 3 weights with matching Italics. To contribute, see github.com/BlackFoundryCom/InriaFonts.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Inspiration": { + "name": "Inspiration", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Have a party with Inspiration. A fun, script font with a less-than-serious bounce. You may have seen the use of Inspiration in the logo for Michaels craft stores. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/inspiration.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Instrument Sans": { + "name": "Instrument Sans", + "designer": [ + "Rodrigo Fuenzalida", + "Jordan Egstad" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Instrument Sans is a font designed for the Instrument brand. It's a variable sans-serif which balances an abundance of precision with subtle notes of playfulness. Inspiration was drawn from our enduring interest in neo-grotesques. In a way, this family of weights, widths, and italics represent an orchestration of all of our favorite qualities in a sans-serif while featuring contemporary characteristics that make this typeface distinctly our own. Featuring 12 unique stylistic sets, commonly-used characters can be replaced with alternate glyphs in a variety of combinations to tailor the appearance and legibility of messaging. This flexibility allows for a wide range of expressive styles, making it easy to mold it to perfectly suit whatever style of expression is needed. To contribute, see github.com/Instrument/instrument-sans.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Instrument Serif": { + "name": "Instrument Serif", + "designer": [ + "Rodrigo Fuenzalida", + "Jordan Egstad" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Instrument Serif is a condensed display font designed for the Instrument brand. It is intended for use at large sizes and offers a contemporary take on some of the time-tested characteristics found in old-style serifs. To contribute, please see github.com/Instrument/instrument-serif.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Intel One Mono": { + "name": "Intel One Mono", + "designer": [ + "Intel Corporation", + "Frere-Jones Type" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "latin", + "latin-ext", + "symbols2", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "monospace" + ], + "description": null, + "primary_script": null, + "article": "Introducing Intel One Mono, an expressive monospaced font family that\u2019s built with clarity, legibility, and the needs of developers in mind. Identifying the typographically underserved low-vision developer audience, Frere-Jones Type designed the Intel One Mono typeface in partnership with the Intel Brand Team and VMLY&R, for maximum legibility to address developers' fatigue and eyestrain and reduce coding errors. A panel of low-vision and legally blind developers provided feedback at each stage of design. Intel One Mono also covers a wide range of over 200 languages using the Latin script. The Intel One Mono fonts are provided in four weights \u2014 Light, Regular, Medium, and Bold \u2014 with matching italics, and we are happy to share both an official release of fonts ready to use as well as editable sources. To contribute, please see github.com/intel/intel-one-mono", + "minisite_url": null + }, + "Inter": { + "name": "Inter", + "designer": [ + "Rasmus Andersson" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Inter is a variable font family carefully crafted & designed for computer screens. Inter features a tall x-height to aid in readability of mixed-case and lower-case text. Several OpenType features are provided as well, like contextual alternates that adjusts punctuation depending on the shape of surrounding glyphs, slashed zero for when you need to disambiguate \"0\" from \"o\", tabular numbers, etc. The Inter project is led by Rasmus Andersson, a Swedish maker\u2013of\u2013software living in San Francisco. To contribute, see github.com/rsms/inter", + "primary_script": null, + "article": null, + "minisite_url": "https://rsms.me/inter" + }, + "Inter Tight": { + "name": "Inter Tight", + "designer": [ + "Rasmus Andersson" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "This is a specialized version of Inter with tighter spacing, for display usage. This version also has Roman and Italic styles. To contribute, see github.com/rsms/inter-gf-tight.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Irish Grover": { + "name": "Irish Grover", + "designer": [ + "Sideshow" + ], + "license": "apache2", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Presenting Irish Grover! No, it's not a coveted new AKC breed. No, it's not a tasty seasonal pilsner. It's a fun, flamboyant, new display font by Squid that's way better than any of those possibilities. Sure and it's free for Pete's sake! And you can't say that about dogs or beer.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Island Moments": { + "name": "Island Moments", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Take a trip to a tropical paradise. This brush style font has an exotic appeal with alternate uppercase characters borrowed from the font, Babylonica. This OpenType Pro version offers extra alternate characters. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/island-moments.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Istok Web": { + "name": "Istok Web", + "designer": [ + "Andrey V. Panov" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Istok Web is an original typeface, in development since 2008. At first some basic letters were based on specially modified METAFONT sources from the CM Bright font family from the TeX community. (METAFONT is very flexible technology.) But in fact Istok fonts are now very far from this origin. Contours of the font are designed in the freely distributable font editor, FontForge. Most glyphs are manually hinted with the aim to be rendered on LCD displays. I used xgridfit as a tool for programming truetype instructions. Less frequently utilized symbols have automatic instructions produced by FontForge autohinting, until manual hinting can be done. Manual and automatic instructions are intended to look homogeneous. The original sources and truetype fonts are available at code.google.com/p/istok and this 'Web' version has modified vertical metrics. Updated: June 2014 to version 1.0.2g", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Italiana": { + "name": "Italiana", + "designer": [ + "Santiago Orozco" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Italiana was designed for use in the headlines of newspapers and magazines. Italiana is inspired by the calligraphy of the Italian masters. It is suitable for design solutions that require elegance and sophistication. It was conceived with modern proportions that make it great for economical typesetting both on paper and on screen. The Italiana family is in progress and is being regularly improved. If you have a request, wish to contribute improvements or even fund specific features, simply contact Santiago Orozco. You can follow Santiago on Twitter, @Typemade.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Italianno": { + "name": "Italianno", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Italianno is an elegant, calligraphic script. It's clean connecting strokes distinguish itself from other classic forms which makes it perfect for invitations, scrap-booking, and packaging. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/italianno.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Itim": { + "name": "Itim", + "designer": [ + "Cadson Demak" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "thai", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Itim is a new Thai + Latin handwriting typeface, with an informal looped + semiserif design. It has 2 stylistic set alternate glyph designs and intelligent OpenType features to recreate the impression of handwriting. Thanks to Pablo Impallari for the initial OpenType handwriting feature development. The Itim project is led by Cadson Demak, a type foundry in Thailand. To contribute, see github.com/cadsondemak/itim", + "primary_script": "Thai", + "article": null, + "minisite_url": null + }, + "Jacquard 12": { + "name": "Jacquard 12", + "designer": [ + "Sarah Cadigan-Fried" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Jacquard is an expanded revival typeface from a Victorian needlepoint alphabet designed in Berlin by Heinrich Kuehn circa 1880. The Soft Type is a collection of typefaces designed for knitting color-work. Designing typefaces for knitting is essentially the same as creating pixel types. However, in practice, the pixel size is determined by the properties of the yarn in use. Scale is determined by the weight of the yarn as well as the number of pixels that make up the height of each letter. In this collection, the number following the typeface's name indicates the height of the capital letters for that typeface. These typefaces were designed with machine knitting in mind, but could be used for hand knitting, needlework, bedazzling, or many other textile crafts. Note: For Fair Isle knitting, you need to beware of floats and plan accordingly, as always. Each typeface has a \u201cRegular\u201d and \u201cCharted\u201d version, and some include multiple scales so you can fit type on your knits, no matter the project's size. Check out the charted version Jacquard 12 Charted. To contribute, please see github.com/scfried/soft-type-jacquard.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Jacquard 12 Charted": { + "name": "Jacquard 12 Charted", + "designer": [ + "Sarah Cadigan-Fried" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Jacquard is an expanded revival typeface from a Victorian needlepoint alphabet designed in Berlin by Heinrich Kuehn circa 1880. Designing typefaces for knitting is essentially the same as creating pixel types. However, in practice, the pixel size is determined by the properties of the yarn in use. Scale is determined by the weight of the yarn as well as the number of pixels that make up the height of each letter. In this collection, the number following the typeface's name indicates the height of the capital letters for that typeface. These typefaces were designed with machine knitting in mind, but could be used for hand knitting, needlework, bedazzling, or many other textile crafts. Note: For Fair Isle knitting, you need to beware of floats and plan accordingly, as always. Each typeface has a \u201cRegular\u201d and \u201cCharted\u201d version, and some include multiple scales so you can fit type on your knits, no matter the project's size. Check out the non-charted version Jacquard 12. To contribute, please see github.com/scfried/soft-type-jacquard.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Jacquard 24": { + "name": "Jacquard 24", + "designer": [ + "Sarah Cadigan-Fried" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Jacquard is an expanded revival typeface from a Victorian needlepoint alphabet designed in Berlin by Heinrich Kuehn circa 1880. Designing typefaces for knitting is essentially the same as creating pixel types. However, in practice, the pixel size is determined by the properties of the yarn in use. Scale is determined by the weight of the yarn as well as the number of pixels that make up the height of each letter. In this collection, the number following the typeface's name indicates the height of the capital letters for that typeface. These typefaces were designed with machine knitting in mind, but could be used for hand knitting, needlework, bedazzling, or many other textile crafts. Note: For Fair Isle knitting, you need to beware of floats and plan accordingly, as always. Each typeface has a \u201cRegular\u201d and \u201cCharted\u201d version, and some include multiple scales so you can fit type on your knits, no matter the project's size. Check out the charted version Jacquard 24 Charted. To contribute, please see github.com/scfried/soft-type-jacquard.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Jacquard 24 Charted": { + "name": "Jacquard 24 Charted", + "designer": [ + "Sarah Cadigan-Fried" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Jacquard is an expanded revival typeface from a Victorian needlepoint alphabet designed in Berlin by Heinrich Kuehn circa 1880. Designing typefaces for knitting is essentially the same as creating pixel types. However, in practice, the pixel size is determined by the properties of the yarn in use. Scale is determined by the weight of the yarn as well as the number of pixels that make up the height of each letter. In this collection, the number following the typeface's name indicates the height of the capital letters for that typeface. These typefaces were designed with machine knitting in mind, but could be used for hand knitting, needlework, bedazzling, or many other textile crafts. Note: For Fair Isle knitting, you need to beware of floats and plan accordingly, as always. Each typeface has a \u201cRegular\u201d and \u201cCharted\u201d version, and some include multiple scales so you can fit type on your knits, no matter the project's size. Check out the non-charted version Jacquard 24 . To contribute, please see github.com/scfried/soft-type-jacquard .", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Jacquarda Bastarda 9": { + "name": "Jacquarda Bastarda 9", + "designer": [ + "Sarah Cadigan-Fried" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "The Soft Type Collection is designed for knitters to chart out their typographic projects. Jacquarda Bastarda is an expanded revival typeface from a bastarda-esque Victorian needlepoint alphabet designed in Berlin by Heinrich Kuehn circa 1880. Each typeface has a \u201cRegular\u201d and \u201cCharted\u201d version, and some include multiple scales so you can fit type on your knits, no matter the project's size. Check out the charted version Jacquarda Bastarda 9 Charted. In this collection, the number following the typeface's name indicates the height of the capital letters for that typeface. To contribute, see github.com/scfried/soft-type-jacquarda-bastarda.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Jacquarda Bastarda 9 Charted": { + "name": "Jacquarda Bastarda 9 Charted", + "designer": [ + "Sarah Cadigan-Fried" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "The Soft Type Collection is designed for knitters to chart out their typographic projects. Jacquarda Bastarda is an expanded revival typeface from a bastarda-esque Victorian needlepoint alphabet designed in Berlin by Heinrich Kuehn circa 1880. Each typeface has a \u201cRegular\u201d and \u201cCharted\u201d version, and some include multiple scales so you can fit type on your knits, no matter the project's size. Check out the non-charted version Jacquarda Bastarda 9. In this collection, the number following the typeface's name indicates the height of the capital letters for that typeface. To contribute, see github.com/scfried/soft-type-jacquarda-bastarda.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Jacques Francois": { + "name": "Jacques Francois", + "designer": [ + "Cyreal" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Jacques Francois is a revival of the 1760 Ensched\u00e9 no. 811 type specimen by Jacques Fran\u00e7ois Rosart (1714-1774) made for Ensched\u00e9 Printing House. It was designed to give an even typographic color while preserving the essential historic peculiarities of the original. It has an expanded glyph set, and to improve readability on the web the x-height is increased and the thinnest parts of letterforms are more sturdy. Jacques Francois is designed for medium to small size usage. Old style figures are included. There is also Jacques Francois Shadow, an incised variant. Jacques Francois was designed by Manvel Shmavonyan and Alexei Vanyashin. To contribute, see github.com/cyrealtype/Jacques-Francois", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Jacques Francois Shadow": { + "name": "Jacques Francois Shadow", + "designer": [ + "Cyreal" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Jacques Francois Shadow is a revival of the 1760 Ensched\u00e9 no. 811 type specimen by Jacques Fran\u00e7ois Rosart (1714-1774) made for Ensched\u00e9 Printing House. It was designed to give an even typographic color while preserving the essential historic peculiarities of the original. It has an expanded glyph set, and to improve readability on the web the x-height is increased and the thinnest parts of letterforms are more sturdy. Jacques Francois Shadow is designed for large sizes and manually hinted for better screen performance starting from 24 ppem. This means that on Windows machines it will work best from 18pt (at 96ppi) or 15pt (at 120ppi) and from 24pt on Mac (at 72ppi.) Old style figures are included. There is also Jacques Francois, a text variant. Jacques Francois was designed by Manvel Shmavonyan and Alexei Vanyashin. To contribute, see github.com/cyrealtype/Jacques-Francois-Shadow", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Jaini": { + "name": "Jaini", + "designer": [ + "Ek Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Jaini and Jaini Purva (both Devanagari) are typefaces based on the calligraphic style of the Jain Kalpasutra manuscripts, particularly referencing a manuscript from 1503 CE. The manuscript style has several unique features not seen in the commonly observed Balbodh style. These include a disconnected shirorekha with triangular wedges, short upper matras, squarish letters with large kana height, heavy knots, and the integration of lower matras within the kana height. It also contains some letter-shapes that have evolved over time and are not familiar to current readers. In an attempt to revive the distinct calligraphic style for contemporary use, Jaini adapts visual features of the manuscript style to contemporary letter-structures. Jaini and Jaini Purva differ in their treatment of conjuncts; Jaini adheres to contemporary conventions of horizontal conjuncts, whereas Jaini Purva stays true to vertically stacked conjuncts as seen in manuscripts. While Jaini Devanagari references past manuscripts, its Latin companion draws inspiration from a hand-lettering style seen in present-day India. In regions where Devanagari is predominantly used, it is not uncommon to see Latin letterforms drawn with a Devanagari pen angle (which is almost perpendicular to the Latin pen angle) with a subtle hint of a shirorekha. Jaini (Latin) draws inspiration from this street style while visually matching it with the wavy stems and squarish counters of Jaini Devanagari. Jaini Devanagari was designed in 2016 by Girish Dalvi and Maithili Shingre. Jaini Latin was designed in 2023 by Taresh Vohra. This project is led by Ek Type, a collective of type designers based in Mumbai focused on designing contemporary Indian typefaces. To contribute to the project, see github.com/EkType/Jaini", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Jaini Purva": { + "name": "Jaini Purva", + "designer": [ + "Ek Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Jaini Purva and Jaini (both Devanagari) are typefaces based on the calligraphic style of the Jain Kalpasutra manuscripts, particularly referencing a manuscript from 1503 CE. The manuscript style has several unique features not seen in the commonly observed Balbodh style. These include a disconnected shirorekha with triangular wedges, short upper matras, squarish letters with large kana height, heavy knots, and the integration of lower matras within the kana height. It also contains some letter-shapes that have evolved over time and are not familiar to current readers. In an attempt to revive the distinct calligraphic style for contemporary use, Jaini adapts visual features of the manuscript style to contemporary letter-structures. Jaini and Jaini Purva differ in their treatment of conjuncts; Jaini adheres to contemporary conventions of horizontal conjuncts, whereas Jaini Purva stays true to vertically stacked conjuncts as seen in manuscripts. While Jaini Devanagari references past manuscripts, its Latin companion draws inspiration from a hand-lettering style seen in present-day India. In regions where Devanagari is predominantly used, it is not uncommon to see Latin letterforms drawn with a Devanagari pen angle (which is almost perpendicular to the Latin pen angle) with a subtle hint of a shirorekha. Jaini (Latin) draws inspiration from this street style while visually matching it with the wavy stems and squarish counters of Jaini Devanagari. Jaini Devanagari was designed in 2016 by Girish Dalvi and Maithili Shingre. Jaini Latin was designed in 2023 by Taresh Vohra. This project is led by Ek Type, a collective of type designers based in Mumbai focused on designing contemporary Indian typefaces. To contribute to the project, see github.com/EkType/Jaini", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Jaldi": { + "name": "Jaldi", + "designer": [ + "Omnibus-Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Jaldi is the Hindi word for soon, and the typeface family is a contemporary sans-serif Devanagari with subtle rounded corners. Designed by Nicolas Silva and Pablo Cosgaya, Jaldi is developed to match with the Latin design of the Asap family, named after the acronym \"As Soon As Possible.\" This family is specially developed for screen reading and use as a webfont, and like Asap is has a special twist: Jaldi offers a standardised character width on all styles, which means that lines of text always remain the same length. This useful feature allows users to change type styles on-the-go without reflowing text bodies. Asap is based on Ancha, designed by Pablo Cosgaya and Hector Gatti in collaboration with Andres Torresi. This project is led by Omnibus Type, a type foundry based in Argentina. To contribute, visit github.com/Omnibus-Type/Jaldi.", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Jaro": { + "name": "Jaro", + "designer": [ + "Agyei Archer", + "C\u00e9line Hurka", + "Mirko Velimirovi\u0107" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "Jaro, a global display typeface crafted by Agyei Archer, draws its inspiration from the artistic legacy of Jaroslav Benda. With a nod to Benda's renowned work, this font stands as a testament to his influence on modern design. Distinctive in its versatility, Jaro boasts a variable style, offering a spectrum of possibilities for creative expression. Its optical size axis ensures legibility across a range of scales, from grand displays to fine print. In the realm of typography, Jaro emerges as a bridge between tradition and innovation, embodying the timeless elegance of Benda's craftsmanship while embracing the technological advancements of today. With each stroke, Jaro invites users to explore the intersection of artistry and functionality, making it a cherished asset for designers worldwide. To contribute, please see github.com/agyeiarcher/Jaro.", + "minisite_url": null + }, + "Jersey 10": { + "name": "Jersey 10", + "designer": [ + "Sarah Cadigan-Fried" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "The Soft Type Collection is designed for knitters to chart out their typographic projects. Jersey is a sporty, versitile sans-serif typeface, knittable at various sizes. Each typeface has a \u201cRegular\u201d and \u201cCharted\u201d version, and some include multiple scales so you can fit type on your knits, no matter the project's size. Check out the charted version Jersey 10 Charted. In this collection, the number following the typeface's name indicates the height of the capital letters for that typeface. To contribute, please see github.com/scfried/soft-type-jersey.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Jersey 10 Charted": { + "name": "Jersey 10 Charted", + "designer": [ + "Sarah Cadigan-Fried" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "The Soft Type Collection is designed for knitters to chart out their typographic projects. Jersey is a sporty, versitile sans-serif typeface, knittable at various sizes. Each typeface has a \u201cRegular\u201d and \u201cCharted\u201d version, and some include multiple scales so you can fit type on your knits, no matter the project's size. Check out the non-charted version Jersey 10. In this collection, the number following the typeface's name indicates the height of the capital letters for that typeface. To contribute, please see github.com/scfried/soft-type-jersey.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Jersey 15": { + "name": "Jersey 15", + "designer": [ + "Sarah Cadigan-Fried" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "The Soft Type Collection is designed for knitters to chart out their typographic projects. Jersey is a sporty, versitile sans-serif typeface, knittable at various sizes. Each typeface has a \u201cRegular\u201d and \u201cCharted\u201d version, and some include multiple scales so you can fit type on your knits, no matter the project's size. Check out the charted version Jersey 15 Charted. In this collection, the number following the typeface's name indicates the height of the capital letters for that typeface. To contribute, please see github.com/scfried/soft-type-jersey.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Jersey 15 Charted": { + "name": "Jersey 15 Charted", + "designer": [ + "Sarah Cadigan-Fried" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "The Soft Type Collection is designed for knitters to chart out their typographic projects. Jersey is a sporty, versitile sans-serif typeface, knittable at various sizes. Each typeface has a \u201cRegular\u201d and \u201cCharted\u201d version, and some include multiple scales so you can fit type on your knits, no matter the project's size. Check out the non-charted version Jersey 15. In this collection, the number following the typeface's name indicates the height of the capital letters for that typeface. To contribute, please see github.com/scfried/soft-type-jersey.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Jersey 20": { + "name": "Jersey 20", + "designer": [ + "Sarah Cadigan-Fried" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "The Soft Type Collection is designed for knitters to chart out their typographic projects. Jersey is a sporty, versitile sans-serif typeface, knittable at various sizes. Each typeface has a \u201cRegular\u201d and \u201cCharted\u201d version, and some include multiple scales so you can fit type on your knits, no matter the project's size. Check out the charted version Jersey 20 Charted. In this collection, the number following the typeface's name indicates the height of the capital letters for that typeface. To contribute, please see github.com/scfried/soft-type-jersey.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Jersey 20 Charted": { + "name": "Jersey 20 Charted", + "designer": [ + "Sarah Cadigan-Fried" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "The Soft Type Collection is designed for knitters to chart out their typographic projects. Jersey is a sporty, versitile sans-serif typeface, knittable at various sizes. Each typeface has a \u201cRegular\u201d and \u201cCharted\u201d version, and some include multiple scales so you can fit type on your knits, no matter the project's size. Check out the non-charted version Jersey 20. In this collection, the number following the typeface's name indicates the height of the capital letters for that typeface. To contribute, please see github.com/scfried/soft-type-jersey.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Jersey 25": { + "name": "Jersey 25", + "designer": [ + "Sarah Cadigan-Fried" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "The Soft Type Collection is designed for knitters to chart out their typographic projects. Jersey is a sporty, versitile sans-serif typeface, knittable at various sizes. Each typeface has a \u201cRegular\u201d and \u201cCharted\u201d version, and some include multiple scales so you can fit type on your knits, no matter the project's size. Check out the charted version Jersey 25 Charted. In this collection, the number following the typeface's name indicates the height of the capital letters for that typeface. To contribute, please see github.com/scfried/soft-type-jersey.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Jersey 25 Charted": { + "name": "Jersey 25 Charted", + "designer": [ + "Sarah Cadigan-Fried" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "The Soft Type Collection is designed for knitters to chart out their typographic projects. Jersey is a sporty, versatile sans-serif typeface, knittable in various sizes. Each typeface has a \u201cRegular\u201d and \u201cCharted\u201d version, and some include multiple scales so you can fit type on your knits, no matter the project's size. Check out the non-charted version Jersey 25. In this collection, the number following the typeface's name indicates the height of the capital letters for that typeface. For this particular style, it's best to use a minimum of 30pt font size to ensure that it's clear, legible, and visually appealing across different platforms and mediums. To contribute, please see github.com/scfried/soft-type-jersey.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "JetBrains Mono": { + "name": "JetBrains Mono", + "designer": [ + "JetBrains", + "Philipp Nurullin", + "Konstantin Bulenkov" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "monospace" + ], + "description": "JetBrains Mono is a typeface made for the specific needs of developers. Find more informations about font features, design and language support on www.jetbrains.com/. JetBrains Mono is designed by Philipp Nurullin and Konstantin Bulenkov. To contribute, see github.com/JetBrains/JetBrainsMono", + "primary_script": null, + "article": null, + "minisite_url": "https://www.jetbrains.com/lp/mono/" + }, + "Jim Nightshade": { + "name": "Jim Nightshade", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Certain calligraphic pen styles have always had a mysterious and almost dark vibe to them from my viewpoint. Jim Nightshade is one of those styles. Named after a character from the story, \"Something Wicked This Way Comes\", Jim Nightshade is a flat nib calligraphic typestyle with charisma and a dark flair. Letterforms follow that of a traditional italic hand but with more angular strokes to accentuate the look.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Joan": { + "name": "Joan", + "designer": [ + "Paolo Biagini" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Inspired by the roman cut by Francesco Griffo, it is a tribute to the Italian style, a model to follow even in the 15th century. Joan is characterized by neat serifs as well as sharp terminals and is intended for books and magazines. At the moment, only the roman is available. The italic variant is under development. To contribute, see github.com/PaoloBiagini/Joan.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Jockey One": { + "name": "Jockey One", + "designer": [ + "TypeTogether" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Jockey One is a new sans serif, designed by TypeTogether - Veronika Burian and Jos\u00e9 Scaglione.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Jolly Lodger": { + "name": "Jolly Lodger", + "designer": [ + "Font Diner" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Wherever your travels may take you, you'll always find a confortable host off the interstate at the Jolly Lodger! Air conditioning, cable television and the freshest assortment of baked goods delivered fresh to your room each morning! So grab a roll of quarters and enjoy a relaxing Magic Fingers massage as you head into the mid-century with this nifty typeface! Designed by Stuart Sandler of Font Diner, Inc. To contribute to the project contact the Font Diner.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Jomhuria": { + "name": "Jomhuria", + "designer": [ + "KB Studio" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Jomhuria is a dark Persian/Arabic and Latin display typeface, suitable for headline and other display usage. The name means 'republic,' and the spark of inspiration for the design was a stencil of \u201cShablon\u201d showing just a limited character set just for the Persian language without any marks, vowels or Latin glyphs. Shablon was designed 30 years ago in Iran, and is reinterpreted by Kourosh to incorporate contemporary techniques, aesthetics and of course some personal taste. While inspired by the spirit of Shablon, Jomhuria is a new typeface that stands on its own. The typeface designer Kourosh created an additional original Latin design that is tailored to harmonize with the aesthetics of the Persian/Arabic design. Being made for big sizes means details matter. The positions of the dots remains faithful to their locations in Persian/Arabic calligraphy; this is an important factor of beauty in the writing system and is key to readability. The Arabic script was designed by Kourosh Beigpour, and the Latin was designed by Eben Sorkin. The font is engineered by Lasse Fister, and the technicalities build upon those developed by Khaled Hosny for his \u201cAmiri.\u201d The Latin is scaled to work best with the Arabic component. The Jomhuria project is led by KB Studio, a type design foundry based in Los Angelese, USA. To contribute, see github.com/Tarobish/Jomhuria", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Jomolhari": { + "name": "Jomolhari", + "designer": [ + "Christopher J. Fynn" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "tibetan" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Jomolhari is a free, Unicode compatible, Tibetan script font named after Mt Jomolhari on the border of Bhutan and Tibet. This font can be used for Tibetan and Dzongkha text. It was inspired by Bhutanese manuscript examples and was originally designed for use in publishing traditional Buddhist texts.", + "primary_script": "Tibt", + "article": null, + "minisite_url": null + }, + "Josefin Sans": { + "name": "Josefin Sans", + "designer": [ + "Santiago Orozco" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "The idea of this typeface is to be geometric, elegant, with a vintage feeling, for use at larger sizes. It is inspired by geometric sans serif designs from the 1920s. The x-height is half way from baseline to cap height, an unusual proportion. There is a sister family, Josefin Slab In December 2019, it was updated with a Variable Font \"Weight\" axis. To contribute, see github.com/googlefonts/josefinsans.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Josefin Slab": { + "name": "Josefin Slab", + "designer": [ + "Santiago Orozco" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SLAB_SERIF", + "classifications": [ + "display" + ], + "description": "Josefin Slab was the first typeface\u2013at least in my mind\u2013I designed! But I decided to start simple with Josefin Sans. Following the 1930s trend for geometric typefaces, it just came to me that something between Kabel and Memphis with modern details will look great. I wanted to stick to the idea of Scandinavian style, so I put a lot of attention to the diacritics, especially to \"\u00e6\" which has loops connecting in a continuous way, so the \"e\" slope was determined by this character. It also has some typewriter style attributes, because I've liked the Letter Gothic typeface since I was in high school, and that's why I decided to make a Slab version of Josefin Sans.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Jost": { + "name": "Jost", + "designer": [ + "Owen Earl" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Jost is an original font created by indestructible type*. It is inspired by 1920s German sans-serifs. This is version 3.7. Jost is designed and maintained by Owen Earl, who is the creator of the font foundry indestructible type*. in 2020 Owen Earl, and Mirko Velimirovic worked together to make Jost a variable font. If you have questions or want to help out, please contribute at github.com/indestructible-type/Jost.", + "primary_script": null, + "article": null, + "minisite_url": "https://indestructibletype.com/Jost.html" + }, + "Joti One": { + "name": "Joti One", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "I enjoyed designing this typeface because it was inspired by my little son \"Jonah,\" who is called by his friends \"Joti.\" The type has the informality and style of the cartoons which children watch. Its primary concept is top-heavy stems with a slight sense of movement to further enhance the style. Joti is ideal for composing headlines and short texts in sizes larger than 14 points. The March 2023 update features a bigger glyphset, fractions and some minor aesthetic modifications. To contribute, see github.com/etunni/joti.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Jua": { + "name": "Jua", + "designer": [ + "Woowahan Brothers" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "korean", + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Jua is a Korean and Latin font", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "Judson": { + "name": "Judson", + "designer": [ + "Daniel Johnson" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Judson is a serif font designed for African literacy. It contains as many glyphs and precomposed combinations that I know of for all African languages written in Latin-derived alphabets. It uses OpenType tables for correct placement of diacritical marks, including stacked marks. Care has been taken so that all characters are easily distinguished, even in the italic face. The medium roman face has support for the International Phonetic Alphabet (IPA.) Currently Judson is only available in medium roman, italic and bold roman faces; at this time there is no bold italic.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Julee": { + "name": "Julee", + "designer": [ + "Juli\u00e1n Tunni" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "The peculiarity of this typography lies in its curved structures and strokes, which are developed on it by getting thinner and sharper as if they were being typed using a metallic and bevel-edged point. The visual mark characteristic of Julee is a casual cursive-like type, yet balanced due to the tidy proportions of its signs. The March 2023 update features a bigger glyphset, fractions and some minor aesthetic modifications. More documentation can be found at www.tipo.net.ar To contribute, see github.com/etunni/julee.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Julius Sans One": { + "name": "Julius Sans One", + "designer": [ + "Luciano Vergara" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Julius Sans One is a sans serif typeface family from Chilean type foundry LatinoType. Updated, April 2015: hinting was applied (with ttfautohint) and the non-breaking space glyph was adjusted to be the same width as space.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Junge": { + "name": "Junge", + "designer": [ + "Cyreal" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [ + "handwriting" + ], + "description": "Junge is an elegant and slim text typeface inspired by the calligraphy of G\u00fcnther Junge. Thanks to a combination of features it performs equally well in most ranges. At small sizes it builds the impression of flittering strokes. In large headlines its refined detailing become visible. It is not as strictly structured as a text typeface, and has subtle irregularities reminiscent of its calligraphic origin. Junge is designed by Alexei Vanyashin (@avanyashin)", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Jura": { + "name": "Jura", + "designer": [ + "Daniel Johnson", + "Cyreal" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "kayah-li", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Jura is a family of sans-serif fonts in the Eurostile vein. It was originally inspired by some work I was doing for the FreeFont project in designing a Kayah Li range for FreeMono. The Latin alphabet is using the same kinds of strokes and curves as the Kayah Li glyphs, and thus Jura was born. It has been expanded to include glyphs for the Cyrillic and Greek alphabets as well. The original Kayah Li glyphs have been included in this font. Note that glyphs for writing mainstream Burmese are not and never have been a part of this font. The Jura family has an unfortunate name clash with Ed Merritt\u2019s Jura serif font. To contribute, see github.com/ossobuffo/jura.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Just Another Hand": { + "name": "Just Another Hand", + "designer": [ + "Astigmatic" + ], + "license": "apache2", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "My personal handwriting has changed a number of times over the years. Just Another Hand is a narrow brush drawn handwriting font, inspired by the handwriting of my high school days. There's a little artistic license taken with Just Another Hand in the sense that while I never really wrote with a brush in high school, I wanted a cleaner stroke for this interpretation. A little personality, a little restraint... a style that works for all sorts of projects across the board.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Just Me Again Down Here": { + "name": "Just Me Again Down Here", + "designer": [ + "Kimberly Geswein" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Just Me Again Down Here was created a few weeks after my family and I moved to China, using a Wacom Tablet and Adobe Illustrator. This is my \u201cmessy\u201d handwriting with mixed capitals and irregularities. After moving to China and finding myself without the ability to communicate in my new home country\u2019s language, creating a font was something that reminded me that I did know how to do something and I would survive those first confusing weeks abroad.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "K2D": { + "name": "K2D", + "designer": [ + "Cadson Demak" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "thai", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "K2D is a Thai and Latin family which has a modern appearance but features Thai's traditional looped letterforms.", + "primary_script": "Thai", + "article": null, + "minisite_url": null + }, + "Kablammo": { + "name": "Kablammo", + "designer": [ + "Vectro Type Foundry", + "Travis Kochel", + "Lizy Gershenzon", + "Daria Cohen", + "Ethan Cohen" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "emoji", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Kablammo is an experimental variable font, taking inspiration from maximalist curly doodad designs from the \u201990s, the Memphis Design movement, as well as cartoons and toys from those eras. Kablammo has one variable axis, Morph(MORF), which makes the glyphs dance. The decorative elements fly all over the place, along with shifting weight and contrast. This lends itself particularly well to animations. Each glyph has four primary states that be morphed between, and can be considered the most stable and considered forms. Each of these are accessible as instances (styles) in font menus that properly support variable fonts. This offers a quick alternative for accessing the alternate forms, and can be handy if you don\u2019t need all the variety, and in-between states of the full variable font. Kablammo was designed by Vectro Type Foundry and released in 2023. To contribute, please see github.com/Vectro-Type-Foundry/kablammo.", + "primary_script": null, + "article": null, + "minisite_url": "https://fonts.withgoogle.com/kablammo" + }, + "Kadwa": { + "name": "Kadwa", + "designer": [ + "Sol Matas" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "devanagari", + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Kadwa is a Devanagari typeface family designed by Sol Matas. It is based on the original Latin typeface Bitter, a slab serif typeface for text. People read and interact with text on screens more and more each day. What happens on screen ends up being more important than what comes out of the printer. With the accelerating popularity of electronic books, type designers are working hard to seek out the ideal designs for reading on screen. Motivated by Sol's love for the pixel she designed Bitter, and later Kadwa. A \"contemporary\" slab serif typeface for text, it is specially designed for comfortably reading on any computer or device. The robust design started from the austerity of the pixel grid, based on rational rather than emotional principles. It combines the large x-heights and legibility of the humanistic tradition with subtle characteristics in the characters that inject a certain rhythm to flowing texts. It has little variation in stroke weight and the Regular is darker than a typical typeface intended for use in print. This generates an intense color in paragraphs, accentuated by the serifs that are as thick as strokes, with square terminals. Each glyph is carefully designed with an excellent curve quality added to the first stage of the design, that was entirely made in a pixel grid. The typeface is balanced and manually spaced to use very few kerning pairs, especially important for web font use since most browsers do not currently support this feature. The Kadwa project is led by Sol Matas, a type designer based in Berlin, Germany. To contribute, see github.com/solmatas/Kadwa", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Kaisei Decol": { + "name": "Kaisei Decol", + "designer": [ + "Font-Kai" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Kaisei Decol is designed with the same element in Kanji, the little dot at the end of the stroke. When typesetted, because of this dot elements, it makes less stimulus to eyes and also gives a cute and fun impression. Best suited for a short sentence, preferably title. Good to use together with Kaisei Opti. To contribute to the project, visit https://github.com/FontKai-Kaisei/Kaisei", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "Kaisei HarunoUmi": { + "name": "Kaisei HarunoUmi", + "designer": [ + "Font-Kai" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Kaisei Haru No Umi's Kana is an organic wavy design that gives natural and friendly look. Katakana is designed slightly smaller to give more old-style typesetting impression. Better when set in text size. To contribute to the project, visit https://github.com/FontKai-Kaisei/Kaisei", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "Kaisei Opti": { + "name": "Kaisei Opti", + "designer": [ + "Font-Kai" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Kaisei Opti is a modern style Japanese typeface. When typesetted, it gives a cheerful and breezy impression. To contribute to the project, visit https://github.com/FontKai-Kaisei/Kaisei", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "Kaisei Tokumin": { + "name": "Kaisei Tokumin", + "designer": [ + "Font-Kai" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Kaisei Tokumin is a shorten word for Tokudai Mincho Kana, meaning \"Extra Bold Serif Kana,\" intended for the strong title usage. Extra bold typefaces sometimes become unbalanced when having heavier density in the glyph, and loses the breathe of words. Kaisei Tokumin is designed to keep the legibility and still have power as an extra bold typeface. To contribute to the project, visit https://github.com/FontKai-Kaisei/Kaisei", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "Kalam": { + "name": "Kalam", + "designer": [ + "Indian Type Foundry" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Kalam is a handwriting-style typeface supporting the Devanagari and Latin scripts. This is an Open Source font family first published by the Indian Type Foundry in 2014. Even though Kalam's letterforms derive from handwriting, the fonts have each been optimised for text on screen. All in all, the typeface is a design that feels very personal. Like many informal handwriting-style fonts, it appears rather fresh and new when seen on screen or printed on the page. Kalam's letterforms feature a very steep slant from the top right to the bottom left. They are similar to letters used in everyday handwriting, and look like they might have been written with either a thin felt-tip pen, or a ball-point pen. In the Devanagari letterforms, the knotted-terminals are open, but some other counter forms are closed. Features like these strengthen the feeling that text set in this typeface has been written very quickly, in a rapid manner. Kalam is available in three weights: Light, Regular and Bold. Each font contains 1,025 glyphs, which includes many unique Devanagari conjuncts. These ensure full support for the major languages written with the Devanagari script. The Latin component's character set is a basic western one, which enables typesetting in English and the other Western European languages. Lipi Raval and Jonny Pinhorn developed the family for ITF; Raval designed the Devanagari component while she and Pinhorn worked together on the Latin. The Kalam project is led by Indian Type Foundry, a type design foundry based in Ahmedabad, India. To contribute, see github.com/itfoundry/kalam Updated July 2015: Updated to v2.001 with improved OpenType features.", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Kalnia": { + "name": "Kalnia", + "designer": [ + "Frida Medrano" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "math" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "Kalnia is a variable font with weight and width axes designed with high contrast and refined terminals, drawing inspiration from the Victorian era. This historical period marked a transition from manual to machine production, and the 'fat face' style emerged\u2014a bold and attention-grabbing typography used for poster headlines to stand out from traditional typefaces. Kalnia embodies the delicate and the boldness, bridging the gap between the old and the new. This display font family comprises a total of eight styles, making it a versatile choice for poster headlines and expressive design projects. To contribute, see github.com/fridamedrano/Kalnia-Typeface", + "minisite_url": null + }, + "Kalnia Glaze": { + "name": "Kalnia Glaze", + "designer": [ + "Frida Medrano" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "Kalnia Glaze is the color font version of Kalnia Typeface also available at Google Fonts. Inspired by the Victorian era, Kalnia Glaze features high contrast and refined terminals. Much like the Victorian Sash windows that were meticulously glazed to capture a timeless charm, Kalnia Glaze takes the essence of this historical craftsmanship into its letterforms. It incorporate their structural elegance, volume, and lighting nuances, to enhance the original structure of Kalnia typeface with added complexity and decoration. To contribute, see github.com/fridamedrano/Kalnia-Glaze. Step into the World of Color. A new gradient variable font to take the most out of the COLRv1 format Kalnia Glaze is a new typeface commissioned by Google Fonts, that experiments with the new color font technology in variable fonts, inviting you to step into a world of color and add vibrancy and depth to your projects. Kalnia Glaze is the result of an broad exploration of the latest COLRv1 format and it's integration with the variable font technology. The objective was not only to create a complex layered design to explore the possibilities of the format but also to streamline and expedite the process, minimizing the need for manual adjustments through software and emphasizing the automation of processes using paintcompiler, a program by Simon Cozens. COLRv1 is the latest version of the color font format combining transparency, gradients, and variable font technology. As one of the advantages of the format, it's possible to change the color palettes in code. Kalnia Glaze is designed for both light and dark modes color palettes, with easily accessible palettes through CSS. CSS also offers easy and powerful customization options using the \"override-colors\" property This font uses the COLRv1 and CPAL tables. Please visit the gf-guide color page to learn more about Color Fonts technology. Kalnia Glaze also has four main icons with the option of using them solo or with a frame.", + "minisite_url": "https://www.fridamedrano.com/kalniaglaze" + }, + "Kameron": { + "name": "Kameron", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SLAB_SERIF", + "classifications": [], + "description": "Kameron is a reworking and fusing of several classic Slab Serif and Egyptian type forms from the early to mid Twentieth Century. The September 2023 update features a bigger glyphset, some minor aesthetic modifications and a variable replacement. To contribute, see github.com/googlefonts/kameronFont.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Kanchenjunga": { + "name": "Kanchenjunga", + "designer": [ + "Becca Hirsbrunner Spalinger" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "kirat-rai", + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Krai", + "article": "The Kirat Rai script is used to write the Bantawa language in the Sikkim state of India. Kanchenjunga is the first Unicode font family for this script of South Asia and The Kirat Rai script was officially encoded in the Unicode Standard version 16.0. The font is named after the third highest mountain in the world, located on the border between Sikkim state in northeast India and eastern Nepal. This peak represents the geographical distribution of the Bantawa language. The design of the font is loosely based on the handwriting style of Kirat Rai which was used in some of the early reading primers for Kirat Rai. Kirat Rai script is also called \u201cKhambu Rai Lipi\u201d in West Bengal. This font was developed by SIL, and you can learn more about it at software.sil.org/kanchenjunga. To contribute, see github.com/silnrsi/font-kanchenjunga.", + "minisite_url": null + }, + "Kanit": { + "name": "Kanit", + "designer": [ + "Cadson Demak" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "thai", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Kanit means mathematics in Thai, and the Kanit typeface family is a formal Loopless Thai and Sans Latin design. It is a combination of concepts, mixing a Humanist Sans Serif motif with the curves of Capsulated Geometric styles that makes it suitable for various uses, contemporary and futuristic. A notable detail is that the stroke terminals have flat angles, which allows the design to enjoy decreased spacing between letters while preserving readability and legibility at smaller point sizes. In Thai typeface design the formal loopless Thai typefaces have more simple forms than the conservative looped Thai designs, and this simplification has to be done properly in order to preserve the essential character of each letter. Sizes and positions of vowels and tone marks need to be managed carefully because they are all relevant to readability, legibility, and overall textures. When designing Kanit, special care was taken with some groups of letters such as \u0e01 \u0e16 \u0e20 \u0e24 \u0e26, \u0e0e \u0e0f, \u0e1a \u0e1b, and \u0e02 \u0e0a to ensure they are distinct and legible, because it might lead to confusion if each glyph is not clear enough. Kanit is the first Thai font family to be hinted with TTFAutohint, an easy-to-use hinting tool that is highly recommended. The Kanit project is led by Cadson Demak, a type foundry in Thailand. To contribute, see github.com/cadsondemak/kanit", + "primary_script": "Thai", + "article": null, + "minisite_url": null + }, + "Kantumruy Pro": { + "name": "Kantumruy Pro", + "designer": [ + "Tep Sovichet", + "Wei Huang" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "khmer", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Kantumruy Pro is a newly redrawn design of the first Kantumruy (published in 2013) which is a modern display Khmer typeface that is being used by small and big brands in Cambodia, as well as many non-profit organizations for their visual identities. In the new version, the design direction mostly remains the same, however, there are major changes in vertical metrics and proportions, some letterforms, and the Italic set is also included. The Latin set in Kantumruy Pro is from Work Sans, with modified width and weight. To contribute, see github.com/sovichet/kantumruy-pro", + "primary_script": "Khmr", + "article": null, + "minisite_url": null + }, + "Kapakana": { + "name": "Kapakana", + "designer": [ + "Kousuke Nagai" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "japanese", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Kapakana is a Kana typeface designed with the concept of a copperplate script, including Hiragana, Katakana, and Latin glyphs (for pinyin use). It is a two weight font and available both as static instances and as a variable font. To contribute to the project, visit github.com/nagamaki008/kapakana", + "primary_script": "Hira", + "article": null, + "minisite_url": null + }, + "Karantina": { + "name": "Karantina", + "designer": [ + "Rony Koch" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "hebrew", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Karantina is a Hebrew and Latin typeface family. It was created by Rony Koch during the long days of COVID-19 quarantine. Karantina is a three weight family that includes - Light, Regular and Bold. To contribute, see github.com/ronykoch/Karantina", + "primary_script": "Hebr", + "article": null, + "minisite_url": null + }, + "Karla": { + "name": "Karla", + "designer": [ + "Jonny Pinhorn" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Karla is a grotesque sans serif family which has been expanded now to a variable font with a weight axis ranging from ExtraLight to ExtraBold plus full support of Western, Central, and South-Eastern European languages. To contribute, see github.com/googlefonts/karla.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Karla Tamil Inclined": { + "name": "Karla Tamil Inclined", + "designer": [ + "Jonathan Pinhorn" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "tamil" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Karla is a grotesque sans serif typeface family that supports languages that use the Latin script and the Tamil script. This is the Tamil script part of the family, with Inclined styles in two weights, Regular and Bold. The Latin part is available from the Karla specimen page. Karla Tamil does not currently work on iPhones and iPads, because iOS doesn't render OpenType Layout shaping, only AAT shaping. Mac OS X, Windows and GNU+Linux all render OpenType Layout shaping. These Tamil fonts do not have AAT shaping, so they won't render correctly, but the iOS system font does. To contribute to the project contact Jonathan Pinhorn.", + "primary_script": "Taml", + "article": null, + "minisite_url": null + }, + "Karla Tamil Upright": { + "name": "Karla Tamil Upright", + "designer": [ + "Jonathan Pinhorn" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "tamil" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Karla is a grotesque sans serif typeface family that supports languages that use the Latin script and the Tamil script. This is the Tamil script part of the family, with Upright styles in two weights, Regular and Bold. The Latin part is available from the Karla specimen page. Karla Tamil does not currently work on iPhones and iPads, because iOS doesn't render OpenType Layout shaping, only AAT shaping. Mac OS X, Windows and GNU+Linux all render OpenType Layout shaping. These Tamil fonts do not have AAT shaping, so they won't render correctly, but the iOS system font does. To contribute to the project contact Jonathan Pinhorn.", + "primary_script": "Taml", + "article": null, + "minisite_url": null + }, + "Karma": { + "name": "Karma", + "designer": [ + "Indian Type Foundry" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Karma is an Open Source multi-script typeface supporting both the Devanagari and the Latin script. The family was developed for use in body text on screen, and five fonts are available. The characters for both scripts feature a construction style that tends toward the monolinear. The Latin script component has serif letters. Both these, and the stroke terminals in the Devanagari letterforms are generally rounded in Karma\u2019s design. Karma\u2019s characters are economic in width, and the Latin sports a tall x-height. Although the knotted terminals in the Devanagari letterforms are closed, the general feeling of the Devanagari character set is open and airy. See the design of the \u0916 (kha), \u091b (cha) and \u0927 (dha), for example. Joana Correia designed Karma for the Indian Type Foundry, who first published the fonts in 2014.", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Katibeh": { + "name": "Katibeh", + "designer": [ + "KB Studio" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "arabic", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Katibeh is a headline font based on the Naskh script, infused with some qualities of the Thuluth script. The small serif-like outstrokes make Katibeh remind us of archaic designs, but other aspects of the design are very contemporary touches. The result is something between tradition and today. Katibeh has ligatures that Arabic and Persian readers are familiar with, to make it comfortable for reading longer texts. Unlike many other Arabic fonts, Katibeh includes a Latin typeface designed for harmony with the Arabic to make it useful for multilingual texts. The Latin is scaled to work best with the Arabic component. The Katibeh project is led by KB Studio, a design studio in Los Angeles. To contribute, see github.com/Tarobish/Katibeh", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Kaushan Script": { + "name": "Kaushan Script", + "designer": [ + "Impallari Type" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "When making digital typefaces, the more you refine the shapes of the letters, the more energy you take away from them. Because of that, Kaushan Script is unrefined - and carries a lot of energy. By avoiding typographical perfection, it stays more natural. The angles of the vertical strokes vary a little, and the positioning along the baseline jumps around, giving it a more rustic and natural feeling. Most script fonts have long ascenders and descenders, and this means they look too small when used at normal sizes on the web. This font is optimized in such details to be very readable as a web font, even when used as small as 16 px. It was funded by people like you, via Kickstarter. Special thanks to the project backers! The name \"Kaushan\" was suggested by Vyacheslav Kaushan, one of the project backers.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Kavivanar": { + "name": "Kavivanar", + "designer": [ + "Tharique Azeez" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "tamil" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Kavivanar is a unique handwriting font that supports the Tamil and Latin scripts. It is somewhat bold, and slightly slanted, a typical Tamil handwriting style where an incline is popular. The letterforms show a calligraphic pen stress that brings an aliveliness to the letters, and provides texture in body text settings. It works well with both body text and display text because of the intriguing rhythm. The slanted letterforms for Tamil are inspired from a manuscript by Kavivanar M. A. Azeez (1948-2002), a Tamil poet and educator who lived in the east coast of Sri Lanka. The Kavivanar project is led by Tharique Azeez, a type designer based in Sri Lanka. To contribute, see github.com/enathu/kavivanar", + "primary_script": "Taml", + "article": null, + "minisite_url": null + }, + "Kavoon": { + "name": "Kavoon", + "designer": [ + "Viktoriya Grabowska" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Foundry: Sorkin Type Co Kavoon is a display face based on experiments with brush and ink. Kavoon's expressive features make words vivid and powerfully draw the reader in. Kavoon may be used from medium to large sizes. To contribute to the project, visit github.com/EbenSorkin/Kavoon Updated: February 2016, to v1.004 with additional language support, improved hinting, and other minor fixes.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Kay Pho Du": { + "name": "Kay Pho Du", + "designer": [ + "SIL International" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "kayah-li", + "latin", + "latin-ext" + ], + "stroke": "SLAB_SERIF", + "classifications": [], + "description": "Kay Pho Du is a font family for the Kayah Li script, based initially on the design of Karenni, although the glyphs have been redrawn and a new Latin set has been added. It supports the full Kayah Li range of Unicode characters. To contribute, please see github.com/silnrsi/font-kayphodu.", + "primary_script": "Kali", + "article": null, + "minisite_url": null + }, + "Kdam Thmor Pro": { + "name": "Kdam Thmor Pro", + "designer": [ + "Tep Sovichet", + "Hak Longdey" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "khmer", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Kdam Thmor Pro is a revised design of \"Kdam Thmor\" which is one of Sovichet Tep's typefaces designed and published back in 2013 on Google Fonts. Kdam Thmor Pro is a modern display Khmer typeface based on the writing style of a brush used on a wall. It has an edgy style, a medium size and is suitable for headings and large typography. Gemunu Libre's Latin is used as the Latin counterpart in the project. To contribute, see github.com/sovichet/kdam-thmor-pro", + "primary_script": "Khmr", + "article": null, + "minisite_url": null + }, + "Keania One": { + "name": "Keania One", + "designer": [ + "Julia Petretta" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Keania is a re-development of Kenia. As a stencil font its idea stems from experiences of travel and life in Kenya, especially from the large lettering seen on shop fronts and market stands. The shapes play with sharp and soft corners and create a rhythmic pattern of black and white. This font is great for magazine headings, adverts and sporty content. To contribute to the project contact Julia Petretta.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Kelly Slab": { + "name": "Kelly Slab", + "designer": [ + "Denis Masharov" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Kelly Slab is a new geometric, modern-looking slab-serif font. Created under the influence of popular geometric fonts from the 1930s with square slabserifs, such as \"City\" by Georg Trump. It is designed for attention and impact in advertising, headings, major labels and logotypes. It can also work well in larger point size text blocks. Its unusual shapes provide an interesting rhythm to the textline, a distinctive, rectangular design that can give a sporty, urban feeling.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Kenia": { + "name": "Kenia", + "designer": [ + "Julia Petretta" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Inspired by travel and my stay in Kenya, I would fill my days with sketches and lettering. From there Kenia evolved as a stencil display font. With its text appearance in small point sizes resembling an old German gothic sort of font, modern-feel Kenia works for headlines, introductory paragraphs, and in small text setting. Its playful and friendly character makes it suitable for happy typography in magazines, blogs, online games and other on-screen and print-based text.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Khand": { + "name": "Khand", + "designer": [ + "Indian Type Foundry" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Khand is a family of compact mono-linear fonts with very open counter forms. Developed for display typography, the family is primarily intended for headline usage. Its letterforms are dynamic, and everything is designed according to a modular system. All of its shapes bear a strong commonality to one another, but the typeface strikes a good balancing act and avoids too much repetitiveness. The lighter styles are suitable for short paragraphs of running text, while the heavier styles have been optimized for headlines or single word settings. The base character height in the Khand fonts is \u2018big on the body.\u2019 Across a line of text, the consonantal forms take up the majority of vertical space. Vowel marks above and below have been shortened \u2013 keeping these to a minimum allows for lines of text to be set more closely together vertically. The reduction of interlinear space is paramount for successful headline typesetting, and Khand performs much better in display applications than similar fonts with more elongated vowel marks. Because of their reduced height, the typeface\u2019s vowel mark forms have been simplified somewhat out of necessity, but this stylistic reduction is in-keeping with the modular feeling of the typeface\u2019s overall design. Dot-shaped marks appear rounded in order to help maintain their differentiation from other marks. Khand\u2019s Devanagari component was designed by Sanchit Sawaria and Jyotish Sonowal. The Latin component was designed by Satya Rajpurohit. To contribute, see github.com/itfoundry/khand", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Khmer": { + "name": "Khmer", + "designer": [ + "Danh Hong" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "khmer" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "The Khmer fonts are designed for readable and beautiful rendering of text in the Khmer script, the national language of Cambodia. The designer, Danh Hong, has many years of experience creating fonts for Khmer and other Southeast Asian languages, and is actively involved in the KhmerOS project, dedicated to a vision where Cambodians can learn and use computers in their own language.", + "primary_script": "Khmr", + "article": null, + "minisite_url": null + }, + "Khula": { + "name": "Khula", + "designer": [ + "Erin McLaughlin" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Khula (\u0916\u0941\u0932\u093e) is a contemporary text Devanagari typeface family designed by Erin McLaughlin as a compliment to Open Sans, a Latin family designed by Steve Matteson. Currently it has 5 weights and supports Hindi. Thank you to Dave Crossland, Liang Hai, Vaishnavi Murthy, Sarang Kulkarni, Pablo Impallari, and all of the other Google Web Fonts contributors for your help with this project. Continued thanks to Fiona Ross and Tobias Frere-Jones for your guidance and training. Thanks to Miguel Sousa, Tal Leming, the RoboFont team, and the other font tool-makers who made this possible. Thank you to AM, Cailin, and my family for their support. This project is led by Erin McLaughlin, a type designed based in Wichita, USA. To contribute, see Khula on GitHub.", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Kings": { + "name": "Kings", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Imagine a damsel in distress. The only hope is for the Kings Knights to rescue her from certain death. Kings Family is based on the three set font family (Kings Honor, Kings Quest and Kings Dominion). Combined to make a pro font, use this blackletter font with enchantment. To contribute, see github.com/googlefonts/kings.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Kirang Haerang": { + "name": "Kirang Haerang", + "designer": [ + "Woowahan Brothers" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "korean", + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Kirang Haerang is a Korean and Latin font", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "Kite One": { + "name": "Kite One", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Kite One is a rounded, monoline, humanist sans serif typeface. With an inclination of 7 degrees, it gives a fluid reading experience. Long ascenders and descenders, soft shapes, open counterforms and soft terminals, make Kite One a typeface that is very suitable for long texts, especially those associated with the natural world or children\u2019s tales. The February 2023 update features a bigger glyphset, fractions and some minor aesthetic modifications. To contribute, see github.com/etunni/Kite-One.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Kiwi Maru": { + "name": "Kiwi Maru", + "designer": [ + "Hiroki-Chan" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Kiwi Maru was created mainly for use in digital devices, and I hope you will use it experimentally in your papers and reports. The basic vocabulary of the Japanese language is divided into three categories: \"everyday words\", which are used freely in everyday conversation, articles and novels, \"written words\", which are used in official situations and sentences, and \"slang\", which is more informal in style. Kiwi Maru Regular is a typeface for visualization and sharing of everyday and slang expressions in the digital age. Nowadays, in 2020, Mincho and Gothic typefaces are exclusively used in smart phones, tablets and PC environment. We hope that the introduction of a round font will change the way people express their emotions and feelings, which have been missing from the analog and digital worlds, and the painful feeling of having too many Chinese characters in a font. There are three weights, L, R and M. These vary only slightly in weight as we wanted to provide you with the ability to account for the difference in weight between different OS, browsers, and devices. To contribute to the project, visit github.com/Kiwi-KawagotoKajiru/Kiwi-Maru", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "Klee One": { + "name": "Klee One", + "designer": [ + "Fontworks Inc." + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "cyrillic", + "greek-ext", + "japanese", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Klee is a script font handwritten by pencil or pen. Its quiet design has an elegant look that sets itself apart from traditional script and textbook fonts. Ideal for body text. To contribute to the project, visit github.com/fontworks-fonts/Klee", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "Knewave": { + "name": "Knewave", + "designer": [ + "Tyler Finck" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Knewave is a new font by Tyler Finck.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "KoHo": { + "name": "KoHo", + "designer": [ + "Cadson Demak" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "thai", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "KoHo is a Thai and Latin family inspired by geometric and humanist san serifs. The letterforms appear neither too mechanical or too calligraphic. Such a juxtaposition has resulted in a unique family which works well for both text and display purposes.", + "primary_script": "Thai", + "article": null, + "minisite_url": null + }, + "Kodchasan": { + "name": "Kodchasan", + "designer": [ + "Cadson Demak" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "thai", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Kodchasan is a Thai and Latin family inspired by teenage handwriting. It has a casual appearance which works well for content aimed at adolescents.", + "primary_script": "Thai", + "article": null, + "minisite_url": null + }, + "Kode Mono": { + "name": "Kode Mono", + "designer": [ + "Isa Ozler" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "monospace" + ], + "description": "A custom-designed typeface explicitly created for the developer community. This typeface is designed to enhance the user experience and reflect our principles of functionality and timelessness. To contribute, see github.com/isaozler/kode-mono.", + "primary_script": null, + "article": null, + "minisite_url": "https://kodemono.com" + }, + "Koh Santepheap": { + "name": "Koh Santepheap", + "designer": [ + "Danh Hong" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "khmer", + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Koh Santepheap is a Khmer font for body text, that pairs well with Latin serif fonts and for bilingual (English - Khmer) text. To contribute, see github.com/danhhong/KohSantepheap.", + "primary_script": "Khmr", + "article": null, + "minisite_url": null + }, + "Kolker Brush": { + "name": "Kolker Brush", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Kolker Brush is a weighty hand lettered brush script. As with any script, it is never recommended to use all caps when editing copy. Use Kolker Brush for situations that require a bit of punch. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/kolker-brush.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Konkhmer Sleokchher": { + "name": "Konkhmer Sleokchher", + "designer": [ + "Suon May Sophanith" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "khmer", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Konkhmer Sleokchher is created and released in 2015 by Suon May Sophanith. It is a modern display Khmer font, inspired by the brush strokes used for writing on walls, but expressed as leaves. With a medium size, it is ideal for use as headings or in large typography. To contribute, see github.com/suonmaysophanith7/KonKhmer_SleokChher.", + "primary_script": "Khmr", + "article": null, + "minisite_url": null + }, + "Kosugi": { + "name": "Kosugi", + "designer": [ + "MOTOYA" + ], + "license": "apache2", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Kosugi is a Gothic design, with low stroke contrast and monospaced metrics. Initially developed by MOTOYA and released for the Android platform under the Apache license, the typeface is based on a design from the 1950s. It aims for beauty and readability, and evokes the Japanese cedar trees that have straight and thick trunks and branches. Originally available as \"MotoyaLCedar W3 mono\", it is now available under the name Kosugi. A Rounded version is available as Kosugi Maru.", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "Kosugi Maru": { + "name": "Kosugi Maru", + "designer": [ + "MOTOYA" + ], + "license": "apache2", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Kosugi Maru is a Gothic Rounded design, with low stroke contrast and monospaced metrics, and rounded terminals. Initially developed by MOTOYA and released for the Android platform under the Apache license, the typeface is based on a design from the 1950s. It aims for beauty and readability, and evokes the Japanese cedar trees that have straight and thick trunks and branches. Originally available as \"MotoyaLMaru W3 mono\", it is now available under the name Kosugi Maru. A regular gothic version is available as Kosugi.", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "Kotta One": { + "name": "Kotta One", + "designer": [ + "Ania Kruk" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Kotta One is a new and unusual text typeface that mixes the characteristics of an italic with legibility of a roman. Kotta uses a true calligraphic construction, with a structure based on a real italic hand, not simple mechanical slanted forms. Like Renaissance typefaces it is an independent style, not merely an accompaniment for a roman. Kotta One is also a modern style, angular and geometric, exploring the ideas of American typographer Williams Addison Dwiggins and his M-Formula. Sharp lines and strong horizontal strokes give it a rhythm that reads well in long texts.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Koulen": { + "name": "Koulen", + "designer": [ + "Danh Hong" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "khmer", + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Koulen is a Khmer font for headlines, titles and subtitles, and even banner designs. To contribute, see github.com/danhhong/Koulen.", + "primary_script": "Khmr", + "article": null, + "minisite_url": null + }, + "Kranky": { + "name": "Kranky", + "designer": [ + "Sideshow" + ], + "license": "apache2", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Kranky is a hand-crafted, fun-filled font.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Kreon": { + "name": "Kreon", + "designer": [ + "Julia Petretta" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Kreon targets text typesetting for magazines and news sites. With a slight slab-serif look and the low contrast design, it is a sturdy typeface for your website, blog or online magazine. Its friendly feel will soon be accompanied by a sans serif as well as italics. Enjoy.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Kristi": { + "name": "Kristi", + "designer": [ + "Birgit Pulk" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Kristi is a calligraphy font inspired by old chancery typefaces. It is made with a basic felt-pen by using bold and quick moves while writing. The name of the font is a common Estonian girls name. The most distinctive characteristics of this type are tall ascenders and descenders, slim vertical lines and little twists like the letter \"g\" in the text. Kristi can be used large size, for example as in logotype or headlines.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Krona One": { + "name": "Krona One", + "designer": [ + "Yvonne Sch\u00fcttler" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Krona is a low contrast semi-extended style sans serif. Krona is both readable and full of personality. Krona can be used from small sizes to larger display settings. Krona was inspired by hand lettering on early 20th century Swedish posters.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Krub": { + "name": "Krub", + "designer": [ + "Cadson Demak" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "thai", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Krub is a Thai and Latin text face with a twist. It uses the modern structure of Thai's traditional looped letterforms and blends it seamlessly with elements taken from the metal type era. It's one of the most popular choices among graphic designers who are looking for a less dusty traditional Thai typeface.", + "primary_script": "Thai", + "article": null, + "minisite_url": null + }, + "Kufam": { + "name": "Kufam", + "designer": [ + "Original Type", + "Wael Morcos", + "Artur Schmal" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "arabic", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Kufam is an Arabic-Latin bilingual typeface intended for contemporary information design such as signage and wayfinding systems. Kufam Arabic is inspired by 7th-century Kufi inscriptions. The dark, condensed shapes of this early Kufi script also served as an inspiration for Kufam's Latin lowercase, as where the Latin capitals find their roots in lettering as frequently seen in signage and shop lettering in Amsterdam at the beginning of the twentieth century. All these inspirations from sources in different periods in history of the Arabic and Latin world cumulate in a contemporary, legible and aesthetically rich design for use across different media. Kufam Arabic is designed by Wael Morcos and Kufam Latin by Artur Schmal and originally conceived within the framework of The Khatt Foundations\u2019 Typographic Matchmaking in the City project. To contribute or to read more about the design and history of Kufam, see github.com/originaltype/kufam.", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Kulim Park": { + "name": "Kulim Park", + "designer": [ + "Dale Sattler" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Kulim Park is a sans serif typeface, with high x-height, open counter 'a', minimal degrees of contrast in stem width, inviting bowls and a design language aimed at encapsulating openness. This typeface is the result of an exploration of how a local park redevelopment can inform a typographic design. The Kulim Park project is led by Dale Sattler, a type designer based in New Zealand. To contribute, see github.com/noponies/Kulim-Park", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Kumar One": { + "name": "Kumar One", + "designer": [ + "Indian Type Foundry" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "gujarati", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Kumar is a series of matching Open Source display fonts. They each support the Gujarati and Latin scripts. The two Kumar fonts may be used together, or entirely on their own. Kumar One Outline is a vertical-contrast design, in which both the downstrokes as well as the left and right-hand sides of each letterform are built up out of two parallel lines and the whites space in-between them. The upstrokes and typeface\u2019s horizontals are just thin, single lines. Kumar One itself fills in all of the thicker empty spaces in the downstrokes/horizontals, offering letterforms that are very dark and full of contrast. The Kumar design is made entirely out of straight lines; all elements that would usually be drawn with soft curves are faceted, built up out of several shorter straightened-out elements. Text in either Kumar font shimmers like a jewel; the effect of both fonts is quite decorative. The Gujarati and Latin script components are scaled in relation to each other so that the Gujarati base characters are 85% as tall as the Latin uppercase. Text set in the Gujarati script sits nicely alongside the Latin lowercase, too. Kumar\u2019s Gujarati vowel marks are all single-line, rather than double-line. Indeed, Kumar\u2019s Gujarati is a very unique design; there are simply no other options like it currently available! Each of the Kumar fonts has 870 glyphs, including hundreds of unique Gujarati conjuncts. The Latin component\u2019s character set is an extended one, which enables typesetting in English and the other Western, Central, and Eastern European languages. Parimal Parmar designed Kumar for Indian Type Foundry in 2016. The Kumar project is led by Indian Type Foundry, a type design foundry based in Ahmedabad, India. To contribute, see github.com/itfoundry/kumar", + "primary_script": "Gujr", + "article": null, + "minisite_url": null + }, + "Kumar One Outline": { + "name": "Kumar One Outline", + "designer": [ + "Indian Type Foundry" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "gujarati", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Kumar is a series of matching Open Source display fonts. They each support the Gujarati and Latin scripts. The two Kumar fonts may be used together, or entirely on their own. Kumar One Outline is a vertical-contrast design, in which both the downstrokes as well as the left and right-hand sides of each letterform are built up out of two parallel lines and the whites space in-between them. The upstrokes and typeface\u2019s horizontals are just thin, single lines. Kumar One itself fills in all of the thicker empty spaces in the downstrokes/horizontals, offering letterforms that are very dark and full of contrast. The Kumar design is made entirely out of straight lines; all elements that would usually be drawn with soft curves are faceted, built up out of several shorter straightened-out elements. Text in either Kumar font shimmers like a jewel; the effect of both fonts is quite decorative. The Gujarati and Latin script components are scaled in relation to each other so that the Gujarati base characters are 85% as tall as the Latin uppercase. Text set in the Gujarati script sits nicely alongside the Latin lowercase, too. Kumar\u2019s Gujarati vowel marks are all single-line, rather than double-line. Indeed, Kumar\u2019s Gujarati is a very unique design; there are simply no other options like it currently available! Each of the Kumar fonts has 870 glyphs, including hundreds of unique Gujarati conjuncts. The Latin component\u2019s character set is an extended one, which enables typesetting in English and the other Western, Central, and Eastern European languages. Parimal Parmar designed Kumar for Indian Type Foundry in 2016. The Kumar project is led by Indian Type Foundry, a type design foundry based in Ahmedabad, India. To contribute, see github.com/itfoundry/kumar", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Kumbh Sans": { + "name": "Kumbh Sans", + "designer": [ + "Saurabh Sharma" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Kumbh Sans is a Geometric Sans Serif font envisioned to serve as a multi-purpose and workhorse font in modern web and mobile applications. The anatomy is geometric with slight contrast. The font's cap-height vs x-height ratio is kept as 3:2 for optimum legibility at any point size. After initial release in three weights, the typeface has been converted into a variable font in June 2021 with a weight axis (100 to 900). To contribute, see github.com/xconsau/KumbhSans", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Kurale": { + "name": "Kurale", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Kurale is a Latin, Cyrillic and Devanagari typeface derived from Gabriela. The Latin and Cyrillic serif typeface with soft shapes, and special terminal forms which are shaped like curls. They connect each letter to create attractive word shapes and text blocks with a fine texture. The Devanagari is a modulated design that harmonises with the Latin original. In small bodies of text it works well for reading, and in headlines provides interesting details to catch the eye. This project is led by Eduardo Tunni, a type designer based in Buenos Aires. To contribute, see github.com/etunni/kurale", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "LXGW Marker Gothic": { + "name": "LXGW Marker Gothic", + "designer": [ + "LXGW" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "chinese-traditional", + "cyrillic", + "cyrillic-ext", + "greek", + "latin", + "latin-ext", + "symbols2", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Hant", + "article": "Marker Gothic is a Chinese adaptation of the Japanese font \"Tanugo\". The design is intended to be easy to use and easy to read, with a fun, cute character. It contains over 13,000 characters intended to cover the display needs of daily use for traditional and simplified Chinese applications. To contribute, see github.com/lxgw/LxgwMarkerGothic.", + "minisite_url": null + }, + "LXGW WenKai Mono TC": { + "name": "LXGW WenKai Mono TC", + "designer": [ + "LXGW" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "chinese-traditional", + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext", + "lisu", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "monospace" + ], + "description": null, + "primary_script": "Hant", + "article": "This project is the Traditional Chinese version of \"\u971e\u9da9\u6587\u6977\". Initially, it utilized AFDKO in conjunction with the legacy glyph shapes provided by the Zonz community to convert the characters contained in Klee One into old character forms, and supplemented the old version of \"\u971e\u9da9\u6587\u6977\" with modifications. Some components and characters were further manually modified. Subsequently, reference was made to the \"Inherited Glyph Standardization Documents\" from Yidianzifang to modify most components, making it more suitable for Traditional Chinese users and enthusiasts of legacy glyph forms. To contribute, see github.com/lxgw/LxgwWenkaiTC.", + "minisite_url": null + }, + "LXGW WenKai TC": { + "name": "LXGW WenKai TC", + "designer": [ + "LXGW" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "chinese-traditional", + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext", + "lisu", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": "Hant", + "article": "This project is the Traditional Chinese version of \"\u971e\u9da9\u6587\u6977\". Initially, it utilized AFDKO in conjunction with the legacy glyph shapes provided by the Zonz community to convert the characters contained in Klee One into old character forms, and supplemented the old version of \"\u971e\u9da9\u6587\u6977\" with modifications. Some components and characters were further manually modified. Subsequently, reference was made to the \"Inherited Glyph Standardization Documents\" from Yidianzifang to modify most components, making it more suitable for Traditional Chinese users and enthusiasts of legacy glyph forms. To contribute, see github.com/lxgw/LxgwWenkaiTC.", + "minisite_url": null + }, + "La Belle Aurore": { + "name": "La Belle Aurore", + "designer": [ + "Kimberly Geswein" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "This whimsical, romantic handwriting is inspired by the romance of Casablanca. It is not a true script, but has many curls and tendrils similar to a script font.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Labrada": { + "name": "Labrada", + "designer": [ + "Mercedes J\u00e1uregui", + "Omnibus-Type" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Labrada is a typeface family designed by Mercedes J\u00e1uregui that expresses the communicative richness of the conversations and discourses of the indigenous cultures of oral tradition, at the same time that it dialogues with the classic forms to function in immersive reading texts. This project began in the Master of Typeface Design, MT-UBA, at the Universidad of Buenos Aires, Argentina. To contribute, see github.com/Omnibus-Type/Labrada.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Lacquer": { + "name": "Lacquer", + "designer": [ + "Niki Polyocan", + "Eli Block" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Lacquer is an expressive display font featuring heavy drips and dozens of alternate glyphs. Lacquer was hand drawn using a paint pen by Niki Polyocan and was extrapolated and finished by Eli Block at Google Creative Lab. You can see all of Lacquer\u2019s glyphs on the font\u2019s web specimen. To contribute, see github.com/Lacquer-Font/Lacquer.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Laila": { + "name": "Laila", + "designer": [ + "Indian Type Foundry" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Laila is an informal sans serif design with brush terminals. It has a very contemporary, 21st century appearance. Text set in Laila appears friendly, or even cute! Laila looks especially good in headlines. It is a display typeface, but it may also be used to set shorter passages of text, too. Laila\u2019s Latin component has a high x-height and open counter forms. In terms of the thickness of its strokes, everything is mostly monolinear. The Devanagari component is even more fluid, appearing lively and graceful. The height is between the Latin x-height and capital height. The strokes thickness is a little lighter than in the Latin; in text blocks, texts set in each script will have similar color. Hitesh Malaviya designed the Devanagari, and the Latin is by Jonny Pinhorn. To contribute, see github.com/itfoundry/laila", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Lakki Reddy": { + "name": "Lakki Reddy", + "designer": [ + "Appaji Ambarisha Darbha" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "telugu" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Lakki Reddy is a Telugu display typeface, mainly suitable for headings, posters and decorative invitations. Use it anywhere you want to use a handwriting style to add informality and personality to your text. The Telugu is designed by Appaji Ambarisha Darbha in 2013 and made available by Silicon Andhra under the SIL Open Font License v1.1. The Latin is designed by Font Diner, a type foundry in the USA, and originally published as Irish Grover. The Lakki Reddy project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India. To contribute, see github.com/appajid/lakkireddy", + "primary_script": "Telu", + "article": null, + "minisite_url": null + }, + "Lalezar": { + "name": "Lalezar", + "designer": [ + "Borna Izadpanah" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "arabic", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Lalezar is an Arabic and Latin display typeface for popular culture. During the 1960s and 1970s a genre of filmmaking emerged in Iran which was commonly known as Film-Farsi. The main focus of the films produced in this period was on popular subjects such as romances, musicals and unrealistic heroic characters. The movie posters designed to represent these films were also intended to exaggerate these elements by the use of provocative imagery and a particular type of display lettering. These bold and dynamic letterforms were so popular and widely used that perhaps one can consider them the most significant component of film posters in that period. Lalezar is an attempt to revive the appealing qualities in this genre of lettering and transform them into a modern Arabic display typeface and a suitable Latin companion. Although the main inspiration comes from a style of lettering that was used to represent the Persian language, here the objective is to design a typeface that can be used for most of the languages that use the Arabic script for their written communication. The Lalezar project is led by Borna Izadpanah, a type designer based in London, UK. To contribute, see github.com/BornaIz/Lalezar", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Lancelot": { + "name": "Lancelot", + "designer": [ + "Marion Kadi" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Lancelot is a new ornate serif type based on French traditions. It has two sets of capitals, swash and classical.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Langar": { + "name": "Langar", + "designer": [ + "Typeland", + "Alessia Mazzarella" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "gurmukhi", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Langar is a one-weight Latin/Gurmukhi display font based on informal, playful letterforms. It broadly follows the \u2018upright-italic\u2019 style of Latin fonts, experimenting with and introducing a similar style for the Gurmukhi script. Langar\u2019s harmonised Latin/Gurmukhi design aims to expand the possibilities for both the general user and the specialised designer working with bilingual texts by providing a good quality display option. The design specifically caters to characterful display at larger sizes, providing a contrasting secondary style to most text typefaces generally available for Latin/Gurmukhi texts. To contribute, please see github.com/typeland/Langar.", + "primary_script": "Guru", + "article": null, + "minisite_url": null + }, + "Lateef": { + "name": "Lateef", + "designer": [ + "SIL International" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "arabic", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Lateef, an extended Arabic font, is named after Shah Abdul Lateef Bhitai, the famous Sindhi mystic and poet. It is intended to be an appropriate style for use in Sindhi and other languages of the South Asian region. The July 2022 update brings to the font six new styles: ExtraLight, Light, Medium, SemiBold, Bold, and ExtraBold. This font was developed by SIL, and you can learn more about it at scripts.sil.org/Lateef", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Lato": { + "name": "Lato", + "designer": [ + "\u0141ukasz Dziedzic" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Lato means \u201cSummer\u201d in Polish, and it is a sans serif typeface family started in the summer of 2010 by Warsaw-based designer \u0141ukasz Dziedzic. Originally conceived as part of a corporate identity for a large client, the family became available for a public release when they decided to go in different stylistic direction. \u0141ukasz tried to carefully balance some potentially conflicting priorities in the design; to create a typeface that seems \u201ctransparent\u201d when used in body text but also displays original traits in larger size use. Classical proportions, particularly in the uppercase, give the letterforms familiar harmony and elegance, and combine with a sleek treatement that feels contemporary without being trendy. Semi-rounded details feel warm, while the underlying structure provides stability and seriousness. \u201cSerious but friendly, with the feeling of the Summer,\u201d said \u0141ukasz. Learn more at latofonts.com", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Lavishly Yours": { + "name": "Lavishly Yours", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "One of the first fonts to use ornately embellished capital forms, Lavishly Yours is a charming calligraphic script. Its nearly upright style along with looped lowercase miniscules gives this font a fairly tale look. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/lavishly-yours.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "League Gothic": { + "name": "League Gothic", + "designer": [ + "Tyler Finck", + "Caroline Hadilaksono", + "Micah Rich" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "League Gothic is a revival of an old classic: Alternate Gothic. It was originally designed by Morris Fuller Bentonfor the American Type Founders Company in 1903. The League Of Moveable Type decided to make their own version, and contribute it to the Open Source Type Movement. Thanks to a commission from the fine & patient folks over at WND.com, it\u2019s been revised and updated with contributions from Micah Rich, Tyler Finck, Dannci and Mirko Velimirovic. To contribute, see github.com/sursly/league-gothic.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "League Script": { + "name": "League Script", + "designer": [ + "Haley Fiege" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "This ain\u2019t no Lucida. League Script is a modern, coquettish script font that sits somewhere between your high school girlfriend\u2019s love notes and handwritten letters from the \u201920s. Designed for the League of Moveable Type, it includes ligatures and will act as the framework for future script designs.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "League Spartan": { + "name": "League Spartan", + "designer": [ + "Matt Bailey", + "Tyler Finck" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "League Spartan is The League Of Moveable Type's interpretation of Matt Bailey's Spartan, a typeface based on early 20th century American geometric sans serifs. To contribute, see github.com/theleagueof/league-spartan.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Leckerli One": { + "name": "Leckerli One", + "designer": [ + "Gesine Todt" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Leckerli is your new fat friend for any display-fun! Its irregular brush shapes indulge you with their sweet character and cheering loops. It is also useful for shorter texts.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ledger": { + "name": "Ledger", + "designer": [ + "Denis Masharov" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "The austere and concise personality and flexibility make it a real multiple-purpose typeface. The letter forms are distinguished by a large x-height, sufficient stroke contrast, robust but elegant wedge-like serifs and terminals. These features have been specially designed to reach maximum of quality and readability when used in unfavorable print and display processes - such as in newspapers, laser printed documents and on low resolution screens. The typeface can be qualified as matched to modern trends of type design and of enhanced legibility. These characteristics provide an undeniable distinction to the typeface, making it suitable for editorial use in newspapers and magazines, corporate ID, advertising and display typography.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Lekton": { + "name": "Lekton", + "designer": [ + "ISIA Urbino" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "monospace" + ], + "description": "Lekton has been designed at ISIA Urbino, Italy, and is inspired by some of the typefaces used on the Olivetti typewriters. It was designed by: Paolo Mazzetti, Luciano Perondi, Raffaele Fla\u00f9to, Elena Papassissa, Emilio Macchia, Michela Povoleri, Tobias Seemiller, Riccardo Lorusso, Sabrina Campagna, Elisa Ansuini, Mariangela Di Pinto, Antonio Cavedoni, Marco Comastri, Luna Castroni, Stefano Faoro, Daniele Capo, and Jan Henrik Arnold. The typeface has been initially designed at ISIA Urbino by the students Luna Castroni, Stefano Faoro, Emilio Macchia, Elena Papassissa, Michela Povoleri, Tobias Seemiller, and the teacher Luciano Perondi (aka galacticus ineffabilis). This typeface has been designed in 8 hours, and was inspired by some of the typefaces used on the Olivetti typewriters. The glyphs are 'trispaced.' It means that the space are modular, 250, 500, 750, this allow a better spacing between characters, but allow also a vertical alignment similar to the one possible with a monospaced font. We were thinking it was a bright new idea, but we discovered that was usual for Olivetti typewriters working with 'Margherita.' Find out more at lektongroups.blogspot.co.uk. Updated in November 2012: As one of the earlier families published in Google Web Fonts, Lekton lacked proper subsetting, so this update introduces a default 'latin' subset that contains less characters but loads faster. To use the full character set, update your API link to include the latin-ext subset.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Lemon": { + "name": "Lemon", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Lemon is a display typeface with soft and fluid shapes that come from painted street shop signage. The dark weight is ideal for headlines and short texts, and a future release of a lighter weight could be useful for longer text. The uppercase letters are very carefully drawn, making an attractive and unique design for text in all caps, compound words in capital letters, and acronyms. The same dynamic is inherent in the lowercase and numbers! The March 2023 update features a bigger glyphset, fractions and some minor aesthetic modifications. To contribute, see github.com/etunni/lemon.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Lemonada": { + "name": "Lemonada", + "designer": [ + "Mohamed Gaber", + "Eduardo Tunni" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "arabic", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "handwriting" + ], + "description": "Lemonada is a modern Arabic and Latin typeface family designed by Mohamed Gaber and Eduardo Tunni. It started with the Latin design Lemon, which Eduardo Tunni expanded to four weights. The Arabic was designed by Mohamed Gaber. The Arabic design is contemporary, starting with Naskh and introducing influences of Diwani. It has wide and open counters that improve readability at smaller text sizes, while its more subtle details make it a great display face at larger sizes. Lemonada is currently available as a variable font with a weight axis, four static fonts (Light, Regular, SemiBold, Bold), and a wide character set that supports the Arabic, Farsi, and Urdu languages. The Lemonada project is led by Mohamed Gaber, a type designer based in Cairo, Egypt. To contribute, see github.com/Gue3bara/Lemonada", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Lexend": { + "name": "Lexend", + "designer": [ + "Bonnie Shaver-Troup", + "Thomas Jockin", + "Santiago Orozco", + "H\u00e9ctor G\u00f3mez", + "Superunion" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Lexend fonts are intended to reduce visual stress and so improve reading performance. Initially they were designed with dyslexia and struggling readers in mind, but Bonnie Shaver-Troup, creator of the Lexend project, soon found out that these fonts are also great for everyone else. The first set of Lexend fonts by Thomas Jockin ( Deca, Exa, Giga, Mega, Peta, Tera, Zetta) becomes wider and more openly spaced (also known as \"tracked out\"). This new version of Lexend is a variable font with a weight axis. Please note that the initial release of this font had a lighter Regular weight. It has been decided for the update of July 2021 to align the Regular weight with the one of Lexend Deca which is slightly bolder. Lexend and Lexend Deca are therefore the same (for now\u2026). Ultimately this version will offer a HyperExpansion axis which will allow variation of inner and outer space of letterforms. True to Bonnie\u2019s vision, Lexend fonts are freely available for all since 2019 in Google Fonts. To contribute, see github.com/googlefonts/lexend. For more information, see lexend.com. Clean and clear: making reading easier with Lexend A key factor in reading problems might be hiding in plain sight. Learn how changing fonts can change comprehension. A child struggles to read and understand their homework assignment. An adult re-reads a news article and still doesn\u2019t understand what it\u2019s about. Both readers end up frustrated and feeling like there is something wrong with them. Thankfully there might be a simple answer. Dr. Bonnie Shaver-Troup thinks fonts are part of the problem and the solution to many reading problems. \u201cWe have a global reading crisis and we can change much of it by delivering fonts that are optimized for the visual field and for the individual. The answer is hidden in plain sight. It\u2019s the font,\u201d said Shaver-Troup. Change the font, change the outcome While working as an educational therapist in Silicon Valley, Shaver-Troup helped students with dyslexia and other reading problems to learn to read. She experimented by changing the spacing between certain letters in their reading assignments, and found that it improved their reading and comprehension. According to Shaver-Troup, the issue wasn\u2019t in her students\u2019 minds, it was with the letterforms they saw on the screen or paper. \u201cThe majority of the reading problems, including dyslexia, are not cognitive or phonological. They are visual or perceptual. Our testing has a built-in design flaw. We use fonts to deliver text for reading that are too tight for efficient or successful visual processing. Then we get poor results, suggesting the reading issue is phonological or cognitive. If we change the font to the tested optimized font fit, then we change the outcome,\u201d she explained. To learn more, read: Clean and clear: making reading easier with Lexend (English) Partnering to change how the world reads (English) Eine Partnerschaft mit dem Ziel, das Leseerlebnis weltweit zu ver\u00e4ndern: Erweiterung von Lexend um verschiedene Schriftst\u00e4rken (German)", + "minisite_url": "https://www.lexend.com/" + }, + "Lexend Deca": { + "name": "Lexend Deca", + "designer": [ + "Bonnie Shaver-Troup", + "Thomas Jockin", + "Santiago Orozco", + "H\u00e9ctor G\u00f3mez", + "Superunion" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Lexend is a collection of seven font families intended to improve reading proficiency. As prescription eyeglasses achieve proficiency for persons with short-sightedness, Lexend's families were developed using Shaver-Troup Formulations. All the Lexend fonts have been upgraded to variable fonts with a weight axis (from Thin to Black) in June 2021, thanks to the efforts of Font Bureau. To contribute, see github.com/googlefonts/lexend. For more information, see lexend.com. Clean and clear: making reading easier with Lexend A key factor in reading problems might be hiding in plain sight. Learn how changing fonts can change comprehension. A child struggles to read and understand their homework assignment. An adult re-reads a news article and still doesn\u2019t understand what it\u2019s about. Both readers end up frustrated and feeling like there is something wrong with them. Thankfully there might be a simple answer. Dr. Bonnie Shaver-Troup thinks fonts are part of the problem and the solution to many reading problems. \u201cWe have a global reading crisis and we can change much of it by delivering fonts that are optimized for the visual field and for the individual. The answer is hidden in plain sight. It\u2019s the font,\u201d said Shaver-Troup. Change the font, change the outcome While working as an educational therapist in Silicon Valley, Shaver-Troup helped students with dyslexia and other reading problems to learn to read. She experimented by changing the spacing between certain letters in their reading assignments, and found that it improved their reading and comprehension. According to Shaver-Troup, the issue wasn\u2019t in her students\u2019 minds, it was with the letterforms they saw on the screen or paper. \u201cThe majority of the reading problems, including dyslexia, are not cognitive or phonological. They are visual or perceptual. Our testing has a built-in design flaw. We use fonts to deliver text for reading that are too tight for efficient or successful visual processing. Then we get poor results, suggesting the reading issue is phonological or cognitive. If we change the font to the tested optimized font fit, then we change the outcome,\u201d she explained. To learn more, read: Clean and clear: making reading easier with Lexend (English) Partnering to change how the world reads (English) Eine Partnerschaft mit dem Ziel, das Leseerlebnis weltweit zu ver\u00e4ndern: Erweiterung von Lexend um verschiedene Schriftst\u00e4rken (German)", + "minisite_url": null + }, + "Lexend Exa": { + "name": "Lexend Exa", + "designer": [ + "Bonnie Shaver-Troup", + "Thomas Jockin", + "Santiago Orozco", + "H\u00e9ctor G\u00f3mez", + "Superunion" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Lexend is a collection of seven font families intended to improve reading proficiency. As prescription eyeglasses achieve proficiency for persons with short-sightedness, Lexend's families were developed using Shaver-Troup Formulations. All the Lexend fonts have been upgraded to variable fonts with a weight axis (from Thin to Black) in June 2021, thanks to the efforts of Font Bureau. To contribute, see github.com/googlefonts/lexend. For more information, see lexend.com. Clean and clear: making reading easier with Lexend A key factor in reading problems might be hiding in plain sight. Learn how changing fonts can change comprehension. A child struggles to read and understand their homework assignment. An adult re-reads a news article and still doesn\u2019t understand what it\u2019s about. Both readers end up frustrated and feeling like there is something wrong with them. Thankfully there might be a simple answer. Dr. Bonnie Shaver-Troup thinks fonts are part of the problem and the solution to many reading problems. \u201cWe have a global reading crisis and we can change much of it by delivering fonts that are optimized for the visual field and for the individual. The answer is hidden in plain sight. It\u2019s the font,\u201d said Shaver-Troup. Change the font, change the outcome While working as an educational therapist in Silicon Valley, Shaver-Troup helped students with dyslexia and other reading problems to learn to read. She experimented by changing the spacing between certain letters in their reading assignments, and found that it improved their reading and comprehension. According to Shaver-Troup, the issue wasn\u2019t in her students\u2019 minds, it was with the letterforms they saw on the screen or paper. \u201cThe majority of the reading problems, including dyslexia, are not cognitive or phonological. They are visual or perceptual. Our testing has a built-in design flaw. We use fonts to deliver text for reading that are too tight for efficient or successful visual processing. Then we get poor results, suggesting the reading issue is phonological or cognitive. If we change the font to the tested optimized font fit, then we change the outcome,\u201d she explained. To learn more, read: Clean and clear: making reading easier with Lexend (English) Partnering to change how the world reads (English) Eine Partnerschaft mit dem Ziel, das Leseerlebnis weltweit zu ver\u00e4ndern: Erweiterung von Lexend um verschiedene Schriftst\u00e4rken (German)", + "minisite_url": null + }, + "Lexend Giga": { + "name": "Lexend Giga", + "designer": [ + "Bonnie Shaver-Troup", + "Thomas Jockin", + "Santiago Orozco", + "H\u00e9ctor G\u00f3mez", + "Superunion" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Lexend is a collection of seven font families intended to improve reading proficiency. As prescription eyeglasses achieve proficiency for persons with short-sightedness, Lexend's families were developed using Shaver-Troup Formulations. All the Lexend fonts have been upgraded to variable fonts with a weight axis (from Thin to Black) in June 2021, thanks to the efforts of Font Bureau. To contribute, see github.com/googlefonts/lexend. For more information, see lexend.com. Clean and clear: making reading easier with Lexend A key factor in reading problems might be hiding in plain sight. Learn how changing fonts can change comprehension. A child struggles to read and understand their homework assignment. An adult re-reads a news article and still doesn\u2019t understand what it\u2019s about. Both readers end up frustrated and feeling like there is something wrong with them. Thankfully there might be a simple answer. Dr. Bonnie Shaver-Troup thinks fonts are part of the problem and the solution to many reading problems. \u201cWe have a global reading crisis and we can change much of it by delivering fonts that are optimized for the visual field and for the individual. The answer is hidden in plain sight. It\u2019s the font,\u201d said Shaver-Troup. Change the font, change the outcome While working as an educational therapist in Silicon Valley, Shaver-Troup helped students with dyslexia and other reading problems to learn to read. She experimented by changing the spacing between certain letters in their reading assignments, and found that it improved their reading and comprehension. According to Shaver-Troup, the issue wasn\u2019t in her students\u2019 minds, it was with the letterforms they saw on the screen or paper. \u201cThe majority of the reading problems, including dyslexia, are not cognitive or phonological. They are visual or perceptual. Our testing has a built-in design flaw. We use fonts to deliver text for reading that are too tight for efficient or successful visual processing. Then we get poor results, suggesting the reading issue is phonological or cognitive. If we change the font to the tested optimized font fit, then we change the outcome,\u201d she explained. To learn more, read: Clean and clear: making reading easier with Lexend (English) Partnering to change how the world reads (English) Eine Partnerschaft mit dem Ziel, das Leseerlebnis weltweit zu ver\u00e4ndern: Erweiterung von Lexend um verschiedene Schriftst\u00e4rken (German)", + "minisite_url": null + }, + "Lexend Mega": { + "name": "Lexend Mega", + "designer": [ + "Bonnie Shaver-Troup", + "Thomas Jockin", + "Santiago Orozco", + "H\u00e9ctor G\u00f3mez", + "Superunion" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Lexend is a collection of seven font families intended to improve reading proficiency. As prescription eyeglasses achieve proficiency for persons with short-sightedness, Lexend's families were developed using Shaver-Troup Formulations. All the Lexend fonts have been upgraded to variable fonts with a weight axis (from Thin to Black) in June 2021, thanks to the efforts of Font Bureau. To contribute, see github.com/googlefonts/lexend. For more information, see lexend.com. Clean and clear: making reading easier with Lexend A key factor in reading problems might be hiding in plain sight. Learn how changing fonts can change comprehension. A child struggles to read and understand their homework assignment. An adult re-reads a news article and still doesn\u2019t understand what it\u2019s about. Both readers end up frustrated and feeling like there is something wrong with them. Thankfully there might be a simple answer. Dr. Bonnie Shaver-Troup thinks fonts are part of the problem and the solution to many reading problems. \u201cWe have a global reading crisis and we can change much of it by delivering fonts that are optimized for the visual field and for the individual. The answer is hidden in plain sight. It\u2019s the font,\u201d said Shaver-Troup. Change the font, change the outcome While working as an educational therapist in Silicon Valley, Shaver-Troup helped students with dyslexia and other reading problems to learn to read. She experimented by changing the spacing between certain letters in their reading assignments, and found that it improved their reading and comprehension. According to Shaver-Troup, the issue wasn\u2019t in her students\u2019 minds, it was with the letterforms they saw on the screen or paper. \u201cThe majority of the reading problems, including dyslexia, are not cognitive or phonological. They are visual or perceptual. Our testing has a built-in design flaw. We use fonts to deliver text for reading that are too tight for efficient or successful visual processing. Then we get poor results, suggesting the reading issue is phonological or cognitive. If we change the font to the tested optimized font fit, then we change the outcome,\u201d she explained. To learn more, read: Clean and clear: making reading easier with Lexend (English) Partnering to change how the world reads (English) Eine Partnerschaft mit dem Ziel, das Leseerlebnis weltweit zu ver\u00e4ndern: Erweiterung von Lexend um verschiedene Schriftst\u00e4rken (German)", + "minisite_url": null + }, + "Lexend Peta": { + "name": "Lexend Peta", + "designer": [ + "Bonnie Shaver-Troup", + "Thomas Jockin", + "Santiago Orozco", + "H\u00e9ctor G\u00f3mez", + "Superunion" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Lexend is a collection of seven font families intended to improve reading proficiency. As prescription eyeglasses achieve proficiency for persons with short-sightedness, Lexend's families were developed using Shaver-Troup Formulations. All the Lexend fonts have been upgraded to variable fonts with a weight axis (from Thin to Black) in June 2021, thanks to the efforts of Font Bureau. To contribute, see github.com/googlefonts/lexend. For more information, see lexend.com. Clean and clear: making reading easier with Lexend A key factor in reading problems might be hiding in plain sight. Learn how changing fonts can change comprehension. A child struggles to read and understand their homework assignment. An adult re-reads a news article and still doesn\u2019t understand what it\u2019s about. Both readers end up frustrated and feeling like there is something wrong with them. Thankfully there might be a simple answer. Dr. Bonnie Shaver-Troup thinks fonts are part of the problem and the solution to many reading problems. \u201cWe have a global reading crisis and we can change much of it by delivering fonts that are optimized for the visual field and for the individual. The answer is hidden in plain sight. It\u2019s the font,\u201d said Shaver-Troup. Change the font, change the outcome While working as an educational therapist in Silicon Valley, Shaver-Troup helped students with dyslexia and other reading problems to learn to read. She experimented by changing the spacing between certain letters in their reading assignments, and found that it improved their reading and comprehension. According to Shaver-Troup, the issue wasn\u2019t in her students\u2019 minds, it was with the letterforms they saw on the screen or paper. \u201cThe majority of the reading problems, including dyslexia, are not cognitive or phonological. They are visual or perceptual. Our testing has a built-in design flaw. We use fonts to deliver text for reading that are too tight for efficient or successful visual processing. Then we get poor results, suggesting the reading issue is phonological or cognitive. If we change the font to the tested optimized font fit, then we change the outcome,\u201d she explained. To learn more, read: Clean and clear: making reading easier with Lexend (English) Partnering to change how the world reads (English) Eine Partnerschaft mit dem Ziel, das Leseerlebnis weltweit zu ver\u00e4ndern: Erweiterung von Lexend um verschiedene Schriftst\u00e4rken (German)", + "minisite_url": null + }, + "Lexend Tera": { + "name": "Lexend Tera", + "designer": [ + "Bonnie Shaver-Troup", + "Thomas Jockin", + "Santiago Orozco", + "H\u00e9ctor G\u00f3mez", + "Superunion" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Lexend is a collection of seven font families intended to improve reading proficiency. As prescription eyeglasses achieve proficiency for persons with short-sightedness, Lexend's families were developed using Shaver-Troup Formulations. All the Lexend fonts have been upgraded to variable fonts with a weight axis (from Thin to Black) in June 2021, thanks to the efforts of Font Bureau. To contribute, see github.com/googlefonts/lexend. For more information, see lexend.com. Clean and clear: making reading easier with Lexend A key factor in reading problems might be hiding in plain sight. Learn how changing fonts can change comprehension. A child struggles to read and understand their homework assignment. An adult re-reads a news article and still doesn\u2019t understand what it\u2019s about. Both readers end up frustrated and feeling like there is something wrong with them. Thankfully there might be a simple answer. Dr. Bonnie Shaver-Troup thinks fonts are part of the problem and the solution to many reading problems. \u201cWe have a global reading crisis and we can change much of it by delivering fonts that are optimized for the visual field and for the individual. The answer is hidden in plain sight. It\u2019s the font,\u201d said Shaver-Troup. Change the font, change the outcome While working as an educational therapist in Silicon Valley, Shaver-Troup helped students with dyslexia and other reading problems to learn to read. She experimented by changing the spacing between certain letters in their reading assignments, and found that it improved their reading and comprehension. According to Shaver-Troup, the issue wasn\u2019t in her students\u2019 minds, it was with the letterforms they saw on the screen or paper. \u201cThe majority of the reading problems, including dyslexia, are not cognitive or phonological. They are visual or perceptual. Our testing has a built-in design flaw. We use fonts to deliver text for reading that are too tight for efficient or successful visual processing. Then we get poor results, suggesting the reading issue is phonological or cognitive. If we change the font to the tested optimized font fit, then we change the outcome,\u201d she explained. To learn more, read: Clean and clear: making reading easier with Lexend (English) Partnering to change how the world reads (English) Eine Partnerschaft mit dem Ziel, das Leseerlebnis weltweit zu ver\u00e4ndern: Erweiterung von Lexend um verschiedene Schriftst\u00e4rken (German)", + "minisite_url": null + }, + "Lexend Zetta": { + "name": "Lexend Zetta", + "designer": [ + "Bonnie Shaver-Troup", + "Thomas Jockin", + "Santiago Orozco", + "H\u00e9ctor G\u00f3mez", + "Superunion" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Lexend is a collection of seven font families intended to improve reading proficiency. As prescription eyeglasses achieve proficiency for persons with short-sightedness, Lexend's families were developed using Shaver-Troup Formulations. All the Lexend fonts have been upgraded to variable fonts with a weight axis (from Thin to Black) in June 2021, thanks to the efforts of Font Bureau. To contribute, see github.com/googlefonts/lexend. For more information, see lexend.com. Clean and clear: making reading easier with Lexend A key factor in reading problems might be hiding in plain sight. Learn how changing fonts can change comprehension. A child struggles to read and understand their homework assignment. An adult re-reads a news article and still doesn\u2019t understand what it\u2019s about. Both readers end up frustrated and feeling like there is something wrong with them. Thankfully there might be a simple answer. Dr. Bonnie Shaver-Troup thinks fonts are part of the problem and the solution to many reading problems. \u201cWe have a global reading crisis and we can change much of it by delivering fonts that are optimized for the visual field and for the individual. The answer is hidden in plain sight. It\u2019s the font,\u201d said Shaver-Troup. Change the font, change the outcome While working as an educational therapist in Silicon Valley, Shaver-Troup helped students with dyslexia and other reading problems to learn to read. She experimented by changing the spacing between certain letters in their reading assignments, and found that it improved their reading and comprehension. According to Shaver-Troup, the issue wasn\u2019t in her students\u2019 minds, it was with the letterforms they saw on the screen or paper. \u201cThe majority of the reading problems, including dyslexia, are not cognitive or phonological. They are visual or perceptual. Our testing has a built-in design flaw. We use fonts to deliver text for reading that are too tight for efficient or successful visual processing. Then we get poor results, suggesting the reading issue is phonological or cognitive. If we change the font to the tested optimized font fit, then we change the outcome,\u201d she explained. To learn more, read: Clean and clear: making reading easier with Lexend (English) Partnering to change how the world reads (English) Eine Partnerschaft mit dem Ziel, das Leseerlebnis weltweit zu ver\u00e4ndern: Erweiterung von Lexend um verschiedene Schriftst\u00e4rken (German)", + "minisite_url": null + }, + "Libertinus Math": { + "name": "Libertinus Math", + "designer": [ + "Philipp H. Poll" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext", + "math", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "Linux Libertinus is a sophisticated and versatile font family that serves as a fork of the well-known Linux Libertine and Linux Biolinum fonts. Designed to provide an improved and more polished alternative, Libertinus refines the typographic details and enhances compatibility with modern typesetting systems. It includes a comprehensive range of styles, from serif to sans-serif and monospaced variations, making it suitable for a wide variety of professional and academic applications. Additionally, it features extensive Unicode coverage, including support for mathematical symbols, Greek, Cyrillic, and other scripts, making it a popular choice for scholarly publishing and technical documentation. One of the key advantages of the Libertinus font family is its emphasis on quality and open-source accessibility. Developed using modern font development tools such as FontForge and maintained by an active community, it benefits from continuous improvements in spacing, kerning, and hinting. Libertinus Serif, the most prominent style, offers a classic yet refined appearance reminiscent of traditional book typefaces, while Libertinus Sans provides a clean, contemporary counterpart. Meanwhile, Libertinus Mono serves as an elegant monospaced option for coding and terminal applications. With its broad character support and careful attention to typographic precision, Linux Libertinus remains a highly regarded choice for users seeking a free and open-source font with professional-grade quality. Find all of the Libertinus sub-families in this overview. To contribute, see github.com/googlefonts/libertinus.", + "minisite_url": null + }, + "Libertinus Mono": { + "name": "Libertinus Mono", + "designer": [ + "Philipp H. Poll" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "monospace" + ], + "description": null, + "primary_script": null, + "article": "Linux Libertinus is a sophisticated and versatile font family that serves as a fork of the well-known Linux Libertine and Linux Biolinum fonts. Designed to provide an improved and more polished alternative, Libertinus refines the typographic details and enhances compatibility with modern typesetting systems. It includes a comprehensive range of styles, from serif to sans-serif and monospaced variations, making it suitable for a wide variety of professional and academic applications. Additionally, it features extensive Unicode coverage, including support for mathematical symbols, Greek, Cyrillic, and other scripts, making it a popular choice for scholarly publishing and technical documentation. One of the key advantages of the Libertinus font family is its emphasis on quality and open-source accessibility. Developed using modern font development tools such as FontForge and maintained by an active community, it benefits from continuous improvements in spacing, kerning, and hinting. Libertinus Serif, the most prominent style, offers a classic yet refined appearance reminiscent of traditional book typefaces, while Libertinus Sans provides a clean, contemporary counterpart. Meanwhile, Libertinus Mono serves as an elegant monospaced option for coding and terminal applications. With its broad character support and careful attention to typographic precision, Linux Libertinus remains a highly regarded choice for users seeking a free and open-source font with professional-grade quality. Find all of the Libertinus sub-families in this overview. To contribute, see github.com/googlefonts/libertinus.", + "minisite_url": null + }, + "Libre Barcode 128": { + "name": "Libre Barcode 128", + "designer": [ + "Lasse Fister" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "display", + "symbols" + ], + "description": "Libre Barcode fonts enable you to write barcodes in the Code 39, Code 128 and EAN-13/UPC-12 formats, with or without text below the code. A number of fonts are available. For usage instructions and further information vist the documentation of the Code 128 format. The Libre Barcode project is led by Lasse Fister, a font and web developer based in Nuremberg, Germany. To contribute, see github.com/graphicore/librebarcode.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Libre Barcode 128 Text": { + "name": "Libre Barcode 128 Text", + "designer": [ + "Lasse Fister" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "symbols", + "display" + ], + "description": "Libre Barcode fonts enable you to write barcodes in the Code 39, Code 128 and EAN-13/UPC-12 formats, with or without text below the code. A number of fonts are available. For usage instructions and further information vist the documentation of the Code 128 format. The Libre Barcode project is led by Lasse Fister, a font and web developer based in Nuremberg, Germany. To contribute, see github.com/graphicore/librebarcode.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Libre Barcode 39": { + "name": "Libre Barcode 39", + "designer": [ + "Lasse Fister" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "display", + "symbols" + ], + "description": "Libre Barcode fonts enable you to write barcodes in the Code 39, Code 128 and EAN-13/UPC-12 formats, with or without text below the code. A number of fonts are available. For usage instructions and further information vist the documentation of the Code 39 format. The Libre Barcode project is led by Lasse Fister, a font and web developer based in Nuremberg, Germany. To contribute, see github.com/graphicore/librebarcode.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Libre Barcode 39 Extended": { + "name": "Libre Barcode 39 Extended", + "designer": [ + "Lasse Fister" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "symbols", + "display" + ], + "description": "Libre Barcode fonts enable you to write barcodes in the Code 39, Code 128 and EAN-13/UPC-12 formats, with or without text below the code. A number of fonts are available. For usage instructions and further information vist the documentation of the Code 39 format. The Libre Barcode project is led by Lasse Fister, a font and web developer based in Nuremberg, Germany. To contribute, see github.com/graphicore/librebarcode.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Libre Barcode 39 Extended Text": { + "name": "Libre Barcode 39 Extended Text", + "designer": [ + "Lasse Fister" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "symbols", + "display" + ], + "description": "Libre Barcode fonts enable you to write barcodes in the Code 39, Code 128 and EAN-13/UPC-12 formats, with or without text below the code. A number of fonts are available. For usage instructions and further information vist the documentation of the Code 39 format. The Libre Barcode project is led by Lasse Fister, a font and web developer based in Nuremberg, Germany. To contribute, see github.com/graphicore/librebarcode.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Libre Barcode 39 Text": { + "name": "Libre Barcode 39 Text", + "designer": [ + "Lasse Fister" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "symbols", + "display" + ], + "description": "Libre Barcode fonts enable you to write barcodes in the Code 39, Code 128 and EAN-13/UPC-12 formats, with or without text below the code. A number of fonts are available. For usage instructions and further information vist the documentation of the Code 39 format. The Libre Barcode project is led by Lasse Fister, a font and web developer based in Nuremberg, Germany. To contribute, see github.com/graphicore/librebarcode.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Libre Barcode EAN13 Text": { + "name": "Libre Barcode EAN13 Text", + "designer": [ + "Lasse Fister" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "symbols", + "display" + ], + "description": "Libre Barcode fonts enable you to write barcodes in the Code 39, Code 128 and EAN-13/UPC-12 formats, with or without text below the code. A number of fonts are available. For usage instructions and further information vist the documentation of the EAN-13 format. The Libre Barcode project is led by Lasse Fister, a font and web developer based in Nuremberg, Germany. To contribute, see github.com/graphicore/librebarcode.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Libre Baskerville": { + "name": "Libre Baskerville", + "designer": [ + "Impallari Type" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Libre Baskerville is a web font optimized for body text (typically 16px.) It is based on the American Type Founder's Baskerville from 1941, but it has a taller x-height, wider counters and a little less contrast, that allow it to work well for reading on-screen. Join the project at github.com/impallari/Libre-Baskerville", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Libre Bodoni": { + "name": "Libre Bodoni", + "designer": [ + "Pablo Impallari", + "Rodrigo Fuenzalida" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "The Libre Bodoni fonts are based on the 19th century Morris Fuller Benton's ATF design, but specifically adapted for today's web requirements. They are a perfect choice for everything related to elegance, style, luxury and fashion. Libre Bodoni currently features four styles: Regular, Italic, Bold and Bold Italic. To contribute, see github.com/googlefonts/Libre-Bodoni.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Libre Caslon Display": { + "name": "Libre Caslon Display", + "designer": [ + "Impallari Type" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Libre Caslon Display is the display version of Libre Caslon Text. The family is optimized for web headlines. There are already lots of digital Caslon's revivals, and lots of Caslon-esque fonts. Some are very good. But none of them was truly made for the web. While they look very good when printed on paper, they render very small when used for web body text on the screen. Another big difference is that pretty much all other digital Caslons revivals are based on 18th Century specimens by William Caslon I and William Caslon II. Libre Caslon, instead, is based on hand lettering artist Caslon interpretations typical of 1950s advertising. Kerning by Igino Marini with iKern. Libre Caslon Display also include some nice, extra Open Type features (available in the downloadable files), and a big Pro character-set covering 103 Latin languages: Afar, Afrikaans, Albanian, Azerbaijani, Basque, Belarusian, Bislama, Bosnian, Breton, Catalan, Chamorro, Chichewa, Comorian, Czech, Danish, Dutch, English, Esperanto, Estonian, Faroese, Fijian, Filipino/Tagalog, Finnish, Flemish, French, Gaelic (Irish/Manx/Scottish), Gagauz, German, Gikuyu, Gilbertese/Kiribati, Greenlandic, Guarani, Haitian_Creole, Hawaiian, Hungarian, Icelandic, Igo/Igbo, Indonesian, Irish, Italian, Javanese, Kashubian, Kinyarwanda, Kirundi, Latin, Latvian, Lithuanian, Luba/Ciluba/Kasai, Luxembourgish, Malagasy, Malay, Maltese, Maori, Marquesan, Marshallese, Moldovan/Moldovian/Romanian, Montenegrin, Nauruan, Ndebele, Norwegian, Oromo, Palauan/Belauan, Polish, Portuguese, Quechua, Romanian, Romansh, Sami, Samoan, Sango, Serbian, Sesotho, Setswana/Sitswana/Tswana, Seychellois_Creole, SiSwati/Swati/Swazi, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swedish, Tahitian, Tetum, Tok_Pisin, Tongan, Tsonga, Tswana, Tuareg/Berber, Turkish, Turkmen, Tuvaluan, Uzbek/Usbek, Wallisian, Walloon, Welsh, Xhosa, Yoruba, Zulu.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Libre Caslon Text": { + "name": "Libre Caslon Text", + "designer": [ + "Pablo Impallari" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Libre Caslon Text is optimized for web body text (typically set at 16px), whilst the companion family Libre Caslon Display is optimized for web headlines. Libre Caslon Text was specifically tailored to be used for web body text (typically set at 16px). It can be used at very small sizes and will still be readable on your website. Another big difference is that pretty much all other digital Caslons revivals are based on 18th Century specimens by William Caslon I and William Caslon II. Libre Caslon, instead, is based on hand lettering artist Caslon interpretations typical of 1950s advertising. This font was upgraded in early 2020 and is now available as a variable font. To contribute, see github.com/thundernixon/Libre-Caslon", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Libre Franklin": { + "name": "Libre Franklin", + "designer": [ + "Impallari Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Libre Franklin is an interpretation and expansion of the 1912 Morris Fuller Benton classic. The Libre Franklin project is led by Impallari Type, a type design foundry based in Rosario, Argentina. To contribute, see github.com/googlefonts/Libre-Franklin", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Licorice": { + "name": "Licorice", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Licorice is a playful handwritten font that is perfect scrapbooking, cards, invitations and fun events. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/licorice.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Life Savers": { + "name": "Life Savers", + "designer": [ + "Impallari Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Do you remember the \"Life Savers\" candies adds from the 50s? That was a time when Ad Agencies actually hired Lettering Artist for they advertising text. Before the advent of Photo Typesetting, all the text was beautifully drawn by hand. We are going to put some love to work and bring back the Life Savers hand-lettered Typewriter/Stymie mix. Probably drawn originally by Frazier Purdy for the Sam Marsh Studio. Updated June 2019 to v3.001. The Bold weight was drawn in 2012 and added in December, and the ExtraBold weight was drawn in August 2013, and finally added to Google Fonts in June 2019 with minor technical adjustments. To contribute, see github.com/googlefonts/life-savers.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Lilita One": { + "name": "Lilita One", + "designer": [ + "Juan Montoreano" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Lilita One is a display typeface with a fat look, ideal for headlines and short texts. With a slightly condensed structure and some eye-catching details, it adds personal and soft looks to any page.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Lily Script One": { + "name": "Lily Script One", + "designer": [ + "Julia Petretta" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Lily script is a sturdy display script with a playful, bold texture. It's soft, but clear shapes come with romantic connotations. Still its bold personality make it well-suited for charming looking headlines and texts. To contribute to the project contact Julia Petretta.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Limelight": { + "name": "Limelight", + "designer": [ + "Nicole Fally", + "Sorkin Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Limelight is a sensitive rendition of the classic high contrast art deco style geometric sans serif. This style is often used to suggest the 1920's time period as well as the theatre generally and hollywood filmmaking in particular. Because of the extreme contrast of the design it will perform most reliably on web pages at medium and large font sizes.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Linden Hill": { + "name": "Linden Hill", + "designer": [ + "Barry Schwartz" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Linden Hill is a revival of Frederic Goudy\u2019s Deepdene with roman and italic styles. To learn more, see bitbucket.org/sortsmill/sortsmill-fonts and theleagueofmoveabletype.com/linden-hill", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Linefont": { + "name": "Linefont", + "designer": [ + "Dmitry Ivanov" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [], + "stroke": null, + "classifications": [ + "symbols", + "display" + ], + "description": "Linefont is a variable font with Weight and Width axes for rendering small to medium-scale line charts. Linefont values span from 0 to 100, assigned to different characters: 0-9 chars are for simplified manual input with step 10 (bar height = number). a-z/A-Z for manual input with step 2, softened at edges a and Z (bar height = number of letter). U+0100-017F for 0..127 values with step 1. The axis range values are compatible with Wavefont by the same author, so the families can be used together with visual coherency. To contribute, see github.com/dy/linefont.", + "primary_script": null, + "article": null, + "minisite_url": "https://dy.github.io/linefont/scripts/" + }, + "Lisu Bosa": { + "name": "Lisu Bosa", + "designer": [ + "SIL International" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "lisu" + ], + "stroke": "SERIF", + "classifications": [], + "description": "This project is intended to provide a libre and open font family for all current languages and writing systems that use the Lisu (Fraser) script. The design is based on LisuTzimu, designed by David Morse. To contribute, please see github.com/silnrsi/font-lisu-bosa.", + "primary_script": "Lisu", + "article": null, + "minisite_url": null + }, + "Liter": { + "name": "Liter", + "designer": [ + "Anton Skugarov", + "Alexandr Ivanin" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Liter is a modern Neo-grotesque typeface designed for digital screens and inspired by the principles of the Swiss design school. The font is optimized for use at 13, 16, and 19 point sizes. It features low contrast, minimal differences in the heights of uppercase and lowercase letters, and balanced proportions, making it versatile for interfaces, text, and navigation. The typeface supports multiple languages using Latin and Cyrillic scripts. To contribute, see github.com/skugiz/liter.", + "minisite_url": null + }, + "Literata": { + "name": "Literata", + "designer": [ + "TypeTogether" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Now in its third version, Literata is a distinct variable font family for digital text. Originally created as the brand typeface for Google Play Books, it exceeds the strict needs of a comfortable reading experience on any device, screen resolution, or font size. The family has matured into a full-fledged digital publishing toolbox \u2014 headline, paragraph, and caption text. Type Together redesigned it from the ground up as a variable font. Its tiny file size and infinite adjustability make it perfect for developers, mobile apps, and every screen imaginable. It\u2019s the \u201cevery-device font\u201d. Get the entire type family for FREE! Literata was designed by TypeTogether: Veronika Burian & Jos\u00e9 Scaglione (Latin), Irene Vlachou (Greek), Vera Evstafieva (Cyrillic) and Elena Novoselova (Cyrillic). The family won the GOLD Indigo Awards in 2021 and is the Modern Cyrillic 2021 winner. Two versions of the family exist, one for print and the other for Ebooks. This is the print version of the family. To contribute, see github.com/googlefonts/literata", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Liu Jian Mao Cao": { + "name": "Liu Jian Mao Cao", + "designer": [ + "Liu Zhengjiang", + "Kimberly Geswein", + "ZhongQi" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "chinese-simplified", + "latin" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Liu Jian Mao Cao is a grass script font based on the work of calligrapher Liu Zhengjiang. Like most grass scripts, LiuJian is boundless and expressive, but is also tempered with mellow approachability. Like water, its flow is full and gentle, restoring a still image to movement. The latin script included in the font was designed by Kimberly Geswein. To contribute, see github.com/googlefonts/liujianmaocao.", + "primary_script": "Hans", + "article": null, + "minisite_url": null + }, + "Livvic": { + "name": "Livvic", + "designer": [ + "LV=", + "Jacques Le Bailly" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Livvic is a custom corporate typeface designed by Jacques Le Bailly for LV=, an insurance company based in the UK. The typeface is part of a brand redesign. Livvic was designed to capture LV=\u2019s brand values and uniqueness. It is an open, friendly and somewhat quirky design. Corporate, yet still fresh and personal. The Roman is an upright Italic, with some inspirations from handwriting. This gives livvic a strong, yet accessible character. The Italic has matching metrics to the Roman. Although the Italic and Roman share a lot of similarities, the construction is different. It is gives the Italic some more panache. To contribute, see github.com/Fonthausen/Livvic.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Lobster": { + "name": "Lobster", + "designer": [ + "Impallari Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "The Lobster font took a different approach. The new OpenType format gives us the possibility to have multiple versions of each letter, and that's exactly what we are doing: Instead of compromising the design of our letters to force connections, we do what lettering artist do. We draw many versions of each letter and a lot of different letter-pairs (aka \"ligatures\") so we always use the best possible variation of each letter depending of the context of the letter inside each word. All this happens automatically in any browser that supports ligatures.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Lobster Two": { + "name": "Lobster Two", + "designer": [ + "Impallari Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Lobster Two is a family version of the original Lobster.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Londrina Outline": { + "name": "Londrina Outline", + "designer": [ + "Marcelo Magalh\u00e3es" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "The Londrina super-family is composed of 4 family styles: Londrina Solid, Londrina Shadow, Londrina Outline, and Londrina Sketch. You can combine the main style, Solid, with the others to create different effects. The origins of the Londrina typeface project is in the streets of Sao Paulo, Brazil: Urban confusion. Initially I designed the \"New Folk\" for use in a poster, with only uppercase letters. I saw at the start some potential for a typeface that could recall the feelings of the writing used day-to-day in my city's informal communication, and developed it into a typeface family with lowercases too. To contribute to the project, please see github.com/marcelommp/Londrina-Typeface", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Londrina Shadow": { + "name": "Londrina Shadow", + "designer": [ + "Marcelo Magalh\u00e3es" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "The Londrina super-family is composed of 4 family styles: Londrina Solid, Londrina Shadow, Londrina Solid, and Londrina Outline. You can combine the main style, Solid, with the others to create different effects. The origins of the Londrina typeface project is in the streets of Sao Paulo, Brazil: Urban confusion. Initially I designed the \"New Folk\" for use in a poster, with only uppercase letters. I saw at the start some potential for a typeface that could recall the feelings of the writing used day-to-day in my city's informal communication, and developed it into a typeface family with lowercases too. To contribute to the project, please see github.com/marcelommp/Londrina-Typeface", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Londrina Sketch": { + "name": "Londrina Sketch", + "designer": [ + "Marcelo Magalh\u00e3es" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "The Londrina super-family is composed of 4 family styles: Londrina Solid, Londrina Shadow, Londrina Outline. and Londrina Sketch. You can combine the main style, Solid, with the others to create different effects. The origins of the Londrina typeface project is in the streets of Sao Paulo, Brazil: Urban confusion. Initially I designed the \"New Folk\" for use in a poster, with only uppercase letters. I saw at the start some potential for a typeface that could recall the feelings of the writing used day-to-day in my city's informal communication, and developed it into a typeface family with lowercases too. To contribute to the project, please see github.com/marcelommp/Londrina-Typeface", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Londrina Solid": { + "name": "Londrina Solid", + "designer": [ + "Marcelo Magalh\u00e3es" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "The Londrina super-family is composed of 4 family styles: Londrina Solid, Londrina Shadow, Londrina Solid, and Londrina Outline. You can combine the main style, Solid, with the others to create different effects. The origins of the Londrina typeface project is in the streets of Sao Paulo, Brazil: Urban confusion. Initially I designed the \"New Folk\" for use in a poster, with only uppercase letters. I saw at the start some potential for a typeface that could recall the feelings of the writing used day-to-day in my city's informal communication, and developed it into a typeface family with lowercases too. To contribute to the project, please see github.com/marcelommp/Londrina-Typeface", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Long Cang": { + "name": "Long Cang", + "designer": [ + "Chen Xiaomin" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "chinese-simplified", + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Based on modern calligrapher Chen Xiaomin's handwritten script. LongCang features textured strokes of middling thickness that are raw and primal, yet refined.", + "primary_script": "Hans", + "article": null, + "minisite_url": null + }, + "Lora": { + "name": "Lora", + "designer": [ + "Cyreal" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "math", + "symbols", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Lora is a well-balanced contemporary serif with roots in calligraphy. It is a text typeface with moderate contrast well suited for body text. A paragraph set in Lora will make a memorable appearance because of its brushed curves in contrast with driving serifs. The overall typographic voice of Lora perfectly conveys the mood of a modern-day story, or an art essay. Technically Lora is optimised for screen appearance, and works equally well in print. In March 2019, the family has been updated to a variable font family. To contribute, see github.com/cyrealtype/Lora-Cyrillic.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Love Light": { + "name": "Love Light", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Adopted from an original hand lettered work, Love Light is an adaptation of another font. Its heart embellishments add a bit of romantic fantasy to this beautiful calligraphic script. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/love-light.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Love Ya Like A Sister": { + "name": "Love Ya Like A Sister", + "designer": [ + "Kimberly Geswein" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "My older sister Emily and I have been inseparable best friends for years. As children, we signed notes to each other with 'Love Ya Like a Sister' and then giggled at the irony of writing that when we were, in actuality, sisters. This nerdy habit has continued for years. I created this font to honor my friendship with Emily and the many ways she has inspired me and taught me in life.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Loved by the King": { + "name": "Loved by the King", + "designer": [ + "Kimberly Geswein" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "A skinny font that fits in little places. This is one of my first fonts I released online.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Lovers Quarrel": { + "name": "Lovers Quarrel", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "A playful calligraphic style, Lovers Quarrel is great for scrapbooking, cards, invitations and other fun things. Lovers Quarrel has exceptionally clean lowercase forms and beautifully ornate capital letters. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/lovers-quarrel.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Luckiest Guy": { + "name": "Luckiest Guy", + "designer": [ + "Astigmatic" + ], + "license": "apache2", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Luckiest Guy is a friendly heavyweight sans serif typeface inspired by 1950s advertisements with custom hand lettering.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Lugrasimo": { + "name": "Lugrasimo", + "designer": [ + "The DocRepair Project", + "Astigmatic" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "handwriting" + ], + "description": "Lugrasimo is a DocRepair font, intended to improve compliance with the ISO/IEC 29500 standard by providing fallback for Lucida Calligraphy that minimizes text reflow in Office Open XML documents. Lugrasimo is based on Fondamento, a typeface in calligraphic lettering style based on the traditional Foundational Hand, a basic teaching style created by Edward Johnston in the early 20th century. The letterforms are clear and cleanly legible, basic and formal. To contribute, please visit github.com/docrepair-fonts/lugrasimo-fonts.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Lumanosimo": { + "name": "Lumanosimo", + "designer": [ + "The DocRepair Project", + "Eduardo Tunni" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "handwriting" + ], + "description": "Lumanosimo is a DocRepair font, intended to improve compliance with the ISO/IEC 29500 standard by providing fallback for Lucida Handwriting that minimizes text reflow in Office Open XML documents. Lumanosimo is based on Paprika, which is an expressive typeface. To contribute, please visit github.com/docrepair-fonts/lumanosimo-fonts.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Lunasima": { + "name": "Lunasima", + "designer": [ + "The DocRepair Project", + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "hebrew", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Lunasima is a DocRepair font, intended to improve compliance with the ISO/IEC 29500 standard by providing fallback for Lucida Grande that minimizes text reflow in Office Open XML documents. Lunasima is based on Noto Sans, which is an unmodulated (\u201csans serif\u201d) design. To contribute, please visit github.com/docrepair-fonts/lunasima-fonts.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Lusitana": { + "name": "Lusitana", + "designer": [ + "Ana Paula Megda" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Lusitana is inspired by the type found in the 1572 first edition of \"The Lusiads\", a Portuguese epic poem by Lu\u00eds Vaz de Cam\u00f5es. This typeface is made for long texts at small sizes.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Lustria": { + "name": "Lustria", + "designer": [ + "MADType" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Lustria is a rounded-serif text typeface with details that make it interesting to use at larger display sizes as well. Started in 1999, this typeface has been aged to perfection and is finally ready for public consumption.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Luxurious Roman": { + "name": "Luxurious Roman", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Luxurious Roman is a semi-hand lettered font with inconsistent serifs and a subtle bouncy look to create that 'imperfect' hand calligraphed feel. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/luxurious-roman.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Luxurious Script": { + "name": "Luxurious Script", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Luxurious \u2014 the perfect description for this stunning formal script. It has cursive forms, with highly slanted and condensed characters, giving continuity to the over all feel of bodies of text. The added flourishing available enhances the beauty of the forms, making display images exude the richness of royalty. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/luxurious.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "M PLUS 1": { + "name": "M PLUS 1", + "designer": [ + "Coji Morishita" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "japanese", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "M+ FONTS is a little nifty font family for everyday usage. Mplus 1 is a Sans Serif font with nine weights from Thin to Black, supporting 5,700+ Kanjis for Japanese with GF Latin Plus. With the harmony of comfortable curves and straight lines, this font gives modern and generous impression, suiting for any occasions including small texts to big titles. To contribute to the project, visit https://github.com/coz-m/MPLUS_FONTS", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "M PLUS 1 Code": { + "name": "M PLUS 1 Code", + "designer": [ + "Coji Morishita" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "japanese", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "monospace" + ], + "description": "M+ FONTS is a little nifty font family for everyday usage. Mplus 1 Code is a Sans Serif font with seven weights from Thin to Bold, supporting 5,700+ Kanjis for Japanese with GF Latin Plus. Because this font is for programming usage, it has high readability even in small sizes, and letterforms are designed to avoid misreadings as much as possible. This font is a combination of Mplus 1 full-width Japanese with new half-width monospaced Latin alphabet and figures. To contribute to the project, visit https://github.com/coz-m/MPLUS_FONTS", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "M PLUS 1p": { + "name": "M PLUS 1p", + "designer": [ + "Coji Morishita", + "M+ Fonts Project" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "hebrew", + "japanese", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "The M+ Outline Fonts Project develops a superfamily set of several families: 4 families with proportional Latin, 3 with fixed-halfwidth Latin, and 2 with fixed-fullwidth Japanese Kana variations. The Rounded M+ Project develops versions of the M+ Fonts with rounded terminals. This set, M+ 1p, are fonts with proportional Latin and fixed-fullwidth Japanese, and 7 weights from Thin to Black. The Kana have contrasting straight lines and hand-drawn curves. The Latin is aimed to be a sophisticated and relaxed design. 8,676 glyphs. This is Version 1.061g, released upstream on 2016-04-12, and slightly modified by Google Fonts. Now released under the SIL Open Font License.", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "M PLUS 2": { + "name": "M PLUS 2", + "designer": [ + "Coji Morishita" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "japanese", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "M+ FONTS is a little nifty font family for everyday usage. Mplus 2 is a Sans Serif font with nine weights from Thin to Black, supporting 5,700+ Kanjis for Japanese with GF Latin Plus. With the somewhat classic letterforms, this font pursues new standard of classic modern. To contribute to the project, visit https://github.com/coz-m/MPLUS_FONTS", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "M PLUS Code Latin": { + "name": "M PLUS Code Latin", + "designer": [ + "Coji Morishita" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "monospace" + ], + "description": "M+ FONTS is a little nifty font family for everyday usage. Mplus Code Latin is a Sans Serif font with seven weights from Thin to Bold, supporting GF Latin Plus. Because this font is for programming usage, it has high readability even in small sizes, and letterforms are designed to avoid misreadings as much as possible. There are two styles\u2014Mplus Code Latin 50 and Mplus Code Latin 60, each having 50% and 60% character width. To contribute to the project, visit https://github.com/coz-m/MPLUS_FONTS", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "M PLUS Rounded 1c": { + "name": "M PLUS Rounded 1c", + "designer": [ + "Coji Morishita", + "M+ Fonts Project" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "hebrew", + "japanese", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "The M+ Outline Fonts Project develops a superfamily set of several families: 4 families with proportional Latin, 3 with fixed-halfwidth Latin, and 2 with fixed-fullwidth Japanese Kana variations. The Rounded M+ Project develops versions of the M+ Fonts with rounded terminals. This set, Rounded M+ 1c, are fonts with proportional Latin and fixed-fullwidth Japanese, and 7 weights from Thin to Black. The Kana have traditional slightly curved strokes. The Latin is optimized to be well-proportioned for text typesetting. 8,546 glyphs. This is Version v1.059g, released upstream on 2015-05-29, and slightly modified by Google Fonts. Now released under the SIL Open Font License.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ma Shan Zheng": { + "name": "Ma Shan Zheng", + "designer": [ + "Ma ShanZheng" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "chinese-simplified", + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "This script is reminiscent of fonts used to display \"yinglian,\" the short poems and blessings traditionally posted on either side of the entryway to a home or temple. MaShanZheng is heavy and majestic, vital and expansive.", + "primary_script": "Hans", + "article": null, + "minisite_url": null + }, + "Macondo": { + "name": "Macondo", + "designer": [ + "John Vargas Beltr\u00e1n" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Macondo. The first purpose of this typeface was to provide an original and systematized style of calligraphy adapted into a modern digital font. The forms are inspired by some illustrations created for a tarot card game, itself inspired by the work of Colombian literature Nobel prize winning author, Gabriel Garc\u00eda M\u00e1rquez, \u00abCien A\u00f1os de Soledad\u00bb. Early versions of this font were made in 1997, but recently in 2009 it was substantially improved. Macondo includes several cap swashes and other stylish alternates, and a sister family Macondo Swash Caps is also available.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Macondo Swash Caps": { + "name": "Macondo Swash Caps", + "designer": [ + "John Vargas Beltr\u00e1n" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Macondo. The first purpose of this typeface was to provide an original and systematized style of calligraphy adapted into a modern digital font. The forms are inspired by some illustrations created for a tarot card game, itself inspired by the work of Colombian literature Nobel prize winning author, Gabriel Garc\u00eda M\u00e1rquez, \u00abCien A\u00f1os de Soledad\u00bb. Early versions of this font were made in 1997, but recently in 2009 it was substantially improved. Macondo includes several cap swashes and other stylish alternates, and this is a sister family, Macondo Swash Caps.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Mada": { + "name": "Mada", + "designer": [ + "Khaled Hosny", + "Paul D. Hunt" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "arabic", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Mada is a modernist, unmodulted Arabic typeface inspired by road signage seen around Cairo, Egypt, by Khaled Hosny. The Arabic component is characterized by low descenders, open contours, and low contrast forms, making it suitable for signage, small point sizes, and user interfaces. However Mada can work also as a display typeface, with a modernist and simplistic feeling. The Latin component is a slightly modified version of Source Sans Pro, led by Paul Hunt at Adobe Type. To contribute, see github.com/aliftype/mada", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Madimi One": { + "name": "Madimi One", + "designer": [ + "Taurai Valerie Mtake", + "Mirko Velimirovi\u0107" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Madimi is a rounded sans with a mixed geometric and organic design. The design covers all of Google Latin Core. Madimi takes inspiration from the gentle curved geometry of certain Southern Afrikan graphic symbols. Circles are a main feature, the circle being a shape that represents the womb of a woman in KiNtu symbologies. The idea behind Madimi is to enact the subtle visual subtext of Afrikan visual traditions. Madimi is simple, clean and round edged but still remains clear and easy to read. To contribute, see github.com/TaVaTake/madimi.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Magra": { + "name": "Magra", + "designer": [ + "FontFuror" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Magra is a sans serif typeface designed for contexts in which both spatial economy and multiple composition styles are required. Its neutral personality and humanist features makes it a perfect candidate for corporate uses too. Its large x-height and robust stems provide good legibility and economy, plus great behavior in smaller sizes. Magra was selected to be part of the German editorial project Typodarium 2012.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Maiden Orange": { + "name": "Maiden Orange", + "designer": [ + "Astigmatic" + ], + "license": "apache2", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SLAB_SERIF", + "classifications": [ + "display" + ], + "description": "Maiden Orange is a light and festive slab serif font inspired by custom hand lettered 1950s advertisements. Clean and legible, while also being offbeat and friendly, this font lends itself to a wide variety of uses. From children's stories to the retro inspired, take Maiden Orange for a spin.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Maitree": { + "name": "Maitree", + "designer": [ + "Cadson Demak" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "thai", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Maitree means \u201cfriendliness\u201d in Thai. Maitree is a serif Latin and looped Thai typeface with wide proportions. It is characterized by its bigger-than-usual looped terminal in Thai, and long serifs in Latin, that balance out the whole structure. Maitree offers 6 weights, and its asymmetrically curved terminals are well-suited for both formal and casual usage, especially for works that require an antique and historical manner. A similarity between some glyphs such as \u0e01 \u0e16 \u0e20 \u0e24 \u0e26, \u0e0e \u0e0f, \u0e1a \u0e1b, or \u0e02 \u0e0a is something to take into consideration because it might lead to confusion when typesetting very short texts. Sizes and positions of Thai vowels and tone marks have been managed carefully, because they are all relevant to readability, legibility, and overall texture. The Maitree project is led by Cadson Demak, a type foundry in Thailand. To contribute, see github.com/cadsondemak/maitree", + "primary_script": "Thai", + "article": null, + "minisite_url": null + }, + "Major Mono Display": { + "name": "Major Mono Display", + "designer": [ + "Emre Parlak" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "monospace", + "display" + ], + "description": "Maj\u00f6r Mono Display is a monospaced geometric sans serif all-uppercase typeface which also has a complete set of constructivist display characters with a playful attitude. It has many OpenType features, but the basic stylistic sets, serious sans serif, and playful display designs, are encoded as lowercase and uppercase characters. This makes it a great choice for playful web typography, especially at large point-sizes. To contribute, see github.com/googlefonts/majormono", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Mako": { + "name": "Mako", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Mako is a minimal sans serif designed to be used freely across the internet by web browsers on desktop computers, laptops and mobile devices. The July 2023 update features a bigger glyphset and some minor aesthetic modifications. To contribute, see github.com/googlefonts/MakoFont.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Mali": { + "name": "Mali", + "designer": [ + "Cadson Demak" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "thai", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Mali is a Thai and Latin family which was inspired by a 6th graders' handwriting. It exudes a carefree and naive appearance.", + "primary_script": "Thai", + "article": null, + "minisite_url": null + }, + "Mallanna": { + "name": "Mallanna", + "designer": [ + "Purushoth Kumar Guttula" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "telugu" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Mallanna is a Telugu font with round letterforms and a uniform thickness that reminds us of the round pearls Hyderabad is famous for. It looks very crisp even at small point sizes, which helps publishers make beautiful designs, and includes complex Telugu conjunct letters. Mallanna is named after the Telugu poet from the court of the king Krishnadevaraya, and was one of the Astadiggajalu (literally eight legends) there. The Telugu is designed and developed by Purushoth Kumar Guttula in 2013 and made available by Silicon Andhra under the SIL Open Font License v1.1. The Latin is designed by Vernon Adams and originally published as Nunito. The Mallanna project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India. To contribute, see github.com/appajid/mallanna", + "primary_script": "Telu", + "article": null, + "minisite_url": null + }, + "Maname": { + "name": "Maname", + "designer": [ + "Pathum Egodawatta", + "Mooniak" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "sinhala", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Sinh", + "article": "Maname is a text typeface made for Sinhala script with quirky stroke modulation. Maname Latin is informed by the modulation of Sinhala companion and takes a versatile lively form. This project was orignally conceptualised and prototyped by Pathum Egodawatta as a superfamily with many styles and scripts in partial fulfilment for the requirements for the Master of Arts in Typeface Design (MATD) at the University of Reading, Department of Typography and Graphic Communication in 2016. Since then selected Latin and Sinhala components from the academic project were extended to include support for wider Latin character set and full Sinhala support under the name Maname. To contribute, please see github.com/mooniak/maname-font.", + "minisite_url": null + }, + "Mandali": { + "name": "Mandali", + "designer": [ + "Purushoth Kumar Guttula" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "telugu" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Mandali is a Telugu font developed for use in news publications and has many unique Telugu conjunct letters. It is named after Mandali Venkata Krishna Rao, who successfully organised the first World Telugu Conference in 1975. He and his family have worked for the well being of Telugu people. The Telugu is designed and developed by Purushoth Kumar Guttula in 2013 and made available by Silicon Andhra under the SIL Open Font License v1.1. The Latin is designed by Vernon Adams and originally published as Nunito. The Mandali project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India. To contribute, see github.com/appajid/mandali", + "primary_script": "Telu", + "article": null, + "minisite_url": null + }, + "Manjari": { + "name": "Manjari", + "designer": [ + "Santhosh Thottingal" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "malayalam" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Manjari is a Malayalam and Latin family whose name means pearl in Malayalam. It's also the name of a poetic metre. This family is suitable for body text and titles. To contribute, see github.com/smc/manjari", + "primary_script": "Mlym", + "article": null, + "minisite_url": null + }, + "Manrope": { + "name": "Manrope", + "designer": [ + "Mikhail Sharanda" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Manrope is an open-source modern sans-serif font family, designed by Mikhail Sharanda in 2018. In 2019, Mirko Velimirovic worked with Mikhail Sharanda to convert Manrope into a variable font. To contribute, see github.com/sharanda/manrope.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Mansalva": { + "name": "Mansalva", + "designer": [ + "Carolina Short" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "greek", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Mansalva is a script font that works well for notes and informal text passages. It presents two alternates for each letter and number to provide a natural, handwritten, less mechanical look. It also features good legibility for a handwriting typeface and is perfect for a casual-looking annotation. Latest upgrade from October 2022 includes a Latin Plus language coverage currently supporting most Latin-based languages. The vertical metrics have been harmonised for a better cross-platform experience; as a result existing users may notice a visible increase of the line spacing in webpages and documents on Mac. To contribute, see github.com/carolinashort/mansalva.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Manuale": { + "name": "Manuale", + "designer": [ + "Omnibus-Type" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Manuale is part of the Omnibus-Type Press Series, designed by Pablo Cosgaya and Eduardo Tunni for editorial typography (books, newspapers and magazines) in print and online. In September 2019, the family has been converted into a variable font family. To contribute to the project, visit github.com/omnibus-Type/Manuale.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Manufacturing Consent": { + "name": "Manufacturing Consent", + "designer": [ + "Fredrick Brennan" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "Ah, Manufacturing Consent\u2014the font that doesn\u2019t just scream \u201cserious journalism,\u201d it calmly editorializes it in 144-point Fraktur while subtly nudging your worldview. A glorious typographic wolf in Pulitzer-winning sheep\u2019s clothing, this typeface borrows its gravitas from the New York Times masthead and then cheekily slaps a Noam Chomsky title on it, because irony is the last frontier of design. Perfect for your zine, blog, or rogue press release about how pigeons are government surveillance drones. Forked from the esteemed \u201cChomsky\u201d font, Manufacturing Consent is for those who want their typography to look like it went to an Ivy League school but dropped out to start a podcast. Whether you're toppling empires or just mocking brunch culture, this free and open-source beauty lets you do it in blackletter style. Because nothing says \u201cI read the footnotes\u201d like vintage typographic propaganda dressed as objective truth. To contribute, please see github.com/googlefonts/manufacturing-consent-font.", + "minisite_url": null + }, + "Marcellus": { + "name": "Marcellus", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Marcellus and Marcellus SC (small caps) are a set of flared serif typeface families, inspired by classic Roman inscription letterforms. While the SC family leans more towards the titling style of Trajan, the Regular version lends itself to a wider range of usage. These elegant typefaces, when combined in use, exude clarity and beauty for both on screen and printed materials. Marcellus is a Unicode typeface family that supports languages that use the Latin script and its variants, and could be expanded to support other scripts. More specifically, this release supports the following Unicode ranges: Latin-1, Latin-2, Turkish, and Windows Baltic. To contribute to the project contact Brian J. Bonislawsky.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Marcellus SC": { + "name": "Marcellus SC", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Marcellus and Marcellus SC (small caps) are a set of flared serif typeface families, inspired by classic Roman inscription letterforms. While the SC family leans more towards the titling style of Trajan, the Regular version lends itself to a wider range of usage. These elegant typefaces, when combined in use, exude clarity and beauty for both on screen and printed materials. Marcellus is a Unicode typeface family that supports languages that use the Latin script and its variants, and could be expanded to support other scripts. More specifically, this release supports the following Unicode ranges: Latin-1, Latin-2, Turkish, and Windows Baltic. To contribute to the project contact Brian J. Bonislawsky.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Marck Script": { + "name": "Marck Script", + "designer": [ + "Denis Masharov" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "cyrillic", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Marck Script is based on freehand lettering with felt-tip pen by Marck Fogel. The main advantage over other similar fonts is the lack of connections between characters, that allows wide variety of spacing between letters. It can be used for logotypes, headlines and for short pieces of text, wherever you want to create an informal, confident relationship - it is readable, comfortable and welcoming.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Margarine": { + "name": "Margarine", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Margarine draws its roots loosely from various inspirations, with a thick marker weight and deliberate carrying of rounds into regularly straightened lowercase characters, this typeface has that warm and fuzzy feeling to it. To contribute to the project contact Brian J. Bonislawsky.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Marhey": { + "name": "Marhey", + "designer": [ + "Nur Syamsi", + "Bustanul Arifin" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "arabic", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Marhey is a playful Display typeface, custom hand lettering with contrast strokes that makes dynamic and expressive impression. It comes with Latin Character sets including Western, Central, and Arabic language support (Kurdish, Persian, Urdu and Jawi). To contribute, see github.com/namelatype/Marhey.", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Markazi Text": { + "name": "Markazi Text", + "designer": [ + "Borna Izadpanah", + "Florian Runge", + "Fiona Ross" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "arabic", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "This typeface design was inspired by Tim Holloway's Markazi typeface, with his encouragement, and initiated by Gerry Leonidas as a joint University of Reading and Google project. The Arabic glyphs were designed by Borna Izadpanah and design directed by Fiona Ross, they feature a moderate contrast. It takes its cues from the award-winning Markazi typeface, affording a contemporary and highly readable typeface. The complementary Latin glyphs were designed by Florian Runge. It keeps in spirit with its Arabic counterpart, echoing key design characteristics while being rooted in established Latin traditions. It is an open and clear design with a compact stance and an evenly flowing rhythm. The family is available in four weights with extended language support suited for print and screen. To contribute, see github.com/BornaIz/markazitext.", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Marko One": { + "name": "Marko One", + "designer": [ + "Cyreal" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Marko One is a typeface designed for children's literature. The initial idea was to create a typeface-companion for Marko the Sparrow - a cartoon character by illustrator and type designer Zhenya Spizhovyi. Marko One is simple and smooth, has special inner tension and eye-catchy detailing. The letterforms are based on calligraphy and sketches - this is what makes Marko lively, enchanting, and amiable. Marko One typeface will work best in medium to large sizes and captivating headlines. It is technically optimized for better performance on screen, while carefully adjusted outlines promise good quality in print too.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Marmelad": { + "name": "Marmelad", + "designer": [ + "Cyreal", + "Manvel Shmavonyan" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Marmelad is designed specifically for medium to large-size headlines and remains well-balanced for long text setting because of its regular proportions and medium contrast. Ascenders and descenders are elegant and details refined. The name and overall feel refers to marmalade sweets - soft and ductile. All vertical strokes are rounded towards the baseline, which is why technically there is no sense for overshoots in rounded letters like O. Marmelad performs well on screen because of its soft rounded features and generous x-height. The font supports Latin and Cyrillic. In 2022, the kerning is improved and the Latin language coverage expanded. To contribute, see github.com/cyrealtype/Marmelad-Cyrillic.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Martel": { + "name": "Martel", + "designer": [ + "Dan Reynolds" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Martel is a libre font development project. Begun in 2008 in the Department of Typography & Graphic Communication at the University of Reading, the first weights of the font family (Martel UltraLight, Light, Regular, DemiBold, Bold, ExtraBold and Heavy) were released in 2014. The Devanagari glyphs to-date have all been designed by Dan Reynolds, whereas the Latin script\u2019s glyphs are based on the Merriweather fonts. Check out the Martel Sans project, too. The Martel Devanagari typeface is designed for typesetting immersive-style documents. It may be be used to set long passages of text in languages that are written in the Devanagari script, including Hindi, Marathi, Nepali, Sanskrit, etc. Martel Devanagari is a readable typeface whose glyph proportions are inspired by traditional writing and calligraphic styles. Its high-contrast strokes have a diagonal axis, in keeping with the pen-angle most often used for the Devanagari writing system. The Martel project is led by Dan Reynolds, a type designer in Berlin. To contribute, visit github.com/typeoff/martel", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Martel Sans": { + "name": "Martel Sans", + "designer": [ + "Dan Reynolds", + "Mathieu R\u00e9guer" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "The Martel Sans typeface is designed for typesetting immersive documents. It may be be used to set long passages of text in languages that are written in the Devanagari script, including Hindi, Marathi, Nepali, Sanskrit, and others. The Martel Devanagari design is a readable typeface whose glyph proportions are inspired by traditional writing and calligraphic styles. Its high-contrast strokes have a diagonal axis, in keeping with the pen-angle most often used for the Devanagari writing system. This Sans design is a low contrast design based on the initial Martel Devanagari. The Latin character set is an original design. Both character sets are the work of Dan Reynolds and Mathieu R\u00e9guer. The Martel Sans project is led by Dan Reynolds, a type designer based in Berlin, Germany. To contribute, see github.com/typeoff/martel_sans Updated November 2015: Internal metadata corrected.", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Martian Mono": { + "name": "Martian Mono", + "designer": [ + "Roman Shamin", + "Evil Martians" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "monospace" + ], + "description": "Martian Mono is a monospaced version of the Martian Grotesk font for code style design. It inherits Grotesk's brutal and eye-catching aesthetics as well as all of its benefits-metrics equilibrium, readability and intelligibility, and convenience for web developers and designers who believe in a systematic approach to design. Martian Mono consists of a variable font with a width (Condensed to SemiExpanded) and weight axes (Thin to ExtraBold). In January 2023, the basic Cyrillic script is added and the font supports now Ukrainian, Belarusian, and Russian languages. To contribute, see github.com/evilmartians/mono.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Marvel": { + "name": "Marvel", + "designer": [ + "Carolina Trebol" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Marvel is a contemporary and multipurpose sans serif typeface family. It can be used in headlines as well as text settings in websites, books and magazines. It was designed to look sharp, modern and even technical while keeping a unique personality. Typography has always been very important in my graphic design work, and some time ago I started working on experimental type, designing typefaces for use in my own projects so that I could give more personality to them.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Matangi": { + "name": "Matangi", + "designer": [ + "The Graphic Ant" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Deva", + "article": "Matangi is a semi-condensed sans-serif variable typeface that supports both Latin and Devanagari scripts. It includes seven static weights \u2014 Light, Regular, Medium, Bold, SemiBold, ExtraBold, and Black \u2014 offering a flexible range suitable for titles, headings, logos, and small body text. Started as a personal challenge and a love for typography, this project was a journey of exploration and self-learning, designed to offer a flexible, functional tool for multilingual design. It is also the first variable font project from Nepal, with the hope of benefiting users worldwide. The design is based on simple geometric shapes, primarily squares and circles, giving the letterforms a structured, rational character. Subtle inktraps are applied at stroke joints for aesthetic purposes, ensuring even typographic color across various sizes and weights. The x-height of the Latin script and the base character height of the Devanagari script are carefully aligned to create visual harmony when typesetting both scripts together. Matangi includes over 1,700 glyphs and provides extensive language support, covering more than 150 (Devanagari & Latin Based) languages, primarily including Nepali, Sanskrit, Hindi, Marathi, Awadhi, Dotyali and Latin-based languages. It seamlessly renders extended Sanskrit ligatures and complex Devanagari matras. To contribute, please see github.com/thegraphicant/Matangi", + "minisite_url": null + }, + "Mate": { + "name": "Mate", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Simple in its structure; sharp and generous counter-shapes which create a medium texture that calls for good page color, in addition to offering a more relaxed reading experience for each line of text: Mate. The italics that accompany the regular style show their quality in the shading of strokes, in the counters and the unusual shapes for this style as well as the calligraphic reminiscences that give this style a different and pleasant visual rhythm. The Small Caps (SC) style, featuring traditional proportions, completes this initial release with its medium height numbers in all styles. The primary use for the family is in text, yet due to the constructive details of letterforms, this family can be used in larger sizes for display typography. The February 2023 update features a bigger glyphset, fractions and some minor aesthetic modifications. To contribute, see github.com/etunni/mate.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Mate SC": { + "name": "Mate SC", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Simple in its structure; sharp and generous counter-shapes which create a medium texture that calls for good page color, in addition to offering a more relaxed reading experience for each line of text: Mate. The italics that accompany the regular style show their quality in the shading of strokes, in the counters and the unusual shapes for this style as well as the calligraphic reminiscences that give this style a different and pleasant visual rhythm. This is the Small Caps (SC) style, featuring traditional proportions, completes this initial release with its medium height numbers in all styles. The primary use for the family is in text, yet due to the constructive details of letterforms, this family can be used in larger sizes for display typography. The February 2023 update features a bigger glyphset, fractions and some minor aesthetic modifications. To contribute, see github.com/etunni/mate.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Matemasie": { + "name": "Matemasie", + "designer": [ + "Adam Yeo" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "MATEMASIE Matemasie is an ultra-bold display typeface distinguished by rounded edges and top-weighted letterforms. It is inspired by the Adinkra symbol \"Mate Masie,\" meaning \"what I hear, I keep\" \u2014 embodying the importance of listening and communication in oral traditions. The typeface symbolizes the principles of communication, wisdom, knowledge, prudence, and connection. The goal of the typeface is a celebration of African heritage while meeting contemporary design standards. Adinkra symbols express themes connected to the history, beliefs, and philosophy of the Asante people, often with proverbial meanings that signify wisdom. These symbols also describe historical events, human and animal behavior, plant forms, and object shapes. Drawing on this Adinkra symbol, the design connects with Africa's rich graphical heritage. The creation of Matemasie was a journey to craft a typeface that resonates with the spirit of Africa, drawing deeply from its roots. The design process involved connecting the past and present, preserving the essence of African heritage for future generations. Matemasie celebrates the harmony between tradition and innovation, reflecting the balance embodied by the \"Mate Masie\" symbol. Traditionally, the Mate Masie symbol is represented by four linked ears\u2014two on top and two on the bottom. This 2-by-2 arrangement is a fundamental aspect of the symbol, signifying balance and rhythm, when it is presented in traditional designs. This rhythmic balance played a crucial role in developing the letterforms of the Matemasie font. By integrating this cultural structure into the digital design, Matemasie stays deeply connected to its cultural roots, preserving the essence of the symbol while adapting it for contemporary use. The design process aimed to respect and reflect the traditional symbolism, allowing the modern typeface to serve as both a functional tool and a cultural tribute. The typeface captures both the artistic and spiritual essence of \"Mate Masie\" through its unique typographic features. Matemasie is more than a collection of letters; it is a testament to the rich mosaic of African culture and tradition. Like the symbol that inspired it, Matemasie whispers stories of ancient wisdom and caution through its elegant curves. It is hoped that Matemasie's story will continue to evolve with various styles, inspiring typographers to explore the depths of African culture and wisdom.", + "minisite_url": "https://yadamss.github.io/Matemasie-miniwebsite" + }, + "Maven Pro": { + "name": "Maven Pro", + "designer": [ + "Joe Prince" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Maven Pro is a sans-serif typeface with unique curvature and flowing rhythm. Its forms make it very distinguishable and legible when in context. It blends styles of many great typefaces and is suitable for any design medium. Maven Pro\u2019s modern design is great for the web and fits in any environment. Updated in January 2019 with a Variable Font \"Weight\" axis. The Maven Pro project was initiated by Joe Price, a type designer based in the USA. To contribute, see github.com/googlefonts/mavenproFont", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "McLaren": { + "name": "McLaren", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "The McLaren typeface was created to act as a generic go-to comic style lettering. It has simple clean letterforms with a mild bounce and offbeat quality to it without going too far. It is cleanly legible for small bursts of copy to larger bodies of text, perfect for books for children, comics, and anything requiring a mildly playful yet clearly readable font.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Mea Culpa": { + "name": "Mea Culpa", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Mea Culpa is a beautiful formal script with flourished capitals. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/mea-culpa.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Meddon": { + "name": "Meddon", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Meddon is a handwriting font created from the handwritten script of an Eighteenth century legal document. A further version is being developed with many alternate characters and swashes to work with new web browsers that support Opentype font shaping.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "MedievalSharp": { + "name": "MedievalSharp", + "designer": [ + "Wojciech Kalinowski" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "This is another of my old fonts used to make inscriptions on stone. I created the MedievalSharp font in around 1995 like my other fonts - when I started doing the inscriptions on stone professionally. It's based on gothic letters. Initially the font contained only capitals and digits, and later I made missing small fonts and some basical signs. In 2010 I started convert my typeface designs into digital fonts. The first was NovaCut and all the Nova family, and here's another...", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Medula One": { + "name": "Medula One", + "designer": [ + "LatinoType" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Medula One is a friendly rhythmic sans serif with brush-like end strokes. Economical and capable of straightforward display work, Medula One remixes the old and the new, the organic and the modern into a fresh and versatile condensed typeface.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Meera Inimai": { + "name": "Meera Inimai", + "designer": [ + "SMC" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "tamil" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Meera Inimai is a san-serif typeface. It is best used as a screen font for body text. It is also useful for body text of printed pamphlets or single page designs. Usage of Meera Inimai can be thought of similar to Latin grotesque sans serif typefaces. The Tamil characters are inherently vertically-elliptical and the Latin is naturally based on this characteristic to smoothly sit with the Tamil component. Meera Inimai is a free licensed unicode font for Tamil Script. This is designed by Anilan N. G. with typography guidance from Hussain K. H. and linguistic guidance from A. K. M. Kutty. The OpenType features of the font is compiled by Santhosh Thottingal. The Meera Inimai project is led by Swathanthra Malayalam Computing, a free software community in Kerala, India. To contribute, see gitlab.com/smc/meera-tamil", + "primary_script": "Taml", + "article": null, + "minisite_url": null + }, + "Megrim": { + "name": "Megrim", + "designer": [ + "Daniel Johnson" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Megrim is an experimental font covering most of the basic Western Latin character set. It has stylistic alternates.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Meie Script": { + "name": "Meie Script", + "designer": [ + "Johan Kallas", + "Mihkel Virkus" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Meie Script is a typeface, which is based on the original 1910 Estonian handwriting standard. It is less flamboyant then its Western European contemporaries. Estonian handwriting has been influenced greatly by German and Russian handwriting styles and Meie Script embodies a mixture of those two styles. Designed by Johan Kallas and Mihkel Virkus.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Menbere": { + "name": "Menbere", + "designer": [ + "Aleme Tadesse", + "Sorkin Type", + "Eben Sorkin" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "ethiopic", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Ethi", + "article": "Menbere is an Ethiopic font with a Latin matched to it. Aleme Tadesse designed Menbere with assistance from Eben Sorkin for the Latin. It is publishing by Sorkin Type Co. While contemporary in feeling, Menbere avoids being influenced by the Latin script. In the design of Menbere, Aleme judiciously modernizes traditional Ethiopic using low-contrast strokes that retain traditional gestures. Due to its multiple weights, and formal style, Menbere is an excellent choice for use in corporate design, both in print and on screen as well as UI and wayfinding. Menbere is also well suited to mixed script typesetting. Menbere is named after Alame\u2019s mother. \u201cMenbere\u201d means \u201cseat of honor\u201d. Menbere uses different word spaces for texts set in Ge\u2019ez derived languages vs those in Latin for additional ease in reading with the Ethiopic script benefiting from a more expansive word space. All Ge\u2019ez script derived languages are covered including Amharic, Tigrinya, Tigre, Bilen, and Harari. To contribute, see github.com/SorkinType/Menbere.", + "minisite_url": null + }, + "Meow Script": { + "name": "Meow Script", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Meow Script is a monoline font with a number of alternate forms in six stylistic sets. It works eclectically and harmoniously to add a fun, whimsy look to your posters, ads, invitations and similar designs. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/meow-script.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Merienda": { + "name": "Merienda", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "'Merienda' is a Spanish term for \"afternoon snack\", and this pleasant time of the day was worth its own typography. Merienda has soft shapes, is slightly condensed, and has a rhythm which is an invitation to read short pieces of text. It is ideal for headlines which call for height, as its strokes resemble those of a brush and deliver freshness and a dynamic touch in the development of words. Merienda One is the initial publication of this typeface family in a single boldstyle. In september 2022, the font is updated as a variable and now offers 7 styles, ranging from light to black. The glyphset has also been extended, offering a larger number of supported languages. To contribute, see github.com/etunni/merienda.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Merriweather": { + "name": "Merriweather", + "designer": [ + "Sorkin Type" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Merriweather was designed to be a text face that is pleasant to read on screens. It features a very large x height, slightly condensed letterforms, a mild diagonal stress, sturdy serifs and open forms. There is also Merriweather Sans, a sans-serif version which closely harmonizes with the weights and styles of this serif family. The Merriweather project is led by Sorkin Type, a type design foundry based in Western Massachaussets, USA. To contribute, see github.com/SorkinType/Merriweather", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Merriweather Sans": { + "name": "Merriweather Sans", + "designer": [ + "Sorkin Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Merriweather Sans is a low-contrast semi-condensed sans-serif text typeface family designed to be pleasant to read at very small sizes. Merriweather Sans is traditional in feeling despite the modern shapes it has adopted for screens. Merriweather Sans is an evolving project and will be updated. As of now there are 8 styles: Light, Regular, Bold, and ExtraBold weights in Roman and Italic styles. There is also Merriweather, a serif version which closely harmonizes with the weights and styles of this sans-serif family. Designed by Eben Sorkin, Merriweather Sans features a large x height, slightly condensed letterforms, a mild diagonal stress and open forms. Merriweather Sans is a work in progress and will be improved regularly. This means you can request improvements and even fund specific features if if they are outside of the current scope of work. For more information and to stay updated see Eben Sorkin's blog and Flickr stream, and the MerriweatherFnt Twitter microblog. Updated in June 2013 with italic styles. Updated in January 2016: This revision improves on-screen rendering especially at text sizes with ttfautohint hinting. Merriweather Sans will work better when installed on desktops. Some OpenType features were added and improved. Since the vertical and horizontal metrics changed, this may cause some text to reflow in some browsers. A second update (v1.006) was made on 1/25 to fix ligatures and other digraphs. To contribute, see github.com/SorkinType/Merriweather-Sans.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Metal": { + "name": "Metal", + "designer": [ + "Danh Hong" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "khmer", + "latin" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Metal is a Khmer font with a design similar to the Khmer Italic metal types published in Cambodia before 1970. To contribute, see github.com/danhhong/Metal.", + "primary_script": "Khmr", + "article": null, + "minisite_url": null + }, + "Metal Mania": { + "name": "Metal Mania", + "designer": [ + "Open Window" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Metal Mania was inspired by lots of Heavy Metal album covers and posters. Only the most 'Metal' elements were combined to make the quintessential Heavy Metal font. Looks good on concert posters and guitar picks! Long live Metal Mania. First drawn were the inline forms and then they were traced, utilizing a playful 'cutout' effect. Designed by Dathan Boardman of Open Window.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Metamorphous": { + "name": "Metamorphous", + "designer": [ + "James Grieshaber" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Metamorphous is a medium contrast design taking style cues from a wide variety of sources. It draws on and mixes together Romanesque, Gothic and the more familiar Renaissance letter shapes. Originally inspired by display fonts including the free font Morpheous designed by Kiwi Media as well as the work of Jonathan Barnbrook; Metamorphous is designed to be useful in a broad range of applications and sizes. Metamorphous also covers most languages that use Latin letters.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Metrophobic": { + "name": "Metrophobic", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Metrophobic is a sans serif face with a semi geometric feel. It is designed to be legible at small text sizes but also have enough character to be used as an interesting display face for headers and headlines. It can also be used for text bodies. Updated June 2019 to v3.100: Redrawn and respaced to improve the design quality. Updated January 2023 to v3.200: The glyphset has been expanded and now support Vietnamese language. The overhall horizontal space has been adjusted for a better readability. The Metrophobic project was commissioned by Google from Vernon Adams, an English type designer who lived in San Clemente, Los Angeles, USA. To contribute, see github.com/googlefonts/MetrophobicFont", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Michroma": { + "name": "Michroma", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Michroma is a reworking and remodelling of the rounded-square sans genre that is closely associated with a 1960s feeling of the future. This is due to the popularity of Microgramma, designed by Aldo Novarese and Alessandro Buttiin in 1952, which pioneered the style; and the most famous typeface family of the genre that came 10 years later in Novarese\u2019s Eurostile. Michroma has character widths and stem weights perfectly formed to fit today's digital screens; Vernon Adams has pioneered a design process with this font that produces excellent results on screen with no manual hinting involved. The Mai 2023 update features a bigger glyphset and some minor aesthetic modifications. To contribute, see github.com/googlefonts/Michroma-font", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Micro 5": { + "name": "Micro 5", + "designer": [ + "Sarah Cadigan-Fried" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "The Soft Type Collection is designed for knitters to chart out their typographic projects. Micro 5 is a teeny-tiny typeface that can fit anywhere on your project. Each typeface has a \u201cRegular\u201d and \u201cCharted\u201d version, and some include multiple scales so you can fit type on your knits, no matter the project's size. In this collection, the number following the typeface's name indicates the height of the capital letters for that typeface. Check out the charted version Micro 5 Charted. To contribute, please see github.com/scfried/soft-type-micro.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Micro 5 Charted": { + "name": "Micro 5 Charted", + "designer": [ + "Sarah Cadigan-Fried" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "The Soft Type Collection is designed for knitters to chart out their typographic projects. Micro 5 is a teeny-tiny typeface that can fit anywhere on your project. Each typeface has a \u201cRegular\u201d and \u201cCharted\u201d version, and some include multiple scales so you can fit type on your knits, no matter the project's size. In this collection, the number following the typeface's name indicates the height of the capital letters for that typeface. Check out the non-charted version Micro 5. To contribute, please see github.com/scfried/soft-type-micro.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Milonga": { + "name": "Milonga", + "designer": [ + "Impallari Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Milonga is a Font inspired on \u201ctangueros\u201d art. This is a tribute to the \u201crioplatense\u201d culture, so colored, full of love and hate, family, friends and enemies stories told in countless Tangos and Milongas (folk music genre from Argentina). This graceful, flowing and rhythmic font is formed by graphic elements found in a kind of classic painting from this area called \u201cfileteado porte\u00f1o\u201d; with terminations involving petals, round and pointy details. Milonga is useful for headlines, where the characteristics of the font are highlighted.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Miltonian": { + "name": "Miltonian", + "designer": [ + "Impallari Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Miltonian is a fun 'tattoo' font. There is also the Miltonian Tattoo variant with filled-in forms. For nice effects, the two fonts can be combined by overlaying them. Also included are a few dingbats that can be used for decoration. Updated: January 2016 to version 1.008", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Miltonian Tattoo": { + "name": "Miltonian Tattoo", + "designer": [ + "Impallari Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Miltonian is a fun 'tattoo' font; this is the Tattoo variant with filled-in forms. For nice effects, the two fonts can be combined by overlaying them. Also included are a few dingbats that can be used for decoration. Updated: January 2016 to version 1.008", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Mina": { + "name": "Mina", + "designer": [ + "Suman Bhandary", + "Natanael Gama", + "Mooniak" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "bengali", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Mina is a contemporary geometric Bangla (Bengali) and Latin family. The family comes in two weights, Regular and Bold. It started by extending the Latin font Exo, initially designed by Natanael Gama. It works well as a display typeface, but is also designed to perform at small to intermediate text sizes. To learn more, visit github.com/suman51284/Mina", + "primary_script": "Beng", + "article": null, + "minisite_url": null + }, + "Mingzat": { + "name": "Mingzat", + "designer": [ + "SIL International" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "lepcha" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Lepc", + "article": "Mingzat is a Unicode font based on Jason Glavy's JG Lepcha custom-encoded font. With his generous permission, SIL International used his design and released the font under the SIL Open Font License (OFL). The name \"Mingzat\" means \"treasure of letters\" in the Lepcha language. Learn more at software.sil.org/mingzat. To contribute, see github.com/silnrsi/font-mingzat. SIL International recently released three typefaces for lesser-served writing systems (Tai Viet, Yi, Lepcha) used in Asia. SIL has also created Andika, which is specially designed to maximize legibility for new readers. SIL and lesser-served languages SIL International has a team of type designers who specialize in creating typefaces for lesser-served or non-dominant language communities. These are communities that exist alongside larger, more prominent language communities such as Chinese, English, or Arabic. These relatively smaller communities may have their own script, or they may have sounds in their language that are not represented in the script used by the majority language. Some non-dominant languages are endangered. According to UNESCO, about 40% of the estimated 7,000 languages are at risk of extinction. Without typefaces, these language communities can't survive online. To learn more, read New SIL Typefaces: Expanding type for legibility and lesser-served languages", + "minisite_url": null + }, + "Miniver": { + "name": "Miniver", + "designer": [ + "Open Window" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Miniver was inspired by a trip made to the library, looking for new ideas. Immediately gravitating towards the DVD for the 1942 film Mrs. Miniver, the hand-lettered title on the cover had a very contemporary look and feel so, there was the 'springboard' into a new font. First drawn were the inline forms and then they were traced, utilizing a playful 'cutout' effect.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Miriam Libre": { + "name": "Miriam Libre", + "designer": [ + "Michal Sahar" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "hebrew", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Miriam Libre is a mono-linear Hebrew and Latin sans serif font family with two weights, Regular and Bold. The Hebrew design is a revival of the original Miriam typeface published in 1908 by Raphael Frank. Miriam Libre brings this design into the 21st century: proportions are redesigned; unnnecessary elements were removed for a more clean appearance, while keeping the original unique personality; more soft curves replace some of the \u201csquare\u201d mechanical ones. The Latin design is original and made to fit the Hebrew and meet the contemporary needs of a bi-lingual font family. This updated version expands Miriam Libre to be a variable font. The Miriam Libre project is led by Michal Sahar, a type designer based in Tel Aviv, Israel. To contribute, see github.com/simoncozens/Miriam-Libre", + "primary_script": "Hebr", + "article": null, + "minisite_url": null + }, + "Mirza": { + "name": "Mirza", + "designer": [ + "KB Studio" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "arabic", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Mirza is a body text typeface based on the Naskh script, with 4 different weights. The design aims to observe the rules of Arabic and Persian aesthetics with the help of ligatures. Mirza includes a Latin typeface designed in harmony with the Arabic, to make it useful for multilingual texts. The Mirza project is led by KB Studio, a design studio in Los Angeles. To contribute, see github.com/Tarobish/Mirza", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Miss Fajardose": { + "name": "Miss Fajardose", + "designer": [ + "Sudtipos" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "The Charles Bluemlein Script Collection is an intriguing reminder of the heady days of hand lettering and calligraphy in the United States. From the early 1930s through World War II, there were about 200 professional hand letterers working in New York City alone. This occupation saw its demise with the advent of photo lettering, and after digital typography it became virtually extinct. The odd way in which the Bluemlein scripts were assembled and created - by collecting different signatures and then building complete alphabets from them - is a fascinating calligraphic adventure. Because the set of constructed designs looked nothing like the original signatures, fictitious names were assigned to the new script typefaces. The typeface styles were then showcased in Higgins Ink catalogs. Alejandro Paul and Sudtipos bring the Bluemlein scripts back to life in a set of expanded digital versions, reflecting the demands of today\u2019s designer. Extreme care has been taken to render the original scripts authentically, keeping the fictitious names originally assigned to them by Bluemlein.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Mitr": { + "name": "Mitr", + "designer": [ + "Cadson Demak" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "thai", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Mitr is a Thai word that means \u201cfriend\u201d in Thai. Mitr is a sans serif Latin and loopless Thai typeface that combines senses of organic and humanist sans serif designs with rounded terminals. It has a wide structure and airy negative space that preserves legibility and readability. Mitr is a novel and friendly typeface that is suitable for casual usage such as celebration cards, magazines, and posters. A similarity between some glyphs such as \u0e01 \u0e16 \u0e20 \u0e24 \u0e26, \u0e0e \u0e0f, \u0e1a \u0e1b, or \u0e02 \u0e0a is something to take into consideration because it might lead to confusion when typesetting very short texts. Mitr has a specific approach to the thick and thin strokes of Thai glyphs. Other type designers may consider this font as an example when developing new fonts. Informal looped Thai typefaces have slightly simplified details, as compared to formal ones, and this allows type designers to extend them to heavier weights. The size and position of Thai vowel and tone marks have been managed carefully because they are all relevant to readability, legibility, and overall texture. The Mitr project is led by Cadson Demak, a type foundry in Thailand. To contribute, see github.com/cadsondemak/mitr", + "primary_script": "Thai", + "article": null, + "minisite_url": null + }, + "Mochiy Pop One": { + "name": "Mochiy Pop One", + "designer": [ + "FONTDASU" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "japanese", + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Mochiy Pop is a casual Gothic font created based on characters written by girls in their 20s in Japan. A cute display font, you can use it widely, such as for manga, magazines, movies, and signs. The included Kanji are modified versions of Noto Sans JP. Mochiy Pop includes full-width kana. Mochiy Pop P (https://fonts.google.com/specimen/Mochiy+Pop+P) includes proportional-width kana. To contribute to the project, visit github.com/fontdasu/Mochiypop", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "Mochiy Pop P One": { + "name": "Mochiy Pop P One", + "designer": [ + "FONTDASU" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "japanese", + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Mochiy Pop is a casual Gothic font created based on characters written by girls in their 20s in Japan. A cute display font, you can use it widely, such as for manga, magazines, movies, and signs. The included Kanji are modified versions of Noto Sans JP. Mochiy Pop P includes proportional-wdith kana. Mochiy Pop (https://fonts.google.com/specimen/Mochiy+Pop) includes full-width kana. To contribute to the project, visit github.com/fontdasu/Mochiypop", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "Modak": { + "name": "Modak", + "designer": [ + "Ek Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Modak is a sweet plump Devanagari+Latin display typeface with portly curves and thin counters. It is Unicode compliant and is open sourced under the SIL Open Font License v1.1. Modak began as a heavy hand-sketched letterform exploration in Devanagari with cute, adorable characters whose curves merged into each other, forming distinct counter shapes. As we translated these into a functional font, each character was fine-tuned and multiple matras designed to match precisely with every character. Unlike the conventional approach the post-base matras in Modak overlap the consonants. Likewise overlapping ukars were also designed leaving thin counters in between. Rather than being a mere composite of 2 separate glyphs, every conjunct was redrawn as a single entity. The challenge was to maintain legibility and consistency in the thin white counter spaces across all characters irrespective of their structural complexity. The resulting typeface is one of its kind and most likely the chubbiest Devanagari typeface to be designed so far. Modak Devanagari is designed by Sarang Kulkarni and Maithili Shingre and Modak Latin by Noopur Datye with support from Girish Dalvi. We are immensely thankful to Santosh Kshirsagar, Pradnya Naik and Yashodeep Gholap for their suggestions and feedback during the font design process. We are also grateful to our friends from the Industrial Design Centre, IIT Bombay and Sir J J Institute of Applied Art for their support and encouragement. This project is led by Ek Type, a collective of type designers based in Mumbai focused on designing contemporary Indian typefaces. To contribute, see github.com/girish-dalvi/Modak", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Modern Antiqua": { + "name": "Modern Antiqua", + "designer": [ + "Wojciech Kalinowski" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "This is another of my old fonts used for inscriptions on stone. I created the ModernAntiqua font around 1995 like my other fonts - when I started doing the inscriptions on stone professionally. The font is based on Roman square capitals. Initially the font contained only capitals and digits and later I made the missing lowercase and symbols. Last year I started converting my typeface designs into fonts. The first was NovaCut and all the Nova family, next MedievalSharp, and here's another...", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Moderustic": { + "name": "Moderustic", + "designer": [ + "Tural Alisoy" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Moderustic is a versatile typeface meticulously designed for user interfaces, crafted with the aim of enhancing the user experience. This font maintains a consistent width across different styles, ensuring that your UI elements always occupy the same space on the page. It supports a variety of languages, including Greek, Latin, and Cyrillic, making it an ideal choice for designing user-friendly digital applications. Moderustic offers exceptional readability and adaptability, allowing you to create sleek and modern user interfaces that cater to a global audience. To contribute, see github.com/Tural/Moderustic.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Mogra": { + "name": "Mogra", + "designer": [ + "Lipi Raval" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "gujarati", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Mogra (\u0aae\u0acb\u0a97\u0ab0\u0abe) is a display typeface that supports the Gujarati and Latin scripts. With dense letterforms that borrow heavily from a broad-nibbed marker, Mogra emphasises the definitive Gujarati out-stroke with mass, weight, and flair. The implied bloating of the marker pen creates an interesting roundness that contrasts against the relatively fixed angle the pen holds. The Mogra project is led by Lipi Raval, a type designer based in Ahmedabad, India. To contribute, see github.com/lipiraval/mogra", + "primary_script": "Gujr", + "article": null, + "minisite_url": null + }, + "Mohave": { + "name": "Mohave", + "designer": [ + "Gumpita Rahayu" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Mohave is a titling display typeface, initially designed by Gumpita Rahayu as an all-caps display font. In 2013, it was expanded into a 4 weight family including matching italic in 2018. In 2020 Mirko Velimirovic expanded it into a Variable Font with a weight axis. To contribute, see github.com/tokotype/mohave-typefaces.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Moirai One": { + "name": "Moirai One", + "designer": [ + "Jiyeon Park", + "JAMO" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "korean", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Moirai is a font that experiments with stroke movement with visibility and legibility. It is designed to draw, arrange, and delete strokes of letters to have the minimum strokes and slopes necessary for that letter to be recognized. The shapes surrounding the thick space with thin, round lines give a lovely impression, while also creating a light and lyrical atmosphere. To contribute, please visit github.com/JAMO-TYPEFACE/Moirai.", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "Molengo": { + "name": "Molengo", + "designer": [ + "Denis Jacquerye" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Molengo is a Latin typeface for documents. It is multilingual and has some features required by many minority languages such as non-spacing mark placement. The font is produced with FontForge. The glyphs are designed in a CFF file but the production file is a TTF file with hinting instructions made with Xgridfit.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Molle": { + "name": "Molle", + "designer": [ + "Elena Albertoni" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Molle is a distinctive looking bottom heavy display script inspired by lettering seen on an Italian poster. Molle is best used from medium to large sizes.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Mona Sans": { + "name": "Mona Sans", + "designer": [ + "Tobias Bjerrome Ahlin", + "Github", + "Degarism Studio", + "Sebastian Carewe" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "A strong and versatile typeface, designed together with Degarism and inspired by industrial-era grotesques. Mona Sans works well across product, web, and print. Made to work well together with Mona Sans's sidekick, Hubot Sans. Mona Sans is a variable font. Variable fonts enable different variations of a typeface to be incorporated into one single file, and are supported by all major browsers, allowing for performance benefits and granular design control of the typeface's weight, width, and slant. To contribute, see github.com/github/mona-sans.", + "minisite_url": "https://github.com/mona-sans" + }, + "Monda": { + "name": "Monda", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "The Monda font family is a libre font family. It has been designed to be used freely across the internet by web browsers on desktop computers, laptops and mobile devices. Monda language support includes now African Latin and full coverage of Vietnamese, additional to all Western, Central, and South-Eastern European languages. To contribute see github.com/googlefonts/mondaFont.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Monofett": { + "name": "Monofett", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "monospace" + ], + "description": "Monofett started as designs for custom mountain bike branding. As a font it is designed to be a bold, eye catching decal-like display face with a sense of an edgy but technical function. In 2023 the font have been updated, offering a better language support. To contribute, see github.com/googlefonts/monofett.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Monomakh": { + "name": "Monomakh", + "designer": [ + "Aleksandr Andreev", + "Nikita Simmons" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Monomakh is a Cyrillic font implemented in a mixed ustav/poluustav style and intended to cover needs of researches dealing with Slavic history and philology. It also provides Latin characters in a similar typeface, which is useful for working with multilingual academic editions. To contribute, please see github.com/slavonic/Monomakh.", + "primary_script": "Cyrl", + "article": null, + "minisite_url": null + }, + "Monomaniac One": { + "name": "Monomaniac One", + "designer": [ + "Maniackers Design" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Monomaniac is a bold Japanese Sans Serif font featuring rounded corners. The letterforms are condensed which work well for vertical typesetting. To contribute to the project, visit github.com/ManiackersDesign/monomaniac", + "primary_script": "Hira", + "article": null, + "minisite_url": null + }, + "Monoton": { + "name": "Monoton", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Monoton is a contemporary take on metalpress fonts like, for example, 'Prisma' (originally designed in 1931 by Rudolf Koch.) Monoton is a pure display webfont designed to be used at font sizes above 30 points. Monoton has been designed to be used freely across the internet by web browsers on desktop computers, laptops and mobile devices.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Monsieur La Doulaise": { + "name": "Monsieur La Doulaise", + "designer": [ + "Sudtipos" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "The Charles Bluemlein Script Collection is an intriguing reminder of the heady days of hand lettering and calligraphy in the United States. From the early 1930s through World War II, there were about 200 professional hand letterers working in New York City alone. This occupation saw its demise with the advent of photo lettering, and after digital typography it became virtually extinct. The odd way in which the Bluemlein scripts were assembled and created - by collecting different signatures and then building complete alphabets from them - is a fascinating calligraphic adventure. Because the set of constructed designs looked nothing like the original signatures, fictitious names were assigned to the new script typefaces. The typeface styles were then showcased in Higgins Ink catalogs. Alejandro Paul and Sudtipos bring the Bluemlein scripts back to life in a set of expanded digital versions, reflecting the demands of today\u2019s designer. Extreme care has been taken to render the original scripts authentically, keeping the fictitious names originally assigned to them by Bluemlein.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Montaga": { + "name": "Montaga", + "designer": [ + "Alejandra Rodriguez" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Montage is an Old Style font, inspired by Venetian calligraphy. Her main feature is the strong inclination in the modulation axis, that generates shapes with marked stress. This gives her a strong personality. The uppercases are slender and arrogant, and the narrowness of shapes provide optimum performance. Montaga is evolving and will be updated. As of now there is only Regular style. Montaga is a work in progress and will be improved regularly. This means you can request improvements and even fund specific features if they are outside of the current scope of work. For more information follow @ale_guez", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Montagu Slab": { + "name": "Montagu Slab", + "designer": [ + "Florian Karsten" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SLAB_SERIF", + "classifications": [ + "display" + ], + "description": "Montagu Slab is a slab-serif display typeface designed by Florian Karsten. The typeface draws inspiration from 19th-century classic designs and it is available as a variable font with weight and optical size axes. The optical size axis, which controls x-height, spacing, contrast and aperture, provides a wide range of variation \u2013 from low contrast and higher x-height version suitable for long texts, to a tight and high contrast display variant with prominent upturned tails. To contribute, see github.com/floriankarsten/montagu-slab.", + "primary_script": null, + "article": null, + "minisite_url": "https://fonts.floriankarsten.com/montagu-slab" + }, + "MonteCarlo": { + "name": "MonteCarlo", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "MonteCarlo is a beautiful formal script\u2014 both contemporary and traditional. This connecting script\u2019s italic is slight, making it an extremely legible design. Its additional flourishing options offer truly diverse possibilities for customization of display. MonteCarlo is perfect for those situations that require an ornate look, and a readable message, without compromising beautiful design. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/monte-carlo.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Montez": { + "name": "Montez", + "designer": [ + "Astigmatic" + ], + "license": "apache2", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Montezuma is a script font which draws inspiration from 1960s beauty product ads. Its sweeping strokes lend to a feel of joy and elegance, making it ideal for display uses that require a little drama, \"joie de vivre\" or Joy of Life. Best settings are at medium to large text sizes for optimal readability.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Montserrat": { + "name": "Montserrat", + "designer": [ + "Julieta Ulanovsky", + "Sol Matas", + "Juan Pablo del Peral", + "Jacques Le Bailly" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "The old posters and signs in the traditional Montserrat neighborhood of Buenos Aires inspired Julieta Ulanovsky to design this typeface and rescue the beauty of urban typography that emerged in the first half of the twentieth century. As urban development changes that place, it will never return to its original form and loses forever the designs that are so special and unique. The letters that inspired this project have work, dedication, care, color, contrast, light and life, day and night! These are the types that make the city look so beautiful. The Montserrat Project began with the idea to rescue what is in Montserrat and set it free under a libre license, the SIL Open Font License. This is the normal family, and it has two sister families so far, Alternates and Subrayada. Many of the letterforms are special in the Alternates family, while 'Subrayada' means 'Underlined' in Spanish and celebrates a special style of underline that is integrated into the letterforms found in the Montserrat neighborhood. Updated November 2017: The family was redrawn by Jacques Le Bailly at Baron von Fonthausen over the summer, and the full set of weights were adjusted to make the Regular lighter and better for use in longer texts. In fall, Julieta Ulanovsky, Sol Matas, and Juan Pablo del Peral, led the development of Cyrillic support, with consultation with Carolina Giovagnoli, Maria Doreuli, and Alexei Vanyashin. The Montserrat project is led by Julieta Ulanovsky, a type designer based in Buenos Aires, Argentina. To contribute, see github.com/JulietaUla/Montserrat", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Montserrat Alternates": { + "name": "Montserrat Alternates", + "designer": [ + "Julieta Ulanovsky", + "Sol Matas", + "Juan Pablo del Peral", + "Jacques Le Bailly" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "The old posters and signs in the traditional Montserrat neighborhood of Buenos Aires inspired Julieta to design this typeface and rescue the beauty of urban typography that emerged in the first half of the twentieth century. As urban development changes that place, it will never return to its original form and loses forever the designs that are so special and unique. The letters that inspired this project have work, dedication, care, color, contrast, light and life, day and night! These are the types that make the city look so beautiful. The Montserrat Project began with the idea to rescue what is in Montserrat and set it free under a libre license, the SIL Open Font License. This is the Alternates family, a sister to the normal and Subrayada families. Many of the letterforms are special in the Alternates family, while 'Subrayada' means 'Underlined' in Spanish and celebrates a special style of underline that is integrated into the letterforms found in the Montserrat neighborhood. Updated November 2017: The family was redrawn by Jacques Le Bailly at Baron von Fonthausen over the summer, and the full set of weights were adjusted to make the Regular lighter and better for use in longer texts. In fall, Julieta Ulanovsky, Sol Matas, and Juan Pablo del Peral, led the development of Cyrillic support, with consultation with Carolina Giovagnoli, Maria Doreuli, and Alexei Vanyashin. The Montserrat project is led by Julieta Ulanovsky, a type designer based in Buenos Aires, Argentina. To contribute, see github.com/JulietaUla/Montserrat", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Montserrat Underline": { + "name": "Montserrat Underline", + "designer": [ + "Julieta Ulanovsky", + "Sol Matas", + "Juan Pablo del Peral", + "Jacques Le Bailly" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "The old posters and signs in the traditional Montserrat neighborhood of Buenos Aires inspired Julieta Ulanovsky to design this typeface and rescue the beauty of urban typography that emerged in the first half of the twentieth century. As urban development changes that place, it will never return to its original form and loses forever the designs that are so special and unique. The letters that inspired this project have work, dedication, care, color, contrast, light and life, day and night! These are the types that make the city look so beautiful. The Montserrat Project began with the idea to rescue what is in Montserrat and set it free under a libre license, the SIL Open Font License. This is the Underline family, a sister to the normal and Alternates families. This family celebrates a special style of underline that is integrated into the letterforms found in the Montserrat neighborhood. The Montserrat project is led by Julieta Ulanovsky, a type designer based in Buenos Aires, Argentina. To contribute, see github.com/JulietaUla/Montserrat", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Moo Lah Lah": { + "name": "Moo Lah Lah", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Need a font with bovine fun? Moo Lah Lah has that look! It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/moolahlah.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Mooli": { + "name": "Mooli", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Mooli is a Sans Serif font designed for young readers. Mooli is derived from the Mulish font family. It has been designed to be used freely across the internet by web browsers on desktop computers, laptops and mobile devices. To contribute, please see github.com/googlefonts/mooliFont.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Moon Dance": { + "name": "Moon Dance", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "This calligraphic typeface comes with a Roman Version and a more flourished stylistic set. The main style has less ornate uppercase forms and the second has more flourished upper- and lowercase characters for a beautiful hand-lettered feel. Perfect for tubes, tags, invitations and other projects that need a personal touch. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/moondance.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Moul": { + "name": "Moul", + "designer": [ + "Danh Hong" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "khmer", + "latin" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Moul is a traditional Khmer typeface design, suitable for headlines, titles, subtitles, and even banner designs. To contribute, see github.com/danhhong/Moul.", + "primary_script": "Khmr", + "article": null, + "minisite_url": null + }, + "Moulpali": { + "name": "Moulpali", + "designer": [ + "Danh Hong" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "khmer", + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Moulpali is a typeface for Khmer body text, the design is similar to some Khmer metal types popular in the 1960s. To contribute, see github.com/danhhong/Moulpali.", + "primary_script": "Khmr", + "article": null, + "minisite_url": null + }, + "Mountains of Christmas": { + "name": "Mountains of Christmas", + "designer": [ + "Tart Workshop" + ], + "license": "apache2", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Ever wonder what font sugarplum fairies dream about? Mountains of Christmas by the talented lettering artist Crystal Kluge is the perfect casual and playful serif font when you want to give your words a warm personal touch.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Mouse Memoirs": { + "name": "Mouse Memoirs", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Mouse Memoirs finds its inspiration in the vintage Mickey Mouse, Beagle Boys, and Uncle Scrooge comic books put out by Walt Disney in the 1950's and 60's. This font comes alive with a truly animated look. Perfect for light-hearted designs, children's books, and the like\u2026 it is an all-around fun typeface. To contribute to the project contact Brian J. Bonislawsky.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Mr Bedfort": { + "name": "Mr Bedfort", + "designer": [ + "Sudtipos" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "The Charles Bluemlein Script Collection is an intriguing reminder of the heady days of hand lettering and calligraphy in the United States. From the early 1930s through World War II, there were about 200 professional hand letterers working in New York City alone. This occupation saw its demise with the advent of photo lettering, and after digital typography it became virtually extinct. The odd way in which the Bluemlein scripts were assembled and created - by collecting different signatures and then building complete alphabets from them - is a fascinating calligraphic adventure. Because the set of constructed designs looked nothing like the original signatures, fictitious names were assigned to the new script typefaces. The typeface styles were then showcased in Higgins Ink catalogs. Alejandro Paul and Sudtipos bring the Bluemlein scripts back to life in a set of expanded digital versions, reflecting the demands of today\u2019s designer. Extreme care has been taken to render the original scripts authentically, keeping the fictitious names originally assigned to them by Bluemlein.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Mr Dafoe": { + "name": "Mr Dafoe", + "designer": [ + "Sudtipos" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "The Charles Bluemlein Script Collection is an intriguing reminder of the heady days of hand lettering and calligraphy in the United States. From the early 1930s through World War II, there were about 200 professional hand letterers working in New York City alone. This occupation saw its demise with the advent of photo lettering, and after digital typography it became virtually extinct. The odd way in which the Bluemlein scripts were assembled and created - by collecting different signatures and then building complete alphabets from them - is a fascinating calligraphic adventure. Because the set of constructed designs looked nothing like the original signatures, fictitious names were assigned to the new script typefaces. The typeface styles were then showcased in Higgins Ink catalogs. Alejandro Paul and Sudtipos bring the Bluemlein scripts back to life in a set of expanded digital versions, reflecting the demands of today\u2019s designer. Extreme care has been taken to render the original scripts authentically, keeping the fictitious names originally assigned to them by Bluemlein.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Mr De Haviland": { + "name": "Mr De Haviland", + "designer": [ + "Sudtipos" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "The Charles Bluemlein Script Collection is an intriguing reminder of the heady days of hand lettering and calligraphy in the United States. From the early 1930s through World War II, there were about 200 professional hand letterers working in New York City alone. This occupation saw its demise with the advent of photo lettering, and after digital typography it became virtually extinct. The odd way in which the Bluemlein scripts were assembled and created - by collecting different signatures and then building complete alphabets from them - is a fascinating calligraphic adventure. Because the set of constructed designs looked nothing like the original signatures, fictitious names were assigned to the new script typefaces. The typeface styles were then showcased in Higgins Ink catalogs. Alejandro Paul and Sudtipos bring the Bluemlein scripts back to life in a set of expanded digital versions, reflecting the demands of today\u2019s designer. Extreme care has been taken to render the original scripts authentically, keeping the fictitious names originally assigned to them by Bluemlein.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Mrs Saint Delafield": { + "name": "Mrs Saint Delafield", + "designer": [ + "Sudtipos" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "The Charles Bluemlein Script Collection is an intriguing reminder of the heady days of hand lettering and calligraphy in the United States. From the early 1930s through World War II, there were about 200 professional hand letterers working in New York City alone. This occupation saw its demise with the advent of photo lettering, and after digital typography it became virtually extinct. The odd way in which the Bluemlein scripts were assembled and created - by collecting different signatures and then building complete alphabets from them - is a fascinating calligraphic adventure. Because the set of constructed designs looked nothing like the original signatures, fictitious names were assigned to the new script typefaces. The typeface styles were then showcased in Higgins Ink catalogs. Alejandro Paul and Sudtipos bring the Bluemlein scripts back to life in a set of expanded digital versions, reflecting the demands of today\u2019s designer. Extreme care has been taken to render the original scripts authentically, keeping the fictitious names originally assigned to them by Bluemlein.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Mrs Sheppards": { + "name": "Mrs Sheppards", + "designer": [ + "Sudtipos" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "The Charles Bluemlein Script Collection is an intriguing reminder of the heady days of hand lettering and calligraphy in the United States. From the early 1930s through World War II, there were about 200 professional hand letterers working in New York City alone. This occupation saw its demise with the advent of photo lettering, and after digital typography it became virtually extinct. The odd way in which the Bluemlein scripts were assembled and created - by collecting different signatures and then building complete alphabets from them - is a fascinating calligraphic adventure. Because the set of constructed designs looked nothing like the original signatures, fictitious names were assigned to the new script typefaces. The typeface styles were then showcased in Higgins Ink catalogs. Alejandro Paul and Sudtipos bring the Bluemlein scripts back to life in a set of expanded digital versions, reflecting the demands of today\u2019s designer. Extreme care has been taken to render the original scripts authentically, keeping the fictitious names originally assigned to them by Bluemlein.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ms Madi": { + "name": "Ms Madi", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Ms Madi is a monoline hand written script. It's clean connections and quite legible hand written cursive style works great in situations that require a relatively sophisticated casual look. As with any cursive script, it is never a good idea to use this font in all capital letters. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/ms-madi.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Mukta": { + "name": "Mukta", + "designer": [ + "Ek Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Mukta is a Unicode compliant, versatile, contemporary, humanist, mono-linear typeface family available in seven weights, supporting Devanagari, Gujarati, Gurumukhi, Tamil and Latin scripts. This type family is a libre licensed version of Ek's self-titled multi-script project, an ongoing effort to develop a unified type family for each Indian script. The goal is to build one harmonious family across all Indian scripts without letting the visual features of one script dominate over others. This ensures that the fonts can be used successfully for both single and multi-script purposes. Mukta was designed by Girish Dalvi and Yashodeep Gholap. Mukta Vaani was designed by Noopur Datye and Pallavi Karambelkar with support from Sarang Kulkarni and Maithili Shingre. Mukta Malar was designed by Aadarsh Rajan. Mukta Mahee was designed by Shuchita Grover and Noopur Datye. Ek would like to thank Vinay Saynekar, Santosh Kshirsagar, Shubhanand Jog, Yogesh Jahargirdar, Pradnya Naik, Snehal Patil, Omkar Shende and Dave Crossland for their suggestions and feedback during the font design process. Ek would also like to thank faculty and friends from the Industrial Design Centre, IIT Bombay, and from Sir J J Institute of Applied Art, for their support and encouragement. This project is led by Ek Type, a collective of type designers based in Mumbai focused on designing contemporary Indian typefaces. To contribute, see github.com/EkType/Mukta", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Mukta Mahee": { + "name": "Mukta Mahee", + "designer": [ + "Ek Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "gurmukhi", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Mukta is a Unicode compliant, versatile, contemporary, humanist, mono-linear typeface family available in seven weights, supporting Devanagari, Gujarati, Gurumukhi, Tamil and Latin scripts. This type family is a libre licensed version of Ek's self-titled multi-script project, an ongoing effort to develop a unified type family for each Indian script. The goal is to build one harmonious family across all Indian scripts without letting the visual features of one script dominate over others. This ensures that the fonts can be used successfully for both single and multi-script purposes. Mukta was designed by Girish Dalvi and Yashodeep Gholap. Mukta Vaani was designed by Noopur Datye and Pallavi Karambelkar with support from Sarang Kulkarni and Maithili Shingre. Mukta Malar was designed by Aadarsh Rajan. Mukta Mahee was designed by Shuchita Grover and Noopur Datye. Ek would like to thank Vinay Saynekar, Santosh Kshirsagar, Shubhanand Jog, Yogesh Jahargirdar, Pradnya Naik, Snehal Patil, Omkar Shende and Dave Crossland for their suggestions and feedback during the font design process. Ek would also like to thank faculty and friends from the Industrial Design Centre, IIT Bombay, and from Sir J J Institute of Applied Art, for their support and encouragement. This project is led by Ek Type, a collective of type designers based in Mumbai focused on designing contemporary Indian typefaces. To contribute, see github.com/EkType/Mukta", + "primary_script": "Guru", + "article": null, + "minisite_url": null + }, + "Mukta Malar": { + "name": "Mukta Malar", + "designer": [ + "Ek Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "tamil" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Mukta is a Unicode compliant, versatile, contemporary, humanist, mono-linear typeface family available in seven weights, supporting Devanagari, Gujarati, Gurumukhi, Tamil and Latin scripts. This type family is a libre licensed version of Ek's self-titled multi-script project, an ongoing effort to develop a unified type family for each Indian script. The goal is to build one harmonious family across all Indian scripts without letting the visual features of one script dominate over others. This ensures that the fonts can be used successfully for both single and multi-script purposes. Mukta was designed by Girish Dalvi and Yashodeep Gholap. Mukta Vaani was designed by Noopur Datye and Pallavi Karambelkar with support from Sarang Kulkarni and Maithili Shingre. Mukta Malar was designed by Aadarsh Rajan. Mukta Mahee was designed by Shuchita Grover and Noopur Datye. Ek would like to thank Vinay Saynekar, Santosh Kshirsagar, Shubhanand Jog, Yogesh Jahargirdar, Pradnya Naik, Snehal Patil, Omkar Shende and Dave Crossland for their suggestions and feedback during the font design process. Ek would also like to thank faculty and friends from the Industrial Design Centre, IIT Bombay, and from Sir J J Institute of Applied Art, for their support and encouragement. This project is led by Ek Type, a collective of type designers based in Mumbai focused on designing contemporary Indian typefaces. To contribute, see github.com/EkType/Mukta", + "primary_script": "Taml", + "article": null, + "minisite_url": null + }, + "Mukta Vaani": { + "name": "Mukta Vaani", + "designer": [ + "Ek Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "gujarati", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Mukta is a Unicode compliant, versatile, contemporary, humanist, mono-linear typeface family available in seven weights, supporting Devanagari, Gujarati, Gurumukhi, Tamil and Latin scripts. This type family is a libre licensed version of Ek's self-titled multi-script project, an ongoing effort to develop a unified type family for each Indian script. The goal is to build one harmonious family across all Indian scripts without letting the visual features of one script dominate over others. This ensures that the fonts can be used successfully for both single and multi-script purposes. Mukta was designed by Girish Dalvi and Yashodeep Gholap. Mukta Vaani was designed by Noopur Datye and Pallavi Karambelkar with support from Sarang Kulkarni and Maithili Shingre. Mukta Malar was designed by Aadarsh Rajan. Mukta Mahee was designed by Shuchita Grover and Noopur Datye. Ek would like to thank Vinay Saynekar, Santosh Kshirsagar, Shubhanand Jog, Yogesh Jahargirdar, Pradnya Naik, Snehal Patil, Omkar Shende and Dave Crossland for their suggestions and feedback during the font design process. Ek would also like to thank faculty and friends from the Industrial Design Centre, IIT Bombay, and from Sir J J Institute of Applied Art, for their support and encouragement. This project is led by Ek Type, a collective of type designers based in Mumbai focused on designing contemporary Indian typefaces. To contribute, see github.com/EkType/Mukta", + "primary_script": "Gujr", + "article": null, + "minisite_url": null + }, + "Mulish": { + "name": "Mulish", + "designer": [ + "Vernon Adams", + "Cyreal", + "Jacques Le Bailly" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Mulish is a minimalist Sans Serif typeface, designed for both display and text typography. It was initially drawn in 2011 by Vernon Adams and then refined until 2014, adding more weights, support for more Latin languages, tightened the spacing and kerning and made many glyph refinements throughout the family \u2013 all based on hundreds of users' feedback. In 2017 the family was updated by Jacques Le Bailly to complete the work started by Vernon after he passed away, in collaboration with his wife Allison, an arist who holds the trademark on the typeface family name. In August 2019, it was updated with a Variable Font \"Weight\" axis. To contribute, see github.com/googlefonts/mulish", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Murecho": { + "name": "Murecho", + "designer": [ + "Neil Summerour" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Murecho is a low-stroke contrast, flat terminal Gothic style (\u201csans serif\u201d) Japanese typeface designed for text settings in Japan. It covers Hiragana, Katakana, and Kanji (JOYO+). It also supports Latin, Cyrillic, and Greek. Murecho is available in 9 practical weights and as a variable font. To contribute to Murecho, please visit the github page.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "MuseoModerno": { + "name": "MuseoModerno", + "designer": [ + "Omnibus-Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "MuseoModerno is a contemporary geometric typeface for the new Identity of the Museum of Modern Art of Buenos Aires (Museo Moderno, AR). Designed by Marcela Romero, H\u00e9ctor Gatti, Pablo Cosgaya and the Omnibus-Type Team. The June 2022 release completes the family with the italic. To contribute, see github.com/Omnibus-Type/MuseoModerno.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "My Soul": { + "name": "My Soul", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Inspired by the lettering popular in the northwest United States in the 1980s, My Soul is a flat pen calligraphic style with capital forms that have been subtly embellished. It's robust weight holds up well at reduced sizes, but be careful as the embellishments may cause a loss of legibility at such sizes. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/my-soul.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Mynerve": { + "name": "Mynerve", + "designer": [ + "Carolina Short" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "greek", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Mynerve is a handwriting typeface designed to annotate and comment on documents with a fresh style. In addition, two sets of alternates allow variations when letters are repeated to emulate realistic script, together with some ligatures for frequent combinations. It can be used for informal texts, notes, or any project that would benefit from a casual script looking font. With a Latin Plus language coverage currently supports 219 Latin based languages. To contribute, see github.com/carolinashort/MyNerve.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Mystery Quest": { + "name": "Mystery Quest", + "designer": [ + "Sideshow" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Grab your gear! Check your nerves! Get ready for Mystery Quest! This far-out funky font brings danger with every curve! You never know what this playful 1960s mod inspired typeface will bring and design adventure is just around the corner! Are you ready? Designed by Dave 'Squid' Cohen of Sideshow (a DBA of Font Diner, Inc.) To contribute to the project, contact the Font Diner.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "NTR": { + "name": "NTR", + "designer": [ + "Purushoth Kumar Guttula" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "telugu" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "NTR is a Telugu handwriting font inspired by the artist Bapu who is famous among Telugu people. Many artists followed him and created their own style and this font shows that influence. It is suitable for headings, posters, invitations and anywhere you want to use a handwriting font. NTR is named after Nandamuri Taraka Rama Rao, who worked tirelessly for the self-respect and well being of Telugu people around the world. The Telugu is designed and developed by Purushoth Kumar Guttula in 2013 and made available by Silicon Andhra under the SIL Open Font License v1.1. The Latin is designed by Joe Prince and originally published as Varela Round. The NTR project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India. To contribute, see github.com/appajid/ntr", + "primary_script": "Telu", + "article": null, + "minisite_url": null + }, + "Nabla": { + "name": "Nabla", + "designer": [ + "Arthur Reinders Folmer", + "Just van Rossum" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic-ext", + "latin", + "latin-ext", + "math", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Typearture's Nabla: an Isometric COLRv1 font Nabla is a color font inspired by isometric computer games, built using the COLRv1 format. This format allows for smooth gradients, sharp highlights and blended shadows, resulting in a bold and vibrant design. It includes two font variations axes, one for the depth of the letters, the other for the thickness of the highlight, and includes multiple color palettes. This font uses the COLRv1, CPAL and SVG tables. Please visit the gf-guide color page to learn more about Color Fonts technology. Designed by Arthur Reinders Folmer, created with the magic of Just van Rossum. To contribute, see github.com/justvanrossum/nabla.", + "primary_script": null, + "article": null, + "minisite_url": "https://nabla.typearture.com/" + }, + "Namdhinggo": { + "name": "Namdhinggo", + "designer": [ + "SIL International" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "limbu" + ], + "stroke": "SERIF", + "classifications": [], + "description": "This project provides a libre and open font family for the Limbu script of Nepal. According to traditional histories the Limbu script was developed by King Sirijonga in the 9th Century. It then fell out of use before being reintroduced in the 18th century by Teongsi Sirijonga (1704-1741) whom many felt to be the reincarnation of the first Sirijonga. The modern Sirijonga was apparently martyred in 1741 for the sake of this script by lamas in Sikkim. The script was named 'Sirijonga' in his honour by the Limbu scholar Iman Singh Chemjong. To contribute, please see github.com/silnrsi/font-namdhinggo.", + "primary_script": "Limb", + "article": null, + "minisite_url": null + }, + "Nanum Brush Script": { + "name": "Nanum Brush Script", + "designer": [ + "Sandoll Communication" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "korean", + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "The Nanum fonts (Korean : \ub098\ub214\uae00\uaf34) are unicode fonts designed especially for the Korean-language script, designed by Sandoll Communications (Korean : \uc0b0\ub3cc \ucee4\ubba4\ub2c8\ucf00\uc774\uc158) and Fontrix (Korean : \ud3f0\ud2b8\ub9ad\uc2a4). The publisher is Naver. Nanum Brush Script is a contemporary brush script with a warm touch and is expertly hinted for screen use.", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "Nanum Gothic": { + "name": "Nanum Gothic", + "designer": [ + "Sandoll Communication" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "korean", + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "The Nanum fonts (Korean : \ub098\ub214\uae00\uaf34) are unicode fonts designed especially for the Korean-language script, designed by Sandoll Communications (Korean : \uc0b0\ub3cc \ucee4\ubba4\ub2c8\ucf00\uc774\uc158) and Fontrix (Korean : \ud3f0\ud2b8\ub9ad\uc2a4). The publisher is Naver. Nanum Gothic is a contemporary sans-serif with a warm touch and is expertly hinted for screen use.", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "Nanum Gothic Coding": { + "name": "Nanum Gothic Coding", + "designer": [ + "Sandoll Communication" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "korean", + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "monospace" + ], + "description": "The Nanum fonts (Korean : \ub098\ub214\uae00\uaf34) are unicode fonts designed especially for the Korean-language script, designed by Sandoll Communications (Korean : \uc0b0\ub3cc \ucee4\ubba4\ub2c8\ucf00\uc774\uc158) and Fontrix (Korean : \ud3f0\ud2b8\ub9ad\uc2a4). The publisher is Naver. Nanum Gothic Coding is a contemporary monospaced sans-serif with a warm touch and is expertly hinted for screen use.", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "Nanum Myeongjo": { + "name": "Nanum Myeongjo", + "designer": [ + "Sandoll Communication" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "korean", + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "The Nanum fonts (Korean : \ub098\ub214\uae00\uaf34) are unicode fonts designed especially for the Korean-language script, designed by Sandoll Communications (Korean : \uc0b0\ub3cc \ucee4\ubba4\ub2c8\ucf00\uc774\uc158) and Fontrix (Korean : \ud3f0\ud2b8\ub9ad\uc2a4). The publisher is Naver. Nanum Myeongjo is a contemporary serif with a warm touch and is expertly hinted for screen use.", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "Nanum Pen Script": { + "name": "Nanum Pen Script", + "designer": [ + "Sandoll Communication" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "korean", + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "The Nanum fonts (Korean : \ub098\ub214\uae00\uaf34) are unicode fonts designed especially for the Korean-language script, designed by Sandoll Communications (Korean : \uc0b0\ub3cc \ucee4\ubba4\ub2c8\ucf00\uc774\uc158) and Fontrix (Korean : \ud3f0\ud2b8\ub9ad\uc2a4). The publisher is Naver. Nanum Pen Script is a contemporary pen script with a warm touch and is expertly hinted for screen use.", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "Narnoor": { + "name": "Narnoor", + "designer": [ + "SIL International" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "gunjala-gondi", + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Narnoor is a Unicode font based on typographer S. Sridhara Murthy's original font for the Gunjala script. The name \"Narnoor\" reflects the name of the mandal in Adilabad district of Telangana, where the Gunjala Gondi script is actively being revived. The November 2023 update brings more weights (Medium, SemiBold, Bold, ExtraBold) and the Latin characters are darker and smaller that the v2.000 release. To contribute, see github.com/silnrsi/font-narnoor.", + "primary_script": "Gong", + "article": null, + "minisite_url": null + }, + "National Park": { + "name": "National Park", + "designer": [ + "Andrea Herstowski", + "Ben Hoepner", + "Jeremy Shellhorn" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "National Park is a variable font offering 7 weights (Extra Light, Light, Regular, Medium, SemiBold, Bold and Extra Bold). To contribute, see github.com/benhoepner/National-Park. The letterforms found on the wooden signage at the Rocky Mountain National Park inspired the creation of the National Park. The letters on these wooden trail and directional signs are a system of paths, points, and curves that a router follows. The router\u2019s \"bit\" follows the path and gives the letters its stroke weight or thickness when engraving a sign. National Park Typeface walks along the path of both honoring the quirky nature of the forms being created by a router bit and optimizing the forms to work in a variety of sizes and languages for print, web, and mobile platforms. The design of each character begins with a vector skeleton, represented by a series of coordinates that a router would typically interpret and carve into a wooden sign. From there adjustments were made to each skeleton to ensure comfortable legibility at different weights, and we also incorporate optical adjustments where the capabilities of an analog router falls short. The result is a typeface that stays true to its unique inspiration, maintaining its inviting warmth and distinctive character. It can be effectively utilized across a wide range of applications while preserving the essence that makes it truly special.", + "minisite_url": null + }, + "Neonderthaw": { + "name": "Neonderthaw", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Neonderthaw is a single weight script that simulates neon. Throw it in an application that can use blurs, add some glow and viola, you have neon signage. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/neonderthaw.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Nerko One": { + "name": "Nerko One", + "designer": [ + "Nermin Kahrimanovic" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Nerko is a chunky \u2018marker\u2019 effect font. It gives a funky, exciting and modern look while staying smooth and sleek. Be as bold as the font while using a friendly style that makes users feel welcome in any circumstances. From paper to screen, this font was created using traditional Marker Pens on paper for guidance to give it a natural feeling. To contribute, please see github.com/nermink99/Nerko.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Neucha": { + "name": "Neucha", + "designer": [ + "Jovanny Lemonad" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "cyrillic", + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "You will throw tomatoes at me when I say that the font Neucha was invented for the sake of one and only one phrase: \u201cI love you\u201d. It was 2005 and I was in love. The first version of the font was done in 8 hours. I recently redid this fastfont from scratch, some glyphs have changed greatly but most of them I did not touch \u2013 just polished. Neucha very strong in terms of energy and I love it. Neucha translated from the Russian language means \u201cnot knowing how to create fonts right\u201d.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Neuton": { + "name": "Neuton", + "designer": [ + "Brian Zick" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Neuton is a clean, dark, somewhat Dutch-inspired serif font which reminds you a little of Times. It has a large height, short extenders, and a compact width for better screen use, and economy of space. The family will comprise a regular, italic, and cursive, each in five weights and with smallcaps. Two italics \u2014 one will be called \"italic\", and the other \"cursive\" \u2014 are uncommon, but very useful. Ever tried emphasizing something already emphasized? Beyond that obvious example, there are other uses. Sometimes a text needs a different flavor or feel. While one roman can work for a variety of texts, the companion italics don't always. In more classical or personal documents, a stiff, sober, modern and down-to-earth italic will never work. And in many essays, some of the fancier italics look ridiculous. Who said a roman needs only one companion?", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "New Amsterdam": { + "name": "New Amsterdam", + "designer": [ + "Vladimir Nikolic" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "New Amsterdam is a tall Sans Serif font inspired by posters and Pop Art. It combines straight geoometric lines with modern look. To contribute, see github.com/vladimirnikolic1/NewAmsterdam.", + "minisite_url": null + }, + "New Rocker": { + "name": "New Rocker", + "designer": [ + "Impallari Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "New Rocker is a loud, harsh, screaming font. With Blackletter, Tattoo and Heavy Metal logos as inspiration.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "New Tegomin": { + "name": "New Tegomin", + "designer": [ + "Kousuke Nagai" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "A Mincho (Japanese Serif) style font which has been drawn on a square grid. It takes inspiration from Mincho's clean and well organized appearance and the organic nature of handwritten letterforms. To contribute to the project, visit github.com/nagamaki008/NewTegomin", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "News Cycle": { + "name": "News Cycle", + "designer": [ + "Nathan Willis" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "News Cycle is a realist, sans-serif typeface based primarily on a revival of the 1908-era News Gothic, the stalwart newspaper face from American Type Founders (ATF). Like News Gothic, it is designed for clarity and readability in large blocks of copy, but to still look good in headline-sizes at the top of the page. It also extends News Gothic to better cover more of the world's orthographies, starting with Eastern European and African languages, and soon Greek and Cyrillic alphabets as well. This project is led by Nathan Wilis, a type designer based in Texas, USA. To contribute, visit launchpad.net/newscycle", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Newsreader": { + "name": "Newsreader", + "designer": [ + "Production Type" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "NewsReader is an original typeface designed by Production Type, primarily intended for continuous on-screen reading in content-rich environments. To contribute, please see github.com/productiontype/Newsreader.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Niconne": { + "name": "Niconne", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Nicone is based on the designs of the Stephenson Blake typeface, Madonna, first released in 1925. Madonna itself was based on an earlier face known as 'Bernhard Cursive'. Nicone has been redesigned and shaped to create a new version of the 1925 typeface that can now be used freely as a Libre webfont across the internet by web browsers on desktop computers, laptops and mobile devices.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Niramit": { + "name": "Niramit", + "designer": [ + "Cadson Demak" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "thai", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Niramit is a Thai and Latin family featuring decorative details. The Thai has a modern structure but also features the traditional looped letterforms.", + "primary_script": "Thai", + "article": null, + "minisite_url": null + }, + "Nixie One": { + "name": "Nixie One", + "designer": [ + "Jovanny Lemonad" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "It's like Chinese food. We take the chicken and mix it with pineapple. For one minute we think that the taste will at least strange, but it is so harmonious and beautiful, what do you know, why didn't you try this earlier? This font is a mixture of neon tubes signage and a typewriter: A thoroughbred mix of chicken and pineapple.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Nobile": { + "name": "Nobile", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "\"Nobile\" is designed to work with the technologies of digital screens and handheld devices without losing the distinctive look more usually found in fonts designed for printing. Going back to William Morris's baseline \"Have nothing in your house that you do not know to be useful, or believe to be beautiful\", the aim was to design a font that could function well, have good legibility on screen yet also be good looking, not only at larger display sizes but also right down to small text sizes.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Nokora": { + "name": "Nokora", + "designer": [ + "Danh Hong" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "khmer", + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Nokora is a Khmer font for body text, that pairs well with Latin sans serif fonts. To contribute, see github.com/danhhong/Nokora.", + "primary_script": "Khmr", + "article": null, + "minisite_url": null + }, + "Norican": { + "name": "Norican", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Norican is a script-like display font designed to be used freely across the internet by web browsers on desktop computers, laptops and mobile devices. Norican's design is based on the merging of a number of old script fonts, most notably Stephenson Blake's 'Glenmoy' from the 1920s. The August 2023 update features a bigger glyphset and some minor aesthetic modifications. To contribute, see github.com/googlefonts/NoricanFont.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Nosifer": { + "name": "Nosifer", + "designer": [ + "Typomondo" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Nobody knows where Nosifer comes from. It emanates a dark stench as it drips from the Internet.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Notable": { + "name": "Notable", + "designer": [ + "Eli Block", + "Hana Tanimura", + "Noemie Le Coz" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Notable is an uppercase sans serif display font; it\u2019s letterforms are based on those found on U.S. currency. Notable was designed by Eli Block, Hana Tanimura, and Noemie Le Coz for Notable Women, an initiative by former Treasurer of the United States, Rosie Rios. Notable Women is an augmented reality experiment that lets anyone see 100 historic American women where they\u2019ve historically been left out: U.S. currency.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Nothing You Could Do": { + "name": "Nothing You Could Do", + "designer": [ + "Kimberly Geswein" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Nothing You Could Do is based on the handwriting of a photographer friend. I chose the name because it echoes my love for my husband and children and how my love for them is unconditional and not based on anything they could do or say. I love this handwriting because it is human, it is imperfect, and it is natural. Real humans don\u2019t write perfectly neatly, and this font creates that feeling of authenticity.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Noticia Text": { + "name": "Noticia Text", + "designer": [ + "JM Sol\u00e9" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Noticia Text is a contemporary humanist slab serif typeface designed to be used for running text on digital newspapers (both on websites and mobile apps). It has a large x-height, ample proportions, big serifs and large apertures that allow the letters to be clear, even at small sizes on low resolution screens. The capitals are unusually small, allowing them to be used as substitutes for small caps. (It's recommended to add some tracking if used in this way.) One major feature is the break in the internal curves of round characters. While this break makes some interesting forms at large sizes, their true purpose is to help make the counterforms more open at small sizes by allowing straighter stems. This reasoning is famously known as W.A. Dwiggins' \u201cM-formula.\u201d The italics were designed to contrast with the roman styles while maintaining good legibility. The true italic forms also have big counterforms and simple curves. The fonts have been manually hinted to get the best possible rasterization in Windows. The Noticia font family project is envisioned as 18 different fonts styles, with text, condensed, display and sans variants, different weights and including italic versions, all designed and hinted to work well on computer and mobile devices screens.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Noto Color Emoji": { + "name": "Noto Color Emoji", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "emoji" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Noto Color Emoji is an open source font that has you covered for all your emoji needs, including support for the latest Unicode emoji specification. It features thousands of emoji. This font uses the COLRv1, CPAL and SVG tables. Please visit the gf-guide color page to learn more about Color Fonts technology.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Noto Emoji": { + "name": "Noto Emoji", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "emoji" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Noto Emoji is an open source font that has you covered for all your emoji needs, including support for the latest Unicode emoji specification. It has multiple weights and features thousands of emoji.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Noto Kufi Arabic": { + "name": "Noto Kufi Arabic", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "arabic", + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Arab", + "article": "Noto Kufi Arabic is a Kufi design for texts in the Middle Eastern Arabic script. Noto Kufi Arabic has multiple weights, contains 1,706 glyphs, 16 OpenType features, and supports 1,558 characters from 14 Unicode blocks: Arabic Presentation Forms-A, Arabic, Arabic Presentation Forms-B, Latin Extended-A, Arabic Extended-A, Basic Latin, Latin-1 Supplement, Arabic Supplement, Arabic Extended-B, Combining Diacritical Marks, General Punctuation, Spacing Modifier Letters, Latin Extended Additional, Latin Extended-B. Supported writing systems Arabic Arabic (\u0627\u0644\u0639\u0631\u0628\u064a\u0629) is a Middle Eastern abjad, written right-to-left (660 million users). 2nd- or 3rd-most used script in the world. Used for the Arabic language since the 4th century, and for many other languages, often in Islamic countries or communities in Asia, Africa and the Middle East, like Persian, Uyghur, Kurdish, Punjabi, Sindhi, Balti, Balochi, Pashto, Lurish, Urdu, Kashmiri, Rohingya, Somali, Mandinka, Kazakh (in China), Kurdish, or Azeri (in Iran). Was used for Turkish until 1928. Includes 28 basic consonant letters for the Arabic language, plus additional letters for other languages. Some letters represent a consonant or a long vowel, while short vowels are optionally written with diacritics. Variants include Kufi with a very simplified structure, the widely-used Naskh calligraphic variant, and the highly cursive Nastaliq used mainly for Urdu. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Latin Latin (Roman) is a European bicameral alphabet, written left-to-right. The most popular writing system in the world. Used for over 3,000 languages including Latin and Romance languages (Italian, French, Portuguese, Spanish and Romanian), Germanic languages (English, Dutch, German, Nordic languages), Finnish, Malaysian, Indonesian, Filipino, Visayan languages, Turkish, Azerbaijani, Polish, Somali, Vietnamese, and many others. Derived from Western Greek, attested in Rome in the 7th century BCE. In the common era, numerous European languages adopted the Latin script along with Western Christian religion, the script disseminated further with European colonization of the Americas, Australia, parts of Asia, Africa and the Pacific. New letters, ligatures and diacritical marks were gradually added to represent the sounds of various languages. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Music": { + "name": "Noto Music", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "music" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "symbols" + ], + "description": null, + "primary_script": null, + "article": "Noto Music is a font that contains symbols for the modern, Byzantine and Greek musical notations. Noto Music contains 579 glyphs, 5 OpenType features, and supports 559 characters from 4 Unicode blocks: Byzantine Musical Symbols, Musical Symbols, Ancient Greek Musical Notation, Miscellaneous Symbols.", + "minisite_url": null + }, + "Noto Naskh Arabic": { + "name": "Noto Naskh Arabic", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "arabic", + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Arab", + "article": "Noto Naskh Arabic is a modulated (\u201cserif\u201d) Naskh design, suitable for texts in the Middle Eastern Arabic script and for use together with serif fonts. Noto Naskh Arabic has multiple weights, contains 1,598 glyphs, 12 OpenType features, and supports 1,122 characters from 6 Unicode blocks: Arabic Presentation Forms-A, Arabic, Arabic Presentation Forms-B, Arabic Supplement, Arabic Extended-A, Basic Latin. Supported writing systems Arabic Arabic (\u0627\u0644\u0639\u0631\u0628\u064a\u0629) is a Middle Eastern abjad, written right-to-left (660 million users). 2nd- or 3rd-most used script in the world. Used for the Arabic language since the 4th century, and for many other languages, often in Islamic countries or communities in Asia, Africa and the Middle East, like Persian, Uyghur, Kurdish, Punjabi, Sindhi, Balti, Balochi, Pashto, Lurish, Urdu, Kashmiri, Rohingya, Somali, Mandinka, Kazakh (in China), Kurdish, or Azeri (in Iran). Was used for Turkish until 1928. Includes 28 basic consonant letters for the Arabic language, plus additional letters for other languages. Some letters represent a consonant or a long vowel, while short vowels are optionally written with diacritics. Variants include Kufi with a very simplified structure, the widely-used Naskh calligraphic variant, and the highly cursive Nastaliq used mainly for Urdu. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Nastaliq Urdu": { + "name": "Noto Nastaliq Urdu", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "arabic", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Arab", + "article": "Noto Nastaliq Urdu is a cursive, modulated (\u201cserif\u201d) Nastaliq design for texts in the Middle Eastern Arabic script, especially in the Urdu language. Noto Nastaliq Urdu contains 1,138 glyphs, 9 OpenType features, and supports 281 characters from 6 Unicode blocks: Arabic, Arabic Supplement, Arabic Presentation Forms-A, Basic Latin, General Punctuation, Latin-1 Supplement. Supported writing systems Arabic (Nastaliq) Arabic (Nastaliq) is a Middle Eastern abjad, written right-to-left (250 million users). Default Arabic script variant for the Urdu language, also used for Persian and other languages in Afghanistan, India, Iran, and Pakistan. The Nastaliq variant of Arabic was developed in Persia (now Iran) in the 15th century. Highly cursive, connects a sequence of letters into clusters at a sloping angle. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, r12a.", + "minisite_url": null + }, + "Noto Rashi Hebrew": { + "name": "Noto Rashi Hebrew", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "greek-ext", + "hebrew", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Hebr", + "article": "Noto Rashi Hebrew is modulated (\u201cserif\u201d) design for the Middle Eastern Hebrew script with a semi-cursive skeleton based on 15th-century Sephardic writing. It can be used for emphasis, complementing Noto Serif Hebrew. Similar designs were used for religious commentary. Noto Rashi Hebrew has multiple weights, contains 92 glyphs, 3 OpenType features, and supports 91 characters from the Unicode block Hebrew. Supported writing systems Hebrew Hebrew (\u05e2\u05d1\u05e8\u05d9\u05ea) is a Middle Eastern abjad, written right-to-left (14 million users). Used for the Hebrew, Samaritan and Yiddish languages. Also used for some varieties of Arabic and for the languages of Jewish communities across the world. Has 22 consonant letters, 5 have positional variants. Vowels in Hebrew language are normally omitted except for long vowels which are sometimes written with the consonant letters \u05d0\u05d4\u05d5\u05d9 (those were vowel-only letters until the 9th century). Children\u2019s and school books use niqqud diacritics for all vowels. Religious texts may use cantillation marks for indicating rhythm and stress. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans": { + "name": "Noto Sans", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "devanagari", + "greek", + "greek-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Noto Sans is an unmodulated (\u201csans serif\u201d) design for texts in the Latin, Cyrillic and Greek scripts, which is also suitable as the complementary choice for other script-specific Noto Sans fonts. Noto Sans has italic styles, multiple weights and widths, contains 3,741 glyphs, 28 OpenType features, and supports 2,840 characters from 30 Unicode blocks: Latin Extended Additional, Cyrillic, Greek Extended, Latin Extended-B, Latin Extended-D, Latin Extended-A, Phonetic Extensions, Greek and Coptic, Combining Diacritical Marks, IPA Extensions, Cyrillic Extended-B, Latin-1 Supplement, General Punctuation, Basic Latin, Supplemental Punctuation, Spacing Modifier Letters, Letterlike Symbols, Phonetic Extensions Supplement, Combining Diacritical Marks Supplement, Latin Extended-E, Cyrillic Supplement, Currency Symbols, Latin Extended-C, Cyrillic Extended-A, Modifier Tone Letters, Superscripts and Subscripts, Combining Diacritical Marks Extended, Combining Half Marks, Cyrillic Extended-C, Alphabetic Presentation Forms. Supported writing systems Latin Latin (Roman) is a European bicameral alphabet, written left-to-right. The most popular writing system in the world. Used for over 3,000 languages including Latin and Romance languages (Italian, French, Portuguese, Spanish and Romanian), Germanic languages (English, Dutch, German, Nordic languages), Finnish, Malaysian, Indonesian, Filipino, Visayan languages, Turkish, Azerbaijani, Polish, Somali, Vietnamese, and many others. Derived from Western Greek, attested in Rome in the 7th century BCE. In the common era, numerous European languages adopted the Latin script along with Western Christian religion, the script disseminated further with European colonization of the Americas, Australia, parts of Asia, Africa and the Pacific. New letters, ligatures and diacritical marks were gradually added to represent the sounds of various languages. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Cyrillic Cyrillic is a bicameral alphabet originating in Europe, written left-to-right (250 million users). Used for various languages across Eurasia and is used as the national script in various Slavic, Turkic, Mongolic and Iranic-speaking countries in Southeastern Europe, Eastern Europe, the Caucasus, Central Asia, North Asia and East Asia, including Russian, Bulgarian, Macedonian, Serbian, Ukrainian, Uzbek, Azerbaijani, Kazakh, Tajik, Kyrgyz, Bashkort, Chechen, Chuvash, Avar, Dargwa, Kabardian, Karakalpak, Kumyk, Lezgi, Ossetic, Pontic, Yakut, Buriat and many others. Created in the 9th century. Traditionally attributed to Saint Cyril, a monk from Thessaloniki working in Bulgaria, after earlier creation of the Glagolitic script. Sometimes attributed to Clement of Ohrid, a student of Saint Cyril\u2019s. Initially used for Old Church Slavonic. Reformed in 1708 by Russian tsar Peter the Great. Extended by the Soviet Union in the 20th century to write over 50 languages throughout Eastern Europe and Asia (some of those languages switched to Latin after 1991). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Greek Greek (\u0395\u03bb\u03bb\u03b7\u03bd\u03b9\u03ba\u03ac) is a European bicameral alphabet, written left-to-right (11 million users). Used to write the Greek language since the 8th century BCE. Also used to write other languages like Urum, Albanian Tosk, and Balkan Gagauz Turkish. Some symbols are also used in scientific notation. Derived from Phoenician. First \u201ctrue alphabet\u201d, with distinct letters for consonants and vowels. Standardized in the 4th century BCE by Eucleides. Has 24 letters. Some letter variants (sigma: \u03c3/\u03c2) have positional significance in the Greek language, other variants only differ in meaning in scientific notation (e.g. pi: \u03c0/\u03d6). The Greek language used to be written in polytonic spelling, with three accents on vowels. In 1982, Greece introduced monotonic spelling with a single diacritic. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Adlam": { + "name": "Noto Sans Adlam", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "adlam", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Adlm", + "article": "Noto Sans Adlam is a joining (cursive) unmodulated (\u201csans serif\u201d) design for texts in the African Adlam script. Noto Sans Adlam has multiple weights, contains 362 glyphs, 8 OpenType features, and supports 149 characters from 3 Unicode blocks: Adlam, Basic Latin, General Punctuation. Supported writing systems Adlam Adlam (\ud83a\udd00\ud83a\udd23\ud83a\udd24\ud83a\udd22\ud83a\udd25 \ud83a\udd06\ud83a\udd35\ud83a\udd24\ud83a\udd22\ud83a\udd2a) is an African bicameral alphabet, written right-to-left. Used for the Fulani (Fula, 65 million speakers) language in Guinea, which previously used Latin and Arabic. Created around 1989 by two teenage brothers, Ibrahima and Abdoulaye Barry. One of indigenous scripts for specific languages in West Africa, currently taught in Guinea, Nigeria, Liberia and other countries. Adlam has 28 letters, each in four forms. The unjoined variant is suitable for headlines and for educational content. The cursive variant, in which letters join the same way as in Arabic and N\u2019Ko, is suitable for most texts. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Adlam Unjoined": { + "name": "Noto Sans Adlam Unjoined", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "adlam", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Adlm", + "article": "Noto Sans Adlam Unjoined is an unjoined unmodulated (\u201csans serif\u201d) design suitable for headlines and for educational content in the African Adlam script. Noto Sans Adlam Unjoined has multiple weights, contains 155 glyphs, 7 OpenType features, and supports 149 characters from 3 Unicode blocks: Adlam, Basic Latin, General Punctuation. Supported writing systems Adlam Adlam ( \ud83a\udd00\ud83a\udd23\ud83a\udd24\ud83a\udd22\ud83a\udd25 \ud83a\udd06\ud83a\udd35\ud83a\udd24\ud83a\udd22\ud83a\udd2a ) is an African bicameral alphabet, written right-to-left. Used for the Fulani (Fula, 65 million speakers) language in Guinea, which previously used Latin and Arabic. Created around 1989 by two teenage brothers, Ibrahima and Abdoulaye Barry. One of indigenous scripts for specific languages in West Africa, currently taught in Guinea, Nigeria, Liberia and other countries. Adlam has 28 letters, each in four forms. The unjoined variant is suitable for headlines and for educational content. The cursive variant, in which letters join the same way as in Arabic and N\u2019Ko, is suitable for most texts. Needs software support for complex text layout (shaping). Read more on ScriptSource , Unicode , Wikipedia , Wiktionary , r12a .", + "minisite_url": null + }, + "Noto Sans Anatolian Hieroglyphs": { + "name": "Noto Sans Anatolian Hieroglyphs", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "anatolian-hieroglyphs", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Hluw", + "article": "Noto Sans Anatolian Hieroglyphs is an unmodulated (\u201csans serif\u201d) design for texts in the historical Middle Eastern Anatolian hieroglyphs script. Noto Sans Anatolian Hieroglyphs contains 589 glyphs, and supports 588 characters from the Unicode block Anatolian Hieroglyphs. Supported writing systems Anatolian hieroglyphs Anatolian (Luwian, Hittite) hieroglyphs is a historical Middle Eastern logo-syllabary, written boustrophedon. Were used c. 2000\u2013700 BCE for the Luwian language. The script has about 500 signs. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Arabic": { + "name": "Noto Sans Arabic", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "arabic", + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Arab", + "article": "Noto Sans Arabic is an unmodulated (\u201csans serif\u201d) design for texts in the Middle Eastern Arabic script. Noto Sans Arabic has multiple weights and widths, contains 1,642 glyphs, 12 OpenType features, and supports 1,161 characters from 6 Unicode blocks: Arabic Presentation Forms-A, Arabic, Arabic Presentation Forms-B, Arabic Extended-A, Arabic Supplement, Basic Latin. Supported writing systems Arabic Arabic (\u0627\u0644\u0639\u0631\u0628\u064a\u0629) is a Middle Eastern abjad, written right-to-left (660 million users). 2nd- or 3rd-most used script in the world. Used for the Arabic language since the 4th century, and for many other languages, often in Islamic countries or communities in Asia, Africa and the Middle East, like Persian, Uyghur, Kurdish, Punjabi, Sindhi, Balti, Balochi, Pashto, Lurish, Urdu, Kashmiri, Rohingya, Somali, Mandinka, Kazakh (in China), Kurdish, or Azeri (in Iran). Was used for Turkish until 1928. Includes 28 basic consonant letters for the Arabic language, plus additional letters for other languages. Some letters represent a consonant or a long vowel, while short vowels are optionally written with diacritics. Variants include Kufi with a very simplified structure, the widely-used Naskh calligraphic variant, and the highly cursive Nastaliq used mainly for Urdu. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Armenian": { + "name": "Noto Sans Armenian", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "armenian", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Armn", + "article": "Noto Sans Armenian is an unmodulated (\u201csans serif\u201d) design for texts in the European Armenian script. Noto Sans Armenian has multiple weights and widths, contains 107 glyphs, 3 OpenType features, and supports 104 characters from 2 Unicode blocks: Armenian, Alphabetic Presentation Forms. Supported writing systems Armenian Armenian (\u0540\u0561\u0575\u0578\u0581 \u0563\u0580\u0565\u0580) is a European bicameral alphabet, written left-to-right (12 million users). Created around 405 CE by Mesrop Mashtots. Used for the Armenian language to this day. Was widespread in the 18th\u201319th centuries CE in the Ottoman Empire. Armenia uses a reformed spelling introduced in the Soviet Union, the Armenian diaspora mostly uses the original Mesropian orthography. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Avestan": { + "name": "Noto Sans Avestan", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "avestan", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Avst", + "article": "Noto Sans Avestan is an unmodulated (\u201csans serif\u201d) design for texts in the historical Middle Eastern Avestan script. Noto Sans Avestan contains 76 glyphs, and supports 71 characters from the Unicode block Avestan. Supported writing systems Avestan Avestan is a historical Middle Eastern alphabet, written right-to-left. Was used in the 5th\u201313th century CE for Avestan, an Eastern Iranian language. Developed during Iran\u2019s Sassanid era. Was probably in everyday use, though the only surviving examples are religious texts called Avesta. Has 37 consonants and 16 vowels. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Balinese": { + "name": "Noto Sans Balinese", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "balinese", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Bali", + "article": "Noto Sans Balinese is an unmodulated (\u201csans serif\u201d) design for texts in the Southeast Asian Balinese script. Noto Sans Balinese has multiple weights, contains 361 glyphs, 6 OpenType features, and supports 130 characters from the Unicode block Balinese. Supported writing systems Balinese Balinese (\u1b05\u1b13\u1b44\u1b31\u1b2d\u1b29\u1b2e\u1b36) is a Southeast Asian abugida, written left-to-right (5 million users). Used for the Balinese language on the Indonesian islands of Java and Bali, mostly for signage, traditional literature, and, on a limited scale, for new literature. Also used for Old Javanese and Sanskrit. Derived from Old Kawi, similar to Javanese. Has 47 letters. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Bamum": { + "name": "Noto Sans Bamum", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "bamum", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Bamu", + "article": "Noto Sans Bamum is an unmodulated (\u201csans serif\u201d) design for texts in the African Bamum script. Noto Sans Bamum has multiple weights, contains 662 glyphs, and supports 661 characters from 2 Unicode blocks: Bamum Supplement, Bamum. Supported writing systems Bamum Bamum is an African syllabary, written left-to-right (0.4 million users). Used in Cameroon. Developed communally at the end of the 19th century at the instigation of the Bamum King Njoya. Initially was logographic, later evolved into a syllabary. Bamum is being revived after decline since the 1930s. Read more on ScriptSource, Unicode, Wikipedia, r12a.", + "minisite_url": null + }, + "Noto Sans Bassa Vah": { + "name": "Noto Sans Bassa Vah", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "bassa-vah", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Bass", + "article": "Noto Sans Bassa Vah is an unmodulated (\u201csans serif\u201d) design for texts in the African Bassa Vah script. Noto Sans Bassa Vah contains 45 glyphs, 3 OpenType features, and supports 41 characters from the Unicode block Bassa Vah. Supported writing systems Bassa Vah Bassa Vah is an African bicameral alphabet, written left-to-right. Used for the Bassa language spoken in Liberia, Sierra Leone, and by communities in Brazil and the Caribbean. Developed by Dr. Thomas Flo Lewis from a sign system used by the Bassa people to avoid slave traders, later suppressed by colonial powers, fell into disuse. Has 23 consonants, 7 vowels, and 5 tone diacritics. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Batak": { + "name": "Noto Sans Batak", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "batak", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Batk", + "article": "Noto Sans Batak is an unmodulated (\u201csans serif\u201d) design for texts in the Southeast Asian Batak script. Noto Sans Batak contains 66 glyphs, 3 OpenType features, and supports 64 characters from the Unicode block Batak. Supported writing systems Batak Batak (\u1bd8\u1bee\u1bd2\u1bd6\u1bf2 \u1bc5\u1bd6\u1bc2\u1bf2) is a Southeast Asian abugida, written vertically and horizontally left-to-right. Used for the Toba, Karo, Dairi, Mandailing, Simalungun, and Angkola languages used on the Indonesian island of Sumatra. Used since the 14th century, standardised in the 1850s. Revived recently after a decline since in the 20th century. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Bengali": { + "name": "Noto Sans Bengali", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "bengali", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Beng", + "article": "Noto Sans Bengali is an unmodulated (\u201csans serif\u201d) design for texts in the Indic Bangla (Bengali) script. Noto Sans Bengali has multiple weights and widths, contains 695 glyphs, 17 OpenType features, and supports 173 characters from 5 Unicode blocks: Bengali, Basic Latin, Vedic Extensions, General Punctuation, Devanagari. Supported writing systems Bangla (Bengali) Bangla (Bengali, Bengali-Assamese, \u09ac\u09be\u0982\u09b2\u09be \u09ac\u09b0\u09cd\u09a3\u09ae\u09be\u09b2\u09be) is an Indic abugida, written left-to-right (265 million users). Used in Bangladesh and India, for the Bengali language, and for other languages like Assamese, Kokborok, Bishnupriya Manipuri, Meitei Manipuri, Rabha, Maithili, Rangpuri, Sylheti, Santali and Sanskrit. Developed in the 11th century CE. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Bhaiksuki": { + "name": "Noto Sans Bhaiksuki", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "bhaiksuki", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Bhks", + "article": "Noto Sans Bhaiksuki is an unmodulated (\u201csans serif\u201d) design for texts in the historical Indic Bhaiksuki script. Noto Sans Bhaiksuki contains 863 glyphs, 9 OpenType features, and supports 103 characters from the Unicode block Bhaiksuki. Supported writing systems Bhaiksuki Bhaiksuki (\ud807\udc25\ud807\udc39\ud807\udc0e\ud807\udc3f\ud807\udc2c\ud807\udc32\ud807\udc0e\ud807\udc31) is a historical Indic abugida. Was used in 11th\u201312th century CE for Buddhist texts in Sanskrit in the Indian state of Bihar. Also called Arrow-Headed Script, Point-Headed Script, or Sindhura. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Brahmi": { + "name": "Noto Sans Brahmi", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "brahmi", + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Brah", + "article": "Noto Sans Brahmi is an unmodulated (\u201csans serif\u201d) design for texts in the historical Indic Brahmi script. Noto Sans Brahmi contains 257 glyphs, 5 OpenType features, and supports 117 characters from the Unicode block Brahmi. Supported writing systems Brahmi Brahmi is a historical Indic abugida, written left-to-right. Used in 3rd century BCE\u20135th century CE in South Asia for Prakrit, Sanskrit, Saka, Tamil, Kannada, Tocharian. Evolved into the many Brahmic scripts used today in South and Southeast Asia. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Buginese": { + "name": "Noto Sans Buginese", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "buginese", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Bugi", + "article": "Noto Sans Buginese is an unmodulated (\u201csans serif\u201d) design for texts in the Southeast Asian Buginese script. Noto Sans Buginese contains 41 glyphs, 2 OpenType features, and supports 39 characters from the Unicode block Buginese. Supported writing systems Buginese Buginese (Lontara, \u1a12\u1a1a\u1a08\u1a11) is a Southeast Asian abugida, written left-to-right. Was used since the 17th century for the Bugis, Makasar, and Mandar languages of Sulawesi in Indonesia (over 7 million speakers). Largely replaced by the Latin alphabet during the period of Dutch colonization, but still used for ceremonial, personal and traditional texts. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Buhid": { + "name": "Noto Sans Buhid", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "buhid", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Buhd", + "article": "Noto Sans Buhid is an unmodulated (\u201csans serif\u201d) design for texts in the Southeast Asian Buhid script. Noto Sans Buhid contains 44 glyphs, 2 OpenType features, and supports 30 characters from the Unicode block Buhid. Supported writing systems Buhid Buhid (Mangyan Baybayin, Surat Mangyan, \u174a\u1753\u1751\u1752) is a Southeast Asian abugida, written left-to-right (about 9,000 users). Used together with the Filipino Latin script for the Buhid language, spoken by Mangyan people in the Mindoro region of the Philippines. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Canadian Aboriginal": { + "name": "Noto Sans Canadian Aboriginal", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "canadian-aboriginal", + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Cans", + "article": "Noto Sans Canadian Aboriginal is an unmodulated (\u201csans serif\u201d) design for texts in the American Canadian Aboriginal syllabics script. Noto Sans Canadian Aboriginal has multiple weights, contains 746 glyphs, and supports 722 characters from 3 Unicode blocks: Unified Canadian Aboriginal Syllabics, Unified Canadian Aboriginal Syllabics Extended, Spacing Modifier Letters. Supported writing systems Canadian Aboriginal syllabics Canadian Aboriginal syllabics is a family of American abugidas, written left-to-right (0.5 million users). Used for Cree languages, for Inuktitut (co-official with the Latin script in the territory of Nunavut), for Ojibwe, Blackfoot. Were also used for Dakelh (Carrier), Chipewyan, Slavey, T\u0142\u0131\u0328ch\u01eb (Dogrib) and Dane-zaa (Beaver). Created in 1840 by James Evans to write several indigenous Canadian languages. Primarily used in Canada, occasionally in the United States. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Carian": { + "name": "Noto Sans Carian", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "carian", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Cari", + "article": "Noto Sans Carian is an unmodulated (\u201csans serif\u201d) design for texts in the historical Middle Eastern Carian script. Noto Sans Carian contains 54 glyphs, and supports 53 characters from the Unicode block Carian. Supported writing systems Carian Carian is a historical Middle Eastern alphabet, written left-to-right. Was used in 7th\u20131st centuries BCE in the Aegean region of today\u2019s Turkey for the Carian language. Was also used in the Nile delta. Had 45 letters. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Caucasian Albanian": { + "name": "Noto Sans Caucasian Albanian", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "caucasian-albanian", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Aghb", + "article": "Noto Sans Caucasian Albanian is an unmodulated (\u201csans serif\u201d) design for texts in the historical European Caucasian Albanian script. Noto Sans Caucasian Albanian contains 181 glyphs, 4 OpenType features, and supports 76 characters from 2 Unicode blocks: Caucasian Albanian, Combining Half Marks. Supported writing systems Caucasian Albanian Caucasian Albanian is a historical European bicameral alphabet, written left-to-right. Was used in the 5th\u201312th century CE for the Caucasian Albanian language, a dialect of Old Udi, in parts of present-day Azerbaijan and Dagestan. Probably based on Greek writing, supposedly devised by Mesrop Mashtots. Has 52 letters. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Chakma": { + "name": "Noto Sans Chakma", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "chakma", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Cakm", + "article": "Noto Sans Chakma is an unmodulated (\u201csans serif\u201d) design for texts in the Indic Chakma script. Noto Sans Chakma contains 212 glyphs, 12 OpenType features, and supports 97 characters from the Unicode block Chakma. Supported writing systems Chakma Chakma (Ojhapath, Ojhopath, Ajhapath, \ud804\udd0c\ud804\udd0b\ud804\udd34\ud804\udd1f\ud804\udd33\ud804\udd26 \ud804\udd03\ud804\udd27\ud804\udd0f\ud804\udd1b\ud804\udd16\ud804\udd34) is an Indic abugida, written left-to-right (170,000 users). Used in Bangladesh and India for the Chakma language, and for Tanchangya in Bangladesh. Brahmic script related to Mon Khmer and Myanmar. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Cham": { + "name": "Noto Sans Cham", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cham", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Cham", + "article": "Noto Sans Cham is an unmodulated (\u201csans serif\u201d) design for texts in the Southeast Asian Cham script. Noto Sans Cham has multiple weights, contains 131 glyphs, 11 OpenType features, and supports 104 characters from 2 Unicode blocks: Cham, Basic Latin. Supported writing systems Cham Cham (\uaa00\uaa07\uaa49 \uaa0c\uaa4c) is a Southeast Asian abugida, written left-to-right. Used in Vietnam and Cambodia for the Cham language (250,000 speakers). The majority of the Cambodian Cham people died during the Khmer Rouge regime in the 1970s or were forced to use the Cambodian language. Brahmic script. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Cherokee": { + "name": "Noto Sans Cherokee", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cherokee", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Cher", + "article": "Noto Sans Cherokee is an unmodulated (\u201csans serif\u201d) design for texts in the American Cherokee script. Noto Sans Cherokee has multiple weights, contains 273 glyphs, 6 OpenType features, and supports 186 characters from 3 Unicode blocks: Cherokee, Cherokee Supplement, Combining Diacritical Marks. Supported writing systems Cherokee Cherokee (\u13e3\u13b3\u13a9) is an American bicameral syllabary, written left-to-right. Used in the United States for the Cherokee language (12,000 speakers). Created in 1821 by Sequoyah (also known as George Guess), when it achieved instant popularity. By 1824 most Cherokee were literate in the script. Uses 85 letters. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Chorasmian": { + "name": "Noto Sans Chorasmian", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "chorasmian", + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Chrs", + "article": "Noto Sans Chorasmian is a design for the historical Middle Eastern Chorasmian script. Noto Sans Chorasmian contains 122 glyphs, 8 OpenType features, and supports 32 characters from the Unicode block Chorasmian. Supported writing systems Chorasmian Chorasmian is a historical Middle Eastern abjad, written right-to-left. Was used in the 2nd century BCE\u2013-9th century CE in the Khwarazm region of Central Asia for the now-extinct Chorasmian language, until the language switched to the Arabic script. Derived from Imperial Aramaic. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Coptic": { + "name": "Noto Sans Coptic", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "coptic", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Copt", + "article": "Noto Sans Coptic is an unmodulated (\u201csans serif\u201d) design for texts in the European Coptic script. Noto Sans Coptic contains 224 glyphs, 3 OpenType features, and supports 188 characters from 3 Unicode blocks: Coptic, Greek and Coptic, Combining Diacritical Marks. Supported writing systems Coptic Coptic is a European bicameral alphabet, written left-to-right (0.4 million users). Since the 2nd century CE was used for the Coptic language, now the liturgical language of the Coptic church. Als used for Andaandi, Nobiin, Old Nubian and Mattokki. Derived from the Greek alphabet. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Cuneiform": { + "name": "Noto Sans Cuneiform", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cuneiform", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Xsux", + "article": "Noto Sans Cuneiform is an unmodulated (\u201csans serif\u201d) design for texts in the historical Middle Eastern Sumero-Akkadian cuneiform script. Noto Sans Cuneiform contains 1,239 glyphs, and supports 1,238 characters from 3 Unicode blocks: Cuneiform, Early Dynastic Cuneiform, Cuneiform Numbers and Punctuation. Supported writing systems Sumero-Akkadian cuneiform Sumero-Akkadian cuneiform is a historical Middle Eastern logo-syllabary, written left-to-right. Was used at least since 3200 BCE in today\u2019s Iraq for the now-exinct Sumerian language. Was later used in today\u2019s Iran, Turkey, Syria, and Egypt, for languages like Akkadian, Elamite, Hittite, Luwian and Urartian. Widely believed to be the first writing system in the world. Combined logographic, consonantal alphabetic and syllabic signs. Since c. 900 BCE gradually replaced by the Aramaic script. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Cypriot": { + "name": "Noto Sans Cypriot", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cypriot", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Cprt", + "article": "Noto Sans Cypriot is an unmodulated (\u201csans serif\u201d) design for texts in the historical European Cypriot script. Noto Sans Cypriot contains 60 glyphs, and supports 59 characters from the Unicode block Cypriot Syllabary. Supported writing systems Cypriot Cypriot is a historical European syllabary, written right-to-left. Was used in the 11th\u20134th centuries BCE in Cyprus for the Greek language. Descended from the Linear A script, closely related to the Linear B script. Was primarily used for record keeping, not literature. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Cypro Minoan": { + "name": "Noto Sans Cypro Minoan", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cypro-minoan", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Cpmn", + "article": "Noto Sans Cypro Minoan is a design for the historical European Cypro-Minoan script. Noto Sans Cypro Minoan contains 104 glyphs, and supports 103 characters from the Unicode block Cypro-Minoan. Supported writing systems Cypro-Minoan Cypro-Minoan is a historical European logo-syllabary. Undeciphered syllabary used on the island of Cyprus during the late Bronze Age (1500-1200 BCE) for the Eteocretan language. Read more on ScriptSource, Unicode, Wikipedia, r12a.", + "minisite_url": null + }, + "Noto Sans Deseret": { + "name": "Noto Sans Deseret", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "deseret", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Dsrt", + "article": "Noto Sans Deseret is an unmodulated (\u201csans serif\u201d) design for texts in the historical American Deseret script. Noto Sans Deseret contains 85 glyphs, and supports 84 characters from the Unicode block Deseret. Supported writing systems Deseret Deseret (\ud801\udc14\ud801\udc2f\ud801\udc45\ud801\udc28\ud801\udc49\ud801\udc2f\ud801\udc3b) is a historical American bicameral alphabet, written left-to-right. Was used by members of the Church of Latter-Day Saints (Mormons) in Utah for writing the English language. Developed in 1854 by George D. Watt as part of a planned phonemic English-language spelling reform. Abandoned around 1877. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Devanagari": { + "name": "Noto Sans Devanagari", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Deva", + "article": "Noto Sans Devanagari is an unmodulated (\u201csans serif\u201d) design for texts in the Indic Devanagari script. Noto Sans Devanagari contains 954 glyphs, 17 OpenType features, and supports 272 characters from 6 Unicode blocks: Devanagari, Vedic Extensions, Devanagari Extended, Basic Latin, General Punctuation, Common Indic Number Forms. Supported writing systems Devanagari Devanagari (Negari, \u0926\u0947\u0935\u0928\u093e\u0917\u0930\u0940) is an Indic abugida, written left-to-right with a headstroke (over 600 million users). Used in India and Nepal for over 120 languages like Indo-Aryan languages, including Hindi, Nepali, Marathi, Maithili, Awadhi, Newari and Bhojpuri, and for Sanskrit. 4th most widely used script in the world. Brahmic script created in the 1st century CE, the modern form developed in the 7th century. Has 14 vowels and 33 consonants. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Display": { + "name": "Noto Sans Display", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "Noto Sans Display is an unmodulated (\u201csans serif\u201d) design for texts in larger font sizes in the European Latin script and in Cyrillic, Greek. Noto Sans Display has italic styles, multiple weights and widths, contains 3,316 glyphs, 25 OpenType features, and supports 2,840 characters from 30 Unicode blocks: Latin Extended Additional, Cyrillic, Greek Extended, Latin Extended-B, Latin Extended-D, Latin Extended-A, Phonetic Extensions, Greek and Coptic, Combining Diacritical Marks, IPA Extensions, Cyrillic Extended-B, Latin-1 Supplement, General Punctuation, Basic Latin, Supplemental Punctuation, Spacing Modifier Letters, Letterlike Symbols, Phonetic Extensions Supplement, Combining Diacritical Marks Supplement, Latin Extended-E, Cyrillic Supplement, Currency Symbols, Latin Extended-C, Cyrillic Extended-A, Modifier Tone Letters, Superscripts and Subscripts, Combining Diacritical Marks Extended, Combining Half Marks, Cyrillic Extended-C, Alphabetic Presentation Forms. Supported writing systems Latin Latin (Roman) is a European bicameral alphabet, written left-to-right. The most popular writing system in the world. Used for over 3,000 languages including Latin and Romance languages (Italian, French, Portuguese, Spanish and Romanian), Germanic languages (English, Dutch, German, Nordic languages), Finnish, Malaysian, Indonesian, Filipino, Visayan languages, Turkish, Azerbaijani, Polish, Somali, Vietnamese, and many others. Derived from Western Greek, attested in Rome in the 7th century BCE. In the common era, numerous European languages adopted the Latin script along with Western Christian religion, the script disseminated further with European colonization of the Americas, Australia, parts of Asia, Africa and the Pacific. New letters, ligatures and diacritical marks were gradually added to represent the sounds of various languages. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Cyrillic Cyrillic is a bicameral alphabet originating in Europe, written left-to-right (250 million users). Used for various languages across Eurasia and is used as the national script in various Slavic, Turkic, Mongolic and Iranic-speaking countries in Southeastern Europe, Eastern Europe, the Caucasus, Central Asia, North Asia and East Asia, including Russian, Bulgarian, Macedonian, Serbian, Ukrainian, Uzbek, Azerbaijani, Kazakh, Tajik, Kyrgyz, Bashkort, Chechen, Chuvash, Avar, Dargwa, Kabardian, Karakalpak, Kumyk, Lezgi, Ossetic, Pontic, Yakut, Buriat and many others. Created in the 9th century. Traditionally attributed to Saint Cyril, a monk from Thessaloniki working in Bulgaria, after earlier creation of the Glagolitic script. Sometimes attributed to Clement of Ohrid, a student of Saint Cyril\u2019s. Initially used for Old Church Slavonic. Reformed in 1708 by Russian tsar Peter the Great. Extended by the Soviet Union in the 20th century to write over 50 languages throughout Eastern Europe and Asia (some of those languages switched to Latin after 1991). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Greek Greek (\u0395\u03bb\u03bb\u03b7\u03bd\u03b9\u03ba\u03ac) is a European bicameral alphabet, written left-to-right (11 million users). Used to write the Greek language since the 8th century BCE. Also used to write other languages like Urum, Albanian Tosk, and Balkan Gagauz Turkish. Some symbols are also used in scientific notation. Derived from Phoenician. First \u201ctrue alphabet\u201d, with distinct letters for consonants and vowels. Standardized in the 4th century BCE by Eucleides. Has 24 letters. Some letter variants (sigma: \u03c3/\u03c2) have positional significance in the Greek language, other variants only differ in meaning in scientific notation (e.g. pi: \u03c0/\u03d6). The Greek language used to be written in polytonic spelling, with three accents on vowels. In 1982, Greece introduced monotonic spelling with a single diacritic. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Duployan": { + "name": "Noto Sans Duployan", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "duployan", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Dupl", + "article": "Noto Sans Duployan is a design for the Duployan shorthand script. Noto Sans Duployan contains 10,255 glyphs, 11 OpenType features, and supports 210 characters from 5 Unicode blocks: Duployan, Basic Latin, Combining Diacritical Marks, General Punctuation, Latin-1 Supplement. Supported writing systems Duployan shorthand Duployan shorthand (Sloan-Duployan shorthand, Duployan stenography) is an shorthand alphabet, written left-to-right. Geometric stenography script created in 1860 by Father \u00c9mile Duploy\u00e9 for writing French, later expanded and adapted for writing many other languages. Heavily cursive (connected), allows words to be written in a single stroke. Praised for simplicity and speed of writing. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Egyptian Hieroglyphs": { + "name": "Noto Sans Egyptian Hieroglyphs", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "egyptian-hieroglyphs", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Egyp", + "article": "Noto Sans Egyptian Hieroglyphs is an unmodulated (\u201csans serif\u201d) design for texts in the historical African Egyptian hieroglyphs script. Noto Sans Egyptian Hieroglyphs contains 1,079 glyphs, and supports 1,078 characters from the Unicode block Egyptian Hieroglyphs. Supported writing systems Egyptian hieroglyphs Egyptian hieroglyphs is a historical African logo-syllabary, written left-to-right. Were used about 3000 BCE\u2013400 CE for writing the ancient Egyptian language. Combined logographic, syllabic and alphabetic elements, with a total of some 1,000 distinct characters. Cursive hieroglyphs were used for religious literature on papyrus and wood. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Elbasan": { + "name": "Noto Sans Elbasan", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "elbasan", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Elba", + "article": "Noto Sans Elbasan is an unmodulated (\u201csans serif\u201d) design for texts in the historical European Elbasan script and in Greek. Noto Sans Elbasan contains 79 glyphs, 2 OpenType features, and supports 74 characters from 2 Unicode blocks: Elbasan, Greek and Coptic. Supported writing systems Elbasan Elbasan is a historical European alphabet, written left-to-right. Was used by Albanian Christians in the mid-18th century. Known primarily from the Elbasan Gospel Manuscript. Since 1909 replaced by the Latin alphabet for Albanian. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Greek Greek (\u0395\u03bb\u03bb\u03b7\u03bd\u03b9\u03ba\u03ac) is a European bicameral alphabet, written left-to-right (11 million users). Used to write the Greek language since the 8th century BCE. Also used to write other languages like Urum, Albanian Tosk, and Balkan Gagauz Turkish. Some symbols are also used in scientific notation. Derived from Phoenician. First \u201ctrue alphabet\u201d, with distinct letters for consonants and vowels. Standardized in the 4th century BCE by Eucleides. Has 24 letters. Some letter variants (sigma: \u03c3/\u03c2) have positional significance in the Greek language, other variants only differ in meaning in scientific notation (e.g. pi: \u03c0/\u03d6). The Greek language used to be written in polytonic spelling, with three accents on vowels. In 1982, Greece introduced monotonic spelling with a single diacritic. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Elymaic": { + "name": "Noto Sans Elymaic", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "elymaic", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Elym", + "article": "Noto Sans Elymaic is an unmodulated (\u201csans serif\u201d) design for texts in the historical Middle Eastern Elymaic script. Noto Sans Elymaic contains 46 glyphs, 7 OpenType features, and supports 25 characters from the Unicode block Elymaic. Supported writing systems Elymaic Elymaic is a historical Middle Eastern abjad, written right-to-left. Was used around 250 BCE\u2013500 CE in the ancient state of Elymais in the region southeast of the Tigris River in today\u2019s Iran. Descended from Aramaic, poorly attested. Read more on ScriptSource, Unicode, Wikipedia, r12a.", + "minisite_url": null + }, + "Noto Sans Ethiopic": { + "name": "Noto Sans Ethiopic", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "ethiopic", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Ethi", + "article": "Noto Sans Ethiopic is an unmodulated (\u201csans serif\u201d) design for texts in the African Ethiopic script. Noto Sans Ethiopic has multiple weights and widths, contains 566 glyphs, 5 OpenType features, and supports 505 characters from 4 Unicode blocks: Ethiopic, Ethiopic Extended, Ethiopic Extended-A, Ethiopic Supplement. Supported writing systems Ethiopic Ethiopic (Ge\u02bdez, \u130d\u12d5\u12dd, \u134a\u12f0\u120d) is an African abugida, written left-to-right (18 million users). Used for Ethiosemitic languages like Tigr\u00e9, Amharic and Tigrinya and some Cushitic and Nilotic languages. Was used in the 1st\u201312th century CE in Ethiopia and Eritrea for the Ge\u02bdez language (now a liturgical language). Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Georgian": { + "name": "Noto Sans Georgian", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic-ext", + "georgian", + "greek-ext", + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Geor", + "article": "Noto Sans Georgian is an unmodulated (\u201csans serif\u201d) design for texts in the European Georgian script. Noto Sans Georgian has multiple weights and widths, contains 225 glyphs, 6 OpenType features, and supports 186 characters from 4 Unicode blocks: Georgian, Georgian Extended, Georgian Supplement, Combining Diacritical Marks. Supported writing systems Georgian Georgian (\u10e5\u10d0\u10e0\u10d7\u10e3\u10da\u10d8) is a European alphabet, written left-to-right (4.5 million users). Used for the Georgian language of Georgia, and other Kartvelian languages. Since 430 CE, the Georgian language used an inscriptional form (Asomtavruli), which evolved into a manuscript form (Nuskhuri). These are categorized as Khutsuri (ecclesiastical): Asomtavruli is uppercase, Nuskhuri is lowercase. Khutsuri is still used for liturgical purposes, but was replaced by a new case-less form (Mkhedruli) used for nearly all modern Georgian writing. In the 1950s, Akaki Shanidze attempted to add Asomtavruli as uppercase and use Mkhedruli for lowercase, but the effort did not succeed. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Glagolitic": { + "name": "Noto Sans Glagolitic", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic-ext", + "glagolitic", + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Glag", + "article": "Noto Sans Glagolitic is an unmodulated (\u201csans serif\u201d) design for texts in the historical European Glagolitic script. Noto Sans Glagolitic contains 142 glyphs, 2 OpenType features, and supports 141 characters from 2 Unicode blocks: Glagolitic, Glagolitic Supplement. Supported writing systems Glagolitic Glagolitic (Glagolitsa, \u2c03\u2c3e\u2c30\u2c33\u2c41\u2c3e\u2c39\u2c4c\u2c30) is a historical European bicameral alphabet, written left-to-right. Created around 863 CE, traditionally attributed to Saint Cyril, a monk from Thessaloniki working in Bulgaria. The oldest known Slavic alphabet. Was used throughout the Balkans in tandem with the later-created Cyrillic until the 13th century, after which time it was largely replaced by Cyrillic. In Croatia, Glagolitic continued to be used until the 19th century, particularly in the church. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Gothic": { + "name": "Noto Sans Gothic", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "gothic", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Goth", + "article": "Noto Sans Gothic is an unmodulated (\u201csans serif\u201d) design for texts in the historical European Gothic script. Noto Sans Gothic contains 40 glyphs, 2 OpenType features, and supports 35 characters from 2 Unicode blocks: Gothic, Combining Diacritical Marks. Supported writing systems Gothic Gothic is a historical European alphabet, written left-to-right. Was used in c. 350\u2013600 CE or writing the Gothic language. Created by the bishop Ulfilas for religious purposes. Uses uncial forms of the Greek alphabet, with a few additional letters to express Gothic phonology. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Grantha": { + "name": "Noto Sans Grantha", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "grantha", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Gran", + "article": "Noto Sans Grantha is an unmodulated (\u201csans serif\u201d) design for texts in the Indic Grantha script. Noto Sans Grantha contains 478 glyphs, 24 OpenType features, and supports 121 characters from 3 Unicode blocks: Grantha, Vedic Extensions, Devanagari. Supported writing systems Grantha Grantha (\ud804\udf17\ud804\udf4d\ud804\udf30\ud804\udf28\ud804\udf4d\ud804\udf25) is an Indic abugida, written left-to-right. Used since the 7th century CE for writing religious texts in Sanskrit and Dravidian languages. Related to Tamil. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Gujarati": { + "name": "Noto Sans Gujarati", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "gujarati", + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Gujr", + "article": "Noto Sans Gujarati is an unmodulated (\u201csans serif\u201d) design for texts in the Indic Gujarati script. Noto Sans Gujarati contains 798 glyphs, 16 OpenType features, and supports 164 characters from 5 Unicode blocks: Gujarati, Basic Latin, General Punctuation, Devanagari, Common Indic Number Forms. Supported writing systems Gujarati Gujarati (\u0a97\u0ac1\u0a9c\u0ab0\u0abe\u0aa4\u0ac0) is an Indic abugida, written left-to-right without a headstroke (48 million users). Used in India since the 16th century CE for the Gujarati and Chodri languages. Also used alongside Devanagari for languages used by the Bhil people. Related to Devanagari. Was used mainly for bookkeeping and correspondence until the mid-19th century. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Gunjala Gondi": { + "name": "Noto Sans Gunjala Gondi", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "gunjala-gondi", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Gong", + "article": "Noto Sans Gunjala Gondi is a design for the Indic Gunjala Gondi script. Noto Sans Gunjala Gondi has multiple weights, contains 254 glyphs, 6 OpenType features, and supports 94 characters from 3 Unicode blocks: Gunjala Gondi, Basic Latin, General Punctuation. Supported writing systems Gunjala Gondi Gunjala Gondi (Koytura Gunjala Lipi, \ud807\udd76\ud807\udd8d\ud807\udd95\ud807\udd80\ud807\udd75\ud807\udd8a \ud807\udd76\ud807\udd93\ud807\udd95\ud807\udd82\ud807\udd8b \ud807\udd75\ud807\udd8b\ud807\udd85\ud807\udd8b) is an Indic abugida, written left-to-right. Used in India\u2019s northern Telangana, eastern Maharashtra, southeastern Madhya Pradesh, and Chhattisgarh regions for the Gondi language. Was used to write manuscripts dated ca. 1750 that were discovered 2006 in Gunjala, a Gond village in the Indian state of Telangana. Recently revived among the Gond population. Unrelated to the 1918-created Masaram Gondi. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Gurmukhi": { + "name": "Noto Sans Gurmukhi", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "gurmukhi", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Guru", + "article": "Noto Sans Gurmukhi is an unmodulated (\u201csans serif\u201d) design for texts in the Indic Gurmukhi script. Noto Sans Gurmukhi has multiple weights and widths, contains 344 glyphs, 11 OpenType features, and supports 154 characters from 5 Unicode blocks: Gurmukhi, Basic Latin, General Punctuation, Devanagari, Common Indic Number Forms. Supported writing systems Gurmukhi Gurmukhi (\u0a17\u0a41\u0a30\u0a2e\u0a41\u0a16\u0a40) is an Indic abugida, written left-to-right with a headstroke (22 million users). Used in India for the Punjabi language by followers of the Sikh religion. Brahmic script. Current form developed in the 16th century by Guru Angad. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans HK": { + "name": "Noto Sans HK", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "chinese-hongkong", + "cyrillic", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Hant", + "article": "Noto Sans HK is an unmodulated (\u201csans serif\u201d) design for languages in Hong Kong that use the Traditional Chinese variant of the Han ideograms. It also supports Latin, Cyrillic, Greek, Katakana, Hiragana and Hangul. Noto Sans CJK HK contains 65,535 glyphs, 23 OpenType features, and supports 44,806 characters from 55 Unicode blocks: CJK Unified Ideographs, Hangul Syllables, CJK Unified Ideographs Extension A, CJK Unified Ideographs Extension B, CJK Compatibility Ideographs, Hangul Jamo, CJK Compatibility, Halfwidth and Fullwidth Forms, Kangxi Radicals, Enclosed CJK Letters and Months, Enclosed Alphanumeric Supplement, Box Drawing, CJK Radicals Supplement, CJK Unified Ideographs Extension E, Katakana, Hangul Compatibility Jamo, Hiragana, Latin Extended Additional, Latin-1 Supplement, Basic Latin, Enclosed Alphanumerics, Mathematical Operators, Hangul Jamo Extended-B, Cyrillic, Enclosed Ideographic Supplement, CJK Compatibility Ideographs Supplement, CJK Symbols and Punctuation, Miscellaneous Symbols, Greek and Coptic, CJK Unified Ideographs Extension C, Bopomofo, Geometric Shapes, CJK Strokes, General Punctuation, CJK Unified Ideographs Extension D, Block Elements, CJK Compatibility Forms, Latin Extended-A, Hangul Jamo Extended-A, Bopomofo Extended, Miscellaneous Technical, Small Form Variants, Arrows, Latin Extended-B, Letterlike Symbols, Katakana Phonetic Extensions, Kanbun, Ideographic Description Characters, Vertical Forms, Spacing Modifier Letters, Dingbats, Combining Diacritical Marks, Miscellaneous Symbols and Arrows, Alphabetic Presentation Forms, CJK Unified Ideographs Extension F. Supported writing systems Traditional Han Traditional Han (\u6f22\u5b57) is an East Asian logo-syllabary, written vertically right-to-left and horizontally left-to-right (over 30 million users). Used in Taiwan, Hong Kong and Macau. ((TODO)) Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Hangul Hangul (Hangeul, \ud55c\uae00, Chos\u014fn'g\u016dl, \uc870\uc120\uae00) is an East Asian script, written vertically right-to-left and horizontally left-to-right (79 million users). Used for the Korean language. Created in 1446 by King Sejong the Great (Sejong of Joseon) as a simpler, phonetic alternative to using Chinese hanja for Korean. Not universally accepted for centuries, suppressed by Japanese colonial authorities. Since 1945 the standard script for Korean. The 51 basic letters (jamo) are grouped into syllable blocks depending on their position in the spoken syllable. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Latin Latin (Roman) is a European bicameral alphabet, written left-to-right. The most popular writing system in the world. Used for over 3,000 languages including Latin and Romance languages (Italian, French, Portuguese, Spanish and Romanian), Germanic languages (English, Dutch, German, Nordic languages), Finnish, Malaysian, Indonesian, Filipino, Visayan languages, Turkish, Azerbaijani, Polish, Somali, Vietnamese, and many others. Derived from Western Greek, attested in Rome in the 7th century BCE. In the common era, numerous European languages adopted the Latin script along with Western Christian religion, the script disseminated further with European colonization of the Americas, Australia, parts of Asia, Africa and the Pacific. New letters, ligatures and diacritical marks were gradually added to represent the sounds of various languages. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Katakana Katakana (\u7247\u4eee\u540d\u3001\u30ab\u30bf\u30ab\u30ca) is an East Asian syllabary, written vertically right-to-left and horizontally left-to-right (126 million users). Used in Japan for Japanese, Ryukyuan, Ainu and Palauan, and formerly for Taiwanese Hokkien. Katakana is used for transcription of foreign-language words into Japanese, for the writing of loan words, for emphasis, to represent onomatopoeia, for technical and scientific terms, for names of plants, animals and minerals, and often for names of Japanese companies. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Hiragana Hiragana (\u5e73\u4eee\u540d, \u3072\u3089\u304c\u306a) is an East Asian syllabary, written vertically right-to-left and horizontally left-to-right (120 million users). Used in Japan for Japanese and the Ryukyuan languages. Hiragana is used to write okurigana (kana suffixes following a kanji root, for example to inflect verbs and adjectives), various grammatical and function words including particles, as well as miscellaneous other native words for which there are no kanji or whose kanji form is obscure or too formal for the writing purpose. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Emoji symbols Emoji symbols are pictograms, logograms, ideograms and smileys used in electronic messages and web pages. Their primary function is to fill in emotional cues otherwise missing from typed conversation. They are typically rendered as multi-color characters. Read more on ScriptSource, Unicode, Wikipedia, r12a. Bopomofo Bopomofo (\u6ce8\u97f3\u7b26\u865f, \u6ce8\u97f3\u7b26\u53f7, \u3105\u3106\u3107\u3108) is an East Asian syllabary, written left-to-right. Developed in 1913 in China to be used for Mandarin Chinese transliteration alongside the Latin-based Wade\u2013Giles system. Also called Mandarin Phonetic Symbols or Zhuyin (\u6ce8\u97f3). Bopomofo is an official transliteration system in Taiwan, used in dictionaries, books, newspapers and journals to annotate the Taiwanese pronunciation of Chinese Han characters, and in electronic input methods. Largely replaced by Pinyin romanization in the People\u2019s Republic of China. Also used as the primary script for Taiwan\u2019s minority languages like Atayal, Taroko, Paiwan and Yami. Has 21 onset consonants, 16 rhymes, and 4 tone marks. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Cyrillic Cyrillic is a bicameral alphabet originating in Europe, written left-to-right (250 million users). Used for various languages across Eurasia and is used as the national script in various Slavic, Turkic, Mongolic and Iranic-speaking countries in Southeastern Europe, Eastern Europe, the Caucasus, Central Asia, North Asia and East Asia, including Russian, Bulgarian, Macedonian, Serbian, Ukrainian, Uzbek, Azerbaijani, Kazakh, Tajik, Kyrgyz, Bashkort, Chechen, Chuvash, Avar, Dargwa, Kabardian, Karakalpak, Kumyk, Lezgi, Ossetic, Pontic, Yakut, Buriat and many others. Created in the 9th century. Traditionally attributed to Saint Cyril, a monk from Thessaloniki working in Bulgaria, after earlier creation of the Glagolitic script. Sometimes attributed to Clement of Ohrid, a student of Saint Cyril\u2019s. Initially used for Old Church Slavonic. Reformed in 1708 by Russian tsar Peter the Great. Extended by the Soviet Union in the 20th century to write over 50 languages throughout Eastern Europe and Asia (some of those languages switched to Latin after 1991). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Greek Greek (\u0395\u03bb\u03bb\u03b7\u03bd\u03b9\u03ba\u03ac) is a European bicameral alphabet, written left-to-right (11 million users). Used to write the Greek language since the 8th century BCE. Also used to write other languages like Urum, Albanian Tosk, and Balkan Gagauz Turkish. Some symbols are also used in scientific notation. Derived from Phoenician. First \u201ctrue alphabet\u201d, with distinct letters for consonants and vowels. Standardized in the 4th century BCE by Eucleides. Has 24 letters. Some letter variants (sigma: \u03c3/\u03c2) have positional significance in the Greek language, other variants only differ in meaning in scientific notation (e.g. pi: \u03c0/\u03d6). The Greek language used to be written in polytonic spelling, with three accents on vowels. In 1982, Greece introduced monotonic spelling with a single diacritic. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Hanifi Rohingya": { + "name": "Noto Sans Hanifi Rohingya", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "hanifi-rohingya", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Rohg", + "article": "Noto Sans Hanifi Rohingya is an unmodulated (\u201csans serif\u201d) design for texts in the Southeast Asian Hanifi Rohingya script. Noto Sans Hanifi Rohingya has multiple weights, contains 179 glyphs, 8 OpenType features, and supports 65 characters from 2 Unicode blocks: Hanifi Rohingya, Arabic. Supported writing systems Hanifi Rohingya Hanifi Rohingya (\ud803\udd0c\ud803\udd1f\ud803\udd07\ud803\udd25\ud803\udd1d\ud803\udd1a\ud803\udd12\ud803\udd19\ud803\udd1d \ud803\udd07\ud803\udd1d\ud803\udd15\ud803\udd1e\ud803\udd09\ud803\udd1e \ud803\udd13\ud803\udd20\ud803\udd11\ud803\udd24\ud803\udd1d) is a Southeast Asian script, written right-to-left. Used in Myanmar since the 1980s for the Rohingya language (1.5 million speakers), which was previously witten in Arabic script. Created by Mohammad Hanif. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Hanunoo": { + "name": "Noto Sans Hanunoo", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "hanunoo", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Hano", + "article": "Noto Sans Hanunoo is an unmodulated (\u201csans serif\u201d) design for texts in the Southeast Asian Hanunoo script. Noto Sans Hanunoo contains 48 glyphs, 3 OpenType features, and supports 31 characters from the Unicode block Hanunoo. Supported writing systems Hanunoo Hanunoo (\u1731\u1728\u1733\u1728\u1733\u1722) is a Southeast Asian abugida, unusually written in upward vertical columns that are read left-to-right. Used in the mountains of Mindoro, South Philippines since c. 1300 for the Hanun\u00f3'o language (18,000 speakers). Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Hatran": { + "name": "Noto Sans Hatran", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "hatran", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Hatr", + "article": "Noto Sans Hatran is an unmodulated (\u201csans serif\u201d) design for texts in the historical Middle Eastern Hatran script. Noto Sans Hatran contains 32 glyphs, and supports 31 characters from the Unicode block Hatran. Supported writing systems Hatran Hatran is a historical Middle Eastern abjad, written right-to-left. Was used for Aramaic of Hatra, a dialect spoken by early inhabitants of today\u2019s northern Iraq in 98 BCE\u2013240 CE. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Hebrew": { + "name": "Noto Sans Hebrew", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic-ext", + "greek-ext", + "hebrew", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Hebr", + "article": "Noto Sans Hebrew is an unmodulated (\u201csans serif\u201d) design for texts in the Middle Eastern Hebrew script. Noto Sans Hebrew has multiple weights and widths, contains 149 glyphs, 4 OpenType features, and supports 145 characters from 2 Unicode blocks: Hebrew, Alphabetic Presentation Forms. Supported writing systems Hebrew Hebrew ( \u05e2\u05d1\u05e8\u05d9\u05ea ) is a Middle Eastern abjad, written right-to-left (14 million users). Used for the Hebrew, Samaritan and Yiddish languages. Also used for some varieties of Arabic and for the languages of Jewish communities across the world. Has 22 consonant letters, 5 have positional variants. Vowels in Hebrew language are normally omitted except for long vowels which are sometimes written with the consonant letters \u05d0\u05d4\u05d5\u05d9 (those were vowel-only letters until the 9th century). Children\u2019s and school books use niqqud diacritics for all vowels. Religious texts may use cantillation marks for indicating rhythm and stress. Needs software support for complex text layout (shaping). Read more on ScriptSource , Unicode , Wikipedia , Wiktionary , r12a .", + "minisite_url": null + }, + "Noto Sans Imperial Aramaic": { + "name": "Noto Sans Imperial Aramaic", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "imperial-aramaic", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Armi", + "article": "Noto Sans Imperial Aramaic is an unmodulated (\u201csans serif\u201d) design for texts in the historical Middle Eastern Imperial Aramaic script. Noto Sans Imperial Aramaic contains 36 glyphs, and supports 35 characters from the Unicode block Imperial Aramaic. Supported writing systems Imperial Aramaic Imperial Aramaic is a historical Middle Eastern abjad, written right-to-left. Was the script and language of the Persian Empire in 5th\u20133rd century BCE. Derived from the Phoenician script. Continued to be used until the 2nd century CE, and later evolved into Syriac, Nabataean, Palmyran and Hebrew (to which it is the closest). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Indic Siyaq Numbers": { + "name": "Noto Sans Indic Siyaq Numbers", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "indic-siyaq-numbers", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Arab", + "article": "Noto Sans Indic Siyaq Numbers is a modulated design that contains Arabic-script numerals that were used for accounting in India in the 17th\u201320th centuries. Noto Sans Indic Siyaq Numbers contains 95 glyphs, 2 OpenType features, and supports 93 characters .", + "minisite_url": null + }, + "Noto Sans Inscriptional Pahlavi": { + "name": "Noto Sans Inscriptional Pahlavi", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "inscriptional-pahlavi", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Phli", + "article": "Noto Sans Inscriptional Pahlavi is an unmodulated (\u201csans serif\u201d) design for texts in the historical Middle Eastern Inscriptional Pahlavi script. Noto Sans Inscriptional Pahlavi contains 35 glyphs, 2 OpenType features, and supports 31 characters from the Unicode block Inscriptional Pahlavi. Supported writing systems Inscriptional Pahlavi Inscriptional Pahlavi is a historical Middle Eastern abjad, written right-to-left. Was presumably used in the 2nd century BCE\u20135th century CE as a monumental script for Middle Iranian languages. The letters are disconnected. Later evolved into Psalter Pahlavi and Book Pahlavi. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Inscriptional Parthian": { + "name": "Noto Sans Inscriptional Parthian", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "inscriptional-parthian", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Prti", + "article": "Noto Sans Inscriptional Parthian is an unmodulated (\u201csans serif\u201d) design for texts in the historical Middle Eastern Inscriptional Parthian script. Noto Sans Inscriptional Parthian contains 46 glyphs, 2 OpenType features, and supports 34 characters from the Unicode block Inscriptional Parthian. Supported writing systems Inscriptional Parthian Inscriptional Parthian is a historical Middle Eastern abjad, written right-to-left. Was used around 250 BC in today\u2019s north-eastern Iran for the Parthian language, and, along with Inscriptional Pahlavi and Psalter Pahlavi, for other Iranian and Indo-European languages. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans JP": { + "name": "Noto Sans JP", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "japanese", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Jpan", + "article": "Noto Sans JP is an unmodulated (\u201csans serif\u201d) design for the Japanese language and other languages used in Japan. It covers Hiragana, Katakana and Kanji. It also supports Latin, Cyrillic, Greek and Hangul. Noto Sans CJK JP contains 65,535 glyphs, 27 OpenType features, and supports 44,806 characters from 55 Unicode blocks: CJK Unified Ideographs, Hangul Syllables, CJK Unified Ideographs Extension A, CJK Unified Ideographs Extension B, CJK Compatibility Ideographs, Hangul Jamo, CJK Compatibility, Halfwidth and Fullwidth Forms, Kangxi Radicals, Enclosed CJK Letters and Months, Enclosed Alphanumeric Supplement, Box Drawing, CJK Radicals Supplement, CJK Unified Ideographs Extension E, Katakana, Hangul Compatibility Jamo, Hiragana, Latin Extended Additional, Latin-1 Supplement, Basic Latin, Enclosed Alphanumerics, Mathematical Operators, Hangul Jamo Extended-B, Cyrillic, Enclosed Ideographic Supplement, CJK Compatibility Ideographs Supplement, CJK Symbols and Punctuation, Miscellaneous Symbols, Greek and Coptic, CJK Unified Ideographs Extension C, Bopomofo, Geometric Shapes, CJK Strokes, General Punctuation, CJK Unified Ideographs Extension D, Block Elements, CJK Compatibility Forms, Latin Extended-A, Hangul Jamo Extended-A, Bopomofo Extended, Miscellaneous Technical, Small Form Variants, Arrows, Latin Extended-B, Letterlike Symbols, Katakana Phonetic Extensions, Kanbun, Ideographic Description Characters, Vertical Forms, Spacing Modifier Letters, Dingbats, Combining Diacritical Marks, Miscellaneous Symbols and Arrows, Alphabetic Presentation Forms, CJK Unified Ideographs Extension F. Supported writing systems Japanese Kanji Japanese Kanji (\u6f22\u5b57) is an East Asian logo-syllabary, written left-to-right (126 million users). Used together with the Hiragana and Katakana syllabaries in Japan for the Japanese language. Noun, verb, adjective and some adverb stems use kanji (the most basic set is 2,136). Grammatical elements use Hiragana, loan words and emphasis use Katakana. Kanji is primarily derived from the traditional Chinese Han characters. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Hangul Hangul (Hangeul, \ud55c\uae00, Chos\u014fn'g\u016dl, \uc870\uc120\uae00) is an East Asian script, written vertically right-to-left and horizontally left-to-right (79 million users). Used for the Korean language. Created in 1446 by King Sejong the Great (Sejong of Joseon) as a simpler, phonetic alternative to using Chinese hanja for Korean. Not universally accepted for centuries, suppressed by Japanese colonial authorities. Since 1945 the standard script for Korean. The 51 basic letters (jamo) are grouped into syllable blocks depending on their position in the spoken syllable. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Latin Latin (Roman) is a European bicameral alphabet, written left-to-right. The most popular writing system in the world. Used for over 3,000 languages including Latin and Romance languages (Italian, French, Portuguese, Spanish and Romanian), Germanic languages (English, Dutch, German, Nordic languages), Finnish, Malaysian, Indonesian, Filipino, Visayan languages, Turkish, Azerbaijani, Polish, Somali, Vietnamese, and many others. Derived from Western Greek, attested in Rome in the 7th century BCE. In the common era, numerous European languages adopted the Latin script along with Western Christian religion, the script disseminated further with European colonization of the Americas, Australia, parts of Asia, Africa and the Pacific. New letters, ligatures and diacritical marks were gradually added to represent the sounds of various languages. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Katakana Katakana (\u7247\u4eee\u540d\u3001\u30ab\u30bf\u30ab\u30ca) is an East Asian syllabary, written vertically right-to-left and horizontally left-to-right (126 million users). Used in Japan for Japanese, Ryukyuan, Ainu and Palauan, and formerly for Taiwanese Hokkien. Katakana is used for transcription of foreign-language words into Japanese, for the writing of loan words, for emphasis, to represent onomatopoeia, for technical and scientific terms, for names of plants, animals and minerals, and often for names of Japanese companies. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Hiragana Hiragana (\u5e73\u4eee\u540d, \u3072\u3089\u304c\u306a) is an East Asian syllabary, written vertically right-to-left and horizontally left-to-right (120 million users). Used in Japan for Japanese and the Ryukyuan languages. Hiragana is used to write okurigana (kana suffixes following a kanji root, for example to inflect verbs and adjectives), various grammatical and function words including particles, as well as miscellaneous other native words for which there are no kanji or whose kanji form is obscure or too formal for the writing purpose. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Emoji symbols Emoji symbols are pictograms, logograms, ideograms and smileys used in electronic messages and web pages. Their primary function is to fill in emotional cues otherwise missing from typed conversation. They are typically rendered as multi-color characters. Read more on ScriptSource, Unicode, Wikipedia, r12a. Bopomofo Bopomofo (\u6ce8\u97f3\u7b26\u865f, \u6ce8\u97f3\u7b26\u53f7, \u3105\u3106\u3107\u3108) is an East Asian syllabary, written left-to-right. Developed in 1913 in China to be used for Mandarin Chinese transliteration alongside the Latin-based Wade\u2013Giles system. Also called Mandarin Phonetic Symbols or Zhuyin (\u6ce8\u97f3). Bopomofo is an official transliteration system in Taiwan, used in dictionaries, books, newspapers and journals to annotate the Taiwanese pronunciation of Chinese Han characters, and in electronic input methods. Largely replaced by Pinyin romanization in the People\u2019s Republic of China. Also used as the primary script for Taiwan\u2019s minority languages like Atayal, Taroko, Paiwan and Yami. Has 21 onset consonants, 16 rhymes, and 4 tone marks. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Cyrillic Cyrillic is a bicameral alphabet originating in Europe, written left-to-right (250 million users). Used for various languages across Eurasia and is used as the national script in various Slavic, Turkic, Mongolic and Iranic-speaking countries in Southeastern Europe, Eastern Europe, the Caucasus, Central Asia, North Asia and East Asia, including Russian, Bulgarian, Macedonian, Serbian, Ukrainian, Uzbek, Azerbaijani, Kazakh, Tajik, Kyrgyz, Bashkort, Chechen, Chuvash, Avar, Dargwa, Kabardian, Karakalpak, Kumyk, Lezgi, Ossetic, Pontic, Yakut, Buriat and many others. Created in the 9th century. Traditionally attributed to Saint Cyril, a monk from Thessaloniki working in Bulgaria, after earlier creation of the Glagolitic script. Sometimes attributed to Clement of Ohrid, a student of Saint Cyril\u2019s. Initially used for Old Church Slavonic. Reformed in 1708 by Russian tsar Peter the Great. Extended by the Soviet Union in the 20th century to write over 50 languages throughout Eastern Europe and Asia (some of those languages switched to Latin after 1991). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Greek Greek (\u0395\u03bb\u03bb\u03b7\u03bd\u03b9\u03ba\u03ac) is a European bicameral alphabet, written left-to-right (11 million users). Used to write the Greek language since the 8th century BCE. Also used to write other languages like Urum, Albanian Tosk, and Balkan Gagauz Turkish. Some symbols are also used in scientific notation. Derived from Phoenician. First \u201ctrue alphabet\u201d, with distinct letters for consonants and vowels. Standardized in the 4th century BCE by Eucleides. Has 24 letters. Some letter variants (sigma: \u03c3/\u03c2) have positional significance in the Greek language, other variants only differ in meaning in scientific notation (e.g. pi: \u03c0/\u03d6). The Greek language used to be written in polytonic spelling, with three accents on vowels. In 1982, Greece introduced monotonic spelling with a single diacritic. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Javanese": { + "name": "Noto Sans Javanese", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "javanese", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Java", + "article": "Noto Sans Javanese is an unmodulated (\u201csans serif\u201d) design for texts in the Southeast Asian Javanese script. Noto Sans Javanese contains 405 glyphs, 7 OpenType features, and supports 99 characters from the Unicode block Javanese. Supported writing systems Javanese Javanese (Aksara Jawa, \ua984\ua98f\ua9c0\ua9b1\ua9ab\ua997\ua9ae) is a Southeast Asian abugida, written left-to-right. Used since the 15h century for the Javanese language on the Indonesian island of Java. Also used for Sundanese, Madurese, Sasak, Indonesian, Kawi, Sanskrit. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans KR": { + "name": "Noto Sans KR", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "korean", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Kore", + "article": "Noto Sans KR is an unmodulated (\u201csans serif\u201d) design for the Korean language using Hangul and the Korean Hanja scripts. It also supports Hiragana, Katakana, Latin, Cyrillic and Greek. Noto Sans CJK KR contains 65,535 glyphs, 23 OpenType features, and supports 44,806 characters from 55 Unicode blocks: CJK Unified Ideographs, Hangul Syllables, CJK Unified Ideographs Extension A, CJK Unified Ideographs Extension B, CJK Compatibility Ideographs, Hangul Jamo, CJK Compatibility, Halfwidth and Fullwidth Forms, Kangxi Radicals, Enclosed CJK Letters and Months, Enclosed Alphanumeric Supplement, Box Drawing, CJK Radicals Supplement, CJK Unified Ideographs Extension E, Katakana, Hangul Compatibility Jamo, Hiragana, Latin Extended Additional, Latin-1 Supplement, Basic Latin, Enclosed Alphanumerics, Mathematical Operators, Hangul Jamo Extended-B, Cyrillic, Enclosed Ideographic Supplement, CJK Compatibility Ideographs Supplement, CJK Symbols and Punctuation, Miscellaneous Symbols, Greek and Coptic, CJK Unified Ideographs Extension C, Bopomofo, Geometric Shapes, CJK Strokes, General Punctuation, CJK Unified Ideographs Extension D, Block Elements, CJK Compatibility Forms, Latin Extended-A, Hangul Jamo Extended-A, Bopomofo Extended, Miscellaneous Technical, Small Form Variants, Arrows, Latin Extended-B, Letterlike Symbols, Katakana Phonetic Extensions, Kanbun, Ideographic Description Characters, Vertical Forms, Spacing Modifier Letters, Dingbats, Combining Diacritical Marks, Miscellaneous Symbols and Arrows, Alphabetic Presentation Forms, CJK Unified Ideographs Extension F. Supported writing systems Korean Hanja Korean Hanja (\ud55c\uc790, \u6f22\u5b57) is an East Asian logo-syllabary, written left-to-right. Based on traditional Chinese Han characters, Hanja was used for the Korean language until 1446, when King Sejong introduced Hangul. Until the mid-20th century Hanja and Hangul were used in parallel or mixed. Today, the vast majority of Korean text uses Hangul but Hanja is still used in some context, and schools teach some 1,000-3,000 Hanja symbols. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Hangul Hangul (Hangeul, \ud55c\uae00, Chos\u014fn'g\u016dl, \uc870\uc120\uae00) is an East Asian script, written vertically right-to-left and horizontally left-to-right (79 million users). Used for the Korean language. Created in 1446 by King Sejong the Great (Sejong of Joseon) as a simpler, phonetic alternative to using Chinese hanja for Korean. Not universally accepted for centuries, suppressed by Japanese colonial authorities. Since 1945 the standard script for Korean. The 51 basic letters (jamo) are grouped into syllable blocks depending on their position in the spoken syllable. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Latin Latin (Roman) is a European bicameral alphabet, written left-to-right. The most popular writing system in the world. Used for over 3,000 languages including Latin and Romance languages (Italian, French, Portuguese, Spanish and Romanian), Germanic languages (English, Dutch, German, Nordic languages), Finnish, Malaysian, Indonesian, Filipino, Visayan languages, Turkish, Azerbaijani, Polish, Somali, Vietnamese, and many others. Derived from Western Greek, attested in Rome in the 7th century BCE. In the common era, numerous European languages adopted the Latin script along with Western Christian religion, the script disseminated further with European colonization of the Americas, Australia, parts of Asia, Africa and the Pacific. New letters, ligatures and diacritical marks were gradually added to represent the sounds of various languages. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Katakana Katakana (\u7247\u4eee\u540d\u3001\u30ab\u30bf\u30ab\u30ca) is an East Asian syllabary, written vertically right-to-left and horizontally left-to-right (126 million users). Used in Japan for Japanese, Ryukyuan, Ainu and Palauan, and formerly for Taiwanese Hokkien. Katakana is used for transcription of foreign-language words into Japanese, for the writing of loan words, for emphasis, to represent onomatopoeia, for technical and scientific terms, for names of plants, animals and minerals, and often for names of Japanese companies. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Hiragana Hiragana (\u5e73\u4eee\u540d, \u3072\u3089\u304c\u306a) is an East Asian syllabary, written vertically right-to-left and horizontally left-to-right (120 million users). Used in Japan for Japanese and the Ryukyuan languages. Hiragana is used to write okurigana (kana suffixes following a kanji root, for example to inflect verbs and adjectives), various grammatical and function words including particles, as well as miscellaneous other native words for which there are no kanji or whose kanji form is obscure or too formal for the writing purpose. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Emoji symbols Emoji symbols are pictograms, logograms, ideograms and smileys used in electronic messages and web pages. Their primary function is to fill in emotional cues otherwise missing from typed conversation. They are typically rendered as multi-color characters. Read more on ScriptSource, Unicode, Wikipedia, r12a. Bopomofo Bopomofo (\u6ce8\u97f3\u7b26\u865f, \u6ce8\u97f3\u7b26\u53f7, \u3105\u3106\u3107\u3108) is an East Asian syllabary, written left-to-right. Developed in 1913 in China to be used for Mandarin Chinese transliteration alongside the Latin-based Wade\u2013Giles system. Also called Mandarin Phonetic Symbols or Zhuyin (\u6ce8\u97f3). Bopomofo is an official transliteration system in Taiwan, used in dictionaries, books, newspapers and journals to annotate the Taiwanese pronunciation of Chinese Han characters, and in electronic input methods. Largely replaced by Pinyin romanization in the People\u2019s Republic of China. Also used as the primary script for Taiwan\u2019s minority languages like Atayal, Taroko, Paiwan and Yami. Has 21 onset consonants, 16 rhymes, and 4 tone marks. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Cyrillic Cyrillic is a bicameral alphabet originating in Europe, written left-to-right (250 million users). Used for various languages across Eurasia and is used as the national script in various Slavic, Turkic, Mongolic and Iranic-speaking countries in Southeastern Europe, Eastern Europe, the Caucasus, Central Asia, North Asia and East Asia, including Russian, Bulgarian, Macedonian, Serbian, Ukrainian, Uzbek, Azerbaijani, Kazakh, Tajik, Kyrgyz, Bashkort, Chechen, Chuvash, Avar, Dargwa, Kabardian, Karakalpak, Kumyk, Lezgi, Ossetic, Pontic, Yakut, Buriat and many others. Created in the 9th century. Traditionally attributed to Saint Cyril, a monk from Thessaloniki working in Bulgaria, after earlier creation of the Glagolitic script. Sometimes attributed to Clement of Ohrid, a student of Saint Cyril\u2019s. Initially used for Old Church Slavonic. Reformed in 1708 by Russian tsar Peter the Great. Extended by the Soviet Union in the 20th century to write over 50 languages throughout Eastern Europe and Asia (some of those languages switched to Latin after 1991). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Greek Greek (\u0395\u03bb\u03bb\u03b7\u03bd\u03b9\u03ba\u03ac) is a European bicameral alphabet, written left-to-right (11 million users). Used to write the Greek language since the 8th century BCE. Also used to write other languages like Urum, Albanian Tosk, and Balkan Gagauz Turkish. Some symbols are also used in scientific notation. Derived from Phoenician. First \u201ctrue alphabet\u201d, with distinct letters for consonants and vowels. Standardized in the 4th century BCE by Eucleides. Has 24 letters. Some letter variants (sigma: \u03c3/\u03c2) have positional significance in the Greek language, other variants only differ in meaning in scientific notation (e.g. pi: \u03c0/\u03d6). The Greek language used to be written in polytonic spelling, with three accents on vowels. In 1982, Greece introduced monotonic spelling with a single diacritic. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Kaithi": { + "name": "Noto Sans Kaithi", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "kaithi", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Kthi", + "article": "Noto Sans Kaithi is an unmodulated (\u201csans serif\u201d) design for texts in the Indic Kaithi script. Noto Sans Kaithi contains 322 glyphs, 13 OpenType features, and supports 97 characters from 2 Unicode blocks: Kaithi, Common Indic Number Forms. Supported writing systems Kaithi Kaithi (\ud804\udc8d\ud804\udcb6\ud804\udc9f\ud804\udcb2) is a historical Indic abugida, written left-to-right without a headstroke. Was used in the 16th\u201320th century in Northern and Eastern India for Indo-Aryan languages like Angika, Awadhi, Bhojpuri, Hindustani, Magahi, Maithili, Nagpuri. Except in the state of Bihar, was discouraged under British rule in India. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Kannada": { + "name": "Noto Sans Kannada", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "kannada", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Knda", + "article": "Noto Sans Kannada is an unmodulated (\u201csans serif\u201d) design for texts in the Indic Kannada script. Noto Sans Kannada has multiple weights and widths, contains 655 glyphs, 11 OpenType features, and supports 164 characters from 5 Unicode blocks: Kannada, Basic Latin, General Punctuation, Vedic Extensions, Devanagari. Supported writing systems Kannada Kannada (\u0c95\u0ca8\u0ccd\u0ca8\u0ca1 \u0cb2\u0cbf\u0caa\u0cbf) is an Indic abugida, written left-to-right, partially with a headstroke (45 million users). Used in southern India for the Kannada language as well as Konkani, Tulu, Badaga, Kudiya, Paniya. Related to Telugu. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Kawi": { + "name": "Noto Sans Kawi", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "kawi", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Kawi", + "article": "Noto Sans Kawi is a design for the historical Southeast Asian Kawi script. Noto Sans Kawi has multiple weights, contains 110 glyphs, 2 OpenType features, and supports 88 characters from the Unicode block Kawi. Supported writing systems Kawi Kawi is a historical Southeast Asian abugida, written left-to-right. Read more on ScriptSource, Unicode, Wikipedia, r12a.", + "minisite_url": null + }, + "Noto Sans Kayah Li": { + "name": "Noto Sans Kayah Li", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "kayah-li", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Kali", + "article": "Noto Sans Kayah Li is an unmodulated (\u201csans serif\u201d) design for texts in the Southeast Asian Kayah Li script. Noto Sans Kayah Li has multiple weights, contains 60 glyphs, 3 OpenType features, and supports 57 characters from the Unicode block Kayah Li. Supported writing systems Kayah Li Kayah Li (\ua90a\ua922\ua91b\ua922\ua91f \ua91c\ua924) is a Southeast Asian alphabet, written left-to-right. Used in Myanmar and Thailand for Kayah languages (150,000 users). Created in 1962 by Htae Bu Phae. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Kharoshthi": { + "name": "Noto Sans Kharoshthi", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "kharoshthi", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Khar", + "article": "Noto Sans Kharoshthi is an unmodulated (\u201csans serif\u201d) design for texts in the historical Indic Kharoshthi script. Noto Sans Kharoshthi contains 154 glyphs, 10 OpenType features, and supports 78 characters from the Unicode block Kharoshthi. Supported writing systems Kharoshthi Kharoshthi (\ud802\ude11\ud802\ude2a\ud802\ude06\ud802\ude2f\ud802\ude20\ud802\ude01) is a historical Indic abugida, written right-to-left. Was used in the 4th century BCE\u20133rd century CE in Gandhara (now Pakistan and north-eastern Afghanistan) for Gandhari Prakrit and Sanskrit. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Khmer": { + "name": "Noto Sans Khmer", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "khmer", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Khmr", + "article": "Noto Sans Khmer is an unmodulated (\u201csans serif\u201d) design for texts in the Southeast Asian Khmer script. Noto Sans Khmer has multiple weights and widths, contains 363 glyphs, 13 OpenType features, and supports 175 characters from 4 Unicode blocks: Khmer, Khmer Symbols, Basic Latin, General Punctuation. Supported writing systems Khmer Khmer (\u17a2\u1780\u17d2\u179f\u179a\u1781\u17d2\u1798\u17c2\u179a) is a Southeast Asian abugida, written left-to-right (12 million users). Used since the 7th century in Cambodia for the Khmer language. Also used for Brao, Mnong, Pali. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Khojki": { + "name": "Noto Sans Khojki", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "khojki", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Khoj", + "article": "Noto Sans Khojki is an unmodulated (\u201csans serif\u201d) design for texts in the Indic Khojki script. Noto Sans Khojki contains 177 glyphs, 8 OpenType features, and supports 89 characters from 2 Unicode blocks: Khojki, Common Indic Number Forms. Supported writing systems Khojki Khojki (\ud804\ude09\ud804\ude32\ud804\ude10\ud804\ude08\ud804\ude2e) is an Indic abugida, written left-to-right. Used since the 16th century in today\u2019s Pakistan and India by the Khoja people for religious texts in the Sindhi language. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Khudawadi": { + "name": "Noto Sans Khudawadi", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "khudawadi", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Sind", + "article": "Noto Sans Khudawadi is an unmodulated (\u201csans serif\u201d) design for texts in the historical Indic Khudawadi script. Noto Sans Khudawadi contains 110 glyphs, 5 OpenType features, and supports 90 characters from 2 Unicode blocks: Khudawadi, Common Indic Number Forms. Supported writing systems Khudawadi Khudawadi (Sindhi, \ud804\udebb\ud804\udee9\ud804\udee3\ud804\udecf\ud804\udee0\ud804\uded4\ud804\udee0\ud804\udecf\ud804\udee2 ) is a historical Indic abugida, written left-to-right. Was used in the Sindh province of Pakistan and in India for the Sindhi language (20 million speakers). Now replaced by Nastaliq in Pakistan, and by Devanagari in India. Needs software support for complex text layout (shaping). Read more on ScriptSource , Unicode , Wikipedia , Wiktionary , r12a .", + "minisite_url": null + }, + "Noto Sans Lao": { + "name": "Noto Sans Lao", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "lao", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Laoo", + "article": "Noto Sans Lao is an unmodulated (\u201csans serif\u201d) design in the more modern, loopless variant of the Southeast Asian Lao script, mainly suitable for headlines, packaging and advertising. Noto Sans Lao has multiple weights and widths, contains 116 glyphs, 4 OpenType features, and supports 76 characters from the Unicode block Lao. Supported writing systems Lao Lao (\u0ea5\u0eb2\u0ea7) is a Southeast Asian abugida, written left-to-right (7 million users). Used since the 14th century in Laos the Lao language, and also for Isan, Thai. Derived from the Khmer script. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Lao Looped": { + "name": "Noto Sans Lao Looped", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "lao", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Laoo", + "article": "Noto Sans Lao Looped is an unmodulated design in the more traditional, looped variant of the Southeast Asian Lao script, suitable for all texts. Noto Sans Lao Looped has multiple weights and widths, contains 181 glyphs, 11 OpenType features, and supports 126 characters from 4 Unicode blocks: Lao, Basic Latin, General Punctuation, Latin-1 Supplement. Supported writing systems Lao Lao (\u0ea5\u0eb2\u0ea7) is a Southeast Asian abugida, written left-to-right (7 million users). Used since the 14th century in Laos the Lao language, and also for Isan, Thai. Derived from the Khmer script. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Lepcha": { + "name": "Noto Sans Lepcha", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "lepcha" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Lepc", + "article": "Noto Sans Lepcha is an unmodulated (\u201csans serif\u201d) design for texts in the Central Asian Lepcha script. Noto Sans Lepcha contains 141 glyphs, 6 OpenType features, and supports 82 characters from the Unicode block Lepcha. Supported writing systems Lepcha Lepcha (R\u00f3ng, \u1c1b\u1c29\u1c34\u200e) is a Central Asian abugida, written left-to-right (50,000 users). Used since the 18th century in India, Nepal and Bhutan for the Tibeto-Burman Lepcha language. Derived from Tibetan writing. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Limbu": { + "name": "Noto Sans Limbu", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "limbu" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Limb", + "article": "Noto Sans Limbu is an unmodulated (\u201csans serif\u201d) design for texts in the Indic Limbu script. Noto Sans Limbu contains 79 glyphs, 3 OpenType features, and supports 77 characters from the Unicode block Limbu. Supported writing systems Limbu Limbu (Kiranti, Sirijonga, \u1915\u1930\u190c\u1922\u1931 \u1910\u1920\u1934) is an Indic abugida, written left-to-right. Used in Nepal and northern India for the Limbu language (0.4 million speakers), which is also written in Devanagari. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Linear A": { + "name": "Noto Sans Linear A", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "linear-a" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Lina", + "article": "Noto Sans Linear A is an unmodulated (\u201csans serif\u201d) design for texts in the historical European Linear A script. Noto Sans Linear A contains 346 glyphs, and supports 345 characters from the Unicode block Linear A. Supported writing systems Linear A Linear A is a historical undeciphered European logo-syllabary, written left-to-right. Was used 1800-1450 BCE in ancient Crete, alongside Cretan Hieroglyphs, for the hypothesized Minoan language. Succeeded by Linear B. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Linear B": { + "name": "Noto Sans Linear B", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "linear-b" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Linb", + "article": "Noto Sans Linear B is an unmodulated (\u201csans serif\u201d) design for texts in the historical European Linear B script. Noto Sans Linear B contains 273 glyphs, and supports 272 characters from 3 Unicode blocks: Linear B Ideograms, Linear B Syllabary, Aegean Numbers. Supported writing systems Linear B Linear B is a historical European logo-syllabary, written boustrophedon. Used for ancient Greek. Was used 1375-1100 BCE for writing Mycenaean Greek, the earliest attested Greek language form. Was deciphered in 1953. Has 87 syllabic signs and over 100 ideographic signs. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Lisu": { + "name": "Noto Sans Lisu", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "lisu" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Lisu", + "article": "Noto Sans Lisu is an unmodulated (\u201csans serif\u201d) design for texts in the East Asian Fraser script. Noto Sans Lisu has multiple weights, contains 59 glyphs, and supports 58 characters from the Unicode block Lisu. Supported writing systems Fraser Fraser (Old Lisu) is an East Asian alphabet, written left-to-right (1 million users). Used in China, Myanmar, India and Thailand for the Lisu language. Also used for Lipo, Naxi, Zaiwa, Lakkia. Created 1915 by Sara Ba Thaw and improved by James O. Fraser. Based on the Latin script. Official Lisu language script in China since 1992. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Lycian": { + "name": "Noto Sans Lycian", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "lycian" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Lyci", + "article": "Noto Sans Lycian is an unmodulated (\u201csans serif\u201d) design for texts in the historical European Lycian script. Noto Sans Lycian contains 34 glyphs, and supports 33 characters from the Unicode block Lycian. Supported writing systems Lycian Lycian is a historical European alphabet, written left-to-right. Was used 500-330 BCE in today\u2019s southern Turkey for the Lycian language. Has 29 letters, visually similar to archaic Greek. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Lydian": { + "name": "Noto Sans Lydian", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "lydian" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Lydi", + "article": "Noto Sans Lydian is an unmodulated (\u201csans serif\u201d) design for texts in the historical European Lydian script. Noto Sans Lydian contains 32 glyphs, and supports 31 characters from the Unicode block Lydian. Supported writing systems Lydian Lydian is a historical European alphabet, written right-to-left. Was used 700\u2013200 BCE in today\u2019s Turkish Manisa and \u0130zmir for the Lydian language. Visually similar to archaic Greek. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Mahajani": { + "name": "Noto Sans Mahajani", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "mahajani" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Mahj", + "article": "Noto Sans Mahajani is an unmodulated (\u201csans serif\u201d) design for texts in the historical Indic Mahajani script. Noto Sans Mahajani contains 69 glyphs, 2 OpenType features, and supports 68 characters from 2 Unicode blocks: Mahajani, Common Indic Number Forms. Supported writing systems Mahajani Mahajani (\ud804\udd6c\ud804\udd71\ud804\udd5b\ud804\udd67\ud804\udd51\u200e) is a historical Indic alphabet, written left-to-right. Was used until the mid-20th century in today\u2019s northwest India and eastern Pakistan as a trade and accounting script done in Hindi, Marwari and Punjabi. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Malayalam": { + "name": "Noto Sans Malayalam", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "malayalam" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Mlym", + "article": "Noto Sans Malayalam is an unmodulated (\u201csans serif\u201d) design for texts in the Indic Malayalam script. Noto Sans Malayalam has multiple weights and widths, contains 364 glyphs, 10 OpenType features, and supports 187 characters from 4 Unicode blocks: Malayalam, Basic Latin, General Punctuation, Devanagari. Supported writing systems Malayalam Malayalam (\u0d2e\u0d32\u0d2f\u0d3e\u0d33\u0d02) is an Indic abugida, written left-to-right (38 million users). Used since c. 830 CE in India for Malayalam (official language of the Kerala state), Irula, Paniya and some other languages. Derived from the a Vatteluttu alphabet. Has 15 vowel letters, 42 consonant letters, and a few other symbols. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Mandaic": { + "name": "Noto Sans Mandaic", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "mandaic" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Mand", + "article": "Noto Sans Mandaic is an unmodulated (\u201csans serif\u201d) design for texts in the historical Middle Eastern Mandaean (Mandaic) script. Noto Sans Mandaic contains 132 glyphs, 7 OpenType features, and supports 37 characters from the Unicode block Mandaic. Supported writing systems Mandaean (Mandaic) Mandaean (Mandaic) is a Middle Eastern alphabet, written right-to-left. is Used in Iraq and Iran for Mandaic, a liturgical language of the Mandaean religion (5,000 speakers). Evolved from the Aramaic script. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Manichaean": { + "name": "Noto Sans Manichaean", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "manichaean" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Mani", + "article": "Noto Sans Manichaean is an unmodulated (\u201csans serif\u201d) design for texts in the historical Middle Eastern Manichaean script. Noto Sans Manichaean contains 153 glyphs, 6 OpenType features, and supports 60 characters from the Unicode block Manichaean. Supported writing systems Manichaean Manichaean is a historical Middle Eastern abjad, written right-to-left. Was used in the 3rd\u201310th century CE by the followers of Manichaeanism, an Iranian Gnostic religion, for Middle Iranian languages and for Old Uyghur. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Marchen": { + "name": "Noto Sans Marchen", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "marchen" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Marc", + "article": "Noto Sans Marchen is an unmodulated (\u201csans serif\u201d) design for texts in the historical Indic Marchen script. Noto Sans Marchen contains 748 glyphs, 6 OpenType features, and supports 73 characters from the Unicode block Marchen. Supported writing systems Marchen Marchen is a historical Indic abugida, written left-to-right. Marchen (Greater Mar) was used by followers of the Tibetan Bo\u0308n religion for writing the Zhang-zhung language. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Masaram Gondi": { + "name": "Noto Sans Masaram Gondi", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "masaram-gondi" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Gonm", + "article": "Noto Sans Masaram Gondi is an unmodulated (\u201csans serif\u201d) design for texts in the Indic Masaram Gondi script. Noto Sans Masaram Gondi contains 187 glyphs, 6 OpenType features, and supports 108 characters from 3 Unicode blocks: Masaram Gondi, Basic Latin, General Punctuation. Supported writing systems Masaram Gondi Masaram Gondi is an Indic abugida, written left-to-right. Created 1918 by Munshi Mangal Singh Masaram. Brahmic script, not widely used. Unrelated to the historic Gunjala Gondi. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Math": { + "name": "Noto Sans Math", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "latin", + "math" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Noto Sans Math is a font that contains symbols for mathematical notation . Noto Sans Math contains 2,655 glyphs, 5 OpenType features, and supports 2,472 characters from 19 Unicode blocks: Mathematical Alphanumeric Symbols, Mathematical Operators, Supplemental Mathematical Operators, Arabic Mathematical Alphabetic Symbols, Supplemental Arrows-B, Miscellaneous Mathematical Symbols-B, Miscellaneous Technical, Arrows, Basic Latin, Greek and Coptic, Miscellaneous Mathematical Symbols-A, Letterlike Symbols, Miscellaneous Symbols and Arrows, Combining Diacritical Marks for Symbols, Supplemental Arrows-A, Geometric Shapes, General Punctuation, Latin-1 Supplement, Combining Diacritical Marks. Supported writing systems Mathematical notation Mathematical notation is used for recording mathematical concepts. Includes digits, as well as symbols (both original and borrowed from Latin, Greek and other scripts) for operations, variables, functions, and other concepts. Developed in the mid-1700s by Leonhard Euler. Read more on ScriptSource , Unicode , Wikipedia , r12a .", + "minisite_url": null + }, + "Noto Sans Mayan Numerals": { + "name": "Noto Sans Mayan Numerals", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "mayan-numerals" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Noto Sans Mayan Numerals is an unmodulated (\u201csans serif\u201d) that contains numerals that were used by the ancient Maya civilization. Noto Sans Mayan Numerals contains 25 glyphs, and supports 24 characters .", + "minisite_url": null + }, + "Noto Sans Medefaidrin": { + "name": "Noto Sans Medefaidrin", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "medefaidrin" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Medf", + "article": "Noto Sans Medefaidrin is an unmodulated (\u201csans serif\u201d) design for texts in the African Medefaidrin (Oberi Okaime) script. Noto Sans Medefaidrin has multiple weights, contains 97 glyphs, and supports 95 characters from the Unicode block Medefaidrin. Supported writing systems Medefaidrin (Oberi Okaime) Medefaidrin (Oberi Okaime, \ud81b\ude5d\ud81b\ude70\ud81b\ude6f\ud81b\ude7c\ud81b\ude6b \ud81b\ude5a\ud81b\ude6c\ud81b\ude7e\ud81b\ude60\ud81b\ude6f) is an African bicameral alphabet, written left-to-right. Used for the Medefaidrin artificial language used for religious purposes by members of the Oberi Okaime church in the Cross River State of Nigeria. Created in the 1930s by Michael Ukpong and Akpan Akpan Udofia. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, r12a.", + "minisite_url": null + }, + "Noto Sans Meetei Mayek": { + "name": "Noto Sans Meetei Mayek", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "meetei-mayek" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Mtei", + "article": "Noto Sans MeeteiMayek is an unmodulated (\u201csans serif\u201d) design for texts in the Indic Meetei Mayek (Meitei) script. Noto Sans MeeteiMayek has multiple weights, contains 92 glyphs, 2 OpenType features, and supports 87 characters from 2 Unicode blocks: Meetei Mayek, Meetei Mayek Extensions. Supported writing systems Meetei Mayek (Meitei) Meetei Mayek (Meitei, \uabc3\uabe4\uabc7\uabe9 \uabc3\uabcc\uabe6\uabdb) is an Indic abugida, written left-to-right. Used in India, Bangladesh, and Myanmar for the Meitei language (1.4 million users). Was used until the 18th century, then replaced by the Bengali script. Revived since the 1930s. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Mende Kikakui": { + "name": "Noto Sans Mende Kikakui", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "mende-kikakui" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Mend", + "article": "Noto Sans Mende Kikakui is an unmodulated (\u201csans serif\u201d) design for texts in the African Mende script. Noto Sans Mende Kikakui contains 228 glyphs, 3 OpenType features, and supports 218 characters from the Unicode block Mende Kikakui. Supported writing systems Mende Mende (Mende Kikakui) is an African abugida, written right-to-left. Used in Sierra Leone for the Mende language (2 million speakers). Created by Mohammed Turay. Was widely used in the early 20th century, later largely replaced by the Latin script. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Meroitic": { + "name": "Noto Sans Meroitic", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "meroitic", + "meroitic-cursive", + "meroitic-hieroglyphs" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Mero", + "article": "Noto Sans Meroitic is an unmodulated (\u201csans serif\u201d) design for texts in the historical Middle Eastern Meroitic Hieroglyphs and Cursive scripts. Noto Sans Meroitic contains 133 glyphs, 2 OpenType features, and supports 129 characters from 2 Unicode blocks: Meroitic Hieroglyphs, Meroitic Cursive. Supported writing systems Meroitic Hieroglyphs Meroitic Hieroglyphs is a historical Middle Eastern logo-syllabary, written vertically right-to-left. Was used in 300 BCE\u2013600 CE in today\u2019s Sudan by the Kush (Mero\u00eb) people for the Meroitic language. Derived from Egyptian Hieroglyphs, used alongside Meroitic Cursive, and later Coptic. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Meroitic Cursive Meroitic Cursive is a historical Middle Eastern abugida, written right-to-left. Was used in 300 BCE\u2013600 CE in today\u2019s Sudan by the Kush (Mero\u00eb) people for the Meroitic language. Derived from Demotic Egyptian, used alongside Meroitic Hieroglyphs, and later Coptic. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Miao": { + "name": "Noto Sans Miao", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "miao" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Plrd", + "article": "Noto Sans Miao is an unmodulated (\u201csans serif\u201d) design for texts in the East Asian Pollard Phonetic script. Noto Sans Miao contains 365 glyphs, 4 OpenType features, and supports 154 characters from the Unicode block Miao. Supported writing systems Pollard Phonetic Pollard Phonetic (Pollard Miao) is an East Asian abugida, written left-to-right. Used in southern China and Southeast Asia for the A-Hmao, Lipo, Szechuan Miao, Nasu languages. Created 1936 by Samuel Pollard, inspired by Canadian Aboriginal syllabics. Revised in 1988, remains popular among the Hmong people in China. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Modi": { + "name": "Noto Sans Modi", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "modi" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Modi", + "article": "Noto Sans Modi is an unmodulated (\u201csans serif\u201d) design for texts in the Indic Modi script. Noto Sans Modi contains 209 glyphs, 7 OpenType features, and supports 96 characters from 2 Unicode blocks: Modi, Common Indic Number Forms. Supported writing systems Modi Modi (\ud805\ude26\ud805\ude3b\ud805\ude1a\ud805\ude32) is an Indic abugida, written left-to-right. Was used in 1800s\u20131950s in India for Marathi (the state language of Maharashtra). Largely replaced by Devanagari. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Mongolian": { + "name": "Noto Sans Mongolian", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "math", + "mongolian", + "symbols" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Mong", + "article": "Noto Sans Mongolian is an unmodulated (\u201csans serif\u201d) design for texts in the Central Asian Mongolian script. Noto Sans Mongolian contains 1,563 glyphs, 7 OpenType features, and supports 224 characters from 6 Unicode blocks: Mongolian, Mongolian Supplement, CJK Symbols and Punctuation, Basic Latin, General Punctuation, CJK Compatibility Forms. Supported writing systems Mongolian Mongolian (\u182e\u1823\u1829\u182d\u1823\u182f \u182a\u1822\u1834\u1822\u182d) is a Central Asian alphabet, written left-to-right in vertical columns or rotated horizontal lines. Used for the Mongolian language in Mongolia and Inner Mongolia (2 million speakers). Also used for Daur, Xibe and Manchu in China, for Southern Altai and Kalmyk-Oirat in Russia, and for Buriat in Mongolia. Derived in the 13th century from Old Uyghur, related to Galik, Todo, Manchu and Sibe. Has 8 vowel and 27 consonant letters. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, r12a.", + "minisite_url": null + }, + "Noto Sans Mono": { + "name": "Noto Sans Mono", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "monospace" + ], + "description": null, + "primary_script": null, + "article": "Noto Sans Mono is a monospaced, unmodulated (\u201csans serif\u201d) design suitable for programming code and other uses where a fixed-width font is needed. It supports the Latin, Cyrillic and Greek scripts, and various symbols. Noto Sans Mono has multiple weights and widths, contains 3,787 glyphs, 17 OpenType features, and supports 3,367 characters from 39 Unicode blocks: Latin Extended Additional, Cyrillic, Greek Extended, Latin Extended-B, Latin Extended-D, Latin Extended-A, Phonetic Extensions, Box Drawing, Greek and Coptic, Miscellaneous Technical, Combining Diacritical Marks, Mathematical Operators, IPA Extensions, Geometric Shapes, Cyrillic Extended-B, Latin-1 Supplement, General Punctuation, Basic Latin, Supplemental Punctuation, Spacing Modifier Letters, Letterlike Symbols, Phonetic Extensions Supplement, Combining Diacritical Marks Supplement, Latin Extended-E, Cyrillic Supplement, Currency Symbols, Block Elements, Latin Extended-C, Cyrillic Extended-A, Modifier Tone Letters, Superscripts and Subscripts, Arrows, Combining Diacritical Marks Extended, Combining Half Marks, Miscellaneous Mathematical Symbols-A, Cyrillic Extended-C, Dingbats, Miscellaneous Mathematical Symbols-B, Ornamental Dingbats. Supported writing systems Latin Latin (Roman) is a European bicameral alphabet, written left-to-right. The most popular writing system in the world. Used for over 3,000 languages including Latin and Romance languages (Italian, French, Portuguese, Spanish and Romanian), Germanic languages (English, Dutch, German, Nordic languages), Finnish, Malaysian, Indonesian, Filipino, Visayan languages, Turkish, Azerbaijani, Polish, Somali, Vietnamese, and many others. Derived from Western Greek, attested in Rome in the 7th century BCE. In the common era, numerous European languages adopted the Latin script along with Western Christian religion, the script disseminated further with European colonization of the Americas, Australia, parts of Asia, Africa and the Pacific. New letters, ligatures and diacritical marks were gradually added to represent the sounds of various languages. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Cyrillic Cyrillic is a bicameral alphabet originating in Europe, written left-to-right (250 million users). Used for various languages across Eurasia and is used as the national script in various Slavic, Turkic, Mongolic and Iranic-speaking countries in Southeastern Europe, Eastern Europe, the Caucasus, Central Asia, North Asia and East Asia, including Russian, Bulgarian, Macedonian, Serbian, Ukrainian, Uzbek, Azerbaijani, Kazakh, Tajik, Kyrgyz, Bashkort, Chechen, Chuvash, Avar, Dargwa, Kabardian, Karakalpak, Kumyk, Lezgi, Ossetic, Pontic, Yakut, Buriat and many others. Created in the 9th century. Traditionally attributed to Saint Cyril, a monk from Thessaloniki working in Bulgaria, after earlier creation of the Glagolitic script. Sometimes attributed to Clement of Ohrid, a student of Saint Cyril\u2019s. Initially used for Old Church Slavonic. Reformed in 1708 by Russian tsar Peter the Great. Extended by the Soviet Union in the 20th century to write over 50 languages throughout Eastern Europe and Asia (some of those languages switched to Latin after 1991). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Greek Greek (\u0395\u03bb\u03bb\u03b7\u03bd\u03b9\u03ba\u03ac) is a European bicameral alphabet, written left-to-right (11 million users). Used to write the Greek language since the 8th century BCE. Also used to write other languages like Urum, Albanian Tosk, and Balkan Gagauz Turkish. Some symbols are also used in scientific notation. Derived from Phoenician. First \u201ctrue alphabet\u201d, with distinct letters for consonants and vowels. Standardized in the 4th century BCE by Eucleides. Has 24 letters. Some letter variants (sigma: \u03c3/\u03c2) have positional significance in the Greek language, other variants only differ in meaning in scientific notation (e.g. pi: \u03c0/\u03d6). The Greek language used to be written in polytonic spelling, with three accents on vowels. In 1982, Greece introduced monotonic spelling with a single diacritic. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Mro": { + "name": "Noto Sans Mro", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "mro" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Noto is a global font collection for writing in all modern and ancient languages. Noto Sans Mro is an unmodulated (\u201csans serif\u201d) design for texts in the Indic Mro script. It has 48 glyphs.", + "primary_script": "Mroo", + "article": null, + "minisite_url": null + }, + "Noto Sans Multani": { + "name": "Noto Sans Multani", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "multani" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Mult", + "article": "Noto Sans Multani is an unmodulated (\u201csans serif\u201d) design for texts in the historical Indic Multani script. Noto Sans Multani contains 53 glyphs, and supports 52 characters from the Unicode block Multani. Supported writing systems Multani Multani (\ud804\udea0\ud804\udea3\ud804\ude96\ud804\ude9a) is a historical Indic abjad. Was used in the 18th\u201320th century in today\u2019s India and Pakistan for the Saraiki language, mainly by merchants. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Myanmar": { + "name": "Noto Sans Myanmar", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "myanmar" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Mymr", + "article": "Noto Sans Myanmar is an unmodulated (\u201csans serif\u201d) design for texts in the Southeast Asian Myanmar script. Noto Sans Myanmar contains 610 glyphs, 7 OpenType features, and supports 239 characters from 4 Unicode blocks: Myanmar, Myanmar Extended-A, Myanmar Extended-B, General Punctuation. Supported writing systems Myanmar Myanmar (Burmese, \u1019\u103c\u1014\u103a\u1019\u102c) is a Southeast Asian abugida, written left-to-right (40 million users). Used since c. 1000 CE in Myanmar for the Burmese and Mon languages. Also used for some Karen languages. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans NKo": { + "name": "Noto Sans NKo", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "nko" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Nkoo", + "article": "Noto Sans N\u2019Ko is an unmodulated (\u201csans serif\u201d) design for texts in the African N\u2019Ko script. Noto Sans N\u2019Ko contains 184 glyphs, 5 OpenType features, and supports 79 characters from 2 Unicode blocks: N\u2019Ko, Arabic. Supported writing systems N\u2019Ko N\u2019Ko (\u07d2\u07de\u07cf) is an African alphabet, written right-to-left. Used in West Africa for the Manding languages. Created in 1949 by Solomana Kante. The name of the script means \u201cI say\u201d. Has 19 consonants, 7 vowels and 8 diacritics. Influenced by the Arabic script. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans NKo Unjoined": { + "name": "Noto Sans NKo Unjoined", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "nko" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Nkoo", + "article": "Noto Sans N\u2019Ko Unjoined is an unmodulated (\u201csans serif\u201d) design for display texts in the African N\u2019Ko script. Noto Sans N\u2019Ko Unjoined contains 184 glyphs, 5 OpenType features, and supports 79 characters from 2 Unicode blocks: N\u2019Ko, Arabic. Supported writing systems N\u2019Ko N\u2019Ko (\u07d2\u07de\u07cf) is an African alphabet, written right-to-left. Used in West Africa for the Manding languages. Created in 1949 by Solomana Kante. The name of the script means \u201cI say\u201d. Has 19 consonants, 7 vowels and 8 diacritics. Influenced by the Arabic script. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Nabataean": { + "name": "Noto Sans Nabataean", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "nabataean" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Nbat", + "article": "Noto Sans Nabataean is an unmodulated (\u201csans serif\u201d) design for texts in the historical Middle Eastern Nabataean script. Noto Sans Nabataean contains 45 glyphs, and supports 44 characters from the Unicode block Nabataean. Supported writing systems Nabataean Nabataean is a historical Middle Eastern abjad, written right-to-left. Was used in northern Arabia and the southern Levant in the 2nd century BCE\u20134th century CE for the Nabataean language. Derived from Aramaic, evolved into the Arabic script. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Nag Mundari": { + "name": "Noto Sans Nag Mundari", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "nag-mundari" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Nagm", + "article": "Noto Sans Nag Mundari is a design for the Indic Nag Mundari script. Noto Sans Nag Mundari has multiple weights, contains 66 glyphs, and supports 63 characters from 2 Unicode blocks: Nag Mundari, Basic Latin. Supported writing systems Nag Mundari Nag Mundari is an Indic alphabet, written left-to-right. Read more on ScriptSource, Unicode, Wikipedia, r12a.", + "minisite_url": null + }, + "Noto Sans Nandinagari": { + "name": "Noto Sans Nandinagari", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "nandinagari" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Nand", + "article": "Noto Sans Nandinagari is a design for the historical Indic Nandinagari script. Noto Sans Nandinagari contains 676 glyphs, 20 OpenType features, and supports 92 characters from the Unicode block Nandinagari. Supported writing systems Nandinagari Nandinagari (\ud806\uddc1\ud806\uddde\ud806\udde4\ud806\uddbf\ud806\uddc1\ud806\uddd1\ud806\uddb0\ud806\uddc8\ud806\uddd3) is a historical Indic abugida, written left-to-right, with unconnected headstrokes. Was used in the 8th\u201319th centuries in South India for Sanskrit texts about philosophy, science and the arts. Closely related to Devanagari. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans New Tai Lue": { + "name": "Noto Sans New Tai Lue", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "new-tai-lue" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Talu", + "article": "Noto Sans New Tai Lue is an unmodulated (\u201csans serif\u201d) design for texts in the Southeast Asian New Tai Lue script. Noto Sans New Tai Lue contains 95 glyphs, and supports 90 characters from the Unicode block New Tai Lue. Supported writing systems New Tai Lue New Tai Lue (Xishuangbanna Dai) is a Southeast Asian alphabet, written left-to-right. Development in China since the 1950s for the Tai L\u00fc language as a replacement for the Tai Tham script, which is also still used. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Newa": { + "name": "Noto Sans Newa", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "newa" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Newa", + "article": "Noto Sans Newa is an unmodulated (\u201csans serif\u201d) design for texts in the Indic Newa (Newari) script. Noto Sans Newa contains 614 glyphs, 13 OpenType features, and supports 106 characters from the Unicode block Newa. Supported writing systems Newa (Newari) Newa (Pracalit) is an Indic abugida, written left-to-right. Used in Nepal mainly for Newari (Nepal Bhasa), also for Sanskrit, Pali. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Nushu": { + "name": "Noto Sans Nushu", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "nushu" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Nshu", + "article": "Noto Sans Nushu is an unmodulated (\u201csans serif\u201d) design for the East Asian N\u00fcshu script with a simplified skeleton and large counters. It is suitable for shorter texts, especially in smaller font sizes and user interface contexts. Noto Sans Nushu contains 402 glyphs, and supports 401 characters from the Unicode block Nushu. Supported writing systems N\u00fcshu N\u00fcshu (\ud82c\udd81\ud82c\ude2c\u200e) is an East Asian logo-syllabary, written vertically left-to-right. Was used in the 13th\u201320th centuries by women in Jiangyong County in Hunan province of southern China, mainly for the Chinese dialect Xiangnan Tuhua. Recently revived. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Ogham": { + "name": "Noto Sans Ogham", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "ogham" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Ogam", + "article": "Noto Sans Ogham is an unmodulated (\u201csans serif\u201d) design for texts in the historical European Ogham script. Noto Sans Ogham contains 34 glyphs, and supports 33 characters from the Unicode block Ogham. Supported writing systems Ogham Ogham (\u169b\u1691\u168c\u1690\u168b\u169c) is a historical European alphabet. Was written bottom-to-top, left-to-right or boustrophedon. Was used in the 5th\u201310th centuries CE in Ireland, Wales, Devon, Cornwall, and on the Isle of Man, for the Primitive Irish, Old Irish, Pictish, and Old Norse languages. Uses 20 symbols. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Ol Chiki": { + "name": "Noto Sans Ol Chiki", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "ol-chiki" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Olck", + "article": "Noto Sans Ol Chiki is an unmodulated (\u201csans serif\u201d) design for texts in the Indic Ol Chiki script. Noto Sans Ol Chiki has multiple weights, contains 55 glyphs, and supports 53 characters from the Unicode block Ol Chiki. Supported writing systems Ol Chiki Ol Chiki (Ol Cemet\u2019, Ol, Santali, \u1c5a\u1c5e \u1c6a\u1c64\u1c60\u1c64) is an Indic alphabet, written left-to-right. Used in India, Bangladesh and Nepal for Santhali (6 million speakers), alongside Devanagari, Bengali, Oriya and Latin. Created in the 1920s by Pandit Raghunath Murmu. Has 6 vowel and 24 consonant letters. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Old Hungarian": { + "name": "Noto Sans Old Hungarian", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "old-hungarian" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Hung", + "article": "Noto Sans Old Hungarian is an unmodulated (\u201csans serif\u201d) design for texts in the historical European Old Hungarian (Hungarian runic) script. Noto Sans Old Hungarian contains 360 glyphs, 4 OpenType features, and supports 113 characters from the Unicode block Old Hungarian. Supported writing systems Old Hungarian (Hungarian runic) Old Hungarian (Hungarian runic, rov\u00e1s, \ud803\udca5\ud803\udccb\ud803\udcd3\ud803\udcc9\ud803\udcd7-\ud803\udc98\ud803\udcc0\ud803\udcce\ud803\udcc0\ud803\udce2 \ud803\udca2\ud803\udcdb\ud803\udcee\ud803\udcc0\ud803\udce4\u200e) is a European abjad. Used in 9th\u201311th century CE (possibly earlier) for the Hungarian language, later replaced with the Latin alphabet except for some religious texts. Used in some circles since the 15th century to this day. Written left-to-right or right-to-left. Uses ligatures. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Old Italic": { + "name": "Noto Sans Old Italic", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "old-italic" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Ital", + "article": "Noto Sans Old Italic is an unmodulated (\u201csans serif\u201d) design for texts in the historical European Old Italic script. Noto Sans Old Italic contains 65 glyphs, and supports 43 characters from the Unicode block Old Italic. Supported writing systems Old Italic Old Italic is a group of historical European bicameral alphabets, written left-to-right. Used in 700\u2013100 BCE in today\u2019s Italy for Etruscan, Oscan, Umbrian, Venetic and other languages. Based on Greek, evolved into the Runic and Latin scripts. Read more on ScriptSource , Unicode , Wikipedia , Wiktionary , r12a .", + "minisite_url": null + }, + "Noto Sans Old North Arabian": { + "name": "Noto Sans Old North Arabian", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "old-north-arabian" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Narb", + "article": "Noto Sans Old North Arabian is an unmodulated (\u201csans serif\u201d) design for texts in the historical Middle Eastern Old North Arabian script. Noto Sans Old North Arabian contains 37 glyphs, and supports 36 characters from the Unicode block Old North Arabian. Supported writing systems Old North Arabian Old North Arabian (Ancient North Arabian) is a group of historical Middle Eastern abjads. They were used in north and central Arabia and south Syria in the 8th century BCE\u20134th century CE, presumably for Old Arabic, Dadanitic, Taymanitic. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Old Permic": { + "name": "Noto Sans Old Permic", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic-ext", + "latin", + "latin-ext", + "old-permic" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Perm", + "article": "Noto Sans Old Permic is an unmodulated (\u201csans serif\u201d) design for texts in the historical European Old Permic script. Noto Sans Old Permic contains 56 glyphs, 3 OpenType features, and supports 55 characters from 2 Unicode blocks: Old Permic, Combining Diacritical Marks. Supported writing systems Old Permic Old Permic (Abur) is a historical European alphabet, written left-to-right. Was used in the 14th-17th centuries in the West of the Ural mountains for the Komi language (0.3 million speakers). Created by St. Stephen of Perm. Was gradually replaced by Cyrillic. Visually similar to Cyrillic and Greek. Had 34 letters. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Old Persian": { + "name": "Noto Sans Old Persian", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "old-persian" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Xpeo", + "article": "Noto Sans Old Persian is an unmodulated (\u201csans serif\u201d) design for texts in the historical Middle Eastern Old Persian script. Noto Sans Old Persian contains 55 glyphs, and supports 54 characters from the Unicode block Old Persian. Supported writing systems Old Persian Old Persian is a historical Middle Eastern semisyllabary, written left-to-right. Was used around 525 BCE\u2013330 BCE for Old Persian. Resembles Sumero-Akkadian cuneiform. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Old Sogdian": { + "name": "Noto Sans Old Sogdian", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "old-sogdian" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Sogo", + "article": "Noto Sans Old Sogdian is an unmodulated (\u201csans serif\u201d) design for texts in the historical Middle Eastern Old Sogdian script. Noto Sans Old Sogdian contains 60 glyphs, 4 OpenType features, and supports 44 characters from the Unicode block Old Sogdian. Supported writing systems Old Sogdian Old Sogdian (\ud803\udf11\u200e\ud803\udf07\ud803\udf04\ud803\udf0c\ud803\udf0a\ud803\udf0b\u200e) is a group of historical Middle Eastern abjads, written right-to-left. These precursors to the Sogdian script were used in the 3rd\u20135th centuries CE for the historic Sogdian language. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Old South Arabian": { + "name": "Noto Sans Old South Arabian", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "old-south-arabian" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Sarb", + "article": "Noto Sans Old South Arabian is an unmodulated (\u201csans serif\u201d) design for texts in the historical Middle Eastern Old South Arabian script. Noto Sans Old South Arabian contains 37 glyphs, and supports 36 characters from the Unicode block Old South Arabian. Supported writing systems Old South Arabian Old South Arabian (Musnad, Epigraphic South Arabian, Sayhadic) is a historical Middle Eastern abjad, written right-to-left. Was used in the 6th\u20138th centuries CE in today\u2019s Yemen and throughout the Arabian peninsula for a group of related now-extinct Semitic languages. Evolved into Ethiopic script, was replaced by Arabic script. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Old Turkic": { + "name": "Noto Sans Old Turkic", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "old-turkic" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Orkh", + "article": "Noto Sans Old Turkic is an unmodulated (\u201csans serif\u201d) design for texts in the historical Central Asian Orkhon runic (Old Turkic) script. Noto Sans Old Turkic contains 78 glyphs, and supports 77 characters from the Unicode block Old Turkic. Supported writing systems Orkhon runic (Old Turkic) Orkhon runic (Old Turkic) is a historical Central Asian alphabet, written right-to-left or boustrophedon. Was used in the 8th\u201313th centuries in Mongolia and Siberia for Turkic languages. Earliest examples discovered in 1889 on the banks of the Orkhon river. Superficially similar to Germanic runes and to Old Hungarian. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Oriya": { + "name": "Noto Sans Oriya", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "oriya" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Orya", + "article": "Noto Sans Oriya is an unmodulated (\u201csans serif\u201d) design for texts in the Indic Odia (Oriya) script. Noto Sans Oriya contains 513 glyphs, 19 OpenType features, and supports 150 characters from 3 Unicode blocks: Oriya, Basic Latin, General Punctuation. Supported writing systems Odia (Oriya) Odia (Oriya, \u0b09\u0b24\u0b4d\u0b15\u0b33 ) is an Indic abugida, written left-to-right (21 million users). Used since the c. 14th century in India for the Odia language (state language of Orissa). Also used for Dravidian and Munda languages. Needs software support for complex text layout (shaping). Read more on ScriptSource , Unicode , Wikipedia , Wiktionary , r12a .", + "minisite_url": null + }, + "Noto Sans Osage": { + "name": "Noto Sans Osage", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "osage" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Osge", + "article": "Noto Sans Osage is an unmodulated (\u201csans serif\u201d) design for texts in the American Osage script. Noto Sans Osage contains 82 glyphs, 2 OpenType features, and supports 81 characters from 2 Unicode blocks: Osage, Combining Diacritical Marks. Supported writing systems Osage Osage is an American bicameral alphabet, written left-to-right. Used in the USA for the revitalized native Osage language. Derived from Latin 2006\u20132014 by Herman Mongrain Lookout. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Osmanya": { + "name": "Noto Sans Osmanya", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "osmanya" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Osma", + "article": "Noto Sans Osmanya is an unmodulated (\u201csans serif\u201d) design for texts in the historical African Osmanya script. Noto Sans Osmanya contains 45 glyphs, and supports 44 characters from the Unicode block Osmanya. Supported writing systems Osmanya Osmanya (Far Soomaali, Farta Cismaanya, \ud801\udc8d\ud801\udc96\ud801\udc87\ud801\udc82\ud801\udc96 \ud801\udc8b\ud801\udc98\ud801\udc88\ud801\udc91\ud801\udc9b\ud801\udc92\ud801\udc95\ud801\udc96) is a historical African alphabet, written left-to-right. Was sporadically used 1922-1973 for writing the Somali language. Created by Cusmaan Yuusuf Keenadiid. Almost fully replaced by the Latin script in 1973. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Pahawh Hmong": { + "name": "Noto Sans Pahawh Hmong", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "pahawh-hmong" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Hmng", + "article": "Noto Sans Pahawh Hmong is an unmodulated (\u201csans serif\u201d) design for texts in the East Asian Pahawh Hmong script. Noto Sans Pahawh Hmong contains 135 glyphs, 2 OpenType features, and supports 134 characters from the Unicode block Pahawh Hmong. Supported writing systems Pahawh Hmong Pahawh Hmong (\ud81a\udf16\ud81a\udf30\ud81a\udf1d\ud81a\udf35 \ud81a\udf04\ud81a\udf36\ud81a\udf1f \ud81a\udf0c\ud81a\udf23\ud81a\udf35) is an East Asian syllabary. Used in China, Vietnam, Laos and Thailand for the Hmong language (over 0.2 million speakers). The script as a whole is read left-to-right but each syllable is written right-to-left. Created in 1959 by Shong Lue. Hmong is also written in the Romanized Popular Alphabet by William Smalley. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Palmyrene": { + "name": "Noto Sans Palmyrene", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "palmyrene" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Palm", + "article": "Noto Sans Palmyrene is an unmodulated (\u201csans serif\u201d) design for texts in the historical Middle Eastern Palmyrene script. Noto Sans Palmyrene contains 57 glyphs, and supports 36 characters from the Unicode block Palmyrene. Supported writing systems Palmyrene Palmyrene is a historical Middle Eastern abjad, written right-to-left. Was used in c. 100 BCE\u2013300 CE between Damascus and the Euphrates river for the Palmyrenean dialect of West Aramaic. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Pau Cin Hau": { + "name": "Noto Sans Pau Cin Hau", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "pau-cin-hau" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Pauc", + "article": "Noto Sans Pau Cin Hau is an unmodulated (\u201csans serif\u201d) design for texts in the Southeast Asian Pau Cin Hau script. Noto Sans Pau Cin Hau contains 62 glyphs, and supports 61 characters from the Unicode block Pau Cin Hau. Supported writing systems Pau Cin Hau Pau Cin Hau is a Southeast Asian alphabet, written left-to-right. Used in Myanmar for the Zomi language by the followers of the Laipian and, later, Christian religions. Created c. 1902 by Pau Cin Hau, intially as a logographic script, 1932 reduced to an alphabet. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans PhagsPa": { + "name": "Noto Sans PhagsPa", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "math", + "phags-pa", + "symbols" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Phag", + "article": "Noto Sans PhagsPa is an unmodulated (\u201csans serif\u201d) design for texts in the historical Central Asian Phags-pa script. Noto Sans PhagsPa contains 379 glyphs, 5 OpenType features, and supports 94 characters from 3 Unicode blocks: Phags-pa, CJK Symbols and Punctuation, Mongolian. Supported writing systems Phags-pa Phags-pa (\u02bcPhags-pa, \ua84f\ua861\ua843 \ua863\ua861\ua859 \ua850\ua85c\ua85e) is a historical Central Asian abugida, written vertically right-to-left. Was sporadically used 1269\u20131360 in the Yuan empire as a unified script for Mongolian, Tibetan, Sanskrit, Chinese, Persian, Uyghur. Created by the Tibetan monk and State Preceptor Drog\u00f6n Ch\u00f6gyal Phagpa for Kublai Khan. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Phoenician": { + "name": "Noto Sans Phoenician", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "phoenician" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Phnx", + "article": "Noto Sans Phoenician is an unmodulated (\u201csans serif\u201d) design for texts in the historical Middle Eastern Phoenician script. Noto Sans Phoenician contains 34 glyphs, and supports 33 characters from the Unicode block Phoenician. Supported writing systems Phoenician Phoenician is a historical Middle Eastern abjad, written right-to-left. Was used c. 1050\u2013150 BCE in the Mediterranean region for the Phoenician and Punic languages. First widespread phonetic script, derived from Egyptian hieroglyphics. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Psalter Pahlavi": { + "name": "Noto Sans Psalter Pahlavi", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "psalter-pahlavi" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Phlp", + "article": "Noto Sans Psalter Pahlavi is an unmodulated (\u201csans serif\u201d) design for texts in the historical Middle Eastern Psalter Pahlavi script. Noto Sans Psalter Pahlavi contains 98 glyphs, 7 OpenType features, and supports 37 characters from the Unicode block Psalter Pahlavi. Supported writing systems Psalter Pahlavi Psalter Pahlavi is a historical Middle Eastern abjad, written right-to-left. Was presumably used in the mid-6th\u20137th century CE for Middle Persian. The letters are connected. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Rejang": { + "name": "Noto Sans Rejang", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "rejang" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Rjng", + "article": "Noto Sans Rejang is an unmodulated (\u201csans serif\u201d) design for texts in the Southeast Asian Rejang script. Noto Sans Rejang contains 46 glyphs, and supports 45 characters from the Unicode block Rejang. Supported writing systems Rejang Rejang (Kaganga, Redjang, \ua946\ua930\ua953\ua93c\ua93d \ua93d\ua94d\ua93a\ua94f) is a Southeast Asian abugida, written left-to-right. Used in Indonesia for the Rejang and Malay languages, but Latin script is now mostly used for the Rejang language. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Runic": { + "name": "Noto Sans Runic", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "runic" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Runr", + "article": "Noto Sans Runic is an unmodulated (\u201csans serif\u201d) design for texts in the historical European Runic script. Noto Sans Runic contains 94 glyphs, and supports 93 characters from the Unicode block Runic. Supported writing systems Runic Runic is a historical European alphabet, written left-to-right or boustrophedon. Used in Northern Europe in 150\u20131000 CE for Germanic languages. The Scandinavian variants are also called Futhark or Fu\u00feark. Derived from Old Italic. Gradually replaced with the Latin script. Still used for specialized purposes, by occultist, mystic, and esoteric movements, and in fantasy literature. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans SC": { + "name": "Noto Sans SC", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "chinese-simplified", + "cyrillic", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Hans", + "article": "Noto Sans SC is an unmodulated (\u201csans serif\u201d) design for languages in mainland China that use the Simplified Chinese variant of the Han ideograms. It also supports Hiragana, Katakana, Latin, Cyrillic, Greek and Hangul. Noto Sans CJK SC contains 65,535 glyphs, 23 OpenType features, and supports 44,806 characters from 55 Unicode blocks: CJK Unified Ideographs, Hangul Syllables, CJK Unified Ideographs Extension A, CJK Unified Ideographs Extension B, CJK Compatibility Ideographs, Hangul Jamo, CJK Compatibility, Halfwidth and Fullwidth Forms, Kangxi Radicals, Enclosed CJK Letters and Months, Enclosed Alphanumeric Supplement, Box Drawing, CJK Radicals Supplement, CJK Unified Ideographs Extension E, Katakana, Hangul Compatibility Jamo, Hiragana, Latin Extended Additional, Latin-1 Supplement, Basic Latin, Enclosed Alphanumerics, Mathematical Operators, Hangul Jamo Extended-B, Cyrillic, Enclosed Ideographic Supplement, CJK Compatibility Ideographs Supplement, CJK Symbols and Punctuation, Miscellaneous Symbols, Greek and Coptic, CJK Unified Ideographs Extension C, Bopomofo, Geometric Shapes, CJK Strokes, General Punctuation, CJK Unified Ideographs Extension D, Block Elements, CJK Compatibility Forms, Latin Extended-A, Hangul Jamo Extended-A, Bopomofo Extended, Miscellaneous Technical, Small Form Variants, Arrows, Latin Extended-B, Letterlike Symbols, Katakana Phonetic Extensions, Kanbun, Ideographic Description Characters, Vertical Forms, Spacing Modifier Letters, Dingbats, Combining Diacritical Marks, Miscellaneous Symbols and Arrows, Alphabetic Presentation Forms, CJK Unified Ideographs Extension F. Supported writing systems Simplified Han Simplified Han (\u7b80\u5316\u5b57) is an East Asian logo-syllabary, written vertically right-to-left and horizontally left-to-right (over 1.3 billion users). Used in mainland China, Malaysia and Singapore. ((TODO)) Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Hangul Hangul (Hangeul, \ud55c\uae00, Chos\u014fn'g\u016dl, \uc870\uc120\uae00) is an East Asian script, written vertically right-to-left and horizontally left-to-right (79 million users). Used for the Korean language. Created in 1446 by King Sejong the Great (Sejong of Joseon) as a simpler, phonetic alternative to using Chinese hanja for Korean. Not universally accepted for centuries, suppressed by Japanese colonial authorities. Since 1945 the standard script for Korean. The 51 basic letters (jamo) are grouped into syllable blocks depending on their position in the spoken syllable. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Latin Latin (Roman) is a European bicameral alphabet, written left-to-right. The most popular writing system in the world. Used for over 3,000 languages including Latin and Romance languages (Italian, French, Portuguese, Spanish and Romanian), Germanic languages (English, Dutch, German, Nordic languages), Finnish, Malaysian, Indonesian, Filipino, Visayan languages, Turkish, Azerbaijani, Polish, Somali, Vietnamese, and many others. Derived from Western Greek, attested in Rome in the 7th century BCE. In the common era, numerous European languages adopted the Latin script along with Western Christian religion, the script disseminated further with European colonization of the Americas, Australia, parts of Asia, Africa and the Pacific. New letters, ligatures and diacritical marks were gradually added to represent the sounds of various languages. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Katakana Katakana (\u7247\u4eee\u540d\u3001\u30ab\u30bf\u30ab\u30ca) is an East Asian syllabary, written vertically right-to-left and horizontally left-to-right (126 million users). Used in Japan for Japanese, Ryukyuan, Ainu and Palauan, and formerly for Taiwanese Hokkien. Katakana is used for transcription of foreign-language words into Japanese, for the writing of loan words, for emphasis, to represent onomatopoeia, for technical and scientific terms, for names of plants, animals and minerals, and often for names of Japanese companies. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Hiragana Hiragana (\u5e73\u4eee\u540d, \u3072\u3089\u304c\u306a) is an East Asian syllabary, written vertically right-to-left and horizontally left-to-right (120 million users). Used in Japan for Japanese and the Ryukyuan languages. Hiragana is used to write okurigana (kana suffixes following a kanji root, for example to inflect verbs and adjectives), various grammatical and function words including particles, as well as miscellaneous other native words for which there are no kanji or whose kanji form is obscure or too formal for the writing purpose. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Emoji symbols Emoji symbols are pictograms, logograms, ideograms and smileys used in electronic messages and web pages. Their primary function is to fill in emotional cues otherwise missing from typed conversation. They are typically rendered as multi-color characters. Read more on ScriptSource, Unicode, Wikipedia, r12a. Bopomofo Bopomofo (\u6ce8\u97f3\u7b26\u865f, \u6ce8\u97f3\u7b26\u53f7, \u3105\u3106\u3107\u3108) is an East Asian syllabary, written left-to-right. Developed in 1913 in China to be used for Mandarin Chinese transliteration alongside the Latin-based Wade\u2013Giles system. Also called Mandarin Phonetic Symbols or Zhuyin (\u6ce8\u97f3). Bopomofo is an official transliteration system in Taiwan, used in dictionaries, books, newspapers and journals to annotate the Taiwanese pronunciation of Chinese Han characters, and in electronic input methods. Largely replaced by Pinyin romanization in the People\u2019s Republic of China. Also used as the primary script for Taiwan\u2019s minority languages like Atayal, Taroko, Paiwan and Yami. Has 21 onset consonants, 16 rhymes, and 4 tone marks. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Cyrillic Cyrillic is a bicameral alphabet originating in Europe, written left-to-right (250 million users). Used for various languages across Eurasia and is used as the national script in various Slavic, Turkic, Mongolic and Iranic-speaking countries in Southeastern Europe, Eastern Europe, the Caucasus, Central Asia, North Asia and East Asia, including Russian, Bulgarian, Macedonian, Serbian, Ukrainian, Uzbek, Azerbaijani, Kazakh, Tajik, Kyrgyz, Bashkort, Chechen, Chuvash, Avar, Dargwa, Kabardian, Karakalpak, Kumyk, Lezgi, Ossetic, Pontic, Yakut, Buriat and many others. Created in the 9th century. Traditionally attributed to Saint Cyril, a monk from Thessaloniki working in Bulgaria, after earlier creation of the Glagolitic script. Sometimes attributed to Clement of Ohrid, a student of Saint Cyril\u2019s. Initially used for Old Church Slavonic. Reformed in 1708 by Russian tsar Peter the Great. Extended by the Soviet Union in the 20th century to write over 50 languages throughout Eastern Europe and Asia (some of those languages switched to Latin after 1991). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Greek Greek (\u0395\u03bb\u03bb\u03b7\u03bd\u03b9\u03ba\u03ac) is a European bicameral alphabet, written left-to-right (11 million users). Used to write the Greek language since the 8th century BCE. Also used to write other languages like Urum, Albanian Tosk, and Balkan Gagauz Turkish. Some symbols are also used in scientific notation. Derived from Phoenician. First \u201ctrue alphabet\u201d, with distinct letters for consonants and vowels. Standardized in the 4th century BCE by Eucleides. Has 24 letters. Some letter variants (sigma: \u03c3/\u03c2) have positional significance in the Greek language, other variants only differ in meaning in scientific notation (e.g. pi: \u03c0/\u03d6). The Greek language used to be written in polytonic spelling, with three accents on vowels. In 1982, Greece introduced monotonic spelling with a single diacritic. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Samaritan": { + "name": "Noto Sans Samaritan", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "samaritan" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Samr", + "article": "Noto Sans Samaritan is an unmodulated (\u201csans serif\u201d) design for texts in the Middle Eastern Samaritan script. Noto Sans Samaritan contains 68 glyphs, 4 OpenType features, and supports 66 characters from the Unicode block Samaritan. Supported writing systems Samaritan Samaritan is a Middle Eastern abjad, written right-to-left. Used since 600 BCE by the Samaritans for religious writings in Samaritan Hebrew and Samaritan Aramaic. Derived from Phoenician. Most Hebrew religious writings use the Hebrew script. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Saurashtra": { + "name": "Noto Sans Saurashtra", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "saurashtra" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Saur", + "article": "Noto Sans Saurashtra is an unmodulated (\u201csans serif\u201d) design for texts in the Indic Saurashtra script. Noto Sans Saurashtra contains 96 glyphs, 3 OpenType features, and supports 90 characters from the Unicode block Saurashtra. Supported writing systems Saurashtra Saurashtra is an Indic abugida, written left-to-right. Used since the 19th century in Southern India for the Indo-European Saurashtra language (130,000 speakers), alongside Tamil, Gijarati, Telugu, and Devanagari scripts. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Sharada": { + "name": "Noto Sans Sharada", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "sharada" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Shrd", + "article": "Noto Sans Sharada is an unmodulated (\u201csans serif\u201d) design for texts in the Indic Sharada script. Noto Sans Sharada contains 239 glyphs, 6 OpenType features, and supports 109 characters from 2 Unicode blocks: Sharada, Vedic Extensions. Supported writing systems Sharada Sharada (\ud804\uddaf\ud804\uddb3\ud804\uddab\ud804\udda2\ud804\uddb3) is an Indic abugida, written left-to-right, partially with a headstroke. Used in c. 700\u20131950s for Kashmiri and Sanskrit, first throughout India, later only in Kashmir. Now used only by the Kashmiri Pandits for religious and ceremonial purposes. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Shavian": { + "name": "Noto Sans Shavian", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "shavian" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Shaw", + "article": "Noto Sans Shavian is an unmodulated (\u201csans serif\u201d) design for texts in the historical artificial Shavian script. Noto Sans Shavian contains 53 glyphs, and supports 52 characters from the Unicode block Shavian. Supported writing systems Shavian Shavian (\ud801\udc56\ud801\udc71\ud801\udc5d\ud801\udc7e\ud801\udc6f \ud801\udc68\ud801\udc64\ud801\udc53\ud801\udc69\ud801\udc5a\ud801\udc67\ud801\udc51) is an artificial alphabet, written left-to-right. Created around 1960 by Ronald Kingsley Read for phonetic spelling of English. The winning entry in a competition posthumously funded by playwright Bernard Shaw. Also adopted for Esperanto. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Siddham": { + "name": "Noto Sans Siddham", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "siddham" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Sidd", + "article": "Noto Sans Siddham is an unmodulated (\u201csans serif\u201d) design for texts in the historical Indic Siddham script. Noto Sans Siddham contains 505 glyphs, 13 OpenType features, and supports 99 characters from the Unicode block Siddham. Supported writing systems Siddham Siddham (\ud805\uddad\ud805\uddb0\ud805\udd9f\ud805\uddbf\ud805\udda0\ud805\uddbd) is a historical Indic abugida, written left-to-right. Was used in 600\u20131200 CE for Sanskrit, first in southern India, later also in China, Japan and Korea. Still occasionally used by Buddhists in Japan. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans SignWriting": { + "name": "Noto Sans SignWriting", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "signwriting" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Sgnw", + "article": "Noto Sans SignWriting is a design for the Sign-Language SignWriting script. Noto Sans SignWriting contains 37,886 glyphs, 4 OpenType features, and supports 679 characters from the Unicode block Sutton SignWriting. Supported writing systems SignWriting SignWriting (Sutton SignWriting) is a featural Sign-Language script, written vertically and horizontally left-to-right. Used to transcribe some 12 sign languages like Brazilian Sign Language, French Sign Language, Norwegian Sign Language, American Sign Language, Danish Sign Language, and for International Sign. Developed in 1974 by Valerie Sutton, later standardized as the International Sign Writing Alphabet (ISWA). The visually iconic symbols represent the hands, face and body, arranged spatially to reflect the movements made by the signer. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Sinhala": { + "name": "Noto Sans Sinhala", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "sinhala" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Sinh", + "article": "Noto Sans Sinhala is an unmodulated (\u201csans serif\u201d) design for texts in the Indic Sinhala script. Noto Sans Sinhala has multiple weights and widths, contains 645 glyphs, 11 OpenType features, and supports 170 characters from 3 Unicode blocks: Sinhala, Basic Latin, General Punctuation. Supported writing systems Sinhala Sinhala (\u0dc3\u0dd2\u0d82\u0dc4\u0dbd) is an Indic abugida, written left-to-right. Used since c. 300 CE in Sri Lanka for the Sinhala language (15 million speakers), for Pali and Sanskrit. The \u201cpure\u201d letter set has 20 consonant and 20 vowel letters, and is used for the sounds of the spoken Sinhala. The \u201cmixed\u201d letter set (18 more consonant letters) is used for correct spelling, which often reflect archaic pronunciations, and for non-Sinhala words and languages. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Sogdian": { + "name": "Noto Sans Sogdian", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "sogdian" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Sogd", + "article": "Noto Sans Sogdian is an unmodulated (\u201csans serif\u201d) design for texts in the historical Middle Eastern Sogdian script. Noto Sans Sogdian contains 345 glyphs, 26 OpenType features, and supports 49 characters from the Unicode block Sogdian. Supported writing systems Sogdian Sogdian (\ud803\udf3c\ud803\udf34\ud803\udf36\ud803\udf39\ud803\udf37\ud803\udf38\u200e) is a historical Middle Eastern abjad, written right-to-left. Was used in 7th\u201314th centuries CE, alongside Manichaean and Syriac, for the middle Iranian Sogdian language spoken in parts of today\u2019s Uzbekistan, Tajikistan, Pakistan and China. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Sora Sompeng": { + "name": "Noto Sans Sora Sompeng", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "sora-sompeng" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Sora", + "article": "Noto Sans Sora Sompeng is an unmodulated (\u201csans serif\u201d) design for texts in the Indic Sora Sompeng script. Noto Sans Sora Sompeng has multiple weights, contains 42 glyphs, and supports 41 characters from the Unicode block Sora Sompeng. Supported writing systems Sora Sompeng Sora Sompeng (\ud804\udcd0\ud804\udce6\ud804\udcdd\ud804\udcd7 \ud804\udcd0\ud804\udce6\ud804\udcd6\ud804\udcdb\ud804\udce3\ud804\udcd7) is an Indic syllabary, written left-to-right. Used in India for the Sora language (0.3 million speakers). Created in 1936 by Mangei Gomango to replace non-native scripts previously used for the Sora language: Telugu, Oriya and an IPA-based script. Has 24 letters. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Soyombo": { + "name": "Noto Sans Soyombo", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "soyombo" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Soyo", + "article": "Noto Sans Soyombo is an unmodulated (\u201csans serif\u201d) design for texts in the Indic Soyombo script. Noto Sans Soyombo contains 323 glyphs, 7 OpenType features, and supports 88 characters from the Unicode block Soyombo. Supported writing systems Soyombo Soyombo (\ud806\ude9e\ud806\ude9e\u200e) is a historical Indic abugida, written left-to-right. Was used in 1686\u201318th century as a ceremonial and decorative script for the Mongolian language. Also sporadically used for Tibetan and Sanskrit. Created by Bogdo Zanabazar. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Sundanese": { + "name": "Noto Sans Sundanese", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "sundanese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Sund", + "article": "Noto Sans Sundanese is an unmodulated (\u201csans serif\u201d) design for texts in the Southeast Asian Sundanese script. Noto Sans Sundanese has multiple weights, contains 89 glyphs, 3 OpenType features, and supports 82 characters from 2 Unicode blocks: Sundanese, Sundanese Supplement. Supported writing systems Sundanese Sundanese (\u1b83\u1b8a\u1baa\u1b9e\u1b9b \u1b9e\u1ba5\u1b94\u1baa\u1b93) is a Southeast Asian abugida, written left-to-right. The standard form (Aksara Sunda Baku, \u1b83\u1b8a\u1baa\u1b9e\u1b9b \u1b9e\u1ba5\u1b94\u1baa\u1b93 \u1b98\u1b8a\u1ba5) is used on the Indonesian island Java since 1996 for the Sundanese language (27 million speakers), and is derived from Old Sundanese script (Aksara Sunda Kuno, \u1b83\u1b8a\u1baa\u1b9e\u1b9b \u1b9e\u1ba5\u1b94\u1baa\u1b93 \u1b8a\u1ba5\u1b94) used in the 14th\u201318th centuries. The Sudanese language also uses Latin script. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Sunuwar": { + "name": "Noto Sans Sunuwar", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "sunuwar" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Sunu", + "article": "Noto Sans Sunuwar is an unmodulated (\u201csans serif\u201d) design for texts in the South Asian Sunuwar script. Noto Sans Sunuwar contains 85 glyphs, 1 OpenType feature, and supports 44 characters from the Unicode block Sunuwar. Supported writing systems Sunuwar Sunuwar (K\u00f5its brese) is a left-to-right South Asian writing system used for the Kiranti-K\u00f5its (Mukhia) language. The script used in Nepal and Sikkim, India. The orthographic rules in Sikkim are currently different than those in Nepal. The font supports both standards. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Syloti Nagri": { + "name": "Noto Sans Syloti Nagri", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "syloti-nagri" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Sylo", + "article": "Noto Sans Syloti Nagri is an unmodulated (\u201csans serif\u201d) design for texts in the Indic Syloti Nagri script. Noto Sans Syloti Nagri contains 87 glyphs, 3 OpenType features, and supports 68 characters from the Unicode block Syloti Nagri. Supported writing systems Syloti Nagri Syloti Nagri (Sylheti Nagri, \ua80d\ua824\ua81f\ua810\ua824 \ua818\ua823\ua809\ua81e\ua824) is an Indic abugida, written left-to-right. Used in Bangladesh for the Sylheti language. Supposedly created in the 14th century, attested in the 17th century. Since the mid-20th century almost entirely replaced by the Bengali and Latin scripts. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Symbols": { + "name": "Noto Sans Symbols", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "symbols" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "symbols" + ], + "description": null, + "primary_script": null, + "article": "Noto Sans Symbols is an unmodulated (\u201csans serif\u201d) design for texts in Symbols. Noto Sans Symbols has multiple weights, contains 1,224 glyphs, and supports 840 characters from 10 Unicode blocks: Enclosed Alphanumeric Supplement, Miscellaneous Symbols, Alchemical Symbols, Miscellaneous Technical, Enclosed Alphanumerics, Basic Latin, Arrows, Combining Diacritical Marks for Symbols, Dingbats, Miscellaneous Symbols and Pictographs. Supported writing systems Symbols Symbols are characters that signify an idea, object, or relationship, but do not belong to another standardized script or notation, like arrows, card suit symbols, or religious icons. Read more on ScriptSource, Unicode, Wikipedia, r12a.", + "minisite_url": null + }, + "Noto Sans Symbols 2": { + "name": "Noto Sans Symbols 2", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "braille", + "latin", + "latin-ext", + "math", + "mayan-numerals", + "symbols" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "symbols" + ], + "description": null, + "primary_script": "Brai", + "article": "Noto Sans Symbols 2 is an unmodulated (\u201csans serif\u201d) design for texts in Symbols and in Emoji symbols. Noto Sans Symbols 2 contains 2,674 glyphs, 3 OpenType features, and supports 2,655 characters from 26 Unicode blocks: Miscellaneous Symbols and Pictographs, Braille Patterns, Miscellaneous Symbols and Arrows, Symbols for Legacy Computing, Supplemental Arrows-C, Dingbats, Miscellaneous Symbols, Geometric Shapes Extended, Domino Tiles, Chess Symbols, Geometric Shapes, Tai Xuan Jing Symbols, Playing Cards, Yijing Hexagram Symbols, Symbols and Pictographs Extended-A, Ornamental Dingbats, Phaistos Disc, Transport and Map Symbols, Mahjong Tiles, Control Pictures, Miscellaneous Technical, Ancient Greek Numbers, Ancient Symbols, Arrows, Optical Character Recognition, Mathematical Operators. Supported writing systems Symbols Symbols are characters that signify an idea, object, or relationship, but do not belong to another standardized script or notation, like arrows, card suit symbols, or religious icons. Read more on ScriptSource, Unicode, Wikipedia, r12a. Emoji symbols Emoji symbols are pictograms, logograms, ideograms and smileys used in electronic messages and web pages. Their primary function is to fill in emotional cues otherwise missing from typed conversation. They are typically rendered as multi-color characters. Read more on ScriptSource, Unicode, Wikipedia, r12a.", + "minisite_url": null + }, + "Noto Sans Syriac": { + "name": "Noto Sans Syriac", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "syriac" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Syrc", + "article": "Noto Sans Syriac is an unmodulated (\u201csans serif\u201d) Estrangela design for texts in the Middle Eastern Syriac script. Noto Sans Syriac contains 288 glyphs, 19 OpenType features, and supports 150 characters from 5 Unicode blocks: Syriac, Arabic, Basic Latin, Combining Diacritical Marks, Latin-1 Supplement. Supported writing systems Syriac Syriac (\u0710\u0720\u0726 \u0712\u071d\u072c \u0723\u0718\u072a\u071d\u071d\u0710) is a Middle Eastern abjad, written right-to-left. Was used in West Asia for Syriac (now only used in the Syrian church), and also Aramaic, Neo-Aramaic, Turoyo/Surayt. Attested in 6 CE. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Syriac Eastern": { + "name": "Noto Sans Syriac Eastern", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "syriac" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Syrc", + "article": "Noto Sans Syriac Eastern is an unmodulated (\u201csans serif\u201d) Eastern (Ma\u1e0fn\u1e25\u0101y\u0101) design for texts in the Middle Eastern Syriac script. Noto Sans Syriac Eastern contains 233 glyphs, 19 OpenType features, and supports 150 characters from 5 Unicode blocks: Syriac, Arabic, Basic Latin, Combining Diacritical Marks, Latin-1 Supplement. Supported writing systems Syriac Syriac (\u0710\u0720\u0726 \u0712\u071d\u072c \u0723\u0718\u072a\u071d\u071d\u0710) is a Middle Eastern abjad, written right-to-left. Was used in West Asia for Syriac (now only used in the Syrian church), and also Aramaic, Neo-Aramaic, Turoyo/Surayt. Attested in 6 CE. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans TC": { + "name": "Noto Sans TC", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "chinese-traditional", + "cyrillic", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Hant", + "article": "Noto Sans TC is an unmodulated (\u201csans serif\u201d) design for languages in Taiwan and Macau that use the Traditional Chinese variant of the Han ideograms. It also supports Hiragana, Katakana, Latin, Cyrillic, Greek and Hangul. Noto Sans CJK TC contains 65,535 glyphs, 23 OpenType features, and supports 44,806 characters from 55 Unicode blocks: CJK Unified Ideographs, Hangul Syllables, CJK Unified Ideographs Extension A, CJK Unified Ideographs Extension B, CJK Compatibility Ideographs, Hangul Jamo, CJK Compatibility, Halfwidth and Fullwidth Forms, Kangxi Radicals, Enclosed CJK Letters and Months, Enclosed Alphanumeric Supplement, Box Drawing, CJK Radicals Supplement, CJK Unified Ideographs Extension E, Katakana, Hangul Compatibility Jamo, Hiragana, Latin Extended Additional, Latin-1 Supplement, Basic Latin, Enclosed Alphanumerics, Mathematical Operators, Hangul Jamo Extended-B, Cyrillic, Enclosed Ideographic Supplement, CJK Compatibility Ideographs Supplement, CJK Symbols and Punctuation, Miscellaneous Symbols, Greek and Coptic, CJK Unified Ideographs Extension C, Bopomofo, Geometric Shapes, CJK Strokes, General Punctuation, CJK Unified Ideographs Extension D, Block Elements, CJK Compatibility Forms, Latin Extended-A, Hangul Jamo Extended-A, Bopomofo Extended, Miscellaneous Technical, Small Form Variants, Arrows, Latin Extended-B, Letterlike Symbols, Katakana Phonetic Extensions, Kanbun, Ideographic Description Characters, Vertical Forms, Spacing Modifier Letters, Dingbats, Combining Diacritical Marks, Miscellaneous Symbols and Arrows, Alphabetic Presentation Forms, CJK Unified Ideographs Extension F. Supported writing systems Traditional Han Traditional Han (\u6f22\u5b57) is an East Asian logo-syllabary, written vertically right-to-left and horizontally left-to-right (over 30 million users). Used in Taiwan, Hong Kong and Macau. ((TODO)) Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Hangul Hangul (Hangeul, \ud55c\uae00, Chos\u014fn'g\u016dl, \uc870\uc120\uae00) is an East Asian script, written vertically right-to-left and horizontally left-to-right (79 million users). Used for the Korean language. Created in 1446 by King Sejong the Great (Sejong of Joseon) as a simpler, phonetic alternative to using Chinese hanja for Korean. Not universally accepted for centuries, suppressed by Japanese colonial authorities. Since 1945 the standard script for Korean. The 51 basic letters (jamo) are grouped into syllable blocks depending on their position in the spoken syllable. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Latin Latin (Roman) is a European bicameral alphabet, written left-to-right. The most popular writing system in the world. Used for over 3,000 languages including Latin and Romance languages (Italian, French, Portuguese, Spanish and Romanian), Germanic languages (English, Dutch, German, Nordic languages), Finnish, Malaysian, Indonesian, Filipino, Visayan languages, Turkish, Azerbaijani, Polish, Somali, Vietnamese, and many others. Derived from Western Greek, attested in Rome in the 7th century BCE. In the common era, numerous European languages adopted the Latin script along with Western Christian religion, the script disseminated further with European colonization of the Americas, Australia, parts of Asia, Africa and the Pacific. New letters, ligatures and diacritical marks were gradually added to represent the sounds of various languages. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Katakana Katakana (\u7247\u4eee\u540d\u3001\u30ab\u30bf\u30ab\u30ca) is an East Asian syllabary, written vertically right-to-left and horizontally left-to-right (126 million users). Used in Japan for Japanese, Ryukyuan, Ainu and Palauan, and formerly for Taiwanese Hokkien. Katakana is used for transcription of foreign-language words into Japanese, for the writing of loan words, for emphasis, to represent onomatopoeia, for technical and scientific terms, for names of plants, animals and minerals, and often for names of Japanese companies. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Hiragana Hiragana (\u5e73\u4eee\u540d, \u3072\u3089\u304c\u306a) is an East Asian syllabary, written vertically right-to-left and horizontally left-to-right (120 million users). Used in Japan for Japanese and the Ryukyuan languages. Hiragana is used to write okurigana (kana suffixes following a kanji root, for example to inflect verbs and adjectives), various grammatical and function words including particles, as well as miscellaneous other native words for which there are no kanji or whose kanji form is obscure or too formal for the writing purpose. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Emoji symbols Emoji symbols are pictograms, logograms, ideograms and smileys used in electronic messages and web pages. Their primary function is to fill in emotional cues otherwise missing from typed conversation. They are typically rendered as multi-color characters. Read more on ScriptSource, Unicode, Wikipedia, r12a. Bopomofo Bopomofo (\u6ce8\u97f3\u7b26\u865f, \u6ce8\u97f3\u7b26\u53f7, \u3105\u3106\u3107\u3108) is an East Asian syllabary, written left-to-right. Developed in 1913 in China to be used for Mandarin Chinese transliteration alongside the Latin-based Wade\u2013Giles system. Also called Mandarin Phonetic Symbols or Zhuyin (\u6ce8\u97f3). Bopomofo is an official transliteration system in Taiwan, used in dictionaries, books, newspapers and journals to annotate the Taiwanese pronunciation of Chinese Han characters, and in electronic input methods. Largely replaced by Pinyin romanization in the People\u2019s Republic of China. Also used as the primary script for Taiwan\u2019s minority languages like Atayal, Taroko, Paiwan and Yami. Has 21 onset consonants, 16 rhymes, and 4 tone marks. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Cyrillic Cyrillic is a bicameral alphabet originating in Europe, written left-to-right (250 million users). Used for various languages across Eurasia and is used as the national script in various Slavic, Turkic, Mongolic and Iranic-speaking countries in Southeastern Europe, Eastern Europe, the Caucasus, Central Asia, North Asia and East Asia, including Russian, Bulgarian, Macedonian, Serbian, Ukrainian, Uzbek, Azerbaijani, Kazakh, Tajik, Kyrgyz, Bashkort, Chechen, Chuvash, Avar, Dargwa, Kabardian, Karakalpak, Kumyk, Lezgi, Ossetic, Pontic, Yakut, Buriat and many others. Created in the 9th century. Traditionally attributed to Saint Cyril, a monk from Thessaloniki working in Bulgaria, after earlier creation of the Glagolitic script. Sometimes attributed to Clement of Ohrid, a student of Saint Cyril\u2019s. Initially used for Old Church Slavonic. Reformed in 1708 by Russian tsar Peter the Great. Extended by the Soviet Union in the 20th century to write over 50 languages throughout Eastern Europe and Asia (some of those languages switched to Latin after 1991). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Greek Greek (\u0395\u03bb\u03bb\u03b7\u03bd\u03b9\u03ba\u03ac) is a European bicameral alphabet, written left-to-right (11 million users). Used to write the Greek language since the 8th century BCE. Also used to write other languages like Urum, Albanian Tosk, and Balkan Gagauz Turkish. Some symbols are also used in scientific notation. Derived from Phoenician. First \u201ctrue alphabet\u201d, with distinct letters for consonants and vowels. Standardized in the 4th century BCE by Eucleides. Has 24 letters. Some letter variants (sigma: \u03c3/\u03c2) have positional significance in the Greek language, other variants only differ in meaning in scientific notation (e.g. pi: \u03c0/\u03d6). The Greek language used to be written in polytonic spelling, with three accents on vowels. In 1982, Greece introduced monotonic spelling with a single diacritic. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Tagalog": { + "name": "Noto Sans Tagalog", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "tagalog" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Tglg", + "article": "Noto Sans Tagalog is an unmodulated (\u201csans serif\u201d) design for texts in the historical Southeast Asian Tagalog script. Noto Sans Tagalog contains 31 glyphs, and supports 30 characters from the Unicode block Tagalog. Supported writing systems Tagalog Tagalog (Baybayin, Alibata, \u170a\u170c\u1714\u170a\u170c\u1712\u1708\u1714) is a historical Southeast Asian abugida, written left-to-right. Was used in the Philippines in the 13th\u201318th centuries for the Tagalog language (21 million speakers), which is now written in the Latin script. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Tagbanwa": { + "name": "Noto Sans Tagbanwa", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "tagbanwa" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Tagb", + "article": "Noto Sans Tagbanwa is an unmodulated (\u201csans serif\u201d) design for texts in the Southeast Asian Tagbanwa script. Noto Sans Tagbanwa contains 29 glyphs, and supports 28 characters from the Unicode block Tagbanwa. Supported writing systems Tagbanwa Tagbanwa (\u1766\u176a\u176f) is a Southeast Asian abugida, written left-to-right. Used in the Philippines since c. 1300 for the Tagbanwa language (8\u201325,000 speakers). Has 13 consontants. The script and language are in decline, being replaced by Tagalog. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Tai Le": { + "name": "Noto Sans Tai Le", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "tai-le" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Tale", + "article": "Noto Sans Tai Le is an unmodulated (\u201csans serif\u201d) design for texts in the Southeast Asian Tai Le script. Noto Sans Tai Le contains 71 glyphs, 2 OpenType features, and supports 64 characters from 3 Unicode blocks: Tai Le, CJK Symbols and Punctuation, Combining Diacritical Marks. Supported writing systems Tai Le Tai Le (\u1956\u196d\u1970\u1958\u196b\u1974) is a Southeast Asian abugida, written left-to-right. Used in Yunnan, China since c. 1200 CE for the Tai Le (Tai N\u00fca) language. Revised several times in 1952\u20131988. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Tai Tham": { + "name": "Noto Sans Tai Tham", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "tai-tham" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Lana", + "article": "Noto Sans Tai Tham is an unmodulated (\u201csans serif\u201d) design for texts in the Southeast Asian Lanna (Tai Tham) script. Noto Sans Tai Tham has multiple weights, contains 799 glyphs, 3 OpenType features, and supports 135 characters from the Unicode block Tai Tham. Supported writing systems Lanna (Tai Tham) Lanna (Tai Tham) is a Southeast Asian abugida, written left-to-right. Used in Thailand and China for the Northern Thai language. Was also used for the L\u00fc and Kh\u00fcn languages. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Tai Viet": { + "name": "Noto Sans Tai Viet", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "tai-viet" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Tavt", + "article": "Noto Sans Tai Viet is an unmodulated (\u201csans serif\u201d) design for texts in the Southeast Asian Tai Viet script. Noto Sans Tai Viet contains 83 glyphs, and supports 82 characters from the Unicode block Tai Viet. Supported writing systems Tai Viet Tai Viet is a Southeast Asian abugida, written left-to-right. Used since the 16th century in Vietnam, Laos, China and Thailand for the Tai Dam, Tai D\u00f3n, Tai Daeng, Thai Song and T\u00e0y Tac languages. Has 31 consonants and 14 vowels. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Takri": { + "name": "Noto Sans Takri", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "takri" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Takr", + "article": "Noto Sans Takri is an unmodulated (\u201csans serif\u201d) design for texts in the historical Indic Takri script. Noto Sans Takri contains 95 glyphs, 8 OpenType features, and supports 86 characters from 2 Unicode blocks: Takri, Common Indic Number Forms. Supported writing systems Takri Takri (\ud805\ude94\ud805\udead\ud805\ude8a\ud805\udea4\ud805\udeaf) is a historical Indic abugida, written left-to-right, mostly without a headstroke. Was used in the 16th\u201319th centuries in today\u2019s India and Pakistan for the Chambeali and Dogri languages, and for Pahari languages like Jaunsari and Kulvi. Related to the Dogri script. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Tamil": { + "name": "Noto Sans Tamil", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "tamil" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Taml", + "article": "Noto Sans Tamil is an unmodulated (\u201csans serif\u201d) design for texts in the Indic Tamil script. Noto Sans Tamil has multiple weights and widths, contains 244 glyphs, 11 OpenType features, and supports 147 characters from 5 Unicode blocks: Tamil, Basic Latin, General Punctuation, Devanagari, Grantha. Supported writing systems Tamil Tamil (\u0ba4\u0bae\u0bbf\u0bb4\u0bcd) is an Indic abugida, written left-to-right (70 million users). Used in India, Sri Lanka, Singapore, Malaysia and Mauritius for the Tamil language, and other languages like Irula, Badaga, Kurumba, Paniya, Saurashtra. Has 18 consonants (modest set for Brahmic scripts) and 12 vowels. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Tamil Supplement": { + "name": "Noto Sans Tamil Supplement", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "tamil-supplement" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Noto is a global font collection for writing in all modern and ancient languages. Noto Sans Tamil Supplement is an unmodulated (\u201csans serif\u201d) design in the Supplement variant for texts in the Indic Tamil script. It has 54 glyphs.", + "primary_script": "Taml", + "article": null, + "minisite_url": null + }, + "Noto Sans Tangsa": { + "name": "Noto Sans Tangsa", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "tangsa" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Tnsa", + "article": "Noto Sans Tangsa is a design for the Indic Tangsa script. Noto Sans Tangsa has multiple weights, contains 94 glyphs, 2 OpenType features, and supports 93 characters from the Unicode block Tangsa. Supported writing systems Tangsa Tangsa is an Indic alphabet. Used by the Tangsa (Tangshang, Hawa) people at the border between India and Myanmar. Read more on ScriptSource, Unicode, Wikipedia, r12a.", + "minisite_url": null + }, + "Noto Sans Telugu": { + "name": "Noto Sans Telugu", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "telugu" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Telu", + "article": "Noto Sans Telugu is an unmodulated (\u201csans serif\u201d) design for texts in the Indic Telugu script. Noto Sans Telugu has multiple weights and widths, contains 958 glyphs, 11 OpenType features, and supports 163 characters from 4 Unicode blocks: Telugu, Basic Latin, General Punctuation, Devanagari. Supported writing systems Telugu Telugu (\u0c24\u0c46\u0c32\u0c41\u0c17\u0c41) is an Indic abugida, written left-to-right without a headstroke. Used since c. 1300 CE in South India for the Telugu language (74 million speakers), state language of Andhra Pradesh. Also used for Chenchu, Savara, Manna-Dora, for Sanskrit and Gondi. Closely related to the Kannada script. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Thaana": { + "name": "Noto Sans Thaana", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "thaana" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Thaa", + "article": "Noto Sans Thaana is an unmodulated (\u201csans serif\u201d) design for texts in the Indic Thaana script. Noto Sans Thaana has multiple weights, contains 90 glyphs, and supports 89 characters from 4 Unicode blocks: Thaana, Basic Latin, Arabic, General Punctuation. Supported writing systems Thaana Thaana (\u078b\u07a8\u0788\u07ac\u0780\u07a8) is an Indic alphabet, written right-to-left (350,000 users). Used on the Maldives and in India for the Maldivian (Mahl, Dhivehi) language, which also uses a Latin transliteration. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Thai": { + "name": "Noto Sans Thai", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "thai" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Thai", + "article": "Noto Sans Thai is an unmodulated (\u201csans serif\u201d) design in the more modern, loopless variant of the Southeast Asian Thai script, mainly suitable for headlines, packaging and advertising. Noto Sans Thai has multiple weights and widths, contains 140 glyphs, 6 OpenType features, and supports 101 characters from the Unicode block Thai. Supported writing systems Thai Thai (\u0e44\u0e17\u0e22) is a Southeast Asian abugida, written left-to-right (38 million users). Used since 1283 in Thailand, Laos and China for the Thai, Northern Thai, Northeastern Thai, Southern Thai, Thai Song and Pali languages. Related to the Lao script. Uses 44 letters for 21 consonants. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Thai Looped": { + "name": "Noto Sans Thai Looped", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "thai" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Thai", + "article": "Noto Sans Thai Looped is an unmodulated (\u201csans serif\u201d) design in the more traditional, looped variant of the Southeast Asian Thai script, suitable for all texts. Noto Looped Thai contains 212 glyphs, 8 OpenType features, and supports 148 characters from 5 Unicode blocks: Thai, Basic Latin, General Punctuation, Latin-1 Supplement, Combining Diacritical Marks. Supported writing systems Thai Thai (\u0e44\u0e17\u0e22) is a Southeast Asian abugida, written left-to-right (38 million users). Used since 1283 in Thailand, Laos and China for the Thai, Northern Thai, Northeastern Thai, Southern Thai, Thai Song and Pali languages. Related to the Lao script. Uses 44 letters for 21 consonants. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Tifinagh": { + "name": "Noto Sans Tifinagh", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "tifinagh" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Tfng", + "article": "Noto Sans Tifinagh is an unmodulated (\u201csans serif\u201d) design for texts in the African Tifinagh script. Noto Sans Tifinagh contains 164 glyphs, 5 OpenType features, and supports 76 characters from 2 Unicode blocks: Tifinagh, Combining Diacritical Marks. Supported writing systems Tifinagh Tifinagh (\u2d5c\u2d49\u2d3c\u2d49\u2d4f\u2d30\u2d56) is an African abjad. Used alongside the Berber Latin Alphabet for Berber languages of North Africa (1 million speakers), and for Tuareg languages. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Tirhuta": { + "name": "Noto Sans Tirhuta", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "tirhuta" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Tirh", + "article": "Noto Sans Tirhuta is an unmodulated (\u201csans serif\u201d) design for texts in the Indic Tirhuta script. Noto Sans Tirhuta contains 262 glyphs, 13 OpenType features, and supports 108 characters from 3 Unicode blocks: Tirhuta, Devanagari, Common Indic Number Forms. Supported writing systems Tirhuta Tirhuta (Mithilakshar) is an Indic abugida, written left-to-right. Was used in India and Nepal for the Maithili language (35 million speakers), which now mostly uses Devanagari. Tirhuta is still occasionally used for ceremonial purposes. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Ugaritic": { + "name": "Noto Sans Ugaritic", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "ugaritic" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Ugar", + "article": "Noto Sans Ugaritic is an unmodulated (\u201csans serif\u201d) design for texts in the historical Middle Eastern Ugaritic script. Noto Sans Ugaritic contains 36 glyphs, and supports 35 characters from the Unicode block Ugaritic. Supported writing systems Ugaritic Ugaritic is a historical Middle Eastern abjad, written left-to-right. Was used in today\u2019s Syria in 1500-1300 BCE for the Ugaritic language, and also for Hurrian. Has 30 letters that visually resemble cuneiform. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Vai": { + "name": "Noto Sans Vai", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vai" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Vaii", + "article": "Noto Sans Vai is an unmodulated (\u201csans serif\u201d) design for texts in the African Vai script. Noto Sans Vai contains 305 glyphs, and supports 304 characters from the Unicode block Vai. Supported writing systems Vai Vai (\ua559\ua524) is an African syllabary, written left-to-right. Used in Liberia and Sierra Leone for the Vai language (115,000 speakers). Created in the 1830s by M\u0254m\u0254lu Duwalu Buk\u025bl\u025b. Has 212 symbols. Possibly influenced by the Cherokee syllabary. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Vithkuqi": { + "name": "Noto Sans Vithkuqi", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vithkuqi" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Vith", + "article": "Noto Sans Vithkuqi is a design for the historical European Vithkuqi script. Noto Sans Vithkuqi has multiple weights, contains 103 glyphs, and supports 101 characters from 2 Unicode blocks: Vithkuqi, Basic Latin. Supported writing systems Vithkuqi Vithkuqi (B\u00fcthakukye) is a historical European bicameral alphabet, written left-to-right. Created around 1840 by Naum Veqilharxhi for the Albanian language. Read more on ScriptSource, Unicode, Wikipedia, r12a.", + "minisite_url": null + }, + "Noto Sans Wancho": { + "name": "Noto Sans Wancho", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "wancho" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Wcho", + "article": "Noto Sans Wancho is an unmodulated (\u201csans serif\u201d) design for texts in the Indic Wancho script. Noto Sans Wancho contains 95 glyphs, 3 OpenType features, and supports 79 characters from 2 Unicode blocks: Wancho, Basic Latin. Supported writing systems Wancho Wancho is an Indic alphabet, written left-to-right. Created 2001\u20132012 by Banwang Losu in India for the Wancho language. Some schools teach the Wancho script but the language generally uses Devanagari and Latin script. Read more on ScriptSource, Unicode, Wikipedia, r12a.", + "minisite_url": null + }, + "Noto Sans Warang Citi": { + "name": "Noto Sans Warang Citi", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "warang-citi" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Wara", + "article": "Noto Sans Warang Citi is an unmodulated (\u201csans serif\u201d) design for texts in the Indic Varang Kshiti (Warang Citi) script. Noto Sans Warang Citi contains 181 glyphs, 3 OpenType features, and supports 89 characters from the Unicode block Warang Citi. Supported writing systems Varang Kshiti (Warang Citi) Varang Kshiti (Warang Citi, \ud806\udcb9\ud806\udcd7\ud806\udcc1\ud806\udcdc\ud806\udcca \ud806\udccf\ud806\udcc2\ud806\udcd5\ud806\udcc2\u200e) is an Indic abugida, written left-to-right. Used in India for the Ho language, alongside Devanagari and Latin. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Yi": { + "name": "Noto Sans Yi", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "yi" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Yiii", + "article": "Noto Sans Yi is an unmodulated (\u201csans serif\u201d) design for texts in the East Asian Yi script. Noto Sans Yi contains 1,251 glyphs, and supports 1,250 characters from 4 Unicode blocks: Yi Syllables, Yi Radicals, CJK Symbols and Punctuation, Halfwidth and Fullwidth Forms. Supported writing systems Yi Yi (Modern Yi, \ua188\ua320\ua071\ua0b7) is an East Asian logo-syllabary, written horizontally left-to-right (modern) or vertically right-to-left (traditional). Used for the Nuosu Yi language (2 million users) in the Liangshan Yi region of China. Yi signs are made from five basic strokes; dot, horizontal line, vertical line, arch and circle. Attested 500 years ago, believed to be use for perhaps even 5000 years. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Zanabazar Square": { + "name": "Noto Sans Zanabazar Square", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "zanabazar-square" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Zanb", + "article": "Noto Sans Zanabazar Square is an unmodulated (\u201csans serif\u201d) design for texts in the historical Central Asian Zanabazar Square script. Noto Sans Zanabazar Square contains 154 glyphs, 6 OpenType features, and supports 77 characters from the Unicode block Zanabazar Square. Supported writing systems Zanabazar Square Zanabazar Square (Mongolian Square, \ud806\ude22\ud806\ude06\ud806\ude0f\ud806\ude33\ud806\ude0b\ud806\ude06\ud806\ude2c\ud806\ude33\u200e) is a historical Central Asian abugida, written left-to-right. Was used in Mongolia for writing the Mongolian, Sanskrit and Tibetan languages. Created in the late 17th century by the Tibetan Buddhism leader Zanabazar, who also developed the the Soyombo script. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif": { + "name": "Noto Serif", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext", + "math", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Noto Serif is a modulated (\u201cserif\u201d) design for texts in the Latin, Cyrillic and Greek scripts, also suitable as the complementary font for other script-specific Noto Serif fonts. Noto Serif has italic styles, multiple weights and widths, contains 3,256 glyphs, 24 OpenType features, and supports 2,840 characters from 30 Unicode blocks: Latin Extended Additional, Cyrillic, Greek Extended, Latin Extended-B, Latin Extended-D, Latin Extended-A, Phonetic Extensions, Greek and Coptic, Combining Diacritical Marks, IPA Extensions, Cyrillic Extended-B, Latin-1 Supplement, General Punctuation, Basic Latin, Supplemental Punctuation, Spacing Modifier Letters, Letterlike Symbols, Phonetic Extensions Supplement, Combining Diacritical Marks Supplement, Latin Extended-E, Cyrillic Supplement, Currency Symbols, Latin Extended-C, Cyrillic Extended-A, Modifier Tone Letters, Superscripts and Subscripts, Combining Diacritical Marks Extended, Combining Half Marks, Cyrillic Extended-C, Alphabetic Presentation Forms. Supported writing systems Latin Latin (Roman) is a European bicameral alphabet, written left-to-right. The most popular writing system in the world. Used for over 3,000 languages including Latin and Romance languages (Italian, French, Portuguese, Spanish and Romanian), Germanic languages (English, Dutch, German, Nordic languages), Finnish, Malaysian, Indonesian, Filipino, Visayan languages, Turkish, Azerbaijani, Polish, Somali, Vietnamese, and many others. Derived from Western Greek, attested in Rome in the 7th century BCE. In the common era, numerous European languages adopted the Latin script along with Western Christian religion, the script disseminated further with European colonization of the Americas, Australia, parts of Asia, Africa and the Pacific. New letters, ligatures and diacritical marks were gradually added to represent the sounds of various languages. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Cyrillic Cyrillic is a bicameral alphabet originating in Europe, written left-to-right (250 million users). Used for various languages across Eurasia and is used as the national script in various Slavic, Turkic, Mongolic and Iranic-speaking countries in Southeastern Europe, Eastern Europe, the Caucasus, Central Asia, North Asia and East Asia, including Russian, Bulgarian, Macedonian, Serbian, Ukrainian, Uzbek, Azerbaijani, Kazakh, Tajik, Kyrgyz, Bashkort, Chechen, Chuvash, Avar, Dargwa, Kabardian, Karakalpak, Kumyk, Lezgi, Ossetic, Pontic, Yakut, Buriat and many others. Created in the 9th century. Traditionally attributed to Saint Cyril, a monk from Thessaloniki working in Bulgaria, after earlier creation of the Glagolitic script. Sometimes attributed to Clement of Ohrid, a student of Saint Cyril\u2019s. Initially used for Old Church Slavonic. Reformed in 1708 by Russian tsar Peter the Great. Extended by the Soviet Union in the 20th century to write over 50 languages throughout Eastern Europe and Asia (some of those languages switched to Latin after 1991). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Greek Greek (\u0395\u03bb\u03bb\u03b7\u03bd\u03b9\u03ba\u03ac) is a European bicameral alphabet, written left-to-right (11 million users). Used to write the Greek language since the 8th century BCE. Also used to write other languages like Urum, Albanian Tosk, and Balkan Gagauz Turkish. Some symbols are also used in scientific notation. Derived from Phoenician. First \u201ctrue alphabet\u201d, with distinct letters for consonants and vowels. Standardized in the 4th century BCE by Eucleides. Has 24 letters. Some letter variants (sigma: \u03c3/\u03c2) have positional significance in the Greek language, other variants only differ in meaning in scientific notation (e.g. pi: \u03c0/\u03d6). The Greek language used to be written in polytonic spelling, with three accents on vowels. In 1982, Greece introduced monotonic spelling with a single diacritic. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif Ahom": { + "name": "Noto Serif Ahom", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "ahom", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Ahom", + "article": "Noto Serif Ahom is a modulated (\u201cserif\u201d) design for texts in the Southeast Asian Ahom script. Noto Serif Ahom contains 76 glyphs, 7 OpenType features, and supports 63 characters from the Unicode block Ahom. Supported writing systems Ahom Ahom (\ud805\udf12\ud805\udf11\ud805\udf2a\ud805\udf28) is a Southeast Asian abugida, written left-to-right. Was used in the 13th\u201318th century CE by the Tai Ahom community in India for the now-extinct Ahom language. Later largely replaced by the Assamese language and script. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif Armenian": { + "name": "Noto Serif Armenian", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "armenian", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Armn", + "article": "Noto Serif Armenian is a modulated (\u201cserif\u201d) design for texts in the European Armenian script. Noto Serif Armenian has multiple weights and widths, contains 107 glyphs, 3 OpenType features, and supports 104 characters from 2 Unicode blocks: Armenian, Alphabetic Presentation Forms. Supported writing systems Armenian Armenian (\u0540\u0561\u0575\u0578\u0581 \u0563\u0580\u0565\u0580) is a European bicameral alphabet, written left-to-right (12 million users). Created around 405 CE by Mesrop Mashtots. Used for the Armenian language to this day. Was widespread in the 18th\u201319th centuries CE in the Ottoman Empire. Armenia uses a reformed spelling introduced in the Soviet Union, the Armenian diaspora mostly uses the original Mesropian orthography. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif Balinese": { + "name": "Noto Serif Balinese", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "balinese", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Bali", + "article": "Noto Serif Balinese is a modulated (\u201cserif\u201d) design for texts in the Southeast Asian Balinese script. Noto Serif Balinese contains 217 glyphs, 6 OpenType features, and supports 129 characters from the Unicode block Balinese. Supported writing systems Balinese Balinese (\u1b05\u1b13\u1b44\u1b31\u1b2d\u1b29\u1b2e\u1b36) is a Southeast Asian abugida, written left-to-right (5 million users). Used for the Balinese language on the Indonesian islands of Java and Bali, mostly for signage, traditional literature, and, on a limited scale, for new literature. Also used for Old Javanese and Sanskrit. Derived from Old Kawi, similar to Javanese. Has 47 letters. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif Bengali": { + "name": "Noto Serif Bengali", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "bengali", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Beng", + "article": "Noto Serif Bengali is a modulated (\u201cserif\u201d) design for texts in the Indic Bangla (Bengali) script. Noto Serif Bengali has multiple weights and widths, contains 640 glyphs, 19 OpenType features, and supports 173 characters from 5 Unicode blocks: Bengali, Basic Latin, Vedic Extensions, General Punctuation, Devanagari. Supported writing systems Bangla (Bengali) Bangla (Bengali, Bengali-Assamese, \u09ac\u09be\u0982\u09b2\u09be \u09ac\u09b0\u09cd\u09a3\u09ae\u09be\u09b2\u09be) is an Indic abugida, written left-to-right (265 million users). Used in Bangladesh and India, for the Bengali language, and for other languages like Assamese, Kokborok, Bishnupriya Manipuri, Meitei Manipuri, Rabha, Maithili, Rangpuri, Sylheti, Santali and Sanskrit. Developed in the 11th century CE. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif Devanagari": { + "name": "Noto Serif Devanagari", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Deva", + "article": "Noto Serif Devanagari is a modulated (\u201cserif\u201d) design for texts in the Indic Devanagari script. Noto Serif Devanagari has multiple weights and widths, contains 871 glyphs, 18 OpenType features, and supports 272 characters from 6 Unicode blocks: Devanagari, Vedic Extensions, Devanagari Extended, Basic Latin, General Punctuation, Common Indic Number Forms. Supported writing systems Devanagari Devanagari (Negari, \u0926\u0947\u0935\u0928\u093e\u0917\u0930\u0940) is an Indic abugida, written left-to-right with a headstroke (over 600 million users). Used in India and Nepal for over 120 languages like Indo-Aryan languages, including Hindi, Nepali, Marathi, Maithili, Awadhi, Newari and Bhojpuri, and for Sanskrit. 4th most widely used script in the world. Brahmic script created in the 1st century CE, the modern form developed in the 7th century. Has 14 vowels and 33 consonants. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif Display": { + "name": "Noto Serif Display", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "Noto Serif Display is a modulated (\u201cserif\u201d) design for texts in larger font sizes in the European Latin script and in Cyrillic, Greek. Noto Serif Display has italic styles, multiple weights and widths, contains 3,256 glyphs, 24 OpenType features, and supports 2,840 characters from 30 Unicode blocks: Latin Extended Additional, Cyrillic, Greek Extended, Latin Extended-B, Latin Extended-D, Latin Extended-A, Phonetic Extensions, Greek and Coptic, Combining Diacritical Marks, IPA Extensions, Cyrillic Extended-B, Latin-1 Supplement, General Punctuation, Basic Latin, Supplemental Punctuation, Spacing Modifier Letters, Letterlike Symbols, Phonetic Extensions Supplement, Combining Diacritical Marks Supplement, Latin Extended-E, Cyrillic Supplement, Currency Symbols, Latin Extended-C, Cyrillic Extended-A, Modifier Tone Letters, Superscripts and Subscripts, Combining Diacritical Marks Extended, Combining Half Marks, Cyrillic Extended-C, Alphabetic Presentation Forms. Supported writing systems Latin Latin (Roman) is a European bicameral alphabet, written left-to-right. The most popular writing system in the world. Used for over 3,000 languages including Latin and Romance languages (Italian, French, Portuguese, Spanish and Romanian), Germanic languages (English, Dutch, German, Nordic languages), Finnish, Malaysian, Indonesian, Filipino, Visayan languages, Turkish, Azerbaijani, Polish, Somali, Vietnamese, and many others. Derived from Western Greek, attested in Rome in the 7th century BCE. In the common era, numerous European languages adopted the Latin script along with Western Christian religion, the script disseminated further with European colonization of the Americas, Australia, parts of Asia, Africa and the Pacific. New letters, ligatures and diacritical marks were gradually added to represent the sounds of various languages. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Cyrillic Cyrillic is a bicameral alphabet originating in Europe, written left-to-right (250 million users). Used for various languages across Eurasia and is used as the national script in various Slavic, Turkic, Mongolic and Iranic-speaking countries in Southeastern Europe, Eastern Europe, the Caucasus, Central Asia, North Asia and East Asia, including Russian, Bulgarian, Macedonian, Serbian, Ukrainian, Uzbek, Azerbaijani, Kazakh, Tajik, Kyrgyz, Bashkort, Chechen, Chuvash, Avar, Dargwa, Kabardian, Karakalpak, Kumyk, Lezgi, Ossetic, Pontic, Yakut, Buriat and many others. Created in the 9th century. Traditionally attributed to Saint Cyril, a monk from Thessaloniki working in Bulgaria, after earlier creation of the Glagolitic script. Sometimes attributed to Clement of Ohrid, a student of Saint Cyril\u2019s. Initially used for Old Church Slavonic. Reformed in 1708 by Russian tsar Peter the Great. Extended by the Soviet Union in the 20th century to write over 50 languages throughout Eastern Europe and Asia (some of those languages switched to Latin after 1991). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Greek Greek (\u0395\u03bb\u03bb\u03b7\u03bd\u03b9\u03ba\u03ac) is a European bicameral alphabet, written left-to-right (11 million users). Used to write the Greek language since the 8th century BCE. Also used to write other languages like Urum, Albanian Tosk, and Balkan Gagauz Turkish. Some symbols are also used in scientific notation. Derived from Phoenician. First \u201ctrue alphabet\u201d, with distinct letters for consonants and vowels. Standardized in the 4th century BCE by Eucleides. Has 24 letters. Some letter variants (sigma: \u03c3/\u03c2) have positional significance in the Greek language, other variants only differ in meaning in scientific notation (e.g. pi: \u03c0/\u03d6). The Greek language used to be written in polytonic spelling, with three accents on vowels. In 1982, Greece introduced monotonic spelling with a single diacritic. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif Dives Akuru": { + "name": "Noto Serif Dives Akuru", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "dives-akuru", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Diak", + "article": "Noto Serif Dives Akuru is a design for the historical Indic Dives Akuru script. Noto Serif Dives Akuru contains 812 glyphs, 9 OpenType features, and supports 74 characters from the Unicode block Dives Akuru. Supported writing systems Dives Akuru Dives Akuru (\ud806\udd1e\ud806\udd42\ud806\udd27\ud806\udd2d\ud806\udd42\ud806\udd26\ud806\udd15\ud806\udd31\ud806\udd15\ud806\udd31) is a historical Indic abugida, written left-to-right. Was used for Maldivian language before switching to Thaana. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif Dogra": { + "name": "Noto Serif Dogra", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "dogra", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Dogr", + "article": "Noto Serif Dogra is a modulated (\u201cserif\u201d) design for texts in the historical Indic Dogra script. Noto Serif Dogra contains 143 glyphs, 8 OpenType features, and supports 69 characters from the Unicode block Dogra. Supported writing systems Dogra Dogra (Dogri, \ud806\udc16\ud806\udc35\ud806\udc0c\ud806\udc24\ud806\udc2c) is a historical Indic abugida, written left-to-right. Was used for the Dogri language in Jammu and Kashmir in the northern part of the Indian subcontinent. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif Ethiopic": { + "name": "Noto Serif Ethiopic", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "ethiopic", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Ethi", + "article": "Noto Serif Ethiopic is a modulated (\u201cserif\u201d) design for texts in the African Ethiopic script. Noto Serif Ethiopic has multiple weights and widths, contains 566 glyphs, 5 OpenType features, and supports 505 characters from 4 Unicode blocks: Ethiopic, Ethiopic Extended, Ethiopic Extended-A, Ethiopic Supplement. Supported writing systems Ethiopic Ethiopic (Ge\u02bdez, \u130d\u12d5\u12dd, \u134a\u12f0\u120d) is an African abugida, written left-to-right (18 million users). Used for Ethiosemitic languages like Tigr\u00e9, Amharic and Tigrinya and some Cushitic and Nilotic languages. Was used in the 1st\u201312th century CE in Ethiopia and Eritrea for the Ge\u02bdez language (now a liturgical language). Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif Georgian": { + "name": "Noto Serif Georgian", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "georgian", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Geor", + "article": "Noto Serif Georgian is a modulated (\u201cserif\u201d) design for texts in the European Georgian script. Noto Serif Georgian has multiple weights and widths, contains 225 glyphs, 6 OpenType features, and supports 186 characters from 4 Unicode blocks: Georgian, Georgian Extended, Georgian Supplement, Combining Diacritical Marks. Supported writing systems Georgian Georgian (\u10e5\u10d0\u10e0\u10d7\u10e3\u10da\u10d8) is a European alphabet, written left-to-right (4.5 million users). Used for the Georgian language of Georgia, and other Kartvelian languages. Since 430 CE, the Georgian language used an inscriptional form (Asomtavruli), which evolved into a manuscript form (Nuskhuri). These are categorized as Khutsuri (ecclesiastical): Asomtavruli is uppercase, Nuskhuri is lowercase. Khutsuri is still used for liturgical purposes, but was replaced by a new case-less form (Mkhedruli) used for nearly all modern Georgian writing. In the 1950s, Akaki Shanidze attempted to add Asomtavruli as uppercase and use Mkhedruli for lowercase, but the effort did not succeed. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif Grantha": { + "name": "Noto Serif Grantha", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "grantha", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Gran", + "article": "Noto Serif Grantha is a modulated (\u201cserif\u201d) design for texts in the Indic Grantha script. Noto Serif Grantha contains 479 glyphs, 24 OpenType features, and supports 121 characters from 3 Unicode blocks: Grantha, Vedic Extensions, Devanagari. Supported writing systems Grantha Grantha (\ud804\udf17\ud804\udf4d\ud804\udf30\ud804\udf28\ud804\udf4d\ud804\udf25) is an Indic abugida, written left-to-right. Used since the 7th century CE for writing religious texts in Sanskrit and Dravidian languages. Related to Tamil. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif Gujarati": { + "name": "Noto Serif Gujarati", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "gujarati", + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Gujr", + "article": "Noto Serif Gujarati is a modulated (\u201cserif\u201d) design for texts in the Indic Gujarati script. Noto Serif Gujarati has multiple weights, contains 456 glyphs, 17 OpenType features, and supports 164 characters from 5 Unicode blocks: Gujarati, Basic Latin, General Punctuation, Devanagari, Common Indic Number Forms. Supported writing systems Gujarati Gujarati (\u0a97\u0ac1\u0a9c\u0ab0\u0abe\u0aa4\u0ac0) is an Indic abugida, written left-to-right without a headstroke (48 million users). Used in India since the 16th century CE for the Gujarati and Chodri languages. Also used alongside Devanagari for languages used by the Bhil people. Related to Devanagari. Was used mainly for bookkeeping and correspondence until the mid-19th century. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif Gurmukhi": { + "name": "Noto Serif Gurmukhi", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "gurmukhi", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Guru", + "article": "Noto Serif Gurmukhi is a modulated (\u201cserif\u201d) design for texts in the Indic Gurmukhi script. Noto Serif Gurmukhi has multiple weights, contains 294 glyphs, 11 OpenType features, and supports 154 characters from 5 Unicode blocks: Gurmukhi, Basic Latin, General Punctuation, Devanagari, Common Indic Number Forms. Supported writing systems Gurmukhi Gurmukhi (\u0a17\u0a41\u0a30\u0a2e\u0a41\u0a16\u0a40) is an Indic abugida, written left-to-right with a headstroke (22 million users). Used in India for the Punjabi language by followers of the Sikh religion. Brahmic script. Current form developed in the 16th century by Guru Angad. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif HK": { + "name": "Noto Serif HK", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "chinese-hongkong", + "cyrillic", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Hant", + "article": "Noto Serif HK is an modulated (\u201cserif\u201d) design for languages in Hong Kong that use the Traditional Chinese variant of the Han ideograms. It also supports Latin, Cyrillic, Greek, Katakana, Hiragana and Hangul. Noto Serif HK has multiple weights, contains 65,535 glyphs, 23 OpenType features, and supports 44,746 characters from 55 Unicode blocks: CJK Unified Ideographs, Hangul Syllables, CJK Unified Ideographs Extension A, CJK Unified Ideographs Extension B, CJK Compatibility Ideographs, Hangul Jamo, CJK Compatibility, Halfwidth and Fullwidth Forms, Kangxi Radicals, Enclosed CJK Letters and Months, Enclosed Alphanumeric Supplement, Box Drawing, CJK Radicals Supplement, CJK Unified Ideographs Extension E, Katakana, Hangul Compatibility Jamo, Hiragana, Latin Extended Additional, Latin-1 Supplement, Basic Latin, Enclosed Alphanumerics, Mathematical Operators, Hangul Jamo Extended-B, Cyrillic, Enclosed Ideographic Supplement, CJK Compatibility Ideographs Supplement, CJK Symbols and Punctuation, Miscellaneous Symbols, Greek and Coptic, CJK Unified Ideographs Extension C, Bopomofo, Geometric Shapes, CJK Strokes, General Punctuation, CJK Unified Ideographs Extension D, Block Elements, CJK Compatibility Forms, Latin Extended-A, Hangul Jamo Extended-A, Bopomofo Extended, Miscellaneous Technical, Small Form Variants, Arrows, Latin Extended-B, Letterlike Symbols, Katakana Phonetic Extensions, Kanbun, Ideographic Description Characters, Vertical Forms, Spacing Modifier Letters, Dingbats, Combining Diacritical Marks, Miscellaneous Symbols and Arrows, Alphabetic Presentation Forms, CJK Unified Ideographs Extension F. Supported writing systems Han (Hanzi, Kanji, Hanja) Han (Hanzi, Kanji, Hanja, \u6c49\u5b57, \u6f22\u5b57) is an East Asian logo-syllabary, written vertically right-to-left and horizontally left-to-right (over 1.3 billion users). Used at least since the Shang dynasty (1600\u20131046 BCE) to write the Chinese (Sinitic) languages like Mandarin and Cantonese, but also, today or in the past, Japanese, Korean, Vietnamese, Okinawan, Zhuang, Miao and other languages. The Han script has regional variations: Traditional Chinese (since the 5th century CE, today used in Taiwan, Hong Kong, Macau), Simplified Chinese (used since 1949\u20131956 in mainland China, Singapore, and Malaysia), Japanese (called Hanji, used together with the Hiragana and Katakana syllabaries in Japan), Korean (called Hanja, widely used for the Korean language since 400 BCE until the mid-20th century). Fundamentally the same characters represent the same or highly related concepts across dialects and languages, which themselves are often mutually unintelligible or completely unrelated. Some 2,100\u20132,500 Han characters are required for basic literacy, some 5,200\u20136,300 for reading typical texts. Many more are needed for specialized or historical texts: the Unicode Standard encodes over 94,000 Han characters. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Hangul Hangul (Hangeul, \ud55c\uae00, Chos\u014fn'g\u016dl, \uc870\uc120\uae00) is an East Asian script, written vertically right-to-left and horizontally left-to-right (79 million users). Used for the Korean language. Created in 1446 by King Sejong the Great (Sejong of Joseon) as a simpler, phonetic alternative to using Chinese hanja for Korean. Not universally accepted for centuries, suppressed by Japanese colonial authorities. Since 1945 the standard script for Korean. The 51 basic letters (jamo) are grouped into syllable blocks depending on their position in the spoken syllable. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Latin Latin (Roman) is a European bicameral alphabet, written left-to-right. The most popular writing system in the world. Used for over 3,000 languages including Latin and Romance languages (Italian, French, Portuguese, Spanish and Romanian), Germanic languages (English, Dutch, German, Nordic languages), Finnish, Malaysian, Indonesian, Filipino, Visayan languages, Turkish, Azerbaijani, Polish, Somali, Vietnamese, and many others. Derived from Western Greek, attested in Rome in the 7th century BCE. In the common era, numerous European languages adopted the Latin script along with Western Christian religion, the script disseminated further with European colonization of the Americas, Australia, parts of Asia, Africa and the Pacific. New letters, ligatures and diacritical marks were gradually added to represent the sounds of various languages. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Katakana Katakana (\u7247\u4eee\u540d\u3001\u30ab\u30bf\u30ab\u30ca) is an East Asian syllabary, written vertically right-to-left and horizontally left-to-right (126 million users). Used in Japan for Japanese, Ryukyuan, Ainu and Palauan, and formerly for Taiwanese Hokkien. Katakana is used for transcription of foreign-language words into Japanese, for the writing of loan words, for emphasis, to represent onomatopoeia, for technical and scientific terms, for names of plants, animals and minerals, and often for names of Japanese companies. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Hiragana Hiragana (\u5e73\u4eee\u540d, \u3072\u3089\u304c\u306a) is an East Asian syllabary, written vertically right-to-left and horizontally left-to-right (120 million users). Used in Japan for Japanese and the Ryukyuan languages. Hiragana is used to write okurigana (kana suffixes following a kanji root, for example to inflect verbs and adjectives), various grammatical and function words including particles, as well as miscellaneous other native words for which there are no kanji or whose kanji form is obscure or too formal for the writing purpose. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Emoji symbols Emoji symbols are pictograms, logograms, ideograms and smileys used in electronic messages and web pages. Their primary function is to fill in emotional cues otherwise missing from typed conversation. They are typically rendered as multi-color characters. Read more on ScriptSource, Unicode, Wikipedia, r12a. Bopomofo Bopomofo (\u6ce8\u97f3\u7b26\u865f, \u6ce8\u97f3\u7b26\u53f7, \u3105\u3106\u3107\u3108) is an East Asian syllabary, written left-to-right. Developed in 1913 in China to be used for Mandarin Chinese transliteration alongside the Latin-based Wade\u2013Giles system. Also called Mandarin Phonetic Symbols or Zhuyin (\u6ce8\u97f3). Bopomofo is an official transliteration system in Taiwan, used in dictionaries, books, newspapers and journals to annotate the Taiwanese pronunciation of Chinese Han characters, and in electronic input methods. Largely replaced by Pinyin romanization in the People\u2019s Republic of China. Also used as the primary script for Taiwan\u2019s minority languages like Atayal, Taroko, Paiwan and Yami. Has 21 onset consonants, 16 rhymes, and 4 tone marks. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Cyrillic Cyrillic is a bicameral alphabet originating in Europe, written left-to-right (250 million users). Used for various languages across Eurasia and is used as the national script in various Slavic, Turkic, Mongolic and Iranic-speaking countries in Southeastern Europe, Eastern Europe, the Caucasus, Central Asia, North Asia and East Asia, including Russian, Bulgarian, Macedonian, Serbian, Ukrainian, Uzbek, Azerbaijani, Kazakh, Tajik, Kyrgyz, Bashkort, Chechen, Chuvash, Avar, Dargwa, Kabardian, Karakalpak, Kumyk, Lezgi, Ossetic, Pontic, Yakut, Buriat and many others. Created in the 9th century. Traditionally attributed to Saint Cyril, a monk from Thessaloniki working in Bulgaria, after earlier creation of the Glagolitic script. Sometimes attributed to Clement of Ohrid, a student of Saint Cyril\u2019s. Initially used for Old Church Slavonic. Reformed in 1708 by Russian tsar Peter the Great. Extended by the Soviet Union in the 20th century to write over 50 languages throughout Eastern Europe and Asia (some of those languages switched to Latin after 1991). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Greek Greek (\u0395\u03bb\u03bb\u03b7\u03bd\u03b9\u03ba\u03ac) is a European bicameral alphabet, written left-to-right (11 million users). Used to write the Greek language since the 8th century BCE. Also used to write other languages like Urum, Albanian Tosk, and Balkan Gagauz Turkish. Some symbols are also used in scientific notation. Derived from Phoenician. First \u201ctrue alphabet\u201d, with distinct letters for consonants and vowels. Standardized in the 4th century BCE by Eucleides. Has 24 letters. Some letter variants (sigma: \u03c3/\u03c2) have positional significance in the Greek language, other variants only differ in meaning in scientific notation (e.g. pi: \u03c0/\u03d6). The Greek language used to be written in polytonic spelling, with three accents on vowels. In 1982, Greece introduced monotonic spelling with a single diacritic. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif Hebrew": { + "name": "Noto Serif Hebrew", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "hebrew", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Hebr", + "article": "Noto Serif Hebrew is a modulated (\u201cserif\u201d) design for texts in the Middle Eastern Hebrew script. Noto Serif Hebrew has multiple weights and widths, contains 150 glyphs, 4 OpenType features, and supports 145 characters from 2 Unicode blocks: Hebrew, Alphabetic Presentation Forms. Supported writing systems Hebrew Hebrew (\u05e2\u05d1\u05e8\u05d9\u05ea) is a Middle Eastern abjad, written right-to-left (14 million users). Used for the Hebrew, Samaritan and Yiddish languages. Also used for some varieties of Arabic and for the languages of Jewish communities across the world. Has 22 consonant letters, 5 have positional variants. Vowels in Hebrew language are normally omitted except for long vowels which are sometimes written with the consonant letters \u05d0\u05d4\u05d5\u05d9 (those were vowel-only letters until the 9th century). Children\u2019s and school books use niqqud diacritics for all vowels. Religious texts may use cantillation marks for indicating rhythm and stress. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif Hentaigana": { + "name": "Noto Serif Hentaigana", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "kana-extended", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Noto is a global font collection for writing in all modern and ancient languages. Noto Serif Hentaigana is a font that contains symbols for the Kana Supplement Unicode block. Noto Serif Hentaigana contains 478 glyphs, and supports 515 characters from 9 Unicode blocks: Kana Supplement, Latin Extended-A, Basic Latin, Latin-1 Supplement, Combining Diacritical Marks, General Punctuation, Spacing Modifier Letters, Latin Extended Additional, Latin Extended-B.", + "minisite_url": null + }, + "Noto Serif JP": { + "name": "Noto Serif JP", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "japanese", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Jpan", + "article": "Noto Serif JP is a modulated (\u201cserif\u201d) design for the Japanese language and other languages used in Japan. It supports Hiragana, Katakana, Kanji, Latin, Cyrillic, Greek and Hangul. Noto Serif CJK JP contains 65,535 glyphs, 25 OpenType features, and supports 43,029 characters from 53 Unicode blocks: CJK Unified Ideographs, Hangul Syllables, CJK Unified Ideographs Extension A, CJK Unified Ideographs Extension B, CJK Compatibility Ideographs, Hangul Jamo, CJK Compatibility, Halfwidth and Fullwidth Forms, Kangxi Radicals, Enclosed CJK Letters and Months, Enclosed Alphanumeric Supplement, Box Drawing, CJK Radicals Supplement, CJK Unified Ideographs Extension E, Katakana, Hangul Compatibility Jamo, Hiragana, Latin Extended Additional, Latin-1 Supplement, Basic Latin, Enclosed Alphanumerics, Mathematical Operators, Hangul Jamo Extended-B, Cyrillic, Enclosed Ideographic Supplement, CJK Symbols and Punctuation, Miscellaneous Symbols, Greek and Coptic, CJK Unified Ideographs Extension C, CJK Compatibility Ideographs Supplement, Bopomofo, Geometric Shapes, CJK Strokes, General Punctuation, CJK Unified Ideographs Extension D, Block Elements, CJK Compatibility Forms, Latin Extended-A, Hangul Jamo Extended-A, Bopomofo Extended, Miscellaneous Technical, Small Form Variants, Arrows, Latin Extended-B, Letterlike Symbols, Katakana Phonetic Extensions, Kanbun, Ideographic Description Characters, Vertical Forms, Dingbats, Spacing Modifier Letters, Alphabetic Presentation Forms, Miscellaneous Symbols and Arrows. Supported writing systems Japanese Kanji Japanese Kanji (\u6f22\u5b57) is an East Asian logo-syllabary, written left-to-right (126 million users). Used together with the Hiragana and Katakana syllabaries in Japan for the Japanese language. Noun, verb, adjective and some adverb stems use kanji (the most basic set is 2,136). Grammatical elements use Hiragana, loan words and emphasis use Katakana. Kanji is primarily derived from the traditional Chinese Han characters. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Hangul Hangul (Hangeul, \ud55c\uae00, Chos\u014fn'g\u016dl, \uc870\uc120\uae00) is an East Asian script, written vertically right-to-left and horizontally left-to-right (79 million users). Used for the Korean language. Created in 1446 by King Sejong the Great (Sejong of Joseon) as a simpler, phonetic alternative to using Chinese hanja for Korean. Not universally accepted for centuries, suppressed by Japanese colonial authorities. Since 1945 the standard script for Korean. The 51 basic letters (jamo) are grouped into syllable blocks depending on their position in the spoken syllable. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Latin Latin (Roman) is a European bicameral alphabet, written left-to-right. The most popular writing system in the world. Used for over 3,000 languages including Latin and Romance languages (Italian, French, Portuguese, Spanish and Romanian), Germanic languages (English, Dutch, German, Nordic languages), Finnish, Malaysian, Indonesian, Filipino, Visayan languages, Turkish, Azerbaijani, Polish, Somali, Vietnamese, and many others. Derived from Western Greek, attested in Rome in the 7th century BCE. In the common era, numerous European languages adopted the Latin script along with Western Christian religion, the script disseminated further with European colonization of the Americas, Australia, parts of Asia, Africa and the Pacific. New letters, ligatures and diacritical marks were gradually added to represent the sounds of various languages. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Katakana Katakana (\u7247\u4eee\u540d\u3001\u30ab\u30bf\u30ab\u30ca) is an East Asian syllabary, written vertically right-to-left and horizontally left-to-right (126 million users). Used in Japan for Japanese, Ryukyuan, Ainu and Palauan, and formerly for Taiwanese Hokkien. Katakana is used for transcription of foreign-language words into Japanese, for the writing of loan words, for emphasis, to represent onomatopoeia, for technical and scientific terms, for names of plants, animals and minerals, and often for names of Japanese companies. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Hiragana Hiragana (\u5e73\u4eee\u540d, \u3072\u3089\u304c\u306a) is an East Asian syllabary, written vertically right-to-left and horizontally left-to-right (120 million users). Used in Japan for Japanese and the Ryukyuan languages. Hiragana is used to write okurigana (kana suffixes following a kanji root, for example to inflect verbs and adjectives), various grammatical and function words including particles, as well as miscellaneous other native words for which there are no kanji or whose kanji form is obscure or too formal for the writing purpose. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Emoji symbols Emoji symbols are pictograms, logograms, ideograms and smileys used in electronic messages and web pages. Their primary function is to fill in emotional cues otherwise missing from typed conversation. They are typically rendered as multi-color characters. Read more on ScriptSource, Unicode, Wikipedia, r12a. Bopomofo Bopomofo (\u6ce8\u97f3\u7b26\u865f, \u6ce8\u97f3\u7b26\u53f7, \u3105\u3106\u3107\u3108) is an East Asian syllabary, written left-to-right. Developed in 1913 in China to be used for Mandarin Chinese transliteration alongside the Latin-based Wade\u2013Giles system. Also called Mandarin Phonetic Symbols or Zhuyin (\u6ce8\u97f3). Bopomofo is an official transliteration system in Taiwan, used in dictionaries, books, newspapers and journals to annotate the Taiwanese pronunciation of Chinese Han characters, and in electronic input methods. Largely replaced by Pinyin romanization in the People\u2019s Republic of China. Also used as the primary script for Taiwan\u2019s minority languages like Atayal, Taroko, Paiwan and Yami. Has 21 onset consonants, 16 rhymes, and 4 tone marks. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Cyrillic Cyrillic is a bicameral alphabet originating in Europe, written left-to-right (250 million users). Used for various languages across Eurasia and is used as the national script in various Slavic, Turkic, Mongolic and Iranic-speaking countries in Southeastern Europe, Eastern Europe, the Caucasus, Central Asia, North Asia and East Asia, including Russian, Bulgarian, Macedonian, Serbian, Ukrainian, Uzbek, Azerbaijani, Kazakh, Tajik, Kyrgyz, Bashkort, Chechen, Chuvash, Avar, Dargwa, Kabardian, Karakalpak, Kumyk, Lezgi, Ossetic, Pontic, Yakut, Buriat and many others. Created in the 9th century. Traditionally attributed to Saint Cyril, a monk from Thessaloniki working in Bulgaria, after earlier creation of the Glagolitic script. Sometimes attributed to Clement of Ohrid, a student of Saint Cyril\u2019s. Initially used for Old Church Slavonic. Reformed in 1708 by Russian tsar Peter the Great. Extended by the Soviet Union in the 20th century to write over 50 languages throughout Eastern Europe and Asia (some of those languages switched to Latin after 1991). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Greek Greek (\u0395\u03bb\u03bb\u03b7\u03bd\u03b9\u03ba\u03ac) is a European bicameral alphabet, written left-to-right (11 million users). Used to write the Greek language since the 8th century BCE. Also used to write other languages like Urum, Albanian Tosk, and Balkan Gagauz Turkish. Some symbols are also used in scientific notation. Derived from Phoenician. First \u201ctrue alphabet\u201d, with distinct letters for consonants and vowels. Standardized in the 4th century BCE by Eucleides. Has 24 letters. Some letter variants (sigma: \u03c3/\u03c2) have positional significance in the Greek language, other variants only differ in meaning in scientific notation (e.g. pi: \u03c0/\u03d6). The Greek language used to be written in polytonic spelling, with three accents on vowels. In 1982, Greece introduced monotonic spelling with a single diacritic. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif KR": { + "name": "Noto Serif KR", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "korean", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Kore", + "article": "Noto Serif KR is a modulated (\u201cserif\u201d) design for the Korean language using Hangul and the Korean Hanja scripts. It also supports Hiragana, Katakana, Latin, Cyrillic and Greek. Noto Serif CJK KR contains 65,535 glyphs, 21 OpenType features, and supports 43,029 characters from 53 Unicode blocks: CJK Unified Ideographs, Hangul Syllables, CJK Unified Ideographs Extension A, CJK Unified Ideographs Extension B, CJK Compatibility Ideographs, Hangul Jamo, CJK Compatibility, Halfwidth and Fullwidth Forms, Kangxi Radicals, Enclosed CJK Letters and Months, Enclosed Alphanumeric Supplement, Box Drawing, CJK Radicals Supplement, CJK Unified Ideographs Extension E, Katakana, Hangul Compatibility Jamo, Hiragana, Latin Extended Additional, Latin-1 Supplement, Basic Latin, Enclosed Alphanumerics, Mathematical Operators, Hangul Jamo Extended-B, Cyrillic, Enclosed Ideographic Supplement, CJK Symbols and Punctuation, Miscellaneous Symbols, Greek and Coptic, CJK Unified Ideographs Extension C, CJK Compatibility Ideographs Supplement, Bopomofo, Geometric Shapes, CJK Strokes, General Punctuation, CJK Unified Ideographs Extension D, Block Elements, CJK Compatibility Forms, Latin Extended-A, Hangul Jamo Extended-A, Bopomofo Extended, Miscellaneous Technical, Small Form Variants, Arrows, Latin Extended-B, Letterlike Symbols, Katakana Phonetic Extensions, Kanbun, Ideographic Description Characters, Vertical Forms, Dingbats, Spacing Modifier Letters, Alphabetic Presentation Forms, Miscellaneous Symbols and Arrows. Supported writing systems Korean Hanja Korean Hanja (\ud55c\uc790, \u6f22\u5b57) is an East Asian logo-syllabary, written left-to-right. Based on traditional Chinese Han characters, Hanja was used for the Korean language until 1446, when King Sejong introduced Hangul. Until the mid-20th century Hanja and Hangul were used in parallel or mixed. Today, the vast majority of Korean text uses Hangul but Hanja is still used in some context, and schools teach some 1,000-3,000 Hanja symbols. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Hangul Hangul (Hangeul, \ud55c\uae00, Chos\u014fn'g\u016dl, \uc870\uc120\uae00) is an East Asian script, written vertically right-to-left and horizontally left-to-right (79 million users). Used for the Korean language. Created in 1446 by King Sejong the Great (Sejong of Joseon) as a simpler, phonetic alternative to using Chinese hanja for Korean. Not universally accepted for centuries, suppressed by Japanese colonial authorities. Since 1945 the standard script for Korean. The 51 basic letters (jamo) are grouped into syllable blocks depending on their position in the spoken syllable. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Latin Latin (Roman) is a European bicameral alphabet, written left-to-right. The most popular writing system in the world. Used for over 3,000 languages including Latin and Romance languages (Italian, French, Portuguese, Spanish and Romanian), Germanic languages (English, Dutch, German, Nordic languages), Finnish, Malaysian, Indonesian, Filipino, Visayan languages, Turkish, Azerbaijani, Polish, Somali, Vietnamese, and many others. Derived from Western Greek, attested in Rome in the 7th century BCE. In the common era, numerous European languages adopted the Latin script along with Western Christian religion, the script disseminated further with European colonization of the Americas, Australia, parts of Asia, Africa and the Pacific. New letters, ligatures and diacritical marks were gradually added to represent the sounds of various languages. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Katakana Katakana (\u7247\u4eee\u540d\u3001\u30ab\u30bf\u30ab\u30ca) is an East Asian syllabary, written vertically right-to-left and horizontally left-to-right (126 million users). Used in Japan for Japanese, Ryukyuan, Ainu and Palauan, and formerly for Taiwanese Hokkien. Katakana is used for transcription of foreign-language words into Japanese, for the writing of loan words, for emphasis, to represent onomatopoeia, for technical and scientific terms, for names of plants, animals and minerals, and often for names of Japanese companies. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Hiragana Hiragana (\u5e73\u4eee\u540d, \u3072\u3089\u304c\u306a) is an East Asian syllabary, written vertically right-to-left and horizontally left-to-right (120 million users). Used in Japan for Japanese and the Ryukyuan languages. Hiragana is used to write okurigana (kana suffixes following a kanji root, for example to inflect verbs and adjectives), various grammatical and function words including particles, as well as miscellaneous other native words for which there are no kanji or whose kanji form is obscure or too formal for the writing purpose. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Emoji symbols Emoji symbols are pictograms, logograms, ideograms and smileys used in electronic messages and web pages. Their primary function is to fill in emotional cues otherwise missing from typed conversation. They are typically rendered as multi-color characters. Read more on ScriptSource, Unicode, Wikipedia, r12a. Bopomofo Bopomofo (\u6ce8\u97f3\u7b26\u865f, \u6ce8\u97f3\u7b26\u53f7, \u3105\u3106\u3107\u3108) is an East Asian syllabary, written left-to-right. Developed in 1913 in China to be used for Mandarin Chinese transliteration alongside the Latin-based Wade\u2013Giles system. Also called Mandarin Phonetic Symbols or Zhuyin (\u6ce8\u97f3). Bopomofo is an official transliteration system in Taiwan, used in dictionaries, books, newspapers and journals to annotate the Taiwanese pronunciation of Chinese Han characters, and in electronic input methods. Largely replaced by Pinyin romanization in the People\u2019s Republic of China. Also used as the primary script for Taiwan\u2019s minority languages like Atayal, Taroko, Paiwan and Yami. Has 21 onset consonants, 16 rhymes, and 4 tone marks. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Cyrillic Cyrillic is a bicameral alphabet originating in Europe, written left-to-right (250 million users). Used for various languages across Eurasia and is used as the national script in various Slavic, Turkic, Mongolic and Iranic-speaking countries in Southeastern Europe, Eastern Europe, the Caucasus, Central Asia, North Asia and East Asia, including Russian, Bulgarian, Macedonian, Serbian, Ukrainian, Uzbek, Azerbaijani, Kazakh, Tajik, Kyrgyz, Bashkort, Chechen, Chuvash, Avar, Dargwa, Kabardian, Karakalpak, Kumyk, Lezgi, Ossetic, Pontic, Yakut, Buriat and many others. Created in the 9th century. Traditionally attributed to Saint Cyril, a monk from Thessaloniki working in Bulgaria, after earlier creation of the Glagolitic script. Sometimes attributed to Clement of Ohrid, a student of Saint Cyril\u2019s. Initially used for Old Church Slavonic. Reformed in 1708 by Russian tsar Peter the Great. Extended by the Soviet Union in the 20th century to write over 50 languages throughout Eastern Europe and Asia (some of those languages switched to Latin after 1991). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Greek Greek (\u0395\u03bb\u03bb\u03b7\u03bd\u03b9\u03ba\u03ac) is a European bicameral alphabet, written left-to-right (11 million users). Used to write the Greek language since the 8th century BCE. Also used to write other languages like Urum, Albanian Tosk, and Balkan Gagauz Turkish. Some symbols are also used in scientific notation. Derived from Phoenician. First \u201ctrue alphabet\u201d, with distinct letters for consonants and vowels. Standardized in the 4th century BCE by Eucleides. Has 24 letters. Some letter variants (sigma: \u03c3/\u03c2) have positional significance in the Greek language, other variants only differ in meaning in scientific notation (e.g. pi: \u03c0/\u03d6). The Greek language used to be written in polytonic spelling, with three accents on vowels. In 1982, Greece introduced monotonic spelling with a single diacritic. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif Kannada": { + "name": "Noto Serif Kannada", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "kannada", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Knda", + "article": "Noto Serif Kannada is a modulated (\u201cserif\u201d) design for texts in the Indic Kannada script. Noto Serif Kannada has multiple weights, contains 417 glyphs, 11 OpenType features, and supports 164 characters from 5 Unicode blocks: Kannada, Basic Latin, General Punctuation, Vedic Extensions, Devanagari. Supported writing systems Kannada Kannada (\u0c95\u0ca8\u0ccd\u0ca8\u0ca1 \u0cb2\u0cbf\u0caa\u0cbf) is an Indic abugida, written left-to-right, partially with a headstroke (45 million users). Used in southern India for the Kannada language as well as Konkani, Tulu, Badaga, Kudiya, Paniya. Related to Telugu. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif Khitan Small Script": { + "name": "Noto Serif Khitan Small Script", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "khitan-small-script", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Kits", + "article": "Noto Serif Khitan Small Script is a design for the historical East Asian Khitan small script script. Noto Serif Khitan Small Script contains 11,365 glyphs, 2 OpenType features, and supports 497 characters from 3 Unicode blocks: Khitan Small Script, CJK Unified Ideographs, Basic Latin. Supported writing systems Khitan small script Khitan small script is a historical East Asian logo-syllabary. Was used in the 10th\u201312th centuries by the Khitan in the Liao Empire (north-eastern China) for the Khitan language. Later used by the Jurchens. Two independent writing systems, the Khitan large script and the Khitan small script, were used in parallel. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif Khmer": { + "name": "Noto Serif Khmer", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "khmer", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Khmr", + "article": "Noto Serif Khmer is a modulated (\u201cserif\u201d) design for texts in the Southeast Asian Khmer script. Noto Serif Khmer has multiple weights and widths, contains 361 glyphs, 13 OpenType features, and supports 175 characters from 4 Unicode blocks: Khmer, Khmer Symbols, Basic Latin, General Punctuation. Supported writing systems Khmer Khmer (\u17a2\u1780\u17d2\u179f\u179a\u1781\u17d2\u1798\u17c2\u179a) is a Southeast Asian abugida, written left-to-right (12 million users). Used since the 7th century in Cambodia for the Khmer language. Also used for Brao, Mnong, Pali. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif Khojki": { + "name": "Noto Serif Khojki", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "khojki", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Khoj", + "article": "Noto Sans Khojki is an modulated (\u201cserif\u201d) design for texts in the Indic Khojki script. Noto Sans Khojki contains 423 glyphs, 8 OpenType features, and supports 89 characters from 2 Unicode blocks: Khojki, Common Indic Number Forms. Supported writing systems Khojki Khojki (\ud804\ude09\ud804\ude32\ud804\ude10\ud804\ude08\ud804\ude2e) is an Indic abugida, written left-to-right. Used since the 16th century in today\u2019s Pakistan and India by the Khoja people for religious texts in the Sindhi language. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif Lao": { + "name": "Noto Serif Lao", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "lao", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Laoo", + "article": "Noto Serif Lao is a modulated (\u201cserif\u201d) design for texts in the Southeast Asian Lao script. Noto Serif Lao has multiple weights and widths, contains 117 glyphs, 5 OpenType features, and supports 76 characters from the Unicode block Lao. Supported writing systems Lao Lao (\u0ea5\u0eb2\u0ea7) is a Southeast Asian abugida, written left-to-right (7 million users). Used since the 14th century in Laos the Lao language, and also for Isan, Thai. Derived from the Khmer script. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif Makasar": { + "name": "Noto Serif Makasar", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "makasar" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Maka", + "article": "Noto Serif Makasar is a design for the historical Southeast Asian Makasar script. Noto Serif Makasar contains 30 glyphs, 5 OpenType features, and supports 27 characters from the Unicode block Makasar. Supported writing systems Makasar Makasar (Old Makassarese, \ud807\udeea\ud807\udee2\ud807\udeea\ud807\udee2) is a historical Southeast Asian abugida, written left-to-right. Was used in the 17th\u201319th century on the Indonesian island Sulawesi through for the Makassarese language. Later replaced by Buginese (Lontara). Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif Malayalam": { + "name": "Noto Serif Malayalam", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "malayalam" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Mlym", + "article": "Noto Serif Malayalam is a modulated (\u201cserif\u201d) design for texts in the Indic Malayalam script. Noto Serif Malayalam has multiple weights, contains 354 glyphs, 10 OpenType features, and supports 187 characters from 4 Unicode blocks: Malayalam, Basic Latin, General Punctuation, Devanagari. Supported writing systems Malayalam Malayalam (\u0d2e\u0d32\u0d2f\u0d3e\u0d33\u0d02) is an Indic abugida, written left-to-right (38 million users). Used since c. 830 CE in India for Malayalam (official language of the Kerala state), Irula, Paniya and some other languages. Derived from the a Vatteluttu alphabet. Has 15 vowel letters, 42 consonant letters, and a few other symbols. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif Myanmar": { + "name": "Noto Serif Myanmar", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "myanmar" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Mymr", + "article": "Noto Serif Myanmar is a modulated (\u201cserif\u201d) design for texts in the Southeast Asian Myanmar script. Noto Serif Myanmar contains 725 glyphs, 7 OpenType features, and supports 239 characters from 4 Unicode blocks: Myanmar, Myanmar Extended-A, Myanmar Extended-B, General Punctuation. Supported writing systems Myanmar Myanmar (Burmese, \u1019\u103c\u1014\u103a\u1019\u102c) is a Southeast Asian abugida, written left-to-right (40 million users). Used since c. 1000 CE in Myanmar for the Burmese and Mon languages. Also used for some Karen languages. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif NP Hmong": { + "name": "Noto Serif NP Hmong", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "nyiakeng-puachue-hmong" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Hmnp", + "article": "Noto Serif Nyiakeng Puachue Hmong is a modulated (\u201cserif\u201d) design for texts in the Nyiakeng Puachue Hmong script. Noto Serif Nyiakeng Puachue Hmong has multiple weights, contains 76 glyphs, 2 OpenType features, and supports 75 characters from the Unicode block Nyiakeng Puachue Hmong. Supported writing systems Nyiakeng Puachue Hmong Nyiakeng Puachue Hmong (\ud838\udd10\ud838\udd26\ud838\udd32\ud838\udd24\ud838\udd0e\ud838\udd2b\ud838\udd30\ud838\udd1a\ud838\udd27\ud838\udd32\ud838\udd24\ud838\udd14\ud838\udd2c\ud838\udd31\u200e) is an alphabet, written left-to-right. Used for the White Hmong and Green Hmong languages by members of the United Christians Liberty Evangelical Church in the USA, in Laos, Thailand, Vietnam, France, and in Australia. Created in the 1980s by Reverend Chervang Kong. Read more on ScriptSource, Unicode, Wikipedia, r12a.", + "minisite_url": null + }, + "Noto Serif Old Uyghur": { + "name": "Noto Serif Old Uyghur", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "old-uyghur" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Ougr", + "article": "Noto Serif Old Uyghur is a design for the historical Central Asian Old Uyghur script. Noto Serif Old Uyghur contains 132 glyphs, 9 OpenType features, and supports 34 characters from the Unicode block Old Uyghur. Supported writing systems Old Uyghur Old Uyghur is a historical Central Asian abjad. Was used in Turfanand Gansu in c. 700s\u20131800s for the Old Uyghur language, a variety of Old Turkic. Evolved into the Mongolian and Manchu scripts. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif Oriya": { + "name": "Noto Serif Oriya", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "oriya" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Orya", + "article": "Noto Serif Oriya is a modulated (\u201cserif\u201d) design for texts in the Indic Odia (Oriya) script. Noto Serif Oriya has multiple weights, contains 690 glyphs, 16 OpenType features, and supports 151 characters from 3 Unicode blocks: Oriya, Basic Latin, General Punctuation. Supported writing systems Odia (Oriya) Odia (Oriya, \u0b09\u0b24\u0b4d\u0b15\u0b33) is an Indic abugida, written left-to-right (21 million users). Used since the c. 14th century in India for the Odia language (state language of Orissa). Also used for Dravidian and Munda languages. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif Ottoman Siyaq": { + "name": "Noto Serif Ottoman Siyaq", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "ottoman-siyaq-numbers" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Noto Serif Ottoman Siyaq Numbers is a modulated (\u201cserif\u201d) design for the Arabic form of the Siyaq numeral system, used in Iran, Turkey, the Arabian Peninsula, and South Asia for accounting and finance. Noto Serif Ottoman Siyaq contains 63 glyphs, and supports 61 characters .", + "minisite_url": null + }, + "Noto Serif SC": { + "name": "Noto Serif SC", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "chinese-simplified", + "cyrillic", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Hans", + "article": "Noto Serif SC is a modulated (\u201cserif\u201d) design for languages in mainland China that use the Simplified Chinese variant of the Han ideograms. It also supports Hiragana, Katakana, Latin, Cyrillic, Greek and Hangul. Noto Serif CJK SC contains 65,535 glyphs, 21 OpenType features, and supports 43,029 characters from 53 Unicode blocks: CJK Unified Ideographs, Hangul Syllables, CJK Unified Ideographs Extension A, CJK Unified Ideographs Extension B, CJK Compatibility Ideographs, Hangul Jamo, CJK Compatibility, Halfwidth and Fullwidth Forms, Kangxi Radicals, Enclosed CJK Letters and Months, Enclosed Alphanumeric Supplement, Box Drawing, CJK Radicals Supplement, CJK Unified Ideographs Extension E, Katakana, Hangul Compatibility Jamo, Hiragana, Latin Extended Additional, Latin-1 Supplement, Basic Latin, Enclosed Alphanumerics, Mathematical Operators, Hangul Jamo Extended-B, Cyrillic, Enclosed Ideographic Supplement, CJK Symbols and Punctuation, Miscellaneous Symbols, Greek and Coptic, CJK Unified Ideographs Extension C, CJK Compatibility Ideographs Supplement, Bopomofo, Geometric Shapes, CJK Strokes, General Punctuation, CJK Unified Ideographs Extension D, Block Elements, CJK Compatibility Forms, Latin Extended-A, Hangul Jamo Extended-A, Bopomofo Extended, Miscellaneous Technical, Small Form Variants, Arrows, Latin Extended-B, Letterlike Symbols, Katakana Phonetic Extensions, Kanbun, Ideographic Description Characters, Vertical Forms, Dingbats, Spacing Modifier Letters, Alphabetic Presentation Forms, Miscellaneous Symbols and Arrows. Supported writing systems Simplified Han Simplified Han (\u7b80\u5316\u5b57) is an East Asian logo-syllabary, written vertically right-to-left and horizontally left-to-right (over 1.3 billion users). Used in mainland China, Malaysia and Singapore. ((TODO)) Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Hangul Hangul (Hangeul, \ud55c\uae00, Chos\u014fn'g\u016dl, \uc870\uc120\uae00) is an East Asian script, written vertically right-to-left and horizontally left-to-right (79 million users). Used for the Korean language. Created in 1446 by King Sejong the Great (Sejong of Joseon) as a simpler, phonetic alternative to using Chinese hanja for Korean. Not universally accepted for centuries, suppressed by Japanese colonial authorities. Since 1945 the standard script for Korean. The 51 basic letters (jamo) are grouped into syllable blocks depending on their position in the spoken syllable. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Latin Latin (Roman) is a European bicameral alphabet, written left-to-right. The most popular writing system in the world. Used for over 3,000 languages including Latin and Romance languages (Italian, French, Portuguese, Spanish and Romanian), Germanic languages (English, Dutch, German, Nordic languages), Finnish, Malaysian, Indonesian, Filipino, Visayan languages, Turkish, Azerbaijani, Polish, Somali, Vietnamese, and many others. Derived from Western Greek, attested in Rome in the 7th century BCE. In the common era, numerous European languages adopted the Latin script along with Western Christian religion, the script disseminated further with European colonization of the Americas, Australia, parts of Asia, Africa and the Pacific. New letters, ligatures and diacritical marks were gradually added to represent the sounds of various languages. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Katakana Katakana (\u7247\u4eee\u540d\u3001\u30ab\u30bf\u30ab\u30ca) is an East Asian syllabary, written vertically right-to-left and horizontally left-to-right (126 million users). Used in Japan for Japanese, Ryukyuan, Ainu and Palauan, and formerly for Taiwanese Hokkien. Katakana is used for transcription of foreign-language words into Japanese, for the writing of loan words, for emphasis, to represent onomatopoeia, for technical and scientific terms, for names of plants, animals and minerals, and often for names of Japanese companies. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Hiragana Hiragana (\u5e73\u4eee\u540d, \u3072\u3089\u304c\u306a) is an East Asian syllabary, written vertically right-to-left and horizontally left-to-right (120 million users). Used in Japan for Japanese and the Ryukyuan languages. Hiragana is used to write okurigana (kana suffixes following a kanji root, for example to inflect verbs and adjectives), various grammatical and function words including particles, as well as miscellaneous other native words for which there are no kanji or whose kanji form is obscure or too formal for the writing purpose. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Emoji symbols Emoji symbols are pictograms, logograms, ideograms and smileys used in electronic messages and web pages. Their primary function is to fill in emotional cues otherwise missing from typed conversation. They are typically rendered as multi-color characters. Read more on ScriptSource, Unicode, Wikipedia, r12a. Bopomofo Bopomofo (\u6ce8\u97f3\u7b26\u865f, \u6ce8\u97f3\u7b26\u53f7, \u3105\u3106\u3107\u3108) is an East Asian syllabary, written left-to-right. Developed in 1913 in China to be used for Mandarin Chinese transliteration alongside the Latin-based Wade\u2013Giles system. Also called Mandarin Phonetic Symbols or Zhuyin (\u6ce8\u97f3). Bopomofo is an official transliteration system in Taiwan, used in dictionaries, books, newspapers and journals to annotate the Taiwanese pronunciation of Chinese Han characters, and in electronic input methods. Largely replaced by Pinyin romanization in the People\u2019s Republic of China. Also used as the primary script for Taiwan\u2019s minority languages like Atayal, Taroko, Paiwan and Yami. Has 21 onset consonants, 16 rhymes, and 4 tone marks. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Cyrillic Cyrillic is a bicameral alphabet originating in Europe, written left-to-right (250 million users). Used for various languages across Eurasia and is used as the national script in various Slavic, Turkic, Mongolic and Iranic-speaking countries in Southeastern Europe, Eastern Europe, the Caucasus, Central Asia, North Asia and East Asia, including Russian, Bulgarian, Macedonian, Serbian, Ukrainian, Uzbek, Azerbaijani, Kazakh, Tajik, Kyrgyz, Bashkort, Chechen, Chuvash, Avar, Dargwa, Kabardian, Karakalpak, Kumyk, Lezgi, Ossetic, Pontic, Yakut, Buriat and many others. Created in the 9th century. Traditionally attributed to Saint Cyril, a monk from Thessaloniki working in Bulgaria, after earlier creation of the Glagolitic script. Sometimes attributed to Clement of Ohrid, a student of Saint Cyril\u2019s. Initially used for Old Church Slavonic. Reformed in 1708 by Russian tsar Peter the Great. Extended by the Soviet Union in the 20th century to write over 50 languages throughout Eastern Europe and Asia (some of those languages switched to Latin after 1991). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Greek Greek (\u0395\u03bb\u03bb\u03b7\u03bd\u03b9\u03ba\u03ac) is a European bicameral alphabet, written left-to-right (11 million users). Used to write the Greek language since the 8th century BCE. Also used to write other languages like Urum, Albanian Tosk, and Balkan Gagauz Turkish. Some symbols are also used in scientific notation. Derived from Phoenician. First \u201ctrue alphabet\u201d, with distinct letters for consonants and vowels. Standardized in the 4th century BCE by Eucleides. Has 24 letters. Some letter variants (sigma: \u03c3/\u03c2) have positional significance in the Greek language, other variants only differ in meaning in scientific notation (e.g. pi: \u03c0/\u03d6). The Greek language used to be written in polytonic spelling, with three accents on vowels. In 1982, Greece introduced monotonic spelling with a single diacritic. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif Sinhala": { + "name": "Noto Serif Sinhala", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "sinhala" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Sinh", + "article": "Noto Serif Sinhala is a modulated (\u201cserif\u201d) design for texts in the Indic Sinhala script. Noto Serif Sinhala has multiple weights and widths, contains 645 glyphs, 11 OpenType features, and supports 170 characters from 3 Unicode blocks: Sinhala, Basic Latin, General Punctuation. Supported writing systems Sinhala Sinhala (\u0dc3\u0dd2\u0d82\u0dc4\u0dbd) is an Indic abugida, written left-to-right. Used since c. 300 CE in Sri Lanka for the Sinhala language (15 million speakers), for Pali and Sanskrit. The \u201cpure\u201d letter set has 20 consonant and 20 vowel letters, and is used for the sounds of the spoken Sinhala. The \u201cmixed\u201d letter set (18 more consonant letters) is used for correct spelling, which often reflect archaic pronunciations, and for non-Sinhala words and languages. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif TC": { + "name": "Noto Serif TC", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "chinese-traditional", + "cyrillic", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Hant", + "article": "Noto Serif TC is a modulated (\u201cserif\u201d) design for languages in Taiwan, Hong Kong and Macau that use the Traditional Chinese variant of the Han ideograms. It also supports Hiragana, Katakana, Latin, Cyrillic, Greek and Hangul. Noto Serif CJK TC contains 65,535 glyphs, 21 OpenType features, and supports 43,029 characters from 53 Unicode blocks: CJK Unified Ideographs, Hangul Syllables, CJK Unified Ideographs Extension A, CJK Unified Ideographs Extension B, CJK Compatibility Ideographs, Hangul Jamo, CJK Compatibility, Halfwidth and Fullwidth Forms, Kangxi Radicals, Enclosed CJK Letters and Months, Enclosed Alphanumeric Supplement, Box Drawing, CJK Radicals Supplement, CJK Unified Ideographs Extension E, Katakana, Hangul Compatibility Jamo, Hiragana, Latin Extended Additional, Latin-1 Supplement, Basic Latin, Enclosed Alphanumerics, Mathematical Operators, Hangul Jamo Extended-B, Cyrillic, Enclosed Ideographic Supplement, CJK Symbols and Punctuation, Miscellaneous Symbols, Greek and Coptic, CJK Unified Ideographs Extension C, CJK Compatibility Ideographs Supplement, Bopomofo, Geometric Shapes, CJK Strokes, General Punctuation, CJK Unified Ideographs Extension D, Block Elements, CJK Compatibility Forms, Latin Extended-A, Hangul Jamo Extended-A, Bopomofo Extended, Miscellaneous Technical, Small Form Variants, Arrows, Latin Extended-B, Letterlike Symbols, Katakana Phonetic Extensions, Kanbun, Ideographic Description Characters, Vertical Forms, Dingbats, Spacing Modifier Letters, Alphabetic Presentation Forms, Miscellaneous Symbols and Arrows. Supported writing systems Traditional Han Traditional Han (\u6f22\u5b57) is an East Asian logo-syllabary, written vertically right-to-left and horizontally left-to-right (over 30 million users). Used in Taiwan, Hong Kong and Macau. ((TODO)) Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Hangul Hangul (Hangeul, \ud55c\uae00, Chos\u014fn'g\u016dl, \uc870\uc120\uae00) is an East Asian script, written vertically right-to-left and horizontally left-to-right (79 million users). Used for the Korean language. Created in 1446 by King Sejong the Great (Sejong of Joseon) as a simpler, phonetic alternative to using Chinese hanja for Korean. Not universally accepted for centuries, suppressed by Japanese colonial authorities. Since 1945 the standard script for Korean. The 51 basic letters (jamo) are grouped into syllable blocks depending on their position in the spoken syllable. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Latin Latin (Roman) is a European bicameral alphabet, written left-to-right. The most popular writing system in the world. Used for over 3,000 languages including Latin and Romance languages (Italian, French, Portuguese, Spanish and Romanian), Germanic languages (English, Dutch, German, Nordic languages), Finnish, Malaysian, Indonesian, Filipino, Visayan languages, Turkish, Azerbaijani, Polish, Somali, Vietnamese, and many others. Derived from Western Greek, attested in Rome in the 7th century BCE. In the common era, numerous European languages adopted the Latin script along with Western Christian religion, the script disseminated further with European colonization of the Americas, Australia, parts of Asia, Africa and the Pacific. New letters, ligatures and diacritical marks were gradually added to represent the sounds of various languages. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Katakana Katakana (\u7247\u4eee\u540d\u3001\u30ab\u30bf\u30ab\u30ca) is an East Asian syllabary, written vertically right-to-left and horizontally left-to-right (126 million users). Used in Japan for Japanese, Ryukyuan, Ainu and Palauan, and formerly for Taiwanese Hokkien. Katakana is used for transcription of foreign-language words into Japanese, for the writing of loan words, for emphasis, to represent onomatopoeia, for technical and scientific terms, for names of plants, animals and minerals, and often for names of Japanese companies. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Hiragana Hiragana (\u5e73\u4eee\u540d, \u3072\u3089\u304c\u306a) is an East Asian syllabary, written vertically right-to-left and horizontally left-to-right (120 million users). Used in Japan for Japanese and the Ryukyuan languages. Hiragana is used to write okurigana (kana suffixes following a kanji root, for example to inflect verbs and adjectives), various grammatical and function words including particles, as well as miscellaneous other native words for which there are no kanji or whose kanji form is obscure or too formal for the writing purpose. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Emoji symbols Emoji symbols are pictograms, logograms, ideograms and smileys used in electronic messages and web pages. Their primary function is to fill in emotional cues otherwise missing from typed conversation. They are typically rendered as multi-color characters. Read more on ScriptSource, Unicode, Wikipedia, r12a. Bopomofo Bopomofo (\u6ce8\u97f3\u7b26\u865f, \u6ce8\u97f3\u7b26\u53f7, \u3105\u3106\u3107\u3108) is an East Asian syllabary, written left-to-right. Developed in 1913 in China to be used for Mandarin Chinese transliteration alongside the Latin-based Wade\u2013Giles system. Also called Mandarin Phonetic Symbols or Zhuyin (\u6ce8\u97f3). Bopomofo is an official transliteration system in Taiwan, used in dictionaries, books, newspapers and journals to annotate the Taiwanese pronunciation of Chinese Han characters, and in electronic input methods. Largely replaced by Pinyin romanization in the People\u2019s Republic of China. Also used as the primary script for Taiwan\u2019s minority languages like Atayal, Taroko, Paiwan and Yami. Has 21 onset consonants, 16 rhymes, and 4 tone marks. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Cyrillic Cyrillic is a bicameral alphabet originating in Europe, written left-to-right (250 million users). Used for various languages across Eurasia and is used as the national script in various Slavic, Turkic, Mongolic and Iranic-speaking countries in Southeastern Europe, Eastern Europe, the Caucasus, Central Asia, North Asia and East Asia, including Russian, Bulgarian, Macedonian, Serbian, Ukrainian, Uzbek, Azerbaijani, Kazakh, Tajik, Kyrgyz, Bashkort, Chechen, Chuvash, Avar, Dargwa, Kabardian, Karakalpak, Kumyk, Lezgi, Ossetic, Pontic, Yakut, Buriat and many others. Created in the 9th century. Traditionally attributed to Saint Cyril, a monk from Thessaloniki working in Bulgaria, after earlier creation of the Glagolitic script. Sometimes attributed to Clement of Ohrid, a student of Saint Cyril\u2019s. Initially used for Old Church Slavonic. Reformed in 1708 by Russian tsar Peter the Great. Extended by the Soviet Union in the 20th century to write over 50 languages throughout Eastern Europe and Asia (some of those languages switched to Latin after 1991). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Greek Greek (\u0395\u03bb\u03bb\u03b7\u03bd\u03b9\u03ba\u03ac) is a European bicameral alphabet, written left-to-right (11 million users). Used to write the Greek language since the 8th century BCE. Also used to write other languages like Urum, Albanian Tosk, and Balkan Gagauz Turkish. Some symbols are also used in scientific notation. Derived from Phoenician. First \u201ctrue alphabet\u201d, with distinct letters for consonants and vowels. Standardized in the 4th century BCE by Eucleides. Has 24 letters. Some letter variants (sigma: \u03c3/\u03c2) have positional significance in the Greek language, other variants only differ in meaning in scientific notation (e.g. pi: \u03c0/\u03d6). The Greek language used to be written in polytonic spelling, with three accents on vowels. In 1982, Greece introduced monotonic spelling with a single diacritic. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif Tamil": { + "name": "Noto Serif Tamil", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "tamil" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Taml", + "article": "Noto Serif Tamil is a modulated (\u201cserif\u201d) design for texts in the Indic Tamil script. Noto Serif Tamil has italic styles, multiple weights and widths, contains 222 glyphs, 10 OpenType features, and supports 147 characters from 5 Unicode blocks: Tamil, Basic Latin, General Punctuation, Devanagari, Grantha. Supported writing systems Tamil Tamil (\u0ba4\u0bae\u0bbf\u0bb4\u0bcd) is an Indic abugida, written left-to-right (70 million users). Used in India, Sri Lanka, Singapore, Malaysia and Mauritius for the Tamil language, and other languages like Irula, Badaga, Kurumba, Paniya, Saurashtra. Has 18 consonants (modest set for Brahmic scripts) and 12 vowels. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif Tangut": { + "name": "Noto Serif Tangut", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "tangut" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Tang", + "article": "Noto Serif Tangut is a modulated (\u201cserif\u201d) design for texts in the historical East Asian Tangut script. Noto Serif Tangut contains 6,897 glyphs, and supports 6,896 characters from 2 Unicode blocks: Tangut, Tangut Components. Supported writing systems Tangut Tangut (Xixia, \ud81f\udf07\ud81d\udff2) is a historical East Asian logo-syllabary, written vertically left-to-right. Was widely used in China in 1036\u20131502 for the now-extinct Tangut language. Superficially similar to Chinese writing, but not related. Had almost 6,000 characters. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif Telugu": { + "name": "Noto Serif Telugu", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "telugu" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Telu", + "article": "Noto Serif Telugu is a modulated (\u201cserif\u201d) design for texts in the Indic Telugu script. Noto Serif Telugu has multiple weights, contains 728 glyphs, 11 OpenType features, and supports 163 characters from 4 Unicode blocks: Telugu, Basic Latin, General Punctuation, Devanagari. Supported writing systems Telugu Telugu (\u0c24\u0c46\u0c32\u0c41\u0c17\u0c41) is an Indic abugida, written left-to-right without a headstroke. Used since c. 1300 CE in South India for the Telugu language (74 million speakers), state language of Andhra Pradesh. Also used for Chenchu, Savara, Manna-Dora, for Sanskrit and Gondi. Closely related to the Kannada script. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif Thai": { + "name": "Noto Serif Thai", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "thai" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Thai", + "article": "Noto Serif Thai is a modulated (\u201cserif\u201d) design for texts in the Southeast Asian Thai script. Noto Serif Thai has multiple weights and widths, contains 140 glyphs, 6 OpenType features, and supports 101 characters from the Unicode block Thai. Supported writing systems Thai Thai (\u0e44\u0e17\u0e22) is a Southeast Asian abugida, written left-to-right (38 million users). Used since 1283 in Thailand, Laos and China for the Thai, Northern Thai, Northeastern Thai, Southern Thai, Thai Song and Pali languages. Related to the Lao script. Uses 44 letters for 21 consonants. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif Tibetan": { + "name": "Noto Serif Tibetan", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "tibetan" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Tibt", + "article": "Noto Serif Tibetan is a modulated (\u201cserif\u201d) design for texts in the Central Asian Tibetan script. Noto Serif Tibetan has multiple weights, contains 1,891 glyphs, 7 OpenType features, and supports 223 characters from the Unicode block Tibetan. Supported writing systems Tibetan Tibetan (\u0f56\u0f7c\u0f51) is a Central Asian abugida, written left-to-right (5 million users). Used since c. 650 CE in Tibet, Bhutan, Nepal and India for the Tibetan, Dzongkha, Ladakhi and Sikkimese languages and for religious Sanskrit texts. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif Todhri": { + "name": "Noto Serif Todhri", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "todhri" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Todr", + "article": "Noto Serif Todhri is an unmodulated (\u201csans-serif\u201d) design. Noto Serif Todhri contains 76 glyphs, 2 OpenType features, and supports 68 characters from 2 Unicode blocks: Todhri, Combining Diacritical Marks. Supported writing systems Todhri Read more on ScriptSource, Wikipedia, and r12a.", + "minisite_url": null + }, + "Noto Serif Toto": { + "name": "Noto Serif Toto", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "toto" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Toto", + "article": "Noto Serif is a modulated (\u201cserif\u201d) design for texts in the Latin, Cyrillic and Greek scripts, also suitable as the complementary font for other script-specific Noto Serif fonts. Noto Serif Toto has multiple weights, contains 40 glyphs, 3 OpenType features, and supports 36 characters from the Unicode block Toto. Supported writing systems Toto Toto is an Indic alphabet, written left-to-right. Created in 2015 by Dhaniram Toto for the 1,500 speakers of the Toto language, who live in a single jungle village in India near Bhutan. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, r12a.", + "minisite_url": null + }, + "Noto Serif Vithkuqi": { + "name": "Noto Serif Vithkuqi", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "vithkuqi" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Vith", + "article": "Noto Serif Vithkuqi is a design for the historical European Vithkuqi script. Noto Serif Vithkuqi has multiple weights, contains 103 glyphs, and supports 101 characters from 2 Unicode blocks: Vithkuqi, Basic Latin. Supported writing systems Vithkuqi Vithkuqi (B\u00fcthakukye) is a historical European bicameral alphabet, written left-to-right. Created around 1840 by Naum Veqilharxhi for the Albanian language. Read more on ScriptSource, Unicode, Wikipedia, r12a.", + "minisite_url": null + }, + "Noto Serif Yezidi": { + "name": "Noto Serif Yezidi", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "yezidi" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Yezi", + "article": "Noto Serif Yezidi is a modulated (\u201cserif\u201d) design for texts in the Middle Eastern Yezidi script. Noto Serif Yezidi has multiple weights, contains 56 glyphs, 2 OpenType features, and supports 55 characters from 2 Unicode blocks: Yezidi, Arabic. Supported writing systems Yezidi Yezidi (Yazidi) is a Middle Eastern abjad. Used in Kurdistan, Iraq, Syria, Turkey and the Caucasus for religious texts in the Kurdish and Arabic languages. Read more on ScriptSource, Unicode, Wikipedia, r12a.", + "minisite_url": null + }, + "Noto Traditional Nushu": { + "name": "Noto Traditional Nushu", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "nushu" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Nshu", + "article": "Noto Traditional Nushu is an unmodulated (\u201csans serif\u201d) design in multiple weights for the East Asian N\u00fcshu script, with a calligraphic skeleton and a compact appearance. It is suitable for texts in medium font sizes, and for headlines. Noto Traditional Nushu contains 870 glyphs, 2 OpenType features, and supports 470 characters from 2 Unicode blocks: Nushu, Basic Latin. Supported writing systems N\u00fcshu N\u00fcshu (\ud82c\udd81\ud82c\ude2c\u200e) is an East Asian logo-syllabary, written vertically left-to-right. Was used in the 13th\u201320th centuries by women in Jiangyong County in Hunan province of southern China, mainly for the Chinese dialect Xiangnan Tuhua. Recently revived. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Latin Latin (Roman) is a European bicameral alphabet, written left-to-right. The most popular writing system in the world. Used for over 3,000 languages including Latin and Romance languages (Italian, French, Portuguese, Spanish and Romanian), Germanic languages (English, Dutch, German, Nordic languages), Finnish, Malaysian, Indonesian, Filipino, Visayan languages, Turkish, Azerbaijani, Polish, Somali, Vietnamese, and many others. Derived from Western Greek, attested in Rome in the 7th century BCE. In the common era, numerous European languages adopted the Latin script along with Western Christian religion, the script disseminated further with European colonization of the Americas, Australia, parts of Asia, Africa and the Pacific. New letters, ligatures and diacritical marks were gradually added to represent the sounds of various languages. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Znamenny Musical Notation": { + "name": "Noto Znamenny Musical Notation", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "math", + "symbols", + "znamenny" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "symbols" + ], + "description": null, + "primary_script": null, + "article": "Noto Znamenny Musical Notation is a font that contains symbols for the Znamenny Chant _musical notation. Noto Znamenny Musical Notation contains 527 glyphs, 9 OpenType features, and supports 515 characters from 9 Unicode blocks: Znamenny Musical Notation, Latin Extended-A, Basic Latin, Latin-1 Supplement, Combining Diacritical Marks, General Punctuation, Spacing Modifier Letters, Latin Extended Additional, Latin Extended-B.", + "minisite_url": null + }, + "Nova Cut": { + "name": "Nova Cut", + "designer": [ + "Wojciech Kalinowski" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "I created the NovaCut font about 14-15 years ago for making inscriptions on stone. Initially the font contained only capitals and digits and existed only on paper and stone inscriptions. In 2010 I decided transfer this font to a computer, and made the missing lowercase and some basical signs; it was initially named Gothica. By the way I made other versions of some letters. It was a lot of this at the end of my work. I decided create new fonts based on these letters. And finally I created six fonts family and named these fonts Nova (NovaCut, NovaFlat, NovaOval, NovaRound, NovaSlim, NovaSquare - by the shape of individual fonts). At last I created monospace font - NovaMono - the seventh part of this family.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Nova Flat": { + "name": "Nova Flat", + "designer": [ + "Wojciech Kalinowski" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "I created the NovaCut font about 14-15 years ago for making inscriptions on stone. Initially the font contained only capitals and digits and existed only on paper and stone inscriptions. In 2010 I decided transfer this font to a computer, and made the missing lowercase and some basical signs; it was initially named Gothica. By the way I made other versions of some letters. It was a lot of this at the end of my work. I decided create new fonts based on these letters. And finally I created six fonts family and named these fonts Nova (NovaCut, NovaFlat, NovaOval, NovaRound, NovaSlim, NovaSquare - by the shape of individual fonts). At last I created monospace font - NovaMono - the seventh part of this family.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Nova Mono": { + "name": "Nova Mono", + "designer": [ + "Wojciech Kalinowski" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "greek", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "monospace", + "display" + ], + "description": "I created the NovaCut font about 14-15 years ago for making inscriptions on stone. Initially the font contained only capitals and digits and existed only on paper and stone inscriptions. In 2010 I decided transfer this font to a computer, and made the missing lowercase and some basical signs; it was initially named Gothica. By the way I made other versions of some letters. It was a lot of this at the end of my work. I decided create new fonts based on these letters. And finally I created six fonts family and named these fonts Nova (NovaCut, NovaFlat, NovaOval, NovaRound, NovaSlim, NovaSquare - by the shape of individual fonts). At last I created monospace font - NovaMono - the seventh part of this family.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Nova Oval": { + "name": "Nova Oval", + "designer": [ + "Wojciech Kalinowski" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "I created the NovaCut font about 14-15 years ago for making inscriptions on stone. Initially the font contained only capitals and digits and existed only on paper and stone inscriptions. In 2010 I decided transfer this font to a computer, and made the missing lowercase and some basical signs; it was initially named Gothica. By the way I made other versions of some letters. It was a lot of this at the end of my work. I decided create new fonts based on these letters. And finally I created six fonts family and named these fonts Nova (NovaCut, NovaFlat, NovaOval, NovaRound, NovaSlim, NovaSquare - by the shape of individual fonts). At last I created monospace font - NovaMono - the seventh part of this family.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Nova Round": { + "name": "Nova Round", + "designer": [ + "Wojciech Kalinowski" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "I created the NovaCut font about 14-15 years ago for making inscriptions on stone. Initially the font contained only capitals and digits and existed only on paper and stone inscriptions. In 2010 I decided transfer this font to a computer, and made the missing lowercase and some basical signs; it was initially named Gothica. By the way I made other versions of some letters. It was a lot of this at the end of my work. I decided create new fonts based on these letters. And finally I created six fonts family and named these fonts Nova (NovaCut, NovaFlat, NovaOval, NovaRound, NovaSlim, NovaSquare - by the shape of individual fonts). At last I created monospace font - NovaMono - the seventh part of this family.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Nova Script": { + "name": "Nova Script", + "designer": [ + "Wojciech Kalinowski" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "NovaScript is based on my NovaOval font, and it's a part of the Nova set. I created it because the Nova family was missing an oblique font. Now I consider the Nova family complete.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Nova Slim": { + "name": "Nova Slim", + "designer": [ + "Wojciech Kalinowski" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "I created the NovaCut font about 14-15 years ago for making inscriptions on stone. Initially the font contained only capitals and digits and existed only on paper and stone inscriptions. In 2010 I decided transfer this font to a computer, and made the missing lowercase and some basical signs; it was initially named Gothica. By the way I made other versions of some letters. It was a lot of this at the end of my work. I decided create new fonts based on these letters. And finally I created six fonts family and named these fonts Nova (NovaCut, NovaFlat, NovaOval, NovaRound, NovaSlim, NovaSquare - by the shape of individual fonts). At last I created monospace font - NovaMono - the seventh part of this family.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Nova Square": { + "name": "Nova Square", + "designer": [ + "Wojciech Kalinowski" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "I created the NovaCut font about 14-15 years ago for making inscriptions on stone. Initially the font contained only capitals and digits and existed only on paper and stone inscriptions. In 2010 I decided transfer this font to a computer, and made the missing lowercase and some basical signs; it was initially named Gothica. By the way I made other versions of some letters. It was a lot of this at the end of my work. I decided create new fonts based on these letters. And finally I created six fonts family and named these fonts Nova (NovaCut, NovaFlat, NovaOval, NovaRound, NovaSlim, NovaSquare - by the shape of individual fonts). At last I created monospace font - NovaMono - the seventh part of this family.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Numans": { + "name": "Numans", + "designer": [ + "Jovanny Lemonad" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Numans font is a modern 'grotesque' sans-serif with open forms. Sometimes I would like to call it \"Humans,\" but since I am from Russia, my English is not so fluent and sometimes I can be confused. The name comes from romanticising this. Numans is similar to the more bold font Days One, also available in Google Web Fonts.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Nunito": { + "name": "Nunito", + "designer": [ + "Vernon Adams", + "Cyreal", + "Jacques Le Bailly" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Nunito is a well balanced sans serif typeface superfamily, with 2 versions: The project began with Nunito, created by Vernon Adams as a rounded terminal sans serif for display typography. Jacques Le Bailly extended it to a full set of weights, and an accompanying regular non-rounded terminal version, Nunito Sans. To contribute, see github.com/googlefonts/nunito.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Nunito Sans": { + "name": "Nunito Sans", + "designer": [ + "Vernon Adams", + "Jacques Le Bailly", + "Manvel Shmavonyan", + "Alexei Vanyashin" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Nunito is a well balanced sans serif typeface superfamily, with 2 versions: The project began with Nunito, created by Vernon Adams as a rounded terminal sans serif for display typography. Jacques Le Bailly extended it to a full set of weights, and an accompanying regular non-rounded terminal version, Nunito Sans. In February 2023, Nunito Sans has been upgraded to a variable font with four axes: ascenders high, optical size, width and weight. Cyrillic has been added and the language support expanded. To contribute, please see github.com/googlefonts/NunitoSans.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Nuosu SIL": { + "name": "Nuosu SIL", + "designer": [ + "SIL International" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "yi" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Nuosu is a single Unicode font for the standardized Yi script used by a large ethnic group in southwestern China. The traditional Yi scripts have been in use for centuries, and have a tremendous number of local variants. The script was standardized in the 1970's by the Chinese government. In the process of standardization, 820 symbols from the traditional scripts of the Liangshan region were chosen to form a syllabary. This font was developed by SIL, and you can learn more about it at software.sil.org/nuosu. To contribute, see github.com/silnrsi/font-nuosu.", + "primary_script": "Yiii", + "article": null, + "minisite_url": null + }, + "Odibee Sans": { + "name": "Odibee Sans", + "designer": [ + "James Barnard" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Odibee Sans is a display font project by London-based designer James Barnard. James set out to create his very own one day build (ODB) and completed the entire character set, numbers and the basic glyphs in 24 hours. To contribute, see github.com/barnard555/odibeesans.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Odor Mean Chey": { + "name": "Odor Mean Chey", + "designer": [ + "Danh Hong" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "khmer", + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Odor Mean Chey is a Khmer font for headlines, titles and subtitles, and even banner designs. To contribute, see github.com/danhhong/OdorMeanChey.", + "primary_script": "Khmr", + "article": null, + "minisite_url": null + }, + "Offside": { + "name": "Offside", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "The main feature of Offside is its simple structure and monoline stroke. It is modern, slightly condensed, with large counters to achieve excellent readability on the web, even in small sizes. Its design details make it also suitable for writing headlines or signage with great clarity and prestige. The February 2023 update features a bigger glyphset, fractions and some minor aesthetic modifications. To contribute, see github.com/etunni/offside.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Oi": { + "name": "Oi", + "designer": [ + "Kostas Bartsokas" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "arabic", + "cyrillic", + "cyrillic-ext", + "greek", + "latin", + "latin-ext", + "tamil", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Oi is an ultra-fat display typeface that has its roots in grotesque slab serifs, most specifically the style that sprung with the release of Caslon\u2019s Ionic in 1844 and Clarendon by Fann Street Foundry in 1845. The typeface is a free spirited twisted interpetation of the clarendonesques. With an unapologetic tendency for public shouting, it is a whimsical loudmouth attention seeker! \"Oi\" is an interjection used in various languages. Its meaning varies, depending on the tone and abruptness of its use, from a simple \u201chi\u201d or a call of attention to as far as a challenge to a fight. Check out the mini-website. To contribute, see github.com/kosbarts/Oi.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ojuju": { + "name": "Ojuju", + "designer": [ + "\u1ee4d\u1ecb Foundry", + "Chisaokwu Joboson", + "Mirko Velimirovi\u0107" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "math", + "symbols", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "Ojuju is a reverse contrast Weight axis variable font inspired by African Masquerades. Ojuju draws inspiration from a variety of African traditional dance costumes to inform the design decisions. The masks worn by the Dogon dancers from Mali inspired the aperture shaping, and counterform placement within many of the letterforms. Additionally African movie poster lettering from the 1970's was referenced to round out the design space. Ojuju covers all of the Google's SSA(sub-saharan-african) latin glyphs. This Afro-grotesque style created by Chisaokwu Joboson, is distinct with varying apertures as it moves from extra-light to bold. To contribute, see github.com/jobosonchisa/ojuju.", + "minisite_url": null + }, + "Old Standard TT": { + "name": "Old Standard TT", + "designer": [ + "Alexey Kryukov" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Old Standard reproduces a specific type of Modern (classicist) style of serif typefaces, very commonly used in various editions of the late 19th and early 20th century, but almost completely abandoned later. However, this lettertype still has at least two advantages: it can be considered a good choice for typesetting scientific papers, especially on social and humanitarian sciences, as its specific features are closely associated in people's eyes with old books they learned on; the most beautiful examples of Greek and Cyrillic lettertypes were all based on the classicist style, so for those scripts, \"Modern\" fonts are much more appropriate than any contemporary (e. g. Times-based) designs. The name \"Old Standard\" was selected as opposed to the \"Obyknovennaya Novaya\" (\"New Standard\") typeface, widely used in Soviet typography, which represents another, slightly different type of the same Modern style. Of course this name doesn't look very original, but it seems to be a good choice for a revival of the most common lettertype of the early 20th century.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Oldenburg": { + "name": "Oldenburg", + "designer": [ + "Nicole Fally" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Oldenburg is inspired by nearly monoline handwritting seen on a series of German posters. It has been changed and adapted to be more broadly useful design than a more faithful interpretation would have been. Despite the increased ulity in Oldernburg it still presenst plenty of the whimsical feeling that made its source so attractive. Oldenburg can be used a in a wide range of sizes.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ole": { + "name": "Ole", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Ol\u00e9 (named after the Spanish expression, pronounced \"oh-leh!\") has a romantic and fun flavour. Have a little fun using the ornamental glyphs to spice up any design. The Latin glyph set supports Western, Central, Eastern european languages and also Vietnamese. To contribute, see github.com/googlefonts/ole", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Oleo Script": { + "name": "Oleo Script", + "designer": [ + "soytutype fonts" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Oleo is a flowy yet legible non-connected script typeface. It is perfect for situations where a quaint and casual lettering effect is desired. Suitable for various typography contexts including captions, headlines, packaging, invitations, cards, posters, advertising, greeting cards, and book jackets. Oleo Script is currently available in two weights, Regular and Bold. It has also a Swash Caps sister family, also available in Regular and Bold. Oleo Script is a Unicode typeface family that supports languages that use the Latin script and its variants, and could be expanded to support other scripts. For more information see the Soytutype website, follow us on Twitter @soytutype or Google+ or contact Soytutype.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Oleo Script Swash Caps": { + "name": "Oleo Script Swash Caps", + "designer": [ + "soytutype fonts" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Oleo is a flowy yet legible non-connected script typeface. It is perfect for situations where a quaint and casual lettering effect is desired. Suitable for various typography contexts including captions, headlines, packaging, invitations, cards, posters, advertising, greeting cards, and book jackets. Oleo Script Swash Caps is currently available in two weights, Regular and Bold. It has also a Oleo Script sister family, also available in Regular and Bold. Oleo Script Swash Caps is a Unicode typeface family that supports languages that use the Latin script and its variants, and could be expanded to support other scripts. For more information see the Soytutype website, follow us on Twitter @soytutype or Google+ or contact Soytutype.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Onest": { + "name": "Onest", + "designer": [ + "Dmitri Voloshin", + "Andrey Kudryavtsev" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "From thin to extra bold, Onest is designed as a hybrid of geometric and humanistic grotesques. Onest is suitable for reading long texts from the screens of any device and is recommended for apps and sites. Letters are easily distinguished even in small sizes, so they can be used in interface elements or navigation. Several character sets have been developed for a range of closed and semi-closed apertures, allowing the combination of characters depending on the goal. Onest is a modern typeface, so it has a lot of useful conveniences. The subtleties of correct speech transmission are Onest's strong points. It knows like no other the importance and value of using the right diacritics and the difference between cedilla, ogonek and and the way things should be. For all its versatility, Onest allows text to keep its individuality. All thanks to alternative symbols that set the tone and even the character of the message. To contribute, please see github.com/simpals/onest.", + "minisite_url": null + }, + "Oooh Baby": { + "name": "Oooh Baby", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Oooh Baby. This cute little font is perfect for scrapping and fun play! It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/oooh-baby.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Open Sans": { + "name": "Open Sans", + "designer": [ + "Steve Matteson" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "hebrew", + "latin", + "latin-ext", + "math", + "symbols", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Open Sans is a humanist sans serif typeface designed by Steve Matteson, Type Director of Ascender Corp. This version contains the complete 897 character set, which includes the standard ISO Latin 1, Latin CE, Greek and Cyrillic character sets. Open Sans was designed with an upright stress, open forms and a neutral, yet friendly appearance. It was optimized for print, web, and mobile interfaces, and has excellent legibility characteristics in its letterforms. In March 2021, the family has been updated to a variable font family and it also includes Hebrew, and unified and simplified the licensing under OFL. To contribute, see github.com/googlefonts/opensans", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Oranienbaum": { + "name": "Oranienbaum", + "designer": [ + "Oleg Pospelov", + "Jovanny Lemonad" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Oranienbaum is a modern high contrast Antiqua with well-defined, recognizable features. Based on the architecture of classic Antiqua fonts, such as Bodoni, Oranienbaum is typical of the typefaces from the first quarter of the 20th century: pronounced serifs, contrasting geometry, and an interplay of right angles and flowing lines. The font is well suited for both headlines and body text. It was designed through a collaboration of Oleg Pospelov as the main type designer, with Jovanny Lemonad as art director, technical engineer and publisher.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Orbit": { + "name": "Orbit", + "designer": [ + "Sooun Cho", + "JAMO" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "korean", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Orbit is inspired by the concept of monospaced Latin coding fonts. Korean fonts are usually already monospaced, but by bringing the impression of the Latin coding font in the Hangeul and punctuation design, Orbit gives a mathematical and geometric impression through a serif with right angle and orbicular circles. The font attempts to express orbitals with typeface using symmetry and connectivity to create a somewhat cosmic and futuristic atmosphere. As it is reminiscent of coding interface screens, it is recommended to use bright writing on a dark background, below 10pt. To contribute, please visit github.com/JAMO-TYPEFACE/Orbit.", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "Orbitron": { + "name": "Orbitron", + "designer": [ + "Matt McInerney" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Orbitron is a geometric sans-serif typeface intended for display purposes. It features four weights (light, medium, bold, and black), stylistic alternatives, small caps, and a ton of alternate glyphs. Orbitron was designed so that graphic designers in the future will have some alternative to typefaces like Eurostile or Bank Gothic. If you\u2019ve ever seen a futuristic sci-fi movie, you may have noticed that all other fonts have been lost or destroyed in the apocalypse that led humans to flee earth. Only those very few geometric typefaces have survived to be used on spaceship exteriors, spacestation signage, monopolistic corporate branding, uniforms featuring aerodynamic shoulder pads, etc. Of course Orbitron could also be used on the posters for the movies portraying this inevitable future. It was initially published on the League of Movable Type. Orbitron was remastered as a variable font in 2019. To contribute updates or file issues, see https://github.com/theleagueof/orbitron.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Oregano": { + "name": "Oregano", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "The Oregano family is based on cartoon style lettering of calligrapher and logo designer Rand Holub. This style of hand lettering adorned many retro brochures and advertisements of the late 40's through the 1960's. This approachable vintage spunk-filled lettering style exudes a casual and care free flavor perfect for both on screen and printed materials.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Orelega One": { + "name": "Orelega One", + "designer": [ + "Haruki Wakamatsu" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Orelega is a whimsical Clarendon font with oversized ears. Its design was based on Sagona Extra Bold by Ren\u00e9 Bieder, but it is not a shameless copy. Everything has been redrawn from the ground up, with many new aesthetic changes. Orelega is Esperanto for \u201clarge-eared\u201d. It is composed of orel- \u201cear\u201d, -eg- [augments degree or size], and -a [adjective ending]. To contribute, see github.com/JapanYoshi/Orelega", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Orienta": { + "name": "Orienta", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Orienta is a spacious sans serif, with excellent visual performance at very small text sizes. The balance between forms and counterforms creates strong legibility. If used in titles, you can see the details are all carefully designed, especially in the strokes of each letter. The February 2023 update features a bigger glyphset, fractions and some minor aesthetic modifications. To contribute, see github.com/etunni/orienta.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Original Surfer": { + "name": "Original Surfer", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Original Surfer is an offbeat sans serif font with loads of personality. Inspired by a vintage advertisement for the \"California Cliffs Caravan Park\", this font exudes all of the fun of a summer vacation anytime of the year. The letterforms are clear and cleanly legible, while nothing is formal or uptight about this font.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Oswald": { + "name": "Oswald", + "designer": [ + "Vernon Adams", + "Kalapi Gajjar", + "Cyreal" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Oswald is a reworking of the classic style historically represented by the 'Alternate Gothic' sans serif typefaces. The characters of Oswald were initially re-drawn and reformed to better fit the pixel grid of standard digital screens. Oswald is designed to be used freely across the internet by web browsers on desktop computers, laptops and mobile devices. - Since the initial launch in 2011, Oswald was updated continually by Vernon Adams until 2014. Vernon added Light and Bold weights, support for more Latin and Cyrillic languages, tightened the spacing and kerning and made many glyph refinements throughout the family based on hundreds of users' feedback. - In 2016 the Latin part of the family was updated by Kalapi Gajjar to complete the work started by Vernon. - In January 2019, it was updated with a variable font Weight axis. - In July 2023, the font was upgraded with a Cyrillic character set expansion, and the rendering of math symbols was improved. To contribute, see github.com/googlefonts/OswaldFont", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Outfit": { + "name": "Outfit", + "designer": [ + "Smartsheet Inc", + "Rodrigo Fuenzalida" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "A beautiful geometric sans: The official typeface for brand automation company outfit.io. Inspired by the ligature-rich outfit wordmark, Outfit.io is delighted to release it's own type family. The Outfit typeface links the Outfit written voice to Outfit product marks; on brand by default. In 2023, the font has been updated, offering a more expanded language support. To contribute to the project, visit github.com/Outfitio/Outfit-Fonts", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Over the Rainbow": { + "name": "Over the Rainbow", + "designer": [ + "Kimberly Geswein" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "This font always makes me smile. Something about the style of the handwriting just makes me feel happy. It is slightly connected but not a true script by any means & will lend an upbeat feel to any project you use it on.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Overlock": { + "name": "Overlock", + "designer": [ + "Dario Manuel Muhafara" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "The Overlock typeface family was selected by the Letras Latinas Biennal in 2006. The initial idea of this typeface was to simulate the Overlock sewing technique. The special thing about these forms is the warm feeling that they give to your text, because of the particular rounded glyph shapes that emerge. As a result, the Overlock typeface family is great for titles and short texts in magazine style layouts. It looks its very best at bigger sizes. It comes in three weights, Regular, Bold and Black, each with a true italic. It has two set of numbers and small caps which are available as a sister family, Overlock SC", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Overlock SC": { + "name": "Overlock SC", + "designer": [ + "Dario Manuel Muhafara" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "The Overlock typeface family was selected by the Letras Latinas Biennal in 2006. The initial idea of this typeface was to simulate the Overlock sewing technique. The special thing about these forms is the warm feeling that they give to your text, because of the particular rounded glyph shapes that emerge. As a result, the Overlock typeface family is great for titles and short texts in magazine style layouts. It looks its very best at bigger sizes. The main Overlock family comes in three weights, Regular, Bold and Black, each with a true italic. It has two set of numbers and small caps, which are available in this sister family.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Overpass": { + "name": "Overpass", + "designer": [ + "Delve Withrington", + "Dave Bailey", + "Thomas Jockin" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Overpass is a free, Open Source typeface designed by Delve Fonts. The design of Overpass is an interpretation of the well-known \u201cHighway Gothic\u201d letterforms from the Standard Alphabets for Traffic Control Devices published by the U.S. Federal Highway Administration. Starting from those specifications, critical adjustments were made to the letterforms to create an optimal presentation at smaller sizes on-screen and later for display sizes, especially in the lighter weights. Also see Overpass Mono! Overpass can be used for everything from extended passages of text in print and online, to UI design, posters, wayfinding signage, and environmental graphic design. Designers: Delve Withrington, Dave Bailey, and Thomas Jockin TrueType Hinting: Jason Campbell Direction: Dave Crossland, Andy Fitzsimon, Jakub Steiner, and Ben Dubrovsky Special thanks: Aaron Bell for his diligence in preparing v4.0 for release and Michael Luton for his insight and support. To contribute to the project, please visit https://github.com/RedHatOfficial/Overpass", + "primary_script": null, + "article": null, + "minisite_url": "https://overpassfont.org/" + }, + "Overpass Mono": { + "name": "Overpass Mono", + "designer": [ + "Delve Withrington", + "Dave Bailey", + "Thomas Jockin" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "monospace" + ], + "description": "Overpass Mono is a thoughtful, monospaced re-imagining of the Overpass proportional design, designed by Delve Fonts. Consisting of five weights ranging from Light to Bold. The Overpass Mono fonts are finely tuned to meet the requirements of today\u2019s programmers. The design of Overpass is an interpretation of the well-known \u201cHighway Gothic\u201d letterforms from the Standard Alphabets for Traffic Control Devices published by the U.S. Federal Highway Administration. Starting from those specifications, critical adjustments were made to the letterforms to create an optimal presentation at smaller sizes on-screen and later for display sizes, especially in the lighter weights. Overpass can be used for everything from extended passages of text in print and online, to UI design, posters, wayfinding signage, and environmental graphic design. Designers: Delve Withrington, Dave Bailey, and Thomas Jockin TrueType Hinting: Jason Campbell Direction: Dave Crossland, Andy Fitzsimon, Jakub Steiner, and Ben Dubrovsky Special thanks: Aaron Bell for his diligence in preparing v4.0 for release and Michael Luton for his insight and support. To contribute to the project, please visit https://github.com/RedHatOfficial/Overpass", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ovo": { + "name": "Ovo", + "designer": [ + "Nicole Fally" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Ovo was inspired by a set of hand lettered caps seen in a 1930's lettering guide. The capitals suggested the time in which they were made because of the soft serif treatment used. This detail and a subtle casual feeling creeping into the otherwise classical forms led to the soft genial lowercase and the whimsical numbers now seen in Ovo. Ovo is a medium contrast serif font. Because of the old style variable letter widths and subtle detail it will work best at medium to large sizes.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Oxanium": { + "name": "Oxanium", + "designer": [ + "Severin Meyer" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Oxanium is a square, futuristic font family. It feels at home on the head-up display of a spaceship, or the scoreboard of a video game. Its intuitive strokes ensure legibility at small sizes and quick glances, while angled cuts add charisma to big headlines. To contribute, please go to github.com/sevmeyer/oxanium.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Oxygen": { + "name": "Oxygen", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "The Oxygen typeface family is created as part of the KDE Project, a libre desktop for the GNU+Linux operating system. The design is optimized for the FreeType font rendering system and works well in all graphical user interfaces, desktops and devices. This is a web font version of Oxygen, designed to be used freely across the internet by web browsers on desktop computers, laptops and mobile devices.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Oxygen Mono": { + "name": "Oxygen Mono", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "monospace" + ], + "description": "Oxygen Mono is the monospace companion family to Oxygen, the KDE project UI and brand type.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "PT Mono": { + "name": "PT Mono", + "designer": [ + "ParaType" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "monospace" + ], + "description": "PT Mono was developed for specific uses in forms, tables, worksheets and other contexts. Equal character widths are very helpful in setting complex documents, as with such a font you may easily calculate size of entry fields, column widths in tables and so on. One of the most important areas of use is in governmental web sites where visitors have to fill different forms. Currently PT Mono consists of just one Regular style. PT Mono was designed by Alexandra Korolkova with participation of Isabella Chaeva and with the financial support of Google Web Fonts.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "PT Sans": { + "name": "PT Sans", + "designer": [ + "ParaType" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "PT Sans was developed for the project \"Public Types of Russian Federation.\" The second family of the project, PT Serif, is also available. The fonts are released with a libre license and can be freely redistributed: The main aim of the project is to give possibility to the people of Russia to read and write in their native languages. The project is dedicated to the 300 year anniversary of the civil type invented by Peter the Great in 1708\u20131710. It was given financial support from the Russian Federal Agency for Press and Mass Communications. The fonts include standard Western, Central European and Cyrillic code pages, plus the characters of every title language in the Russian Federation. This makes them a unique and very important tool for modern digital communications. PT Sans is based on Russian sans serif types of the second part of the 20th century, but at the same time has distinctive features of contemporary humanistic designs. The family consists of 8 styles: 4 basic styles, 2 captions styles for small sizes, and 2 narrows styles for economic type setting. Designed by Alexandra Korolkova, Olga Umpeleva and Vladimir Yefimov and released by ParaType in 2009.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "PT Sans Caption": { + "name": "PT Sans Caption", + "designer": [ + "ParaType" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "PT Sans was developed for the project \"Public Types of Russian Federation.\" The second family of the project, PT Serif, is also available. The fonts are released with a libre license and can be freely redistributed: The main aim of the project is to give possibility to the people of Russia to read and write in their native languages. The project is dedicated to the 300 year anniversary of the civil type invented by Peter the Great in 1708\u20131710. It was given financial support from the Russian Federal Agency for Press and Mass Communications. The fonts include standard Western, Central European and Cyrillic code pages, plus the characters of every title language in the Russian Federation. This makes them a unique and very important tool for modern digital communications. PT Sans is based on Russian sans serif types of the second part of the 20th century, but at the same time has distinctive features of contemporary humanistic designs. The family consists of 8 styles: 4 basic styles, 2 captions styles for small sizes, and 2 narrows styles for economic type setting. Designed by Alexandra Korolkova, Olga Umpeleva and Vladimir Yefimov and released by ParaType in 2009.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "PT Sans Narrow": { + "name": "PT Sans Narrow", + "designer": [ + "ParaType" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "PT Sans was developed for the project \"Public Types of Russian Federation.\" The second family of the project, PT Serif, is also available. The fonts are released with a libre license and can be freely redistributed: The main aim of the project is to give possibility to the people of Russia to read and write in their native languages. The project is dedicated to the 300 year anniversary of the civil type invented by Peter the Great in 1708\u20131710. It was given financial support from the Russian Federal Agency for Press and Mass Communications. The fonts include standard Western, Central European and Cyrillic code pages, plus the characters of every title language in the Russian Federation. This makes them a unique and very important tool for modern digital communications. PT Sans is based on Russian sans serif types of the second part of the 20th century, but at the same time has distinctive features of contemporary humanistic designs. The family consists of 8 styles: 4 basic styles, 2 captions styles for small sizes, and 2 narrows styles for economic type setting. Designed by Alexandra Korolkova, Olga Umpeleva and Vladimir Yefimov and released by ParaType in 2009.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "PT Serif": { + "name": "PT Serif", + "designer": [ + "ParaType" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "PT Serif\u2122 is the second pan-Cyrillic font family developed for the project \u201cPublic Types of the Russian Federation.\u201d The first family of the project, PT Sans, was released in 2009. The fonts are released with a libre license and can be freely redistributed: The main aim of the project is to give possibility to the people of Russia to read and write in their native languages. The project is dedicated to the 300 year anniversary of the civil type invented by Peter the Great in 1708\u20131710. It was given financial support from the Russian Federal Agency for Press and Mass Communications. The fonts include standard Western, Central European and Cyrillic code pages, plus the characters of every title language in the Russian Federation. This makes them a unique and very important tool for modern digital communications. PT Serif is a transitional serif typeface with humanistic terminals. It is designed for use together with PT Sans, and is harmonized across metrics, proportions, weights and design. The family consists of six styles: regular and bold weights with corresponding italics form a standard font family for basic text setting; two caption styles in regular and italic are for use in small point sizes. Designed by Alexandra Korolkova, Olga Umpeleva and Vladimir Yefimov and released by ParaType in 2010.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "PT Serif Caption": { + "name": "PT Serif Caption", + "designer": [ + "ParaType" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "PT Serif\u2122 is the second pan-Cyrillic font family developed for the project \u201cPublic Types of the Russian Federation.\u201d The first family of the project, PT Sans, was released in 2009. The fonts are released with a libre license and can be freely redistributed: The main aim of the project is to give possibility to the people of Russia to read and write in their native languages. The project is dedicated to the 300 year anniversary of the civil type invented by Peter the Great in 1708\u20131710. It was given financial support from the Russian Federal Agency for Press and Mass Communications. The fonts include standard Western, Central European and Cyrillic code pages, plus the characters of every title language in the Russian Federation. This makes them a unique and very important tool for modern digital communications. PT Serif is a transitional serif typeface with humanistic terminals. It is designed for use together with PT Sans, and is harmonized across metrics, proportions, weights and design. The family consists of six styles: regular and bold weights with corresponding italics form a standard font family for basic text setting; two caption styles in regular and italic are for use in small point sizes. Designed by Alexandra Korolkova, Olga Umpeleva and Vladimir Yefimov and released by ParaType in 2010.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Pacifico": { + "name": "Pacifico", + "designer": [ + "Vernon Adams", + "Jacques Le Bailly", + "Botjo Nikoltchev", + "Ani Petrova" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Aloha! Pacifico is an original and fun brush script handwriting font by Vernon Adams which was inspired by the 1950s American surf culture in 2011. It was redrawn by Jacques Le Bailly at Baron von Fonthausen in 2016. It was expanded to Cyrillic by Botjo Nikoltchev and Ani Petrova at Lettersoup in 2017. The Pacifico project was commissioned by Google from Vernon Adams, an English type designer who lived in San Clemente, Los Angeles, USA. To contribute, see github.com/googlefonts/Pacifico Updated June 2019 to v3.000: Added extended Cyrillic support.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Padauk": { + "name": "Padauk", + "designer": [ + "SIL International" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "myanmar" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Padauk is a fully capable Unicode 6 font supporting all the Myanmar characters in the standard. Thus it provides support for minority languages as well, in both local and Burmese rendering styles. Downloads of Padauk include the necessary Graphite smarts to render the Myanmar script correctly. Thus if you want to use this font at full fidelity to the orthography, you will need to use Graphite-capable applications, such as the latest versions of LibreOffice. However the web font files served by Google Fonts do not include Graphite tables. Fortunately, Padauk also has OpenType tables which allow it to be rendered in a basic way, in applications that support OpenType shaping such as Word. The web font files served by Google Fonts include the OpenType tables, so the font will work in most web browsers. The last upgrade in July 2022, offers an major language support update. The Padauk project is maintained at https://github.com/silnrsi/font-padauk.", + "primary_script": "Mymr", + "article": null, + "minisite_url": null + }, + "Padyakke Expanded One": { + "name": "Padyakke Expanded One", + "designer": [ + "James Puckett" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "kannada", + "latin", + "latin-ext" + ], + "stroke": "SLAB_SERIF", + "classifications": [ + "display" + ], + "description": "Padyakke is a wide, airy, and friendly font for the Kannada writing system. Its gracefully balanced thin strokes rise up over sumptuously swollen bottoms. Padyakke was designed to pair with Aoife Mooney\u2019s latin typeface BioRhyme Expanded; thus BioRhyme\u2019s idosyncratic bowls, not-quite-perpendicular stroke terminals, and teardrop terminals are also in Padyakke. Padyakke\u2019s Kannada glyphs were designed by James Puckett. Padyakke\u2019s Latin glyphs were designed by Aoife Mooney. To contribute, see github.com/DunwichType/Padyakke_Libre", + "primary_script": "Knda", + "article": null, + "minisite_url": null + }, + "Palanquin": { + "name": "Palanquin", + "designer": [ + "Pria Ravichandran" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Palanquin is a Unicode-compliant Latin and Devanagari text type family designed for the digital age. The Devanagari is monolinear and was designed alongside the sans serif Latin. It currently comprises of seven text weights, and is extended with a heavier display family, Palanquin Dark, that has many subtle design details to accommodate the darker typographic color. The Palanquin superfamily is versatile and strikes a balance between typographic conventions and that bit of sparkle. Many thanks to Michael for all the technical assistance. Heartfelt thanks to Maggi for the sincere support. The Palanquin project is led by Pria Ravichandran, a type designer from India. To contribute, visit github.com/VanillaandCream/Palanquin", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Palanquin Dark": { + "name": "Palanquin Dark", + "designer": [ + "Pria Ravichandran" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Palanquin is a Unicode-compliant Latin and Devanagari text type family designed for the digital age. The Devanagari is monolinear and was designed alongside the sans serif Latin. Palanquin Dark is the heavier display family, with 4 weights. Palanquin is a text family with seven text weights. The Palanquin superfamily is versatile and strikes a balance between typographic conventions and that bit of sparkle. Many thanks to Michael for all the technical assistance. Heartfelt thanks to Maggi for the sincere support. The Palanquin project is led by Pria Ravichandran, a type designer from India. To contribute, see github.com/VanillaandCream/Palanquin", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Palette Mosaic": { + "name": "Palette Mosaic", + "designer": [ + "Shibuya Font" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "japanese", + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Palette Mosaic is constructed from primitive shapes by handicapped artists in collaboration with design students. The shapes have been arranged to create a strong and solid atmosphere. This family is part of the Shibuya Font project, a collaboration of design major students and handicapped artist living in Shibuya city, officially approved by Shibuya city in Tokyo. Shibuya font Official Site: http://www.shibuyafont.jp To contribute to the project, visit github.com/shibuyafont/Palette-mosaic-font-mono", + "primary_script": "Hira", + "article": null, + "minisite_url": null + }, + "Pangolin": { + "name": "Pangolin", + "designer": [ + "Kevin Burke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Pangolin was designed for the Google Valentine's Day 2017 Doodle, Pangolin Love. A pangolin is an endangered species native to Asia and Africa. The font is a sans serif handwriting style. It supports many languages that use the Latin and Cyrillic scripts.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Paprika": { + "name": "Paprika", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Paprika will give taste and color to your texts with its clear and friendly gestures. An expressive typeface, it can be used in long texts as it gives readers a pleasant reading experience and is excellent in headlines that also need a natural feeling. To contribute, see github.com/etunni/paprika.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Parastoo": { + "name": "Parastoo", + "designer": [ + "Saber Rastikerdar" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Arab", + "article": "Parastoo is a refined Persian typeface designed by Saber Rastikerdar, developed with modern Farsi usage in both print and digital contexts in mind. Rooted in a traditional Naskh-inspired structure, Parastoo features clean lines, subtle serifs, and balanced proportions that give it a formal yet approachable appearance. It offers high readability and smooth visual flow, with moderate stroke contrast and thoughtful spacing that support long-form reading and dense text layouts. Designed primarily for Farsi, Parastoo ensures accurate rendering and typographic integrity in contemporary environments, addressing many of the localization and display issues found in older, legacy Farsi fonts. While it draws stylistic influence from classic typefaces such as B Nazanin, Parastoo modernizes the aesthetic and technical foundations to better suit today\u2019s multilingual publishing needs. It retains compatibility with other Perso-Arabic script languages, making it a versatile choice for professional and editorial use. Please note that this is a Persian-first font and requires explicitly setting the Arabic language in your application to achieve standard Arabic text shaping. To contribute, please see github.com/googlefonts/parastoo-font.", + "minisite_url": null + }, + "Parisienne": { + "name": "Parisienne", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Parisienne is a casual connecting script inspired by a 1960s Bra advertisement! It has a slight bounce and intentional irregularity to what might other wise appear to be a more formal script font. Classic, yet free spirited, it is a typestyle for a wide variety of use.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Parkinsans": { + "name": "Parkinsans", + "designer": [ + "Red Stone" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Latn", + "article": "Parkinsans is a geometric sans serif designed for UK charity Parkinson\u2019s UK. Energetic, human, accessible, approachable \u2013 Parkinsans embodies Parkinson\u2019s UK\u2019s relentless energy, whilst typographic quirks reflect the unique experience of every Parkinson\u2019s journey. Consisting of 6 weights, Parkinsans is designed to grab attention at display sizes and provide an accessible, easy reading experience for short form copy. Designed by the award-winning, London-based creative agency Red Stone, Parkinsans is a fork of Indian Type Foundry's Poppins. To contribute, see github.com/redstonedesign/parkinsans.", + "minisite_url": null + }, + "Passero One": { + "name": "Passero One", + "designer": [ + "Viktoriya Grabowska" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Passero One is an innovative low contrast sans serif type. Despite having an utterly distinctive voice it remains remarkably legible and versatile. Perhaps this is because of the way Passero One gently echos old style text letterforms. Passero One will work best from medium text sizes through large display sizes.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Passion One": { + "name": "Passion One", + "designer": [ + "Fontstage" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Passion One is a set of 3 display fonts aimed to composing titles in big sizes. Its counterforms decrease as the passion increases! Please use them only for your most passionate thoughts and ideas.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Passions Conflict": { + "name": "Passions Conflict", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Passions Conflict was one of the very first fonts to utilize embellished forms. The capital letters have wonderful nuances of adornment. The lowercase forms blend flawlessly with the capitals. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/passions-conflict.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Pathway Extreme": { + "name": "Pathway Extreme", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Pathway Extreme is derived from Pathway Gothic One, a narrow grotesque sans typeface, which is a very popular historic typographic style. The family has also been upgraded to a variable font. To contribute, see github.com/etunni/Pathway-Variable-Font.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Pathway Gothic One": { + "name": "Pathway Gothic One", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Pathway Gothic One is a narrow grotesque sans typeface, a very popular style in the history of typography. This book weight is the first of many. The March 2023 update features a bigger glyphset, fractions and some minor aesthetic modifications. To contribute, see github.com/etunni/pathway-gothic.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Patrick Hand": { + "name": "Patrick Hand", + "designer": [ + "Patrick Wagesreiter" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "handwriting" + ], + "description": "Patrick Hand is a font based on the designer's own handwriting. It is developed to bring an impressive and useful handwriting effect to your texts. There is a Small Caps sister family. It has all the basic latin characters as well as most of the latin extended ones. It also includes some fancy glyphs like heavy quotation marks and the floral heart! Ligatures, small caps and old style numbers are available as OpenType features in the downloaded version of this font. Updated January 2013 with support for more European languages and Vietnamese, and in February with a Small Caps sister family.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Patrick Hand SC": { + "name": "Patrick Hand SC", + "designer": [ + "Patrick Wagesreiter" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "handwriting" + ], + "description": "Patrick Hand is a font based on the designer's own handwriting. It is developed to bring an impressive and useful handwriting effect to your texts. This is the Small Caps sister family. It has all the basic latin characters as well as most of the latin extended ones. It also includes some fancy glyphs like heavy quotation marks and the floral heart! Ligatures, small caps and old style numbers are available as OpenType features in the download of the regular Patrick Hand family.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Pattaya": { + "name": "Pattaya", + "designer": [ + "Cadson Demak" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "latin", + "latin-ext", + "thai", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Lobster is one of the most popular web fonts, designed by Pablo Impallari. Pattaya is a version of Lobster extended into Thai, and supports Latin and all variations of the Thai script with an informal loopless design. However, vertical metrics (that effect line-spacing) had to be adjusted in order to support Thai vowels and tone marks, so this is published as a separate family. A similarity between some glyphs such as \u0e01 \u0e16 \u0e20 \u0e24 \u0e26, \u0e0e and \u0e0f, \u0e1a and \u0e1b, or \u0e02 and \u0e0a is something to take into consideration because it might lead to confusion when typesetting very short texts. Pattaya has a specific approach to the thick and thin strokes of Thai glyphs. Other type designers of Thai fonts may like to use this approach as a reference. Informal loopless Thai tyefaces have slightly simplified details, as compared to formal ones, and this simplification has to be done properly in order to preserve the character of each glyph. The size and position of Thai vowel and tone marks need to be managed carefully, because they are all relevant to readability, legibility, and overall texture. The Pattaya project is led by Cadson Demak, a type foundry in Thailand. To contribute, see github.com/cadsondemak/pattaya", + "primary_script": "Thai", + "article": null, + "minisite_url": null + }, + "Patua One": { + "name": "Patua One", + "designer": [ + "LatinoType" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Patua One is a slab serif text type designed for use in small sizes. It has low contrast and strong serifs and is intended to generate visual impact. Its thick serifs are curved to provide it with a touch of smoothness and gesture.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Pavanam": { + "name": "Pavanam", + "designer": [ + "Tharique Azeez" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "tamil" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Pavanam is a Tamil and Latin typeface designed with a focus on greater legibility in smaller sizes for both screen and print media. The Latin design is derived from Vernon Adam's Pontano Sans; it has been slightly modified to match with the Tamil typefaces's proportions and vertical metrics. The word Pavanam means wind in Tamil. The Pavanam project is led by Tharique Azeez, a type designer based in Sri Lanka. To contribute, see github.com/enathu/pavanam", + "primary_script": "Taml", + "article": null, + "minisite_url": null + }, + "Paytone One": { + "name": "Paytone One", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Paytone One is a sans-serif font designed for use as a display and headline font on modern websites. It has a casual appearance with round bowls and slanted stroke terminals that add visual interest. February 2023: The font has been updated to v1.002 and now includes GF Plus encoding, revised outlines, Vietnamese diacritics, improved spacing and kerning. To contribute, visit the Paytone One repository on Github: https://github.com/googlefonts/paytoneFont.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Peddana": { + "name": "Peddana", + "designer": [ + "Appaji Ambarisha Darbha" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "telugu" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Peddana is an Open Source typeface supporting both the Telugu and Latin scripts. This font was developed mainly for the use in news publications and is suitable for text, headings, posters and invitations. The Telugu is developed by Appaji Ambarisha Darbha in 2013 and made available under the SIL Open Font License v1.1 by Silicon Andhra. The Latin is developed by SIL International and originally published as Charis. The Peddana project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India. To contribute, see github.com/appajid/peddana", + "primary_script": "Telu", + "article": null, + "minisite_url": null + }, + "Peralta": { + "name": "Peralta", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SLAB_SERIF", + "classifications": [ + "display" + ], + "description": "The Peralta typeface is an egyptian slab serif gone haywire. You'll find that Capitals and Lowercase have opposite weight distributions, as well as an all-around offbeat nature, and yet it all works to create a delightfully comic typeface.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Permanent Marker": { + "name": "Permanent Marker", + "designer": [ + "Font Diner" + ], + "license": "apache2", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Permanent Marker represents the look and feel of a favorite writing instrument.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Petemoss": { + "name": "Petemoss", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Petemoss is a semi-calligraphic brush script. It is inspired by the forms created using a Pentel\u2122 color brush. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/petemoss.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Petit Formal Script": { + "name": "Petit Formal Script", + "designer": [ + "Impallari Type" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Formal Scripts are great typefaces to suggest elegance, quality, refinement and luxury. They are used a lot in print publishing, but you don't see many formal scripts used on the web. Isn't it? Mostly because their tiny hairlines breaks and disappear when used at small sizes on the screen. Also, they usually have long ascenders and descenders, and the lowercase letters look too small when compared to most sans or serif fonts. More over, they are usually quite condensed, making them even more difficult to read. That's why we designed a script type specifically tailored for web use, that can survive being set even as small as 13px.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Petrona": { + "name": "Petrona", + "designer": [ + "Ringo R. Seeber" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Petrona\u2019s personality is an answer to how many characteristics can be added to a typeface without undermining its purpose within the text-type genre. Petrona playfully maneuvers plenty of personal touches, without losing the essence of a design intended for legibility in digital and print media, from headlines to body text. Uppercase glyphs have heavy asymmetric serifs and arms with inverted angles, which combine with lowercase designs that share a big x-height, pronounced ascenders, and soft curves of low stroke contrast. First published in Google Fonts in November 2011 as a single style Roman design, it was completely redrawn in 2019 and 2020. It has evolved, and now offers a comprehensive range of weights, a complete set of corresponding italics, and an extended glyph set that supports over 200 Latin languages. A full set of small caps, plus ligatures, alternates, and all kinds of numerals, fractions, punctuations, symbols, and currencies are included. As a variable font, it has a Weight axis in both the roman and italic files. The previous swashy Q is still available, found in Stylistic Set 1. It is now a typeface that supplies everything needed for fine text typography. The Petrona project is led by Ringo R. Seeber from Glyph Co, based in Brooklyn, NY. To contribute, please visit github.com/RingoSeeber/Petrona", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Phetsarath": { + "name": "Phetsarath", + "designer": [ + "Danh Hong" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "lao" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Phetsarath is a font for the Lao language, used in the Lao People's Democratic Republic. It was commissioned by the Ministry of Posts and Telecommunications of the national government.", + "primary_script": "Laoo", + "article": null, + "minisite_url": null + }, + "Philosopher": { + "name": "Philosopher", + "designer": [ + "Jovanny Lemonad" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Philosopher was started in 2008 and takes inspiration from Agfa Rotis and ITC Binary. This font is universal: It can be used in logos, headlines, and for text. The initial version of the font was deliberately spread with errors - this was my invaluable contribution to type culture around the world, as I thought then - I wanted to stir up designers so they began working with fonts, rather than passively using what is there. Over time I wanted to correct the errors, and now the font has been used by millions of people worldwide. In June 2011 a four-style family was published, and in September 2011 the full Latin and Cyrillic family was fully hinted. To contribute, see github.com/alexeiva/philosopher.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Phudu": { + "name": "Phudu", + "designer": [ + "D\u01b0\u01a1ng Tr\u1ea7n" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Phudu is a sans-serif display typeface inspired by Vietnamese hand-lettering billboards in the old days, that supports a wide range of languages by Duong Tran. As a new way to achieve variable font, the lighterPhudu gets, the extended it becomes, for people to read it easier compared to other lightweight narrow typefaces. In the progress of learning and crafting types, Duong has always thought about what makes a Vietnamese typeface. If we rewind to the past, we can see a Vietnamese lettering style on the billboard stores, when the artists adapted Latin typefaces and then added marks based on their styles. Among those, there were mostly all-caps sans-serif types played as descriptions or the store's names themself. To make a new easy-to-read and easy-to-get typeface, Duong mixed some of the researched letters from the story above. He doesn't want to just revive the types, he wants to improve them to fit the modern-day styles, but still have \"Vietnamese\" souls in them. The typeface was named Phudu (ph\u1ee5c d\u1ef1ng) - \"revival\" in Vietnamese, and has a meaning of timeless (quite the opposite of the name when it can be read as \"ph\u00f9 du\" - ephemeral). To contribute, see github.com/duongtrtype/DTPhudu", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Piazzolla": { + "name": "Piazzolla", + "designer": [ + "Juan Pablo del Peral", + "Huerta Tipogr\u00e1fica" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Piazzolla is a type system intended for optimizing the available space in press media and other publications. It has a compact appearance which allows for small font sizes and tight leading while achieving solid lines and robust paragraphs. It has a distinctive voice that conveys a personal style, especially in display sizes. It has great performance and readability in small point sizes and long texts, both for screen and printing. Designed by Juan Pablo del Peral for Huerta Tipogr\u00e1fica. To contribute see github.com/huertatipografica/piazzolla.", + "primary_script": null, + "article": null, + "minisite_url": "https://piazzolla.huertatipografica.com/" + }, + "Piedra": { + "name": "Piedra", + "designer": [ + "Sudtipos" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "The world may seem cartoonish to you, pilgrim, but the funnies ain't really that funny. The Flintstones are so last century. The Hulks are in, and they're here to stay. Piedra is the rocky, fear-inducing face of galvanized triceps and \u00fcberchiseled jawlines. Be intimidated, be very intimidated. You don't believe it?", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Pinyon Script": { + "name": "Pinyon Script", + "designer": [ + "Nicole Fally" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Pinyon Script is a romantic round hand script-style font. It also features swashes that are confident and showy, somehow giving the type a feeling suggestive of the American West. Perhaps this is why, despite its refinement and aristocratic style, Pinyon Script manages to feel so friendly. Pinyon Script uses high stroke contrast and is very slanted, making it most suitable for use at larger sizes. After expanding the glyphset and language support in June 2022, Pinyon Script now supports African Pri, thanks to the 2024 update. To contribute, visit github.com/SorkinType/Pinyon .", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Pirata One": { + "name": "Pirata One", + "designer": [ + "Rodrigo Fuenzalida", + "Nicolas Massi" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Pirata One is a gothic textura font, simplified and optimized to work well on screen and pixel displays. Its condensed structure and spacing give it an excellent performance and rhythm on texts so it can be used as a header font or in shorts paragraphs. Designed by Rodrigo Fuenzalida and Nicolas Massi. To contribute to the project contact Rodrigo Fuenzalida.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Pixelify Sans": { + "name": "Pixelify Sans", + "designer": [ + "Stefie Justprince" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Pixelify Sans fonts are a unique style of typography that originated in the 1980s with the rise of computer graphics and video games. Pixel fonts are characterized by their blocky, pixelated appearance, which is achieved by using a grid of small, square pixels to create each letterform. To contribute, please see github.com/eifetx/Pixelify-Sans.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Plaster": { + "name": "Plaster", + "designer": [ + "Sorkin Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Plaster is a very low contrast extremely geometric design done in the tradition of the work of Joseph Albers. However many of the solutions to the glyph design vary from Alber's choices. Plaster is suitable for use in medium to large sizes including headlines. This font deviates from most similar fonts because the space between letters is larger. The gaps in the stencil style letters makes letter identification more difficult. A wider letter space helps make the letters easy to read again.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Platypi": { + "name": "Platypi", + "designer": [ + "David Sargent" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Drawing inspiration from the unusual blend of characteristics observed in the Australian platypus, Platypi combines sharp, heavy wedge serifs usually seen in display faces with more conventional curves and proportions to achieve a practical text typeface with a unique and distinctive visual rhythm. The heavier weights push this tension further with increased stroke tapering and overall contrast. Platypi features six weights with matching italic styles. It supports Indigenous Australian and Vietnamese languages, and includes the full Google Fonts Latin Plus Character Set. The word Platypi is commonly used as the plural of platypus; however, it is a form of pseudo-Latin. The correct plural is platypuses. To contribute, see github.com/d-sargent/platypi.", + "minisite_url": null + }, + "Play": { + "name": "Play", + "designer": [ + "Jonas Hecksher" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Play is a minimalistic sans serif typeface designed by Jonas Hecksher during his time as Type Director of Playtype Type Foundry. All letters in Play derive from the 'O' \u2013 square and circular at the same time. Play is designed with large, open counters, ample lowercase x-heights and a corporate, yet friendly appearance. The combination of these qualities give Play both a high legibility and readability.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Playball": { + "name": "Playball", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "An athletic look was the inspiration for Playball. Take advantage of the sweeping swashes to give a true sports look. Perfect for baseball banners and the like. Playball comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/play-ball.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Playfair": { + "name": "Playfair", + "designer": [ + "Claus Eggers S\u00f8rensen" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "Playfair is well suited for general purpose typesetting. Playfair can be interpolated in three dimensions: Width, Weight and Optical Size. The optical size axis is the most extreme of the axes. Along that axis you can seamlessly change the letterforms from the extremely small Agate (5pt) to the extremely big Needlepoint (1200pt). The Agate has a very low contrast between the thickest and thinnest parts of its strokes, in fact the contrast is even slightly negative, meaning the the horisontal strokes are heavier than the vertical strokes. At the other end the Needlepoint is as high contrast as practically possible. The thinnest strokes are but a single unit wide, meaning that if you were to typeset in 1000 points using a Needlepoint weight, the resulting thinnest strokes would be one point wide. The weight axis adds a second dimension by allowing you to seamlessly change from a light regular to a dark black. An update in June 2023 slightly modifies the width axis, giving the text a narrower appearance. In February 2025, a glyphset update improves the language support by adding African. To contribute, see github.com/googlefonts/Playfair.", + "minisite_url": null + }, + "Playfair Display": { + "name": "Playfair Display", + "designer": [ + "Claus Eggers S\u00f8rensen" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Playfair is a transitional design. In the European Enlightenment in the late 18th century, broad nib quills were replaced by pointed steel pens as the popular writing tool of the day. Together with developments in printing technology, ink, and paper making, it became fashionable to print letterforms of high contrast and delicate hairlines that were increasingly detached from the written letterforms. This design lends itself to this period, and while it is not a revival of any particular design, it takes influence from the designs of John Baskerville and from \u2018Scotch Roman\u2019 designs. This typeface was initially published in 2011, and had a major update in 2017. Being a Display (large size) design in the transitional genre, functionally and stylistically it can accompany Georgia or Gelasio for body text. It was succeeded in 2023 by the complete Playfair design, which as a variable font includes body text designs in the optical size axis. This is the main family, with a sibling Playfair Display SC small caps family. The main family downloaded font files include a full set of small caps, common ligatures, and discretionary ligatures. The Playfair project is led by Claus Eggers S\u00f8rensen, a type designer based in Amsterdam, Netherlands. To contribute, see github.com/clauseggers/Playfair-Display", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Playfair Display SC": { + "name": "Playfair Display SC", + "designer": [ + "Claus Eggers S\u00f8rensen" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Playfair is a transitional design. In the European Enlightenment in the late 18th century, broad nib quills were replaced by pointed steel pens as the popular writing tool of the day. Together with developments in printing technology, ink, and paper making, it became fashionable to print letterforms of high contrast and delicate hairlines that were increasingly detached from the written letterforms. This design lends itself to this period, and while it is not a revival of any particular design, it takes influence from the designs of John Baskerville and from \u2018Scotch Roman\u2019 designs. This typeface was initially published in 2011, and had a major update in 2017. Being a Display (large size) design in the transitional genre, functionally and stylistically it can accompany Georgia or Gelasio for body text. It was succeeded in 2023 by the complete Playfair design, which as a variable font includes body text designs in the optical size axis. This is the Small Cap sibling family to the main Playfair Display family. The main family downloaded font files include a full set of small caps, common ligatures, and discretionary ligatures. The Playfair project is led by Claus Eggers S\u00f8rensen, a type designer based in Amsterdam, Netherlands. To contribute, see github.com/clauseggers/Playfair-Display", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Playpen Sans": { + "name": "Playpen Sans", + "designer": [ + "TypeTogether", + "Laura Meseguer", + "Veronika Burian", + "Jos\u00e9 Scaglione", + "Kostas Bartsokas", + "Vera Evstafieva", + "Tom Grace", + "Yorlmar Campos" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "emoji", + "greek", + "latin", + "latin-ext", + "math", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playpen Sans was designed by TypeTogether after over two years of primary research into handwriting education for Latin-based languages, available at primarium.info. It is a variable font with a weight range from Thin (100) to ExtraBold (800) and supports three different writing systems\u2014Latin, Greek, and Cyrillic\u2014that cover over 700 Latin languages, including Vietnamese and 619 Sub-Saharan African languages, 54 Cyrillic languages, and Greek, along with 26 emoji. The Playpen Sans superfamily also includes an Arabic (Playpen Sans Arabic), Devanagari (Playpen Sans Deva), Hebrew (Playpen Sans Hebrew), and Thai (Playpen Sans Thai) fonts that expand the language support of the system. Playpen Sans provides seven different glyphs for each character that are automatically applied as you type, using a built-in shuffler that both ensures variety and avoids repetition. This adds to the overall organic, spontaneous, and authentic feel of the handwritten style. To contribute, see github.com/TypeTogether/Playpen-Sans Watch the video on Youtube A casual handwriting font Some typefaces do more than one thing well, and others excel at just one thing. The Playpen Sans font family excels at imitating casual handwriting with a completely natural look \u2014 the aesthetic form of something made by hand \u2013 combined with all the functionality of a professional typeface. The font world has a general tension between what\u2019s organic and what\u2019s digital. When scribbling a quick note, written letters have slight differences, but all look similar because they come from the same person. Digital typefaces are instead almost always very consistent \u2014 each character is exactly the same, every time you type it. The goal of a typeface that is both casual in look and digital in nature is to appear authentically human within the bounds of digital technology: A typeface with a set of characters that are \u201cthe same, but different\u201d that carries the authenticity which everyone craves. The main problem with typical casual fonts is not having enough alternate characters to look real. When a family has more than one alternate, another problem arises in controlling how and when a character gets replaced. To solve these problems, Playpen Sans was designed with seven versions of each character, plus a novel and automatic shuffler, so no single shape is repeated in close proximity. The result is text with spontaneous inconsistencies that feel fun and organic\u2026 all the benefits of a modern, professional typeface that looks natural. The family was made for non-designers, and it shines within short, informal settings: greeting cards and invitations; casual signs; fun documents, and of course, children\u2019s books and educational materials, comic books, and graphic novels. The straight and curved endings for \u2018i, l, y\u2019, the two-story \u2018a\u2019, and optional shapes for \u2018f, G, I, M\u2019 are notable features. Playpen Sans combines technological and aesthetic values, showing the best of both worlds with digital capabilities and a casual, handmade look. Is it spontaneous? Is it authentic? Thankfully, yes, and yes. Greek and Cyrillic Greek and Cyrillic follow the same principles as Latin, giving the idea that they are all written by the same person. All the writing systems approach letterform construction with casual and continuous strokes; typical stroke boundaries are not always respected due to the relaxed mood of writing; and the in-strokes and out-strokes allow for a natural transition from one letter to the other. Each is a set of clear letterforms that are easy to write and recognize. The design forms a bridge between handwritten and typographic letters, friendly to both little readers and adults. Emojis Playpen Sans has emojis for breezy and encouraging uses, that each match the eight named weights of the Latin. Find here the list of all the emojis available. You can copy and paste them into your document editor when using the font. \ud83d\ude09 \ud83c\udf1e \ud83d\ude0d \u2620 \u2639 \ud83d\ude09 \u270f \ud83d\udcd6 \ud83c\udfe0 \u270d \ud83e\udde9 \ud83e\udd96 \ud83e\ude90 \u2708 \ud83c\udf20 \ud83c\udf82 \ud83c\udfa8 \ud83d\udce3 \ud83d\udc46 \ud83d\udc4d \ud83d\udc4e \ud83c\udfaf \ud83e\udeab \u2705 \u274c \ud83c\udfc5 \ud83e\udd84", + "minisite_url": "https://www.type-together.com/making-playpen-sans" + }, + "Playpen Sans Arabic": { + "name": "Playpen Sans Arabic", + "designer": [ + "TypeTogether", + "Azza Alameddine", + "Laura Meseguer", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "arabic", + "emoji", + "latin", + "latin-ext", + "math" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": "Arab", + "article": "Playpen Sans Arabic was designed by TypeTogether after over two years of primary research into handwriting education for Latin-based languages, available at primarium.info. Playpen Sans Arabic is a variable font with a weight range from Thin (100) to ExtraBold (800). It supports two different writing systems: Arabic and Latin, covering 6 Arabic-based languages and over 332 Latin-based ones, along with a set of \u201creward icons\u201d as emoji. The superfamily also includes a Pan-African Latin, Greek, Cyrillic (Playpen Sans), Devanagari (Playpen Sans Deva), Hebrew (Playpen Sans Hebrew), and Thai (Playpen Sans Thai) fonts that expand the language support of the system. It has alternate glyphs for each character that are automatically applied as you type, with a built-in shuffler that both ensures variety and avoids repetition. This adds to the overall organic, spontaneous, and authentic feel of the handwritten style. To contribute, see github.com/TypeTogether/Playpen-Sans Watch the video on Youtube Arabic Playpen Sans Arabic follows the same fun and relaxed aesthetic as its Latin counterpart, maintaining a cohesive and playful handwriting style across writing systems. Designed with the same tools and writing hand, it seamlessly integrates with the overall design philosophy of the font family. The Arabic writing system features variations in letter shapes and subtle shifts in the positioning of diacritic marks, enhancing its organic and spontaneous feel. Additionally, it includes Ruq\u02bfah alternates, offering further stylistic flexibility while preserving the authentic, handwritten charm that defines Playpen Sans. A casual handwriting font Some typefaces excel at just one thing, while others do multiple things well. Playpen Sans stands out by perfectly imitating casual handwriting, blending the organic feel of something made by hand with the precision of a professional digital typeface. Handwritten text is naturally inconsistent, but digital fonts aim for uniformity. Playpen Sans bridges this gap by offering a set of characters that are \u201cthe same, but different,\u201d creating an authentic and human-like appearance within the constraints of digital design. It has a set of clear letterforms that are easy to write and recognize. The design forms a bridge between handwritten and typographic letters, friendly to both little readers and adults. To achieve this, Playpen Sans includes multiple versions of each character and a built-in shuffler, ensuring no two shapes repeat too closely. This results in text that feels spontaneous, fun, and organic, while maintaining the functionality of a modern typeface. Designed with non-designers in mind, it shines in informal settings like greeting cards, invitations, children\u2019s books, and graphic novels. Its clarifying features, such as straight and curved endings for certain letters and optional shapes, add to its versatility. Playpen Sans combines the best of both worlds: the aesthetic charm of handwritten text and the technological capabilities of a digital font. It\u2019s spontaneous, authentic, and effortlessly bridges the gap between the organic and the digital. Emojis Playpen Sans has emojis for breezy and encouraging uses, that each match the eight named weights of the Latin. Find here the list of all the emojis available. You can copy and paste them into your document editor when using the font. \ud83d\ude09 \ud83c\udf1e \ud83d\ude0d \u2620 \u2639 \ud83d\ude09 \u270f \ud83d\udcd6 \ud83c\udfe0 \u270d \ud83e\udde9 \ud83e\udd96 \ud83e\ude90 \u2708 \ud83c\udf20 \ud83c\udf82 \ud83c\udfa8 \ud83d\udce3 \ud83d\udc46 \ud83d\udc4d \ud83d\udc4e \ud83c\udfaf \ud83e\udeab \u2705 \u274c \ud83c\udfc5 \ud83e\udd84", + "minisite_url": "https://www.type-together.com/making-playpen-sans" + }, + "Playpen Sans Deva": { + "name": "Playpen Sans Deva", + "designer": [ + "TypeTogether", + "Pooja Saxena", + "Gunjan Panchal", + "Laura Meseguer", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "devanagari", + "emoji", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": "Deva", + "article": "Playpen Sans Devanagari was designed by TypeTogether after over two years of primary research into handwriting education for Latin-based languages, available at primarium.info. It is a variable font with a weight range from Thin (100) to ExtraBold (800). It supports two different writing systems: Devanagari and Latin, covering 3 Devanagari languages and over 332 Latin-based ones, along with a set of \u201creward icons\u201d as emoji. The superfamily also includes a Pan-African Latin, Greek, Cyrillic (Playpen Sans), Arabic (Playpen Sans Arabic), Hebrew (Playpen Sans Hebrew), and Thai (Playpen Sans Thai) fonts that expand the language support of the system. Playpen Sans Devanagari has alternate glyphs for each character that are automatically applied as you type, with a built-in shuffler that both ensures variety and avoids repetition. This adds to the overall organic, spontaneous, and authentic feel of the handwritten style. To contribute, see github.com/TypeTogether/Playpen-Sans Watch the video on Youtube Devanagari Playpen Sans Devanagari is a thoughtfully designed typeface that celebrates the natural beauty and diversity of handwritten Devanagari script. Built on the backbone of countless hours spent drawing and redrawing Devanagari letters and combinations by hand, the design carefully selects and refines the most organic and intuitive shapes. Subtle variations, including minor gaps in the headlines, add an organic texture that mimics the imperfections of real handwriting. The font emphasizes intuitive retracing, with carefully crafted imperfect joins and even a sprinkle of strategically placed overlaps, creating a warm and approachable handwritten appearance. Moving away from rigid calligraphic rules, Playpen Sans Devanagari honors the everyday ways people draw their letters, incorporating small idiosyncrasies that make the text feel friendly, relatable, and full of character. This design is a tribute to the human touch, blending authenticity with readability for a truly inviting typographic experience. A casual handwriting font Some typefaces excel at just one thing, while others do multiple things well. Playpen Sans stands out by perfectly imitating casual handwriting, blending the organic feel of something made by hand with the precision of a professional digital typeface. Handwritten text is naturally inconsistent, but digital fonts aim for uniformity. Playpen Sans bridges this gap by offering a set of characters that are \u201cthe same, but different,\u201d creating an authentic and human-like appearance within the constraints of digital design. It has a set of clear letterforms that are easy to write and recognize. The design forms a bridge between handwritten and typographic letters, friendly to both little readers and adults. To achieve this, Playpen Sans includes multiple versions of each character and a built-in shuffler, ensuring no two shapes repeat too closely. This results in text that feels spontaneous, fun, and organic, while maintaining the functionality of a modern typeface. Designed with non-designers in mind, it shines in informal settings like greeting cards, invitations, children\u2019s books, and graphic novels. Its clarifying features, such as straight and curved endings for certain letters and optional shapes, add to its versatility. Playpen Sans combines the best of both worlds: the aesthetic charm of handwritten text and the technological capabilities of a digital font. It\u2019s spontaneous, authentic, and effortlessly bridges the gap between the organic and the digital. Emojis Playpen Sans has emojis for breezy and encouraging uses, that each match the eight named weights of the Latin. Find here the list of all the emojis available. You can copy and paste them into your document editor when using the font. \ud83d\ude09 \ud83c\udf1e \ud83d\ude0d \u2620 \u2639 \ud83d\ude09 \u270f \ud83d\udcd6 \ud83c\udfe0 \u270d \ud83e\udde9 \ud83e\udd96 \ud83e\ude90 \u2708 \ud83c\udf20 \ud83c\udf82 \ud83c\udfa8 \ud83d\udce3 \ud83d\udc46 \ud83d\udc4d \ud83d\udc4e \ud83c\udfaf \ud83e\udeab \u2705 \u274c \ud83c\udfc5 \ud83e\udd84", + "minisite_url": "https://www.type-together.com/making-playpen-sans" + }, + "Playpen Sans Hebrew": { + "name": "Playpen Sans Hebrew", + "designer": [ + "TypeTogether", + "Tom Grace", + "Laura Meseguer", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "emoji", + "hebrew", + "latin", + "latin-ext", + "math" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": "Hebr", + "article": "Playpen Sans Hebrew was designed by TypeTogether after over two years of primary research into handwriting education for Latin-based languages, available at primarium.info. It is a variable font with a weight range from Thin (100) to ExtraBold (800). It supports two different writing systems: Hebrew and Latin, covering four Hebrew languages and over 332 Latin-based ones, along with a set of \u201creward icons\u201d as emoji. The Playpen Sans superfamily also includes a Pan-African Latin, Greek, Cyrillic (Playpen Sans), Arabic (Playpen Sans Arabic), Devanagari (Playpen Sans Deva), and Thai (Playpen Sans Thai) fonts that expand the language support of the system. Playpen Sans Hebrew has alternate glyphs for each character that are automatically applied as you type, with a built-in shuffler that both ensures variety and avoids repetition. This adds to the overall organic, spontaneous, and authentic feel of the handwritten style. To contribute, see github.com/TypeTogether/Playpen-Sans Watch the video on Youtube Hebrew Playpen Sans Hebrew is a warm and inviting cursive script that seamlessly integrates into the Playpen Sans type family. Its lively, organic forms and irregular curves evoke the charm of natural handwriting, giving it a friendly and informal personality. Designed with versatility in mind, the font comes in eight carefully crafted weights, each optically balanced to ensure comfortable legibility across various applications. Whether used for headlines, short text paragraphs, or creative projects, Playpen Sans Hebrew maintains a visually harmonious relationship with the other scripts in the Playpen Sans family, making it a cohesive yet distinctive addition. Its approachable aesthetic and thoughtful design make it perfect for adding a touch of warmth and humanity to any typographic composition. A casual handwriting font Some typefaces excel at just one thing, while others do multiple things well. Playpen Sans stands out by perfectly imitating casual handwriting, blending the organic feel of something made by hand with the precision of a professional digital typeface. Handwritten text is naturally inconsistent, but digital fonts aim for uniformity. Playpen Sans bridges this gap by offering a set of characters that are \u201cthe same, but different,\u201d creating an authentic and human-like appearance within the constraints of digital design. It has a set of clear letterforms that are easy to write and recognize. The design forms a bridge between handwritten and typographic letters, friendly to both little readers and adults. To achieve this, Playpen Sans includes multiple versions of each character and a built-in shuffler, ensuring no two shapes repeat too closely. This results in text that feels spontaneous, fun, and organic, while maintaining the functionality of a modern typeface. Designed with non-designers in mind, it shines in informal settings like greeting cards, invitations, children\u2019s books, and graphic novels. Its clarifying features, such as straight and curved endings for certain letters and optional shapes, add to its versatility. Playpen Sans combines the best of both worlds: the aesthetic charm of handwritten text and the technological capabilities of a digital font. It\u2019s spontaneous, authentic, and effortlessly bridges the gap between the organic and the digital. Emojis Playpen Sans has emojis for breezy and encouraging uses, that each match the eight named weights of the Latin. Find here the list of all the emojis available. You can copy and paste them into your document editor when using the font. \ud83d\ude09 \ud83c\udf1e \ud83d\ude0d \u2620 \u2639 \ud83d\ude09 \u270f \ud83d\udcd6 \ud83c\udfe0 \u270d \ud83e\udde9 \ud83e\udd96 \ud83e\ude90 \u2708 \ud83c\udf20 \ud83c\udf82 \ud83c\udfa8 \ud83d\udce3 \ud83d\udc46 \ud83d\udc4d \ud83d\udc4e \ud83c\udfaf \ud83e\udeab \u2705 \u274c \ud83c\udfc5 \ud83e\udd84", + "minisite_url": "https://www.type-together.com/making-playpen-sans" + }, + "Playpen Sans Thai": { + "name": "Playpen Sans Thai", + "designer": [ + "TypeTogether", + "Sirin Gunkloy", + "Laura Meseguer", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "emoji", + "latin", + "latin-ext", + "math", + "thai" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": "Thai", + "article": "Playpen Sans Thai was designed by TypeTogether after over two years of primary research into handwriting education for Latin-based languages, available at primarium.info. It is a variable font with a weight range from Thin (100) to ExtraBold (800). It supports two different writing systems: Thai and Latin, covering Thai and over 332 Latin-based languages, along with a set of \u201creward icons\u201d as emoji. The superfamily also includes a Pan-African Latin, Greek, Cyrillic (Playpen Sans), Arabic (Playpen Sans Arabic), Devanagari (Playpen Sans Deva), and Hebrew (Playpen Sans Hebrew) fonts that expand the language support of the system. Playpen Sans Thai has alternate glyphs for each character that are automatically applied as you type, with a built-in shuffler that both ensures variety and avoids repetition. This adds to the overall organic, spontaneous, and authentic feel of the handwritten style. To contribute, see github.com/TypeTogether/Playpen-Sans Watch the video on Youtube Thai Playpen Sans Thai is a playful and distinctive typeface that reimagines the traditional Thai script with a unique twist. Unlike conventional Thai fonts that rely on simple looped or loopless terminals, this design introduces a subtle yet innovative feature: hook-shaped terminals that hint at the natural starting point of each letter. Inspired by extensive research into the most legible letterforms for graphic novels, this detail not only enhances readability but also adds a touch of whimsy. The flowing strokes capture the fluid, continuous nature of Thai writing, striking a perfect balance between casual and steady\u2014a rhythm that feels neither too fast nor too slow. The result is a font with a lively, fun-loving personality, designed to bring joy and clarity to every word. A casual handwriting font Some typefaces excel at just one thing, while others do multiple things well. Playpen Sans stands out by perfectly imitating casual handwriting, blending the organic feel of something made by hand with the precision of a professional digital typeface. Handwritten text is naturally inconsistent, but digital fonts aim for uniformity. Playpen Sans bridges this gap by offering a set of characters that are \u201cthe same, but different,\u201d creating an authentic and human-like appearance within the constraints of digital design. It has a set of clear letterforms that are easy to write and recognize. The design forms a bridge between handwritten and typographic letters, friendly to both little readers and adults. To achieve this, Playpen Sans includes multiple versions of each character and a built-in shuffler, ensuring no two shapes repeat too closely. This results in text that feels spontaneous, fun, and organic, while maintaining the functionality of a modern typeface. Designed with non-designers in mind, it shines in informal settings like greeting cards, invitations, children\u2019s books, and graphic novels. Its clarifying features, such as straight and curved endings for certain letters and optional shapes, add to its versatility. Playpen Sans combines the best of both worlds: the aesthetic charm of handwritten text and the technological capabilities of a digital font. It\u2019s spontaneous, authentic, and effortlessly bridges the gap between the organic and the digital. Emojis Playpen Sans has emojis for breezy and encouraging uses, that each match the eight named weights of the Latin. Find here the list of all the emojis available. You can copy and paste them into your document editor when using the font. \ud83d\ude09 \ud83c\udf1e \ud83d\ude0d \u2620 \u2639 \ud83d\ude09 \u270f \ud83d\udcd6 \ud83c\udfe0 \u270d \ud83e\udde9 \ud83e\udd96 \ud83e\ude90 \u2708 \ud83c\udf20 \ud83c\udf82 \ud83c\udfa8 \ud83d\udce3 \ud83d\udc46 \ud83d\udc4d \ud83d\udc4e \ud83c\udfaf \ud83e\udeab \u2705 \u274c \ud83c\udfc5 \ud83e\udd84", + "minisite_url": "https://www.type-together.com/making-playpen-sans" + }, + "Playwrite AR": { + "name": "Playwrite AR", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Primary school curricula in Argentina focus on writing mostly from a comprehension and composition standpoint rather than from the perspective of handwriting. Even so, primary school students learn how to write with joined upright cursive letters from first or second grade. In the initial level, students learn print-style uppercase letters, followed by print lowercase letters in the first grade, and finally, cursive writing. Playwrite Argentina is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling font with Guides, Playwrite AR Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Argentina characteristics As it happens in many South American countries, handwriting for primary education is rooted in the tradition of French Normal schools. It is a round, continuous cursive style, and some of its most recognizable features are the long ascenders and descender loops, semi-connected uppercase letters, curved entry strokes on x-height, the knot in the letter 'o', and a crossbar in 'q' that requires a pen lift. Family name in font menus Playwrite Argentina appears in font menus with a two-letter country code \u2018AR\u2019, Playwrite AR, and features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Argentina, see primarium.info/countries/argentina. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite AR\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/argentina" + }, + "Playwrite AR Guides": { + "name": "Playwrite AR Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Argentina Guides is a single-weight font companion that harmonizes seamlessly with the main family, Playwrite Argentina. It includes guidelines on the baseline, x-height, ascenders, and descenders. These guides provide a visual aid for primary school children that helps young learners grasp the proportions of letterforms and assists them in drawing letters with confidence and accuracy. Primary school curricula in Argentina focus on writing mostly from a comprehension and composition standpoint rather than from the perspective of handwriting. Even so, primary school students learn how to write with joined upright cursive letters from first or second grade. In the initial level, students learn print-style uppercase letters, followed by print lowercase letters in the first grade, and finally, cursive writing. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Argentina Guides characteristics Guidelines are present in all characters except for those used for letter/word spacing. To create a versatile tool for teachers when designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. In Playwrite Guides fonts the underscore prints only the guidelines, and matches the width of the normal word space. Find the detailed characteristics of this country's Model in Playwrite Argentina. Family name in font menus Playwrite Argentina Guides appears in font menus with a two-letter country code \u2018AR\u2019, Playwrite AR Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Argentina, see primarium.info/countries/argentina. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite AR Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/argentina" + }, + "Playwrite AT": { + "name": "Playwrite AT", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "The Austrian Elementary School Curriculum, updated in 2003, stipulates that by the end of the second grade, students should achieve legible and fluent handwriting based on the \u00d6sterreichische Schulschrift, or Austrian school script. This model was originally created in 1946 drawing upon the foundations of German S\u00fctterlinschrift, but underwent several reforms before its last version was introduced in 1995. Playwrite \u00d6sterreich is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite AT Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite \u00d6sterreich characteristics This cursive style, available in upright and slanted (italic) versions, features oval foundational forms and medium-length extenders. It favors fast writing and it is mostly joined, but some letters with crossbars require pen lifts. Uppercase letters are cursive and semi-joined. Notable shapes include Kurrent-style 't,' an 'f' with a loopless descender, a crossbar in 'Z', and knots in certain lower cases. Family name in font menus Playwrite \u00d6sterreich appears in font menus with a two-letter country code \u2018AT\u2019, Playwrite AT, and features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in England, see primarium.info/countries/austria. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold style, so please avoid applying it in text editors. If you use the common 'B' button, you will automatically generate a low-quality style. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite AT\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/austria" + }, + "Playwrite AT Guides": { + "name": "Playwrite AT Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite \u00d6sterreich Guides is a single-weight font designed to harmonize seamlessly with its companion, Playwrite \u00d6sterreich. This font includes guideline markers on the baseline, x-height, ascenders, and descenders, providing a visual aid for primary school children. These guides help young learners grasp the proportions of letterforms and assist them in drawing letters with confidence and accuracy. The Austrian Elementary School Curriculum, updated in 2003, stipulates that by the end of the second grade, students should achieve legible and fluent handwriting based on the \u00d6sterreichische Schulschrift, or Austrian school script. This model was originally created in 1946 drawing upon the foundations of German S\u00fctterlinschrift, but underwent several reforms before its last version was introduced in 1995. To contribute, see github.com/TypeTogether/Playwrite. Playwrite \u00d6sterreich Guides characteristics Guidelines are present in all characters except for those used for letter spacing. To create a versatile font for teachers designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. It replaces the glyph shape with the guidelines and matches the width of the letter space. Find the detailed characteristics of this country's Model in Playwrite \u00d6sterreich. Family name in font menus Playwrite \u00d6sterreich Guides appears in font menus with a two-letter country code \u2018AT\u2019, Playwrite AT Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in England, see primarium.info/countries/austria. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold style, so please avoid applying it in text editors. If you use the common 'B' button, you will automatically generate a low-quality style. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite AT Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/austria" + }, + "Playwrite AU NSW": { + "name": "Playwrite AU NSW", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "All Australian provinces employ modern cursive letters for handwriting education, which are taught in a progressive manner. But each state teaches its own version of this style, locally known as \u2018script\u2018, and state-level departments of education offer guidelines and, in some cases, resources for schools and teachers. The adoption of the current models and approach can be traced back to 1990, when the Australian Education Council (AEC) recommended that all schools in the country should adopt a handwriting style based on Scottish calligrapher Tom Gourdie\u2019s Simple Modern Hand. The AEC advocated for a consistent style in handwriting instruction across the country so students relocating across states and territories would not face difficulties. Despite starting from the same source, today the five main handwriting models have diverged somewhat in their details. Playwrite Australia NSW is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite AU NSW Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Australia NSW characteristics This semi-connected, slanted modern cursive features print-style capital letters. It is characterized by loopless extenders and letters with descenders that do not connect to the following letter. Construction exhibits an overall high stroke speed. Key features include an open 'G' without a crossbar and a uniquely designed 'Y'. The lowercase 'f' is disconnected and has a straight descender. The letters 'b' and 'p' feature closed bowls, enhancing their distinctiveness. Both 'r' and 'z' are presented in an italic style, contributing to the script's elegant and streamlined. Family name in font menus Playwrite Australia NSW appears in font menus with a two-letter country code \u2018AU\u2019 and a the \u2018NSW\u2019 abbreviation Playwrite AU NSW. It features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in australia, see primarium.info/countries/australia. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite AU NSW\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/australia" + }, + "Playwrite AU NSW Guides": { + "name": "Playwrite AU NSW Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Australia NSW Guides is a single-weight font designed to harmonize seamlessly with its companion, Playwrite Australia NSW. This font includes guideline markers on the baseline, x-height, ascenders, and descenders, providing a visual aid for primary school children. These guides help young learners grasp the proportions of letterforms and assist them in drawing letters with confidence and accuracy. All Australian provinces employ modern cursive letters for handwriting education, which are taught in a progressive manner. But each state teaches its own version of this style, locally known as \u2018script\u2018, and state-level departments of education offer guidelines and, in some cases, resources for schools and teachers. The adoption of the current models and approach can be traced back to 1990, when the Australian Education Council (AEC) recommended that all schools in the country should adopt a handwriting style based on Scottish calligrapher Tom Gourdie\u2019s Simple Modern Hand. The AEC advocated for a consistent style in handwriting instruction across the country so students relocating across states and territories would not face difficulties. Despite starting from the same source, today the five main handwriting models have diverged somewhat in their details. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Australia NSW Guides characteristics Guidelines are present in all characters except for those used for letter spacing. To create a versatile font for teachers designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. It replaces the glyph shape with the guidelines and matches the width of the letter space. Find the detailed characteristics of this country's Model in Playwrite Australia NSW. Family name in font menus Playwrite Australia NSW Guides appears in font menus with a two-letter country code \u2018AU\u2019 and a the \u2018NSW\u2019 abbreviation Playwrite AU NSW Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in australia, see primarium.info/countries/australia. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite AU NSW Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/australia" + }, + "Playwrite AU QLD": { + "name": "Playwrite AU QLD", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "All Australian provinces employ modern cursive letters for handwriting education, which are taught in a progressive manner. But each state teaches its own version of this style, locally known as \u2018script\u2018, and state-level departments of education offer guidelines and, in some cases, resources for schools and teachers. The adoption of the current models and approach can be traced back to 1990, when the Australian Education Council (AEC) recommended that all schools in the country should adopt a handwriting style based on Scottish calligrapher Tom Gourdie\u2019s Simple Modern Hand. The AEC advocated for a consistent style in handwriting instruction across the country so students relocating across states and territories would not face difficulties. Despite starting from the same source, today the five main handwriting models have diverged somewhat in their details. Playwrite Australia QLD is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite AU QLD Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Australia QLD characteristics This semi-connected, slanted modern cursive features print-style capital letters. The extenders are loopless, and letters with descenders do not connect to the next letter, allowing for a fluid and fast writing pace. Notably, 'm' and 'n' start with curved entry strokes. Distinctive features include an open 'G' without a crossbar and a serifed 'I', adding a unique touch. The 'Y' is peculiar in its form. The lowercase 'f' is disconnected and features a straight descender. The 'q' concludes with a short exit stroke, while the 's' maintains a cursive style. The 'z' is designed to be wide and open with a descender, enhancing readability and style. Family name in font menus Playwrite Australia QLD appears in font menus with a two-letter country code \u2018AU\u2019 and a the \u2018QLD\u2019 abbreviation Playwrite AU QLD. It features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in australia, see primarium.info/countries/australia. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite AU QLD\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/australia" + }, + "Playwrite AU QLD Guides": { + "name": "Playwrite AU QLD Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Australia QLD Guides is a single-weight font designed to harmonize seamlessly with its companion, Playwrite Australia QLD. This font includes guideline markers on the baseline, x-height, ascenders, and descenders, providing a visual aid for primary school children. These guides help young learners grasp the proportions of letterforms and assist them in drawing letters with confidence and accuracy. All Australian provinces employ modern cursive letters for handwriting education, which are taught in a progressive manner. But each state teaches its own version of this style, locally known as \u2018script\u2018, and state-level departments of education offer guidelines and, in some cases, resources for schools and teachers. The adoption of the current models and approach can be traced back to 1990, when the Australian Education Council (AEC) recommended that all schools in the country should adopt a handwriting style based on Scottish calligrapher Tom Gourdie\u2019s Simple Modern Hand. The AEC advocated for a consistent style in handwriting instruction across the country so students relocating across states and territories would not face difficulties. Despite starting from the same source, today the five main handwriting models have diverged somewhat in their details. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Australia QLD Guides characteristics Guidelines are present in all characters except for those used for letter spacing. To create a versatile font for teachers designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. It replaces the glyph shape with the guidelines and matches the width of the letter space. Find the detailed characteristics of this country's Model in Playwrite Australia QLD. Family name in font menus Playwrite Australia QLD Guides appears in font menus with a two-letter country code \u2018AU\u2019 and a the \u2018QLD\u2019 abbreviation Playwrite AU QLD Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in australia, see primarium.info/countries/australia. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite AU QLD Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/australia" + }, + "Playwrite AU SA": { + "name": "Playwrite AU SA", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "All Australian provinces employ modern cursive letters for handwriting education, which are taught in a progressive manner. But each state teaches its own version of this style, locally known as \u2018script\u2018, and state-level departments of education offer guidelines and, in some cases, resources for schools and teachers. The adoption of the current models and approach can be traced back to 1990, when the Australian Education Council (AEC) recommended that all schools in the country should adopt a handwriting style based on Scottish calligrapher Tom Gourdie\u2019s Simple Modern Hand. The AEC advocated for a consistent style in handwriting instruction across the country so students relocating across states and territories would not face difficulties. Despite starting from the same source, today the five main handwriting models have diverged somewhat in their details. Playwrite Australia SA is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite AU SA Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Australia SA characteristics This semi-connected, slanted modern cursive features print-style capital letters. The extenders are loopless, and letters with descenders do not connect to the next letter, facilitating a brisk writing pace. Key characteristics include an open 'G' without a crossbar, a serifed 'I', and the 'Y', which also stands out with its unusual design. The lowercase 'f' is disconnected and comes with a straight descender. The 'q' is noted for its short exit stroke, while the 'k' is uniquely designed with two strokes. Both 'r' and 'z' are presented in an italic style, contributing to the elegance of this script. Family name in font menus Playwrite Australia SA appears in font menus with a two-letter country code \u2018AU\u2019 and a the \u2018SA\u2019 abbreviation Playwrite AU SA. It features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in australia, see primarium.info/countries/australia. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite AU SA\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/australia" + }, + "Playwrite AU SA Guides": { + "name": "Playwrite AU SA Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Australia SA Guides is a single-weight font designed to harmonize seamlessly with its companion, Playwrite Australia SA. This font includes guideline markers on the baseline, x-height, ascenders, and descenders, providing a visual aid for primary school children. These guides help young learners grasp the proportions of letterforms and assist them in drawing letters with confidence and accuracy. All Australian provinces employ modern cursive letters for handwriting education, which are taught in a progressive manner. But each state teaches its own version of this style, locally known as \u2018script\u2018, and state-level departments of education offer guidelines and, in some cases, resources for schools and teachers. The adoption of the current models and approach can be traced back to 1990, when the Australian Education Council (AEC) recommended that all schools in the country should adopt a handwriting style based on Scottish calligrapher Tom Gourdie\u2019s Simple Modern Hand. The AEC advocated for a consistent style in handwriting instruction across the country so students relocating across states and territories would not face difficulties. Despite starting from the same source, today the five main handwriting models have diverged somewhat in their details. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Australia SA Guides characteristics Guidelines are present in all characters except for those used for letter spacing. To create a versatile font for teachers designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. It replaces the glyph shape with the guidelines and matches the width of the letter space. Find the detailed characteristics of this country's Model in Playwrite Australia SA. Family name in font menus Playwrite Australia SA Guides appears in font menus with a two-letter country code \u2018AU\u2019 and a the \u2018SA\u2019 abbreviation Playwrite AU SA Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in australia, see primarium.info/countries/australia. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite AU SA Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/australia" + }, + "Playwrite AU TAS": { + "name": "Playwrite AU TAS", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "All Australian provinces employ modern cursive letters for handwriting education, which are taught in a progressive manner. But each state teaches its own version of this style, locally known as \u2018script\u2018, and state-level departments of education offer guidelines and, in some cases, resources for schools and teachers. The adoption of the current models and approach can be traced back to 1990, when the Australian Education Council (AEC) recommended that all schools in the country should adopt a handwriting style based on Scottish calligrapher Tom Gourdie\u2019s Simple Modern Hand. The AEC advocated for a consistent style in handwriting instruction across the country so students relocating across states and territories would not face difficulties. Despite starting from the same source, today the five main handwriting models have diverged somewhat in their details. Playwrite Australia Tasmania is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite AU TAS Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Australia Tasmania characteristics This semi-connected, slanted modern cursive features print-style capital letters. The lowercase letters are loopless, and characters with descenders, as well as the letter 's', do not connect to the following letter, allowing for faster writing. The style is characterized by a high stroke speed. Notably, the letter 'G' is open, and 'Y' has a peculiar design. The 'f' is disconnected with a curved descender. The letters 'b' and 'p' have closed bowls, while 'r' and 'z' are presented in an italic style. Additionally, 'q' finishes with a small exit stroke, contributing to the fluidity and distinctiveness of this handwriting style. Family name in font menus Playwrite Australia Tasmania appears in font menus with a two-letter country code \u2018AU\u2019 and a the \u2018TAS\u2019 abbreviation Playwrite AU TAS. It features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in australia, see primarium.info/countries/australia. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite AU TAS\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/australia" + }, + "Playwrite AU TAS Guides": { + "name": "Playwrite AU TAS Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Australia TAS Guides is a single-weight font designed to harmonize seamlessly with its companion, Playwrite Australia TAS. This font includes guideline markers on the baseline, x-height, ascenders, and descenders, providing a visual aid for primary school children. These guides help young learners grasp the proportions of letterforms and assist them in drawing letters with confidence and accuracy. All Australian provinces employ modern cursive letters for handwriting education, which are taught in a progressive manner. But each state teaches its own version of this style, locally known as \u2018script\u2018, and state-level departments of education offer guidelines and, in some cases, resources for schools and teachers. The adoption of the current models and approach can be traced back to 1990, when the Australian Education Council (AEC) recommended that all schools in the country should adopt a handwriting style based on Scottish calligrapher Tom Gourdie\u2019s Simple Modern Hand. The AEC advocated for a consistent style in handwriting instruction across the country so students relocating across states and territories would not face difficulties. Despite starting from the same source, today the five main handwriting models have diverged somewhat in their details. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Australia Tasmania Guides characteristics Guidelines are present in all characters except for those used for letter spacing. To create a versatile font for teachers designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. It replaces the glyph shape with the guidelines and matches the width of the letter space. Find the detailed characteristics of this country's Model in Playwrite Australia TAS. Family name in font menus Playwrite Australia Tasmania Guides appears in font menus with a two-letter country code \u2018AU\u2019 and a the \u2018TAS\u2019 abbreviation Playwrite AU TAS Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in australia, see primarium.info/countries/australia. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite AU TAS Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/australia" + }, + "Playwrite AU VIC": { + "name": "Playwrite AU VIC", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "All Australian provinces employ modern cursive letters for handwriting education, which are taught in a progressive manner. But each state teaches its own version of this style, locally known as \u2018script\u2018, and state-level departments of education offer guidelines and, in some cases, resources for schools and teachers. The adoption of the current models and approach can be traced back to 1990, when the Australian Education Council (AEC) recommended that all schools in the country should adopt a handwriting style based on Scottish calligrapher Tom Gourdie\u2019s Simple Modern Hand. The AEC advocated for a consistent style in handwriting instruction across the country so students relocating across states and territories would not face difficulties. Despite starting from the same source, today the five main handwriting models have diverged somewhat in their details. Playwrite Australia Victoria is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite AU VIC Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Australia Victoria characteristics This modern cursive includes elements of continuous cursive styles, such as the open bowls in 'b' and 'p'. The only loop is on the ascender of 'f', while 'm' and 'n' feature curved entry strokes. Letters with descenders, except for 'f', do not connect to the next letter, giving a more distinct and clear semi-connected appearance. The 'z' has a very open design with a descender. In line with other Australian models, 'g' also features an open design. 'M' is noted for its plain legs, and 'q' ends with a small exit stroke. Family name in font menus Playwrite Australia Victoria appears in font menus with a two-letter country code \u2018AU\u2019 and a the \u2018VIC\u2019 abbreviation Playwrite AU VIC. It features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in australia, see primarium.info/countries/australia. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite AU VIC\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/australia" + }, + "Playwrite AU VIC Guides": { + "name": "Playwrite AU VIC Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Australia Victoria Guides is a single-weight font designed to harmonize seamlessly with its companion, Playwrite Australia Victoria. This font includes guideline markers on the baseline, x-height, ascenders, and descenders, providing a visual aid for primary school children. These guides help young learners grasp the proportions of letterforms and assist them in drawing letters with confidence and accuracy. All Australian provinces employ modern cursive letters for handwriting education, which are taught in a progressive manner. But each state teaches its own version of this style, locally known as \u2018script\u2018, and state-level departments of education offer guidelines and, in some cases, resources for schools and teachers. The adoption of the current models and approach can be traced back to 1990, when the Australian Education Council (AEC) recommended that all schools in the country should adopt a handwriting style based on Scottish calligrapher Tom Gourdie\u2019s Simple Modern Hand. The AEC advocated for a consistent style in handwriting instruction across the country so students relocating across states and territories would not face difficulties. Despite starting from the same source, today the five main handwriting models have diverged somewhat in their details. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Australia Victoria Guides characteristics Guidelines are present in all characters except for those used for letter spacing. To create a versatile font for teachers designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. It replaces the glyph shape with the guidelines and matches the width of the letter space. Find the detailed characteristics of this country's Model in Playwrite Australia Victoria. Family name in font menus Playwrite Australia Victoria Guides appears in font menus with a two-letter country code \u2018AU\u2019 and a the \u2018VIC\u2019 abbreviation Playwrite AU VIC Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in australia, see primarium.info/countries/australia. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite AU VIC Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/australia" + }, + "Playwrite BE VLG": { + "name": "Playwrite BE VLG", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "The Dutch-French language divide in Belgium, a phenomenon with roots stretching back to the Middle Ages, continues to be relevant in the country today. Traditions of handwriting education exemplify this circumstance and reflect the country's historical ties to France and the Netherlands. Regardless of the handwriting model adopted, students learn print-style script letters in kindergarten and progress to connected letters in primary school. In Flanders, there is a preference for sloped continuous cursive writing, reminiscent of Dutch handwriting models, whereas the French-speaking community in the Walloon region opts for upright cursive writing, a style that enjoys popularity in France. This diversity in handwriting education is a direct response to Belgium's rich linguistic culture, leading to the introduction of a second official language early in the school years. Playwrite Belgi\u00eb Vlaanderen is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite BE VLG Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Belgi\u00eb Vlaanderen characteristics This style is a slanted, fully connected continuous cursive. It features decorative capital letters, some of which, like 'A', closely resemble a cursive structure. The extenders are of medium length, enhancing the fluidity. 'T' and 'Z' are designed with a crossbar, while 'X' includes loops that facilitates continuous writing without lifting the pen. The 'S' maintains a straight spine. The lowercase 'f' features only a top loop, connecting from its crossbar, and the 't' has a crossbar that extends only to the right, giving it a distinctive appearance. Family name in font menus Playwrite Belgi\u00eb Vlaanderen appears in font menus with a two-letter country code \u2018BE\u2019 and a the \u2018VLG\u2019 abbreviation Playwrite BE VLG. It features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in australia, see primarium.info/countries/belgium. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite BE VLG\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/belgium" + }, + "Playwrite BE VLG Guides": { + "name": "Playwrite BE VLG Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Belgi\u00eb Vlaanderen Guides is a single-weight font designed to harmonize seamlessly with its companion, Playwrite Belgi\u00eb Vlaanderen. This font includes guideline markers on the baseline, x-height, ascenders, and descenders, providing a visual aid for primary school children. These guides help young learners grasp the proportions of letterforms and assist them in drawing letters with confidence and accuracy. The Dutch-French language divide in Belgium, a phenomenon with roots stretching back to the Middle Ages, continues to be relevant in the country today. Traditions of handwriting education exemplify this circumstance and reflect the country's historical ties to France and the Netherlands. Regardless of the handwriting model adopted, students learn print-style script letters in kindergarten and progress to connected letters in primary school. In Flanders, there is a preference for sloped continuous cursive writing, reminiscent of Dutch handwriting models, whereas the French-speaking community in the Walloon region opts for upright cursive writing, a style that enjoys popularity in France. This diversity in handwriting education is a direct response to Belgium's rich linguistic culture, leading to the introduction of a second official language early in the school years. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Belgi\u00eb Vlaanderen characteristics Guidelines are present in all characters except for those used for letter spacing. To create a versatile font for teachers designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. It replaces the glyph shape with the guidelines and matches the width of the letter space. Find the detailed characteristics of this country's Model in Playwrite Belgi\u00eb Vlaanderen. Family name in font menus Playwrite Belgi\u00eb Vlaanderen Guides appears in font menus with a two-letter country code \u2018BE\u2019 and a the \u2018VLG\u2019 abbreviation Playwrite BE VLG Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in australia, see primarium.info/countries/belgium. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite BE VLG Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/belgium" + }, + "Playwrite BE WAL": { + "name": "Playwrite BE WAL", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "The Dutch-French language divide in Belgium, a phenomenon with roots stretching back to the Middle Ages, continues to be relevant in the country today. Traditions of handwriting education exemplify this circumstance and reflect the country's historical ties to France and the Netherlands. Regardless of the handwriting model adopted, students learn print-style script letters in kindergarten and progress to connected letters in primary school. In Flanders, there is a preference for sloped continuous cursive writing, reminiscent of Dutch handwriting models, whereas the French-speaking community in the Walloon region opts for upright cursive writing, a style that enjoys popularity in France. This diversity in handwriting education is a direct response to Belgium's rich linguistic culture, leading to the introduction of a second official language early in the school years. Playwrite Belgique Wallonie-Bruxelles is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite BE WAL Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Belgique Wallonie-Bruxelles characteristics This upright cursive style features very long extenders and is executed at a slow speed. The capitals are decorative, with features like crossbars in 'T' and 'Z', and a vertical spine in 'S'. The lowercase letters adhere to a continuous, fully connected cursive style, incorporating loops, knots, and curved entry strokes. Notable details include a flat-topped 'z' with a knot and a 't' with a single-sided crossbar, enhancing the ornate nature of this script. Family name in font menus Playwrite Belgique Wallonie-Bruxelles appears in font menus with a two-letter country code \u2018BE\u2019 and a the \u2018WAL\u2019 abbreviation Playwrite BE WAL. It features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in australia, see primarium.info/countries/belgium. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite BE WAL\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/belgium" + }, + "Playwrite BE WAL Guides": { + "name": "Playwrite BE WAL Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Belgique Wallonie-Bruxelles Guides is a single-weight font designed to harmonize seamlessly with its companion, Playwrite Belgique Wallonie-Bruxelles. This font includes guideline markers on the baseline, x-height, ascenders, and descenders, providing a visual aid for primary school children. These guides help young learners grasp the proportions of letterforms and assist them in drawing letters with confidence and accuracy. The Dutch-French language divide in Belgium, a phenomenon with roots stretching back to the Middle Ages, continues to be relevant in the country today. Traditions of handwriting education exemplify this circumstance and reflect the country's historical ties to France and the Netherlands. Regardless of the handwriting model adopted, students learn print-style script letters in kindergarten and progress to connected letters in primary school. In Flanders, there is a preference for sloped continuous cursive writing, reminiscent of Dutch handwriting models, whereas the French-speaking community in the Walloon region opts for upright cursive writing, a style that enjoys popularity in France. This diversity in handwriting education is a direct response to Belgium's rich linguistic culture, leading to the introduction of a second official language early in the school years. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Belgique Wallonie-Bruxelles Guides characteristics Guidelines are present in all characters except for those used for letter spacing. To create a versatile font for teachers designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. It replaces the glyph shape with the guidelines and matches the width of the letter space. Find the detailed characteristics of this country's Model in Playwrite Belgique Wallonie-Bruxelles. Family name in font menus Playwrite Belgique Wallonie-Bruxelles Guides appears in font menus with a two-letter country code \u2018BE\u2019 and a the \u2018WAL\u2019 abbreviation Playwrite BE WAL Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in australia, see primarium.info/countries/belgium. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite BE WAL Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/belgium" + }, + "Playwrite BR": { + "name": "Playwrite BR", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Educational Vertical cursive models first appeared in the 19th century in France, England, and the USA as simplified forms of their predecessors, Roundhand and Spencerian styles, respectively. The upright cursive writing did not enjoy a long period of popularity in northern European and Anglo-American countries. It was, however, widely adopted in Spain, Portugal, Italy, and France, where it is still used. From these countries, it traveled to erstwhile colonies such as Brazil, Argentina, Uruguay, and Chile, among others. In Brazil, this resulted in the replacement of the then-popular models of handwriting, such as Palmer from the US and commercial Roundhand script from England, with the vertical cursive approach. Playwrite Brasil is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite BR Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Brasil characteristics This style features a vertical continuous cursive with medium-length extenders, round letters, and a slow curve speed. The capital letters are predominantly cursive, with many designed to connect seamlessly to the following lowercase letters. 'Q' is notably distinctive in shape. Many lowercase letters begin with curved entry strokes. The letter 'q' includes a crossbar, 'f' features a mirrored bottom loop, and 'z' is characterized by a round form with a looped descender. Family name in font menus Playwrite Brasil appears in font menus with a two-letter country code \u2018BR\u2019, Playwrite BR, and features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Brasil, see primarium.info/countries/Brasil. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite BR\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/brazil" + }, + "Playwrite BR Guides": { + "name": "Playwrite BR Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Brasil Guides is a single-weight font designed to harmonize seamlessly with its companion, Playwrite Brasil. This font includes guideline markers on the baseline, x-height, ascenders, and descenders, providing a visual aid for primary school children. These guides help young learners grasp the proportions of letterforms and assist them in drawing letters with confidence and accuracy. Educational Vertical cursive models first appeared in the 19th century in France, England, and the USA as simplified forms of their predecessors, Roundhand and Spencerian styles, respectively. The upright cursive writing did not enjoy a long period of popularity in northern European and Anglo-American countries. It was, however, widely adopted in Spain, Portugal, Italy, and France, where it is still used. From these countries, it traveled to erstwhile colonies such as Brazil, Argentina, Uruguay, and Chile, among others. In Brazil, this resulted in the replacement of the then-popular models of handwriting, such as Palmer from the US and commercial Roundhand script from England, with the vertical cursive approach. Playwrite Brasil Guides is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Brasil Guides characteristics Guidelines are present in all characters except for those used for letter spacing. To create a versatile font for teachers designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. It replaces the glyph shape with the guidelines and matches the width of the letter space. Find the detailed characteristics of this country's Model in Playwrite Brasil. Family name in font menus Playwrite Brasil Guides appears in font menus with a two-letter country code \u2018BR\u2019, Playwrite BR Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Brasil, see primarium.info/countries/Brasil. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite BR Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/brazil" + }, + "Playwrite CA": { + "name": "Playwrite CA", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "The traditional method of handwriting instruction in Canada is called MacLean\u2019s Method of Writing, and was developed by educator Henry Boyver MacLean in the mid-20th century. Building upon letter shapes devised by Austin Norman Palmer in the United States, MacLean introduced several changes to suit the needs of school instruction, such as modifications to teaching methods and the addition of motor preparation exercises. Even though MacLean\u2019s books have not been used in Canada for several years, his letter shapes survive in schoolbooks published by regional governments and private publishing houses. They are widely used in the majority of Canadian primary schools. Playwrite Canada is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite CA Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Canada characteristics This slanted continuous cursive style is influenced by the Zaner-Bloser and D'Nealian models. It includes cursive uppercase letters, with some particularly intricate ones like 'I', 'J', and 'G'. The lowercase letters feature medium-length extenders with loops, which are consistent even in letters like 'p' and 'q', and are constructed using medium-speed strokes. Additionally, several lowercase letters such as 'm', 'n', 'v', 'w', 'y', and 'z' start with curved entry strokes at the x-height. Family name in font menus Playwrite Canada appears in font menus with a two-letter country code \u2018CA\u2019, Playwrite CA, and features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Canada, see primarium.info/countries/canada. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite CA\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/canada" + }, + "Playwrite CA Guides": { + "name": "Playwrite CA Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Canada Guides is a single-weight font designed to harmonize seamlessly with its companion, Playwrite Canada. This font includes guideline markers on the baseline, x-height, ascenders, and descenders, providing a visual aid for primary school children. These guides help young learners grasp the proportions of letterforms and assist them in drawing letters with confidence and accuracy. The traditional method of handwriting instruction in Canada is called MacLean\u2019s Method of Writing, and was developed by educator Henry Boyver MacLean in the mid-20th century. Building upon letter shapes devised by Austin Norman Palmer in the United States, MacLean introduced several changes to suit the needs of school instruction, such as modifications to teaching methods and the addition of motor preparation exercises. Even though MacLean\u2019s books have not been used in Canada for several years, his letter shapes survive in schoolbooks published by regional governments and private publishing houses. They are widely used in the majority of Canadian primary schools. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Canada Guides characteristics Guidelines are present in all characters except for those used for letter spacing. To create a versatile font for teachers designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. It replaces the glyph shape with the guidelines and matches the width of the letter space. Find the detailed characteristics of this country's Model in Playwrite Canada. Family name in font menus Playwrite Canada Guides appears in font menus with a two-letter country code \u2018CA\u2019, Playwrite CA Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Canada, see primarium.info/countries/canada. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite CA Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/canada" + }, + "Playwrite CL": { + "name": "Playwrite CL", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "The most prevalent style of handwriting taught in Chile is known as \u2018letra ligada\u2019, or joined letters. This form of cursive handwriting is introduced to children as early as 6 years old, either alongside print letters or as a standalone style. It can be seen as a slantless variant of English roundhand, a calligraphic style that emerged in England, gaining widespread popularity in the 18th century, but Chilean type designers note that, while there are structural similarities between the two styles, there are also notable differences. For instance, letra ligada typically features shorter ascenders and descenders, and its uppercase letters are less ornate. This divergence is present in both contemporary typographic and calligraphic examples. Playwrite Chile is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite CL Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Chile characteristics This upright continuous cursive features a mix of uppercase styles. Letters like 'A' and 'N' are plain and cursive, whereas others such as 'Q' and 'T' are more decorative and intricate. The lowercase letters have medium-length extenders with loops and are characterized by their rounded forms and slow stroke speed. The letter 'q' is distinguished by a mirrored loop on its descender. The 'o' includes a knot, and the letters 'm', 'n', 'v', 'w', 'y', and 'z' begin with curved entry strokes. Family name in font menus Playwrite Chile appears in font menus with a two-letter country code \u2018CL\u2019, Playwrite CL, and features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Chile, see primarium.info/countries/Chile. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite CL\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/chile" + }, + "Playwrite CL Guides": { + "name": "Playwrite CL Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Chile Guides is a single-weight font designed to harmonize seamlessly with its companion, Playwrite Chile. This font includes guideline markers on the baseline, x-height, ascenders, and descenders, providing a visual aid for primary school children. These guides help young learners grasp the proportions of letterforms and assist them in drawing letters with confidence and accuracy. The most prevalent style of handwriting taught in Chile is known as \u2018letra ligada\u2019, or joined letters. This form of cursive handwriting is introduced to children as early as 6 years old, either alongside print letters or as a standalone style. It can be seen as a slantless variant of English roundhand, a calligraphic style that emerged in England, gaining widespread popularity in the 18th century, but Chilean type designers note that, while there are structural similarities between the two styles, there are also notable differences. For instance, letra ligada typically features shorter ascenders and descenders, and its uppercase letters are less ornate. This divergence is present in both contemporary typographic and calligraphic examples. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Chile Guides characteristics Guidelines are present in all characters except for those used for letter spacing. To create a versatile font for teachers designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. It replaces the glyph shape with the guidelines and matches the width of the letter space. Find the detailed characteristics of this country's Model in Playwrite Chile. Family name in font menus Playwrite Chile Guides appears in font menus with a two-letter country code \u2018CL\u2019, Playwrite CL, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Chile, see primarium.info/countries/Chile. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite CL\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/chile" + }, + "Playwrite CO": { + "name": "Playwrite CO", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "The Colombian cursive style \u2018letra pegada\u2019 is visibly rooted in the traditions of the Palmer method, created by Austin Palmer (1860\u20131927) in the United States at the turn of the last century. It has many similarities with cursive writing models in North American countries ( United States, M\u00e9xico, and Canada), which also descend from the same style. This influence can be seen in the \u2018cartillas\u2019 or handwriting education booklets produced by private publishers, which play an essential role in the teaching of reading and writing in the country. Playwrite Colombia is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite CO Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Colombia characteristics Following the tradition and current use of these booklets, Playwrite Colombia is a very slanted continuous cursive. Its lowercase letters have medium-length ascenders and descenders with loops that favor writing whole words without pen lifts. Based on the Palmer style, these loops are mirrored in the descending strokes of letters 'f' and 'q'. Some uppercase letters, such as the 'G', 'L' and 'Z', have decorative and complex cursive shapes. Family name in font menus Playwrite Colombia appears in font menus with a two-letter country code \u2018CO\u2019, Playwrite CO, and features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Colombia, see primarium.info/countries/colombia. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite CO\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/colombia" + }, + "Playwrite CO Guides": { + "name": "Playwrite CO Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Colombia Guides is a single-weight font companion that harmonizes seamlessly with the main family, Playwrite Colombia. It includes guidelines on the baseline, x-height, ascenders, and descenders. These guides provide a visual aid for primary school children that helps young learners grasp the proportions of letterforms and assists them in drawing letters with confidence and accuracy. The Colombian cursive style \u2018letra pegada\u2019 is visibly rooted in the traditions of the Palmer method, created by Austin Palmer (1860\u20131927) in the United States at the turn of the last century. It has many similarities with cursive writing models in North American countries ( United States, M\u00e9xico, and Canada), which also descend from the same style. This influence can be seen in the \u2018cartillas\u2019 or handwriting education booklets produced by private publishers, which play an essential role in the teaching of reading and writing in the country. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Colombia Guides characteristics Guidelines are present in all characters except for those used for letter/word spacing. To create a versatile tool for teachers when designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. In Playwrite Guides fonts the underscore prints only the guidelines, and matches the width of the normal word space. Find the detailed characteristics of this country's Model in Playwrite Colombia. Family name in font menus Playwrite Colombia Guides appears in font menus with a two-letter country code \u2018CO\u2019, Playwrite CO Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Colombia, see primarium.info/countries/colombia. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite CO Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/colombia" + }, + "Playwrite CU": { + "name": "Playwrite CU", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Literacy education in Cuba is notable for its distinctive approach: students are introduced to two different styles of letters from the outset, one for reading and the other for writing. Textbooks feature print-style, typographic letters represented by either geometric or grotesque sans serifs for reading. These styles are consistent across all workbooks and textbooks, with the exception of those focused on writing and calligraphy. For these, a fully-joined, cursive style is used, drawing inspiration from calligraphic models from the United States, notably the Palmer Method, created by Austin Palmer , and the Zaner-Bloser method, developed by Charles Paxton Zaner and his partner Elmer Ward Bloser. Playwrite Cuba is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite CU Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Cuba characteristics This style is a very slanted continuous cursive that draws inspiration from the Zaner-Bloser and D'Nealian models. It features cursive uppercase letters, some of which are quite complex, such as 'I', 'J', and 'G'. The lowercase letters have medium-length extenders with loops, present even in letters like 'p' and 'q', and are formed using slow strokes. Notably, this style includes an italic-style 'r' and a 'z' with a flat top and a loop. Family name in font menus Playwrite Cuba appears in font menus with a two-letter country code \u2018CU\u2019, Playwrite CU, and features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Cuba, see primarium.info/countries/cuba. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite CU\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/cuba" + }, + "Playwrite CU Guides": { + "name": "Playwrite CU Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Cuba Guides is a single-weight font designed to harmonize seamlessly with its companion, Playwrite Cuba. This font includes guideline markers on the baseline, x-height, ascenders, and descenders, providing a visual aid for primary school children. These guides help young learners grasp the proportions of letterforms and assist them in drawing letters with confidence and accuracy. Literacy education in Cuba is notable for its distinctive approach: students are introduced to two different styles of letters from the outset, one for reading and the other for writing. Textbooks feature print-style, typographic letters represented by either geometric or grotesque sans serifs for reading. These styles are consistent across all workbooks and textbooks, with the exception of those focused on writing and calligraphy. For these, a fully-joined, cursive style is used, drawing inspiration from calligraphic models from the United States, notably the Palmer Method, created by Austin Palmer , and the Zaner-Bloser method, developed by Charles Paxton Zaner and his partner Elmer Ward Bloser. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Cuba Guides characteristics Guidelines are present in all characters except for those used for letter spacing. To create a versatile font for teachers designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. It replaces the glyph shape with the guidelines and matches the width of the letter space. Find the detailed characteristics of this country's Model in Playwrite Cuba. Family name in font menus Playwrite Cuba Guides appears in font menus with a two-letter country code \u2018CU\u2019, Playwrite CU Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info. To learn more about handwriting education in Cuba, see primarium.info/countries/cuba. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite CU Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/cuba" + }, + "Playwrite CZ": { + "name": "Playwrite CZ", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "There are two main models used for handwriting education in the Czech Republic. The first, known as Zjednodu\u0161en\u00e1 psac\u00ed latinka, or Simplified Latin script, is a continuous cursive hand. This model was officially ratified by the education ministry of erstwhile Czechoslovakia in 1932 and underwent its last revision in 1978. The second model, Comenia Script, features unjoined letters and was endorsed by the ministry in 2012. The national curriculum, which was last published in 2013, provides no further prescriptions about handwriting, and as a result, schools have the autonomy to select either model for instruction. Playwrite \u010cesko is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite CZ Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite \u010cesko characteristics This sloped continuous cursive style includes decorative capital letters. 'A' and 'H' feature looped crossbars, while 'G' has a cursive structure but lacks a descending stroke. 'M' and 'N' are constructed differently, with only one following a cursive format. The lowercase letters have looped ascenders and descenders. Curved entry strokes appear in 'm', 'n', and 'v', but are absent in 'w'. The letter 'q' includes a mirrored loop in its descender. Family name in font menus Playwrite \u010cesko appears in font menus with a two-letter country code \u2018CZ\u2019, Playwrite CZ, and features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Cesko, see primarium.info/countries/czech-republic. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite CZ\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/czech-republic" + }, + "Playwrite CZ Guides": { + "name": "Playwrite CZ Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite \u010cesko Guides is a single-weight font designed to harmonize seamlessly with its companion, Playwrite \u010cesko. This font includes guideline markers on the baseline, x-height, ascenders, and descenders, providing a visual aid for primary school children. These guides help young learners grasp the proportions of letterforms and assist them in drawing letters with confidence and accuracy. There are two main models used for handwriting education in the Czech Republic. The first, known as Zjednodu\u0161en\u00e1 psac\u00ed latinka, or Simplified Latin script, is a continuous cursive hand. This model was officially ratified by the education ministry of erstwhile Czechoslovakia in 1932 and underwent its last revision in 1978. The second model, Comenia Script, features unjoined letters and was endorsed by the ministry in 2012. The national curriculum, which was last published in 2013, provides no further prescriptions about handwriting, and as a result, schools have the autonomy to select either model for instruction. To contribute, see github.com/TypeTogether/Playwrite. Playwrite \u010cesko Guides characteristics Guidelines are present in all characters except for those used for letter spacing. To create a versatile font for teachers designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. It replaces the glyph shape with the guidelines and matches the width of the letter space. Find the detailed characteristics of this country's Model in Playwrite \u010cesko. Family name in font menus Playwrite \u010cesko Guides appears in font menus with a two-letter country code \u2018CZ\u2019, Playwrite CZ Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Cesko, see primarium.info/countries/czech-republic. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite CZ Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/czech-republic" + }, + "Playwrite DE Grund": { + "name": "Playwrite DE Grund", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "In Germany, education is regulated at the state level rather than at the national level. Each state defines its own models and methods of teaching handwriting in primary schools. The common goal is acquiring a personal style of connected handwriting at the end of primary school in fourth grade (10-11 years old). Emphasis is on the flow of connected writing, letter recognition, and legibility, not the exact imitation of individual letters. In most states, teachers and schools can choose from three cursive styles: Ausgangsschrift (LA), Vereinfachte Ausgangsschrift (VA), and Schulausgangsschrift (SAS). But in 2010, the Grundschulverband, or Association of Primary Schools, presented an alternative progressive approach for handwriting teaching: Grundschrift, based primarily on a print-style script with some added cursive elements, like H\u00e4ckchen, or exit strokes. Some German states, like Bremen and Hamburg, allow this method to be used in schools, in addition to the dominant Ausgangschrift systems. According to Das Deutsche Schulportal, Grundschrift is taught in 10% of all German schools. Playwrite Deutschland Grundschrift is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite DE Grund Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Deutschland Grundschrift characteristics This style is a simple precursive, entirely disconnected. The uppercase letters are simplified print forms, notable for a two-stroke 'R' and an 'M' with a raised middle point. Several lowercase letters retain the characteristic exit stroke typical of precursives. The letter 'k' is constructed using two strokes, and the 'f' features a straight descender, distinguishing it within this straightforward style. Family name in font menus Playwrite Deutschland Grundschrift appears in font menus with a two-letter country code \u2018DE\u2019 and a the \u2018Grund\u2019 abbreviation, Playwrite DE Grund. It features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Germany, see primarium.info/countries/germany. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite DE Grund\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/germany" + }, + "Playwrite DE Grund Guides": { + "name": "Playwrite DE Grund Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Deutschland Grundschrift Guides is a single-weight font designed to harmonize seamlessly with its companion, Playwrite Deutschland Grundschrift. This font includes guideline markers on the baseline, x-height, ascenders, and descenders, providing a visual aid for primary school children. These guides help young learners grasp the proportions of letterforms and assist them in drawing letters with confidence and accuracy. In Germany, education is regulated at the state level rather than at the national level. Each state defines its own models and methods of teaching handwriting in primary schools. The common goal is acquiring a personal style of connected handwriting at the end of primary school in fourth grade (10-11 years old). Emphasis is on the flow of connected writing, letter recognition, and legibility, not the exact imitation of individual letters. In most states, teachers and schools can choose from three cursive styles: Ausgangsschrift (LA), Vereinfachte Ausgangsschrift (VA), and Schulausgangsschrift (SAS). But in 2010, the Grundschulverband, or Association of Primary Schools, presented an alternative progressive approach for handwriting teaching: Grundschrift, based primarily on a print-style script with some added cursive elements, like H\u00e4ckchen, or exit strokes. Some German states, like Bremen and Hamburg, allow this method to be used in schools, in addition to the dominant Ausgangschrift systems. According to Das Deutsche Schulportal, Grundschrift is taught in 10% of all German schools. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Deutschland Grundschrift Guides characteristics Guidelines are present in all characters except for those used for letter spacing. To create a versatile font for teachers designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. It replaces the glyph shape with the guidelines and matches the width of the letter space. Find the detailed characteristics of this country's Model in Playwrite Deutschland Grundschrift. Family name in font menus Playwrite Deutschland Grundschrift Guides appears in font menus with a two-letter country code \u2018DE\u2019 and a the \u2018Grund\u2019 abbreviation, Playwrite DE Grund Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Germany, see primarium.info/countries/germany. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite DE Grund Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/germany" + }, + "Playwrite DE LA": { + "name": "Playwrite DE LA", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "In Germany, education is regulated at the state level rather than at the national level. Each state defines its own models and methods of teaching handwriting in primary schools. The common goal is acquiring a personal style of connected handwriting at the end of primary school in fourth grade (10-11 years old). Emphasis is on the flow of connected writing, letter recognition, and legibility, not the exact imitation of individual letters. In most states, teachers and schools can choose from three cursive styles: Ausgangsschrift (LA), Vereinfachte Ausgangsschrift (VA), and Schulausgangsschrift (SAS). But in 2010, the Grundschulverband, or Association of Primary Schools, presented an alternative progressive approach for handwriting teaching: Grundschrift, based primarily on a print-style script with some added cursive elements, like H\u00e4ckchen, or exit strokes. Some German states, like Bremen and Hamburg, allow this method to be used in schools, in addition to the dominant Ausgangschrift systems. According to Das Deutsche Schulportal, Grundschrift is taught in 10% of all German schools. Playwrite Deutschland Lateinische Ausgangsschrift is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite DE LA Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Deutschland Lateinische Ausgangsschrift characteristics This style is a very slanted continuous cursive with slightly decorative uppercase letters. Notably, 'A' includes a looped bar, 'S' has a straight spine, 'Z' features a crossbar, and 'X' showcases a double loop, allowing it to be drawn in a single fluid movement, similar to its lowercase counterpart. The lowercase letters have short ascenders and descenders, most with loops facilitating continuous writing. Letters 'm', 'n', 'r', 'v', 'w' begin with curved entry strokes, while 'r' and 'z' display an italic structure. The letter 'f' is characterized by an ascender loop and a straight descender. Family name in font menus Playwrite Deutschland Lateinische Ausgangsschrift appears in font menus with a two-letter country code \u2018DE\u2019 and a the \u2018LA\u2018 abbreviation, Playwrite DE LA. It features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Germany, see primarium.info/countries/germany. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite DE LA\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/germany" + }, + "Playwrite DE LA Guides": { + "name": "Playwrite DE LA Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Deutschland Lateinische Ausgangsschrift Guides is a single-weight font designed to harmonize seamlessly with its companion, Playwrite Deutschland Lateinische Ausgangsschrift. This font includes guideline markers on the baseline, x-height, ascenders, and descenders, providing a visual aid for primary school children. These guides help young learners grasp the proportions of letterforms and assist them in drawing letters with confidence and accuracy. In Germany, education is regulated at the state level rather than at the national level. Each state defines its own models and methods of teaching handwriting in primary schools. The common goal is acquiring a personal style of connected handwriting at the end of primary school in fourth grade (10-11 years old). Emphasis is on the flow of connected writing, letter recognition, and legibility, not the exact imitation of individual letters. In most states, teachers and schools can choose from three cursive styles: Ausgangsschrift (LA), Vereinfachte Ausgangsschrift (VA), and Schulausgangsschrift (SAS). But in 2010, the Grundschulverband, or Association of Primary Schools, presented an alternative progressive approach for handwriting teaching: Grundschrift, based primarily on a print-style script with some added cursive elements, like H\u00e4ckchen, or exit strokes. Some German states, like Bremen and Hamburg, allow this method to be used in schools, in addition to the dominant Ausgangschrift systems. According to Das Deutsche Schulportal, Grundschrift is taught in 10% of all German schools. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Deutschland Lateinische Ausgangsschrift Guides characteristics Guidelines are present in all characters except for those used for letter spacing. To create a versatile font for teachers designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. It replaces the glyph shape with the guidelines and matches the width of the letter space. Find the detailed characteristics of this country's Model in Playwrite Deutschland Lateinische Ausgangsschrift. Family name in font menus Playwrite Deutschland Lateinische Ausgangsschrift Guides appears in font menus with a two-letter country code \u2018DE\u2019 and a the \u2018LA\u2018 abbreviation, Playwrite DE LA Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Germany, see primarium.info/countries/germany. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite DE LA Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/germany" + }, + "Playwrite DE SAS": { + "name": "Playwrite DE SAS", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "In Germany, education is regulated at the state level rather than at the national level. Each state defines its own models and methods of teaching handwriting in primary schools. The common goal is acquiring a personal style of connected handwriting at the end of primary school in fourth grade (10-11 years old). Emphasis is on the flow of connected writing, letter recognition, and legibility, not the exact imitation of individual letters. In most states, teachers and schools can choose from three cursive styles: Ausgangsschrift (LA), Vereinfachte Ausgangsschrift (VA), and Schulausgangsschrift (SAS). But in 2010, the Grundschulverband, or Association of Primary Schools, presented an alternative progressive approach for handwriting teaching: Grundschrift, based primarily on a print-style script with some added cursive elements, like H\u00e4ckchen, or exit strokes. Some German states, like Bremen and Hamburg, allow this method to be used in schools, in addition to the dominant Ausgangschrift systems. According to Das Deutsche Schulportal, Grundschrift is taught in 10% of all German schools. Playwrite Deutschland Schulausgangschrift is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite DE SAS Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Deutschland Schulausgangschrift characteristics This continuous cursive features a medium slope, short extenders, and a deliberately slow stroke speed. The capital letters present a restrained appearance, with only a few exhibiting decorative or cursive traits. The lowercase letters have looped ascenders and descenders, and 'm', 'n', and 'r' begin with a curved entry stroke. This typeface displays a German-style 't' that can be executed without lifting the pen. The letter 'f' has a straight and loopless descender, while 'r' and 'z' are designed with an italic structure. Family name in font menus Playwrite Deutschland Schulausgangschrift appears in font menus with a two-letter country code \u2018DE\u2019 and a the \u2018SAS\u2019 abbreviation Playwrite DE SAS. It features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Germany, see primarium.info/countries/germany. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite DE SAS\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/germany" + }, + "Playwrite DE SAS Guides": { + "name": "Playwrite DE SAS Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Deutschland Schulausgangschrift Guides is a single-weight font designed to harmonize seamlessly with its companion, Playwrite Deutschland Schulausgangschrift. This font includes guideline markers on the baseline, x-height, ascenders, and descenders, providing a visual aid for primary school children. These guides help young learners grasp the proportions of letterforms and assist them in drawing letters with confidence and accuracy. In Germany, education is regulated at the state level rather than at the national level. Each state defines its own models and methods of teaching handwriting in primary schools. The common goal is acquiring a personal style of connected handwriting at the end of primary school in fourth grade (10-11 years old). Emphasis is on the flow of connected writing, letter recognition, and legibility, not the exact imitation of individual letters. In most states, teachers and schools can choose from three cursive styles: Ausgangsschrift (LA), Vereinfachte Ausgangsschrift (VA), and Schulausgangsschrift (SAS). But in 2010, the Grundschulverband, or Association of Primary Schools, presented an alternative progressive approach for handwriting teaching: Grundschrift, based primarily on a print-style script with some added cursive elements, like H\u00e4ckchen, or exit strokes. Some German states, like Bremen and Hamburg, allow this method to be used in schools, in addition to the dominant Ausgangschrift systems. According to Das Deutsche Schulportal, Grundschrift is taught in 10% of all German schools. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Deutschland Schulausgangschrift Guides characteristics Guidelines are present in all characters except for those used for letter spacing. To create a versatile font for teachers designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. It replaces the glyph shape with the guidelines and matches the width of the letter space. Find the detailed characteristics of this country's Model in Playwrite Deutschland Schulausgangschrift. Family name in font menus Playwrite Deutschland Schulausgangschrift Guides appears in font menus with a two-letter country code \u2018DE\u2019 and a the \u2018SAS\u2019 abbreviation Playwrite DE SAS Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Germany, see primarium.info/countries/germany. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite DE SAS Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/germany" + }, + "Playwrite DE VA": { + "name": "Playwrite DE VA", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "In Germany, education is regulated at the state level rather than at the national level. Each state defines its own models and methods of teaching handwriting in primary schools. The common goal is acquiring a personal style of connected handwriting at the end of primary school in fourth grade (10-11 years old). Emphasis is on the flow of connected writing, letter recognition, and legibility, not the exact imitation of individual letters. In most states, teachers and schools can choose from three cursive styles: Ausgangsschrift (LA), Vereinfachte Ausgangsschrift (VA), and Schulausgangsschrift (SAS). But in 2010, the Grundschulverband, or Association of Primary Schools, presented an alternative progressive approach for handwriting teaching: Grundschrift, based primarily on a print-style script with some added cursive elements, like H\u00e4ckchen, or exit strokes. Some German states, like Bremen and Hamburg, allow this method to be used in schools, in addition to the dominant Ausgangschrift systems. According to Das Deutsche Schulportal, Grundschrift is taught in 10% of all German schools. Playwrite Deutschland Vereinfachte Ausgangsschrift is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite DE VA Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Deutschland Vereinfachte Ausgangsschrift characteristics This continuous cursive has a medium slope and short extenders with a medium stroke speed. The capital letters are designed with a restrained look, though some display decorative or cursive elements. Lowercase letters include looped ascenders and descenders, with 'm', 'n', and 'r' lacking a curved entry stroke. The typeface showcases a German-style 't' that can be written without lifting the pen. The letter 'f' has a straight and loopless descender, while 'z' features a looped descender. Family name in font menus Playwrite Deutschland Vereinfachte Ausgangsschrift appears in font menus with a two-letter country code \u2018DE\u2019 and a the \u2018VA\u2019 abbreviation Playwrite DE VA. It features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Germany, see primarium.info/countries/germany. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite DE VA\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/germany" + }, + "Playwrite DE VA Guides": { + "name": "Playwrite DE VA Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Deutschland Vereinfachte Ausgangsschrift Guides is a single-weight font designed to harmonize seamlessly with its companion, Playwrite Deutschland Vereinfachte Ausgangsschrift. This font includes guideline markers on the baseline, x-height, ascenders, and descenders, providing a visual aid for primary school children. These guides help young learners grasp the proportions of letterforms and assist them in drawing letters with confidence and accuracy. In Germany, education is regulated at the state level rather than at the national level. Each state defines its own models and methods of teaching handwriting in primary schools. The common goal is acquiring a personal style of connected handwriting at the end of primary school in fourth grade (10-11 years old). Emphasis is on the flow of connected writing, letter recognition, and legibility, not the exact imitation of individual letters. In most states, teachers and schools can choose from three cursive styles: Ausgangsschrift (LA), Vereinfachte Ausgangsschrift (VA), and Schulausgangsschrift (SAS). But in 2010, the Grundschulverband, or Association of Primary Schools, presented an alternative progressive approach for handwriting teaching: Grundschrift, based primarily on a print-style script with some added cursive elements, like H\u00e4ckchen, or exit strokes. Some German states, like Bremen and Hamburg, allow this method to be used in schools, in addition to the dominant Ausgangschrift systems. According to Das Deutsche Schulportal, Grundschrift is taught in 10% of all German schools. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Deutschland Vereinfachte Ausgangsschrift Guides characteristics Guidelines are present in all characters except for those used for letter spacing. To create a versatile font for teachers designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. It replaces the glyph shape with the guidelines and matches the width of the letter space. Find the detailed characteristics of this country's Model in Playwrite Deutschland Vereinfachte Ausgangsschrift. Family name in font menus Playwrite Deutschland Vereinfachte Ausgangsschrift Guides appears in font menus with a two-letter country code \u2018DE\u2019 and a the \u2018VA\u2019 abbreviation Playwrite DE VA Guides. It features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Germany, see primarium.info/countries/germany. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite DE VA Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/germany" + }, + "Playwrite DK Loopet": { + "name": "Playwrite DK Loopet", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "In 2019, the Ministry of Children and Education outlined the government's primary education requirements in a document called \"Danish Common Goals\". It specifies that second-grade students must be able to write upper and lowercase letters by hand and using the keyboard, and by fourth grade they are expected to write in legible, connected handwriting. Accordingly, handwriting instruction starts during preschool with simplified print letters. Given the autonomy to choose their preferred teaching methods and models, teachers and schools opt between two cursive models during the middle of the second or the beginning of the third year \u2014 the unlooped Grundskrift, or its looped variation known as Grundskrift med l\u00f8kker. Playwrite Danmark Loopet is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite DK Loopet Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Danmark Loopet characteristics This typographic hybrid draws from fully joined modern cursives but includes looped ascenders. It features a slanted orientation with short ascenders and descenders, creating a round and restrained appearance. The capital letters are mostly simplified and print-like, with a very distinctive 'G' that lacks both a descender and a crossbar. The lowercase letters connect with each other, except for 'q'. A standout feature is the lowercase 'b', which combines a modern cursive shape and connecting stroke with an uncharacteristic loop on its ascender. Family name in font menus Playwrite Danmark Loopet appears in font menus with a two-letter country code \u2018DK\u2019 and a the word \u2018Loopet\u2019 abbreviation Playwrite DK Loopet. It features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in australia, see primarium.info/countries/denmark. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to DK used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to DK used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to DK manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite DK Loopet\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts DKlow\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. AdoDK InDesign: Open the Paragraph Panel and select AdoDK \"World-Ready Paragraph Composer\" from the contextual menu. AdoDK Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. AdoDK Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/denmark" + }, + "Playwrite DK Loopet Guides": { + "name": "Playwrite DK Loopet Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Danmark Loopet Guides is a single-weight font designed to harmonize seamlessly with its companion, Playwrite Danmark Loopet. This font includes guideline markers on the baseline, x-height, ascenders, and descenders, providing a visual aid for primary school children. These guides help young learners grasp the proportions of letterforms and assist them in drawing letters with confidence and accuracy. In 2019, the Ministry of Children and Education outlined the government's primary education requirements in a document called \"Danish Common Goals\". It specifies that second-grade students must be able to write upper and lowercase letters by hand and using the keyboard, and by fourth grade they are expected to write in legible, connected handwriting. Accordingly, handwriting instruction starts during preschool with simplified print letters. Given the autonomy to choose their preferred teaching methods and models, teachers and schools opt between two cursive models during the middle of the second or the beginning of the third year \u2014 the unlooped Grundskrift, or its looped variation known as Grundskrift med l\u00f8kker. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Danmark Loopet Guides characteristics Guidelines are present in all characters except for those used for letter spacing. To create a versatile font for teachers designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. It replaces the glyph shape with the guidelines and matches the width of the letter space. Find the detailed characteristics of this country's Model in Playwrite Danmark Loopet. Family name in font menus Playwrite Danmark Loopet Guides appears in font menus with a two-letter country code \u2018DK\u2019 and a the word \u2018Loopet\u2019 abbreviation Playwrite DK Loopet Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in australia, see primarium.info/countries/denmark. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to DK used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to DK used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to DK manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite DK Loopet Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts DKlow\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. AdoDK InDesign: Open the Paragraph Panel and select AdoDK \"World-Ready Paragraph Composer\" from the contextual menu. AdoDK Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. AdoDK Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/denmark" + }, + "Playwrite DK Uloopet": { + "name": "Playwrite DK Uloopet", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "In 2019, the Ministry of Children and Education outlined the government's primary education requirements in a document called \"Danish Common Goals\". It specifies that second-grade students must be able to write upper and lowercase letters by hand and using the keyboard, and by fourth grade they are expected to write in legible, connected handwriting. Accordingly, handwriting instruction starts during preschool with simplified print letters. Given the autonomy to choose their preferred teaching methods and models, teachers and schools opt between two cursive models during the middle of the second or the beginning of the third year \u2014 the unlooped Grundskrift, or its looped variation known as Grundskrift med l\u00f8kker. Playwrite Danmark Uloopet is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite DK Uloopet Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Danmark Uloopet characteristics This slanted modern cursive features no loops, creating a streamlined appearance with short ascenders and descenders. It maintains a round and restrained look. The capital letters are largely simplified and print-like, highlighted by a distinctive 'G' that lacks both a descender and a crossbar. Lowercase letters with descenders, such as 'g' and 'y', do not connect to the following letter, and 'm' and 'n' start without a curved entry stroke. Despite its italic structure, 'b' and 'p' are designed with connecting strokes. Family name in font menus Playwrite Danmark Uloopet appears in font menus with a two-letter country code \u2018DK\u2019 and a the word \u2018Uloopet\u2019 abbreviation Playwrite DK Uloopet. It features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in australia, see primarium.info/countries/denmark. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to DK used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to DK used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to DK manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite DK Uloopet\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts DKlow\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. AdoDK InDesign: Open the Paragraph Panel and select AdoDK \"World-Ready Paragraph Composer\" from the contextual menu. AdoDK Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. AdoDK Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/denmark" + }, + "Playwrite DK Uloopet Guides": { + "name": "Playwrite DK Uloopet Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Danmark Uloopet Guides is a single-weight font designed to harmonize seamlessly with its companion, Playwrite Danmark Uloopet. This font includes guideline markers on the baseline, x-height, ascenders, and descenders, providing a visual aid for primary school children. These guides help young learners grasp the proportions of letterforms and assist them in drawing letters with confidence and accuracy. In 2019, the Ministry of Children and Education outlined the government's primary education requirements in a document called \"Danish Common Goals\". It specifies that second-grade students must be able to write upper and lowercase letters by hand and using the keyboard, and by fourth grade they are expected to write in legible, connected handwriting. Accordingly, handwriting instruction starts during preschool with simplified print letters. Given the autonomy to choose their preferred teaching methods and models, teachers and schools opt between two cursive models during the middle of the second or the beginning of the third year \u2014 the unlooped Grundskrift, or its looped variation known as Grundskrift med l\u00f8kker. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Danmark Uloopet Guides characteristics Guidelines are present in all characters except for those used for letter spacing. To create a versatile font for teachers designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. It replaces the glyph shape with the guidelines and matches the width of the letter space. Find the detailed characteristics of this country's Model in Playwrite Danmark Uloopet. Family name in font menus Playwrite Danmark Uloopet Guides appears in font menus with a two-letter country code \u2018DK\u2019 and a the word \u2018Uloopet\u2019 abbreviation Playwrite DK Uloopet Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in australia, see primarium.info/countries/denmark. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to DK used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to DK used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to DK manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite DK Uloopet Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts DKlow\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. AdoDK InDesign: Open the Paragraph Panel and select AdoDK \"World-Ready Paragraph Composer\" from the contextual menu. AdoDK Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. AdoDK Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/denmark" + }, + "Playwrite ES": { + "name": "Playwrite ES", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Primary school handwriting in Spain features letters that are cursive from a structural standpoint but have no slant. These upright cursive letters are either taught in the form of a hybrid style, which uses joined cursive lowercase letters with unjoined simplified print uppercase, or as a fully cursive style, which features ornate, and more traditional and decorative uppercase letters. The hybrid style is used in textbooks by major educational publishers, such as Cuadernos Rubio, Santillana Educaci\u00f3n, Editorial Barcanova, and Tekman Education. Playwrite Espa\u00f1a is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite ES Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Espa\u00f1a characteristics This continuous cursive is inspired by traditional French models, featuring medium-length ascenders and descenders with loops. Several lowercase letters begin with curved entry strokes, and a few, such as 'b' and 'p', include knots. The letter 'z' is distinctively styled in italic fashion, adding a recognizable touch to this script. The uppercase letters are simplified and print-like, with the letter 'I' notably having serifs. Family name in font menus Playwrite Espa\u00f1a appears in font menus with a two-letter country code \u2018ES\u2019 Playwrite ES, and features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Spain, see primarium.info/countries/spain. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite ES\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/spain" + }, + "Playwrite ES Deco": { + "name": "Playwrite ES Deco", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Primary school handwriting in Spain features letters that are cursive from a structural standpoint but have no slant. These upright cursive letters are either taught in the form of a hybrid style, which uses joined cursive lowercase letters with unjoined simplified print uppercase, or as a fully cursive style, which features ornate, and more traditional and decorative uppercase letters. The hybrid style is used in textbooks by major educational publishers, such as Cuadernos Rubio, Santillana Educaci\u00f3n, Editorial Barcanova, and Tekman Education. Playwrite Espa\u00f1a Decorativa is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite ES Deco Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Espa\u00f1a Decorativa characteristics This continuous cursive is influenced by traditional French models and features medium-length ascenders and descenders with loops. Several lowercase letters begin with curved entry strokes, and some incorporate knots. The 'z' is uniquely styled in italic fashion, which stands out in this script. In contrast to its more simplified sibling, this model boasts cursive-style capital letters. Notably, the 'X' includes a double knot, and the 'T' is distinguished by a decorative crossbar. Family name in font menus Playwrite Espa\u00f1a Decorativa appears in font menus with a two-letter country code \u2018ES\u2019 and a the \u2018Deco\u2019 abbreviation, Playwrite ES Deco. It features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Spain, see primarium.info/countries/spain. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite ES Deco\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/spain" + }, + "Playwrite ES Deco Guides": { + "name": "Playwrite ES Deco Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Espa\u00f1a Decorativa Guides is a single-weight font designed to harmonize seamlessly with its companion, Playwrite Espa\u00f1a Decorativa. This font includes guideline markers on the baseline, x-height, ascenders, and descenders, providing a visual aid for primary school children. These guides help young learners grasp the proportions of letterforms and assist them in drawing letters with confidence and accuracy. Primary school handwriting in Spain features letters that are cursive from a structural standpoint but have no slant. These upright cursive letters are either taught in the form of a hybrid style, which uses joined cursive lowercase letters with unjoined simplified print uppercase, or as a fully cursive style, which features ornate, and more traditional and decorative uppercase letters. The hybrid style is used in textbooks by major educational publishers, such as Cuadernos Rubio, Santillana Educaci\u00f3n, Editorial Barcanova, and Tekman Education. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Espa\u00f1a Decorativa Guides characteristics Guidelines are present in all characters except for those used for letter spacing. To create a versatile font for teachers designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. It replaces the glyph shape with the guidelines and matches the width of the letter space. Find the detailed characteristics of this country's Model in Playwrite Espa\u00f1a Decorativa. Family name in font menus Playwrite Espa\u00f1a Decorativa Guides appears in font menus with a two-letter country code \u2018ES\u2019 and a the \u2018Deco\u2019 abbreviation, Playwrite ES Deco Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Spain, see primarium.info/countries/spain. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite ES Deco Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/spain" + }, + "Playwrite ES Guides": { + "name": "Playwrite ES Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Espa\u00f1a Guides is a single-weight font designed to harmonize seamlessly with its companion, Playwrite Espa\u00f1a. This font includes guideline markers on the baseline, x-height, ascenders, and descenders, providing a visual aid for primary school children. These guides help young learners grasp the proportions of letterforms and assist them in drawing letters with confidence and accuracy. Primary school handwriting in Spain features letters that are cursive from a structural standpoint but have no slant. These upright cursive letters are either taught in the form of a hybrid style, which uses joined cursive lowercase letters with unjoined simplified print uppercase, or as a fully cursive style, which features ornate, and more traditional and decorative uppercase letters. The hybrid style is used in textbooks by major educational publishers, such as Cuadernos Rubio, Santillana Educaci\u00f3n, Editorial Barcanova, and Tekman Education. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Espa\u00f1a Guides characteristics Guidelines are present in all characters except for those used for letter spacing. To create a versatile font for teachers designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. It replaces the glyph shape with the guidelines and matches the width of the letter space. Find the detailed characteristics of this country's Model in Playwrite Espa\u00f1a. Family name in font menus Playwrite Espa\u00f1a Guides appears in font menus with a two-letter country code \u2018ES\u2019 Playwrite ES Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Spain, see primarium.info/countries/spain. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite ES Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/spain" + }, + "Playwrite FR Moderne": { + "name": "Playwrite FR Moderne", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "The \u2018\u00e9criture cursive\u2019, or traditional vertical cursive, is the most used approach to handwriting teaching in schools in France. Its forms are inspired by the \u2018Lettre Ronde\u2019, originally written with a broad nib pen and ink. Students learn \u2018\u00e9criture cursive\u2018 by writing letters over S\u00e9y\u00e8s lines, which are introduced during kindergarten (age ~5). Created in 1892, S\u00e9y\u00e8s lines are a system of horizontal and vertical guidelines that govern the proportions of letters, and their ascending and descending strokes. In an attempt to reform and modernize handwriting teaching in schools, the Minist\u00e8re released two digital typeface families in 2013 \u2014 \u00c9criture A by Laurence Bedoin-Collard and Helo\u00edsa Tissot, and \u00c9criture B, by Marion Andrews. Both fonts follow a modern cursive style and are available for free on the Minist\u00e8re\u2019s website, along with information for teachers about the shapes and proportions of letters, and how to connect them to form words in the most logical way possible. Playwrite France Moderne is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite FR Moderne Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite France Moderne characteristics This modern, upright cursive features no loops, medium to long ascenders and descenders, and a relatively fast construction. The capital letters are simplified and print-like, with the only distinctive feature being the raised apex in 'M'. Lowercase letters with descenders, such as 'g' and 'y', do not connect to the following letter, and 'm' and 'n' start without a curved entry stroke. Despite its italic structure, 'b' and 'p' include connecting strokes. The letter 'f' is notable for its descender with a curved stroke. Family name in font menus Playwrite France Moderne appears in font menus with a two-letter country code \u2018FR\u2019 and a the word \u2018Moderne\u2019, Playwrite FR Moderne. It features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in France, see primarium.info/countries/france. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite FR Moderne\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/france" + }, + "Playwrite FR Moderne Guides": { + "name": "Playwrite FR Moderne Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite France Moderne Guides is a single-weight font designed to harmonize seamlessly with its companion, Playwrite France Moderne. This font includes guideline markers on the baseline, x-height, ascenders, and descenders, providing a visual aid for primary school children. These guides help young learners grasp the proportions of letterforms and assist them in drawing letters with confidence and accuracy. The \u2018\u00e9criture cursive\u2019, or traditional vertical cursive, is the most used approach to handwriting teaching in schools in France. Its forms are inspired by the \u2018Lettre Ronde\u2019, originally written with a broad nib pen and ink. Students learn \u2018\u00e9criture cursive\u2019 by writing letters over S\u00e9y\u00e8s lines, which are introduced during kindergarten (age ~5). Created in 1892, S\u00e9y\u00e8s lines are a system of horizontal and vertical guidelines that govern the proportions of letters, and their ascending and descending strokes. In an attempt to reform and modernize handwriting teaching in schools, the Minist\u00e8re released two digital typeface families in 2013 \u2014 \u00c9criture A by Laurence Bedoin-Collard and Helo\u00edsa Tissot, and \u00c9criture B, by Marion Andrews. Both fonts follow a modern cursive style and are available for free on the Minist\u00e8re\u2019s website, along with information for teachers about the shapes and proportions of letters, and how to connect them to form words in the most logical way possible. To contribute, see github.com/TypeTogether/Playwrite. Playwrite France Moderne Guides characteristics Guidelines are present in all characters except for those used for letter spacing. To create a versatile font for teachers designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. It replaces the glyph shape with the guidelines and matches the width of the letter space. Find the detailed characteristics of this country's Model in Playwrite France Moderne. Family name in font menus Playwrite France Moderne Guides appears in font menus with a two-letter country code \u2018FR\u2019 and a the word \u2018Moderne\u2019, Playwrite FR Moderne Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in France, see primarium.info/countries/france. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite FR Moderne Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/france" + }, + "Playwrite FR Trad": { + "name": "Playwrite FR Trad", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "The \u2018\u00e9criture cursive\u2019, or traditional vertical cursive, is the most used approach to handwriting teaching in schools in France. Its forms are inspired by the \u2018Lettre Ronde\u2019, originally written with a broad nib pen and ink. Students learn \u2018\u00e9criture cursive\u2018 by writing letters over S\u00e9y\u00e8s lines, which are introduced during kindergarten (age ~5). Created in 1892, S\u00e9y\u00e8s lines are a system of horizontal and vertical guidelines that govern the proportions of letters, and their ascending and descending strokes. In an attempt to reform and modernize handwriting teaching in schools, the Minist\u00e8re released two digital typeface families in 2013 \u2014 \u00c9criture A by Laurence Bedoin-Collard and Helo\u00edsa Tissot, and \u00c9criture B, by Marion Andrews. Both fonts follow a modern cursive style and are available for free on the Minist\u00e8re\u2019s website, along with information for teachers about the shapes and proportions of letters, and how to connect them to form words in the most logical way possible. Playwrite France Traditionnelle is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite FR Trad Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite France Traditionnelle characteristics Closely following the \u00c9criture Droite structure, this upright continuous cursive showcases very long ascenders and descenders and is characterized by round shapes that are executed slowly. The uppercase letters are decorative, with some, like 'R' and 'Y', designed to facilitate connections to subsequent letters. The lowercase 'f' features a mirrored bottom loop. Additionally, letters 'm', 'n', 'v', 'w', 'y', and notably 'z', start with a curved entry stroke, enhancing the fluidity of the script. Family name in font menus Playwrite France Traditionnelle appears in font menus with a two-letter country code \u2018FR\u2019 and a the \u2018Trad\u2019 abbreviation, Playwrite FR Trad. It features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in France, see primarium.info/countries/france. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite FR Trad\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/france" + }, + "Playwrite FR Trad Guides": { + "name": "Playwrite FR Trad Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite France Traditionnelle Guides is a single-weight font designed to harmonize seamlessly with its companion, Playwrite France Traditionnelle. This font includes guideline markers on the baseline, x-height, ascenders, and descenders, providing a visual aid for primary school children. These guides help young learners grasp the proportions of letterforms and assist them in drawing letters with confidence and accuracy. The \u2018\u00e9criture cursive\u2019, or traditional vertical cursive, is the most used approach to handwriting teaching in schools in France. Its forms are inspired by the \u2018Lettre Ronde\u2019, originally written with a broad nib pen and ink. Students learn \u2018\u00e9criture cursive\u2018 by writing letters over S\u00e9y\u00e8s lines, which are introduced during kindergarten (age ~5). Created in 1892, S\u00e9y\u00e8s lines are a system of horizontal and vertical guidelines that govern the proportions of letters, and their ascending and descending strokes. In an attempt to reform and modernize handwriting teaching in schools, the Minist\u00e8re released two digital typeface families in 2013 \u2014 \u00c9criture A by Laurence Bedoin-Collard and Helo\u00edsa Tissot, and \u00c9criture B, by Marion Andrews. Both fonts follow a modern cursive style and are available for free on the Minist\u00e8re\u2019s website, along with information for teachers about the shapes and proportions of letters, and how to connect them to form words in the most logical way possible. To contribute, see github.com/TypeTogether/Playwrite. Playwrite France Traditionnelle characteristics Guidelines are present in all characters except for those used for letter spacing. To create a versatile font for teachers designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. It replaces the glyph shape with the guidelines and matches the width of the letter space. Find the detailed characteristics of this country's Model in Playwrite France Traditionnelle. Family name in font menus Playwrite France Traditionnelle Guides appears in font menus with a two-letter country code \u2018FR\u2019 and a the \u2018Trad\u2019 abbreviation, Playwrite FR Trad Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in France, see primarium.info/countries/france. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite FR Trad Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/france" + }, + "Playwrite GB J": { + "name": "Playwrite GB J", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "England has been the incubator for several prominent handwriting styles that still influence teaching around the world. One of the earliest examples is the English Roundhand, which was used in business and education in the 19th century. The implementation of modern cursive styles in classrooms is probably the most influential development for contemporary handwriting education. They draw from the ideas of the Italic Handwriting Revival movement of the early 20th century, and the work of its proponents. Alfred Fairbank (1895\u20131982) proposed modern italic writing, based on chancery models, as a new approach to teaching handwriting with the aim of simplification and faster writing speed. Recently, it has been one of the most popular approaches to handwriting teaching in England. Of the twenty-three methods described in the National Handwriting Association\u2019s 2013 guide to writing methods for teaching, thirteen were fully joined or semi-joined modern cursive styles. Important among these are Nelson Handwriting, Tom Gourdie Modern Hand, Jarman Handwriting, Marion Richardson, and Sassoon-Williams model. Playwrite England Joined is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite GB J Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite England Joined characteristics This fully connected modern cursive has short, loopless ascenders and looped descenders, and is available in two flavors: upright and slanted (italic). It has simplified print upper cases. The most identifiable features are the open 'G' with no crossbar and the 'M' with splain legs. Lowercase 'f' is its more recognizable feature, with an ascender that requires lifting the pen. As expected in this style, the letters 'r' and 'z' have an italic cursive structure. Family name in font menus Playwrite England Joined appears in font menus with a two-letter country code \u2018GB\u2019 and a \u2018J\u2019 for the Joined variant, Playwrite GB J. The font features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info, and to learn more about handwriting education in England, see primarium.info/countries/england. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite GB J\", and click OK. If some text is already selected, the font choice will apply. Note: This font family doesn't include Bold style, so please avoid applying it in text editors. If you use the common 'B' button, you will automatically generate a low-quality style. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/england" + }, + "Playwrite GB J Guides": { + "name": "Playwrite GB J Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite England Joined Guides is a single-weight font designed to harmonize seamlessly with its companion, Playwrite England Joined. This font includes guideline markers on the baseline, x-height, ascenders, and descenders, providing a visual aid for primary school children. These guides help young learners grasp the proportions of letterforms and assist them in drawing letters with confidence and accuracy. England has been the incubator for several prominent handwriting styles that still influence teaching around the world. One of the earliest examples is the English Roundhand, which was used in business and education in the 19th century. The implementation of modern cursive styles in classrooms is probably the most influential development for contemporary handwriting education. They draw from the ideas of the Italic Handwriting Revival movement of the early 20th century, and the work of its proponents. Alfred Fairbank (1895\u20131982) proposed modern italic writing, based on chancery models, as a new approach to teaching handwriting with the aim of simplification and faster writing speed. Recently, it has been one of the most popular approaches to handwriting teaching in England. Of the twenty-three methods described in the National Handwriting Association\u2019s 2013 guide to writing methods for teaching, thirteen were fully joined or semi-joined modern cursive styles. Important among these are Nelson Handwriting, Tom Gourdie Modern Hand, Jarman Handwriting, Marion Richardson, and Sassoon-Williams model. To contribute, see github.com/TypeTogether/Playwrite. Playwrite England Joined Guides characteristics Guidelines are present in all characters except for those used for letter spacing. To create a versatile font for teachers designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. It replaces the glyph shape with the guidelines and matches the width of the letter space. Find the detailed characteristics of this country's Model in Playwrite England Joined. Family name in font menus Playwrite England Joined Guides appears in font menus with a two-letter country code \u2018GB\u2019 and a \u2018J\u2019 for the Joined variant, Playwrite GB J Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info, and to learn more about handwriting education in England, see primarium.info/countries/england. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite GB J Guides\", and click OK. If some text is already selected, the font choice will apply. Note: This font family doesn't include Bold style, so please avoid applying it in text editors. If you use the common 'B' button, you will automatically generate a low-quality style. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/england" + }, + "Playwrite GB S": { + "name": "Playwrite GB S", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "England has been the incubator for several prominent handwriting styles that still influence teaching around the world. One of the earliest examples is the English Roundhand, which was used in business and education in the 19th century. The implementation of modern cursive styles in classrooms is probably the most influential development for contemporary handwriting education. They draw from the ideas of the Italic Handwriting Revival movement of the early 20th century, and the work of its proponents. Alfred Fairbank (1895\u20131982) proposed modern italic writing, based on chancery models, as a new approach to teaching handwriting with the aim of simplification and faster writing speed. Recently, it has been one of the most popular approaches to handwriting teaching in England. Of the twenty-three methods described in the National Handwriting Association\u2019s 2013 guide to writing methods for teaching, thirteen were fully joined or semi-joined modern cursive styles. Important among these are Nelson Handwriting, Tom Gourdie Modern Hand, Jarman Handwriting, Marion Richardson, and Sassoon-Williams model. Playwrite England SemiJoined is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite GB S Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite England SemiJoined characteristics This semi-connected modern cursive is offered in both upright and slanted (italic) versions. It features short, loopless ascenders and descenders, with simplified print-like uppercase letters. Notable characteristics include an open 'G' without a crossbar and an 'M' with plain legs. The lowercase 'f' has a curved descending stroke, and the 'q' is distinguished by a flick in its descender. True to this style, there are no curved entry strokes, and letters ending in a right-to-left stroke, such as 'b', 'p', 'g', and 's', do not connect to the following letter. Family name in font menus Playwrite England SemiJoined appears in font menus with a two-letter country code \u2018GB\u2019 and an \u2018S\u2019 for the SemiJoined, Playwrite GB S. The font features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in England, see primarium.info/countries/england. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold style, so please avoid applying it in text editors. If you use the common 'B' button, you will automatically generate a low-quality style. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite GB S\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/england" + }, + "Playwrite GB S Guides": { + "name": "Playwrite GB S Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite England SemiJoined Guides is a single-weight font designed to harmonize seamlessly with its companion, Playwrite England SemiJoined. This font includes guideline markers on the baseline, x-height, ascenders, and descenders, providing a visual aid for primary school children. These guides help young learners grasp the proportions of letterforms and assist them in drawing letters with confidence and accuracy. England has been the incubator for several prominent handwriting styles that still influence teaching around the world. One of the earliest examples is the English Roundhand, which was used in business and education in the 19th century. The implementation of modern cursive styles in classrooms is probably the most influential development for contemporary handwriting education. They draw from the ideas of the Italic Handwriting Revival movement of the early 20th century, and the work of its proponents. Alfred Fairbank (1895\u20131982) proposed modern italic writing, based on chancery models, as a new approach to teaching handwriting with the aim of simplification and faster writing speed. Recently, it has been one of the most popular approaches to handwriting teaching in England. Of the twenty-three methods described in the National Handwriting Association\u2019s 2013 guide to writing methods for teaching, thirteen were fully joined or semi-joined modern cursive styles. Important among these are Nelson Handwriting, Tom Gourdie Modern Hand, Jarman Handwriting, Marion Richardson, and Sassoon-Williams model. To contribute, see github.com/TypeTogether/Playwrite. Playwrite England SemiJoined Guides characteristics Guidelines are present in all characters except for those used for letter spacing. To create a versatile font for teachers designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. It replaces the glyph shape with the guidelines and matches the width of the letter space. Find the detailed characteristics of this country's Model in Playwrite England SemiJoined. Family name in font menus Playwrite England SemiJoined Guides appears in font menus with a two-letter country code \u2018GB\u2019 and an \u2018S\u2019 for the SemiJoined, Playwrite GB S Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in England, see primarium.info/countries/england. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold style, so please avoid applying it in text editors. If you use the common 'B' button, you will automatically generate a low-quality style. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite GB S Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/england" + }, + "Playwrite HR": { + "name": "Playwrite HR", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "The seeds for the standardization of Croatian handwriting education were sown in 2007 when the Ministry of Education promoted a series of research projects that yielded numerous resources focused on Croatian language education, particularly for reading and writing. Among these was a handbook for handwriting education by Ante Be\u017een and Sini\u0161a Reberski, an influential work in the standardization of handwriting instruction from 2013 onwards. In first grade, students match letters with sounds and learn to recognize them in the context of words by means of print-style letters. From second grade, students must write using a continuous and fully joined cursive called \u2018rukopisno pismo\u2019. Playwrite Hrvatska is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite HR Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Hrvatska characteristics This is a slanted continuous cursive handwriting model with short looped ascenders and descenders. The uppercase letters are slightly decorative, with some designed to facilitate connecting strokes. Distinctively, the lowercase letters 'm' and 'n' do not have a curved entry stroke, whereas 'r', 'v', 'w', and 'y' do. The construction of these letters is characterized by a slow, rounded, and careful approach. Family name in font menus Playwrite Hrvatska appears in font menus with a two-letter country code \u2018HR\u2019, Playwrite HR, and features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Hrvatska, see primarium.info/countries/croatia. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite HR\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/croatia" + }, + "Playwrite HR Guides": { + "name": "Playwrite HR Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Hrvatska Guides is a single-weight font designed to harmonize seamlessly with its companion, Playwrite Hrvatska. This font includes guideline markers on the baseline, x-height, ascenders, and descenders, providing a visual aid for primary school children. These guides help young learners grasp the proportions of letterforms and assist them in drawing letters with confidence and accuracy. The seeds for the standardization of Croatian handwriting education were sown in 2007 when the Ministry of Education promoted a series of research projects that yielded numerous resources focused on Croatian language education, particularly for reading and writing. Among these was a handbook for handwriting education by Ante Be\u017een and Sini\u0161a Reberski, an influential work in the standardization of handwriting instruction from 2013 onwards. In first grade, students match letters with sounds and learn to recognize them in the context of words by means of print-style letters. From second grade, students must write using a continuous and fully joined cursive called \u2018rukopisno pismo\u2019. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Hrvatska Guides characteristics Guidelines are present in all characters except for those used for letter spacing. To create a versatile font for teachers designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. It replaces the glyph shape with the guidelines and matches the width of the letter space. Find the detailed characteristics of this country's Model in Playwrite Hrvatska. Family name in font menus Playwrite Hrvatska Guides appears in font menus with a two-letter country code \u2018HR\u2019, Playwrite HR Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Hrvatska, see primarium.info/countries/croatia. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite HR Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/croatia" + }, + "Playwrite HR Lijeva": { + "name": "Playwrite HR Lijeva", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "The seeds for the standardization of Croatian handwriting education were sown in 2007 when the Ministry of Education promoted a series of research projects that yielded numerous resources focused on Croatian language education, particularly for reading and writing. Among these was a handbook for handwriting education by Ante Be\u017een and Sini\u0161a Reberski, an influential work in the standardization of handwriting instruction from 2013 onwards. In first grade, students match letters with sounds and learn to recognize them in the context of words by means of print-style letters. From second grade, students must write using a continuous and fully joined cursive called \u2018rukopisno pismo\u2019. Playwrite Hrvatska Lijeva is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite HR Lijeva Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Hrvatska Lijeva characteristics This is a slanted continuous cursive handwriting model with short looped ascenders and descenders. The uppercase letters are slightly decorative, with some designed to facilitate connecting strokes. Distinctively, the lowercase letters 'm' and 'n' do not have a curved entry stroke, whereas 'r', 'v', 'w', and 'y' do. The construction of these letters is characterized by a slow, rounded, and careful approach. Family name in font menus Playwrite Hrvatska-Lijeva appears in font menus with a two-letter country code \u2018HR\u2019 and the word \u2019Lijeva\u2019, Playwrite HR Lijeva, and features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Hrvatska-Lijeva, see primarium.info/countries/croatia. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite HR Lijeva\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/croatia" + }, + "Playwrite HR Lijeva Guides": { + "name": "Playwrite HR Lijeva Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Playwrite Hrvatska Lijeva Guides is a single-weight font designed to harmonize seamlessly with its companion, Playwrite Playwrite Hrvatska Lijeva. This font includes guideline markers on the baseline, x-height, ascenders, and descenders, providing a visual aid for primary school children. These guides help young learners grasp the proportions of letterforms and assist them in drawing letters with confidence and accuracy. The seeds for the standardization of Croatian handwriting education were sown in 2007 when the Ministry of Education promoted a series of research projects that yielded numerous resources focused on Croatian language education, particularly for reading and writing. Among these was a handbook for handwriting education by Ante Be\u017een and Sini\u0161a Reberski, an influential work in the standardization of handwriting instruction from 2013 onwards. In first grade, students match letters with sounds and learn to recognize them in the context of words by means of print-style letters. From second grade, students must write using a continuous and fully joined cursive called \u2018rukopisno pismo\u2019. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Hrvatska Lijeva Guides characteristics Guidelines are present in all characters except for those used for letter spacing. To create a versatile font for teachers designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. It replaces the glyph shape with the guidelines and matches the width of the letter space. Find the detailed characteristics of this country's Model in Playwrite Playwrite Hrvatska Lijeva. Family name in font menus Playwrite Hrvatska Lijeva appears in font menus with a two-letter country code \u2018HR\u2019 and the word \u2019Lijeva\u2019, Playwrite HR Lijeva Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Hrvatska-Lijeva, see primarium.info/countries/croatia. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite HR Lijeva Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/croatia" + }, + "Playwrite HU": { + "name": "Playwrite HU", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "The most recent version of the National Core Curriculum, published in 2020, describes exercises aimed at preparing students for writing and emphasizes the acquisition of reading skills and comprehension. It does not mention any models for handwriting instruction. However, an official teacher\u2019s manual called Tan\u00edt\u00f3i K\u00e9zik\u00f6nyv prescribes the use of workbooks published by the Minisztere through its Oktat\u00e1si Hivatal, or Educational Authority. There are several handwriting instruction books in the catalog. Among them, the most popular series are \u00cdr\u00e1s Munkaf\u00fczet and Betubarangolo, both edited by the staff of the Oktat\u00e1si Hivatal and with visual and typographic design by L\u00e1szl\u00f3 Kajt\u00e1r. These publications follow the most common approach used in handwriting education in Hungary: both print and cursive letters are introduced from first grade, and the cursive letters are upright, wide, round, and have looped extenders. Playwrite Magyarorsz\u00e1g is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite HU Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Magyarorsz\u00e1g characteristics Inspired by the S\u00fctterlin German style, this vertical continuous cursive features short and sometimes looped ascenders and descenders. The script is rounded and slowly constructed, with subtly decorative uppercase letters. The lowercase 'f' features a single loop in its ascender and connects to the next letter from its crossbar. The letter 'r' is unique in this model as it is the only letter that starts with a curved entry stroke at the x-height. Family name in font menus Playwrite Magyarorsz\u00e1g appears in font menus with a two-letter country code \u2018HU\u2019, Playwrite HU, and features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Tanzania, see primarium.info/countries/hungary. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite HU\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/hungary" + }, + "Playwrite HU Guides": { + "name": "Playwrite HU Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Magyarorsz\u00e1g Guides is a single-weight font designed to harmonize seamlessly with its companion, Playwrite Magyarorsz\u00e1g. This font includes guideline markers on the baseline, x-height, ascenders, and descenders, providing a visual aid for primary school children. These guides help young learners grasp the proportions of letterforms and assist them in drawing letters with confidence and accuracy. The most recent version of the National Core Curriculum, published in 2020, describes exercises aimed at preparing students for writing and emphasizes the acquisition of reading skills and comprehension. It does not mention any models for handwriting instruction. However, an official teacher\u2019s manual called Tan\u00edt\u00f3i K\u00e9zik\u00f6nyv prescribes the use of workbooks published by the Minisztere through its Oktat\u00e1si Hivatal, or Educational Authority. There are several handwriting instruction books in the catalog. Among them, the most popular series are \u00cdr\u00e1s Munkaf\u00fczet and Betubarangolo, both edited by the staff of the Oktat\u00e1si Hivatal and with visual and typographic design by L\u00e1szl\u00f3 Kajt\u00e1r. These publications follow the most common approach used in handwriting education in Hungary: both print and cursive letters are introduced from first grade, and the cursive letters are upright, wide, round, and have looped extenders. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Magyarorsz\u00e1g Guides characteristics Guidelines are present in all characters except for those used for letter spacing. To create a versatile font for teachers designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. It replaces the glyph shape with the guidelines and matches the width of the letter space. Find the detailed characteristics of this country's Model in Playwrite Magyarorsz\u00e1g. Family name in font menus Playwrite Magyarorsz\u00e1g Guides appears in font menus with a two-letter country code \u2018HU\u2019, Playwrite HU Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Tanzania, see primarium.info/countries/hungary. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite HU Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/hungary" + }, + "Playwrite ID": { + "name": "Playwrite ID", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "The Indonesian Ministry of Education and Culture introduced a standard, national model for handwriting education through an official decree in 1983. The model was updated in 2009, but the original is still preferred. According to the model, students first \u2018learn huruf\u2018 lepas, or loose letters, followed by \u2018huruf sambung\u2018, or cursive letters. Across the country, handwriting is taught using this model, and it is featured in workbooks produced by popular private publishers in Indonesia. Playwrite Indonesia is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite ID Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Indonesia characteristics This style uses the traditional French model as its basis. It features upright, connected cursive letters with notably long ascenders and descenders. The letters, characterized by their rounded shapes, are written slowly. Capital letters blend printed and decorative elements, notably in 'Q', 'K', and 'L'. The lowercase 'f' has a mirrored bottom loop. Letters 'm', 'n', 'v', 'w', and especially 'z', begin with a curved entry stroke. The lowercase 'b' is distinguished by a knot, and interestingly, the 's' does not adopt a cursive form. Family name in font menus Playwrite Indonesia appears in font menus with a two-letter country code \u2018ID\u2019, Playwrite ID and features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Indonesia, see primarium.info/countries/indonesia. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite ID\", and click OK. If some text is already selected, the font choice will apply. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/indonesia" + }, + "Playwrite ID Guides": { + "name": "Playwrite ID Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Indonesia Guides is a single-weight font designed to harmonize seamlessly with its companion, Playwrite Indonesia. This font includes guideline markers on the baseline, x-height, ascenders, and descenders, providing a visual aid for primary school children. These guides help young learners grasp the proportions of letterforms and assist them in drawing letters with confidence and accuracy. The Indonesian Ministry of Education and Culture introduced a standard, national model for handwriting education through an official decree in 1983. The model was updated in 2009, but the original is still preferred. According to the model, students first \u2018learn huruf\u2018 lepas, or loose letters, followed by \u2018huruf sambung\u2018, or cursive letters. Across the country, handwriting is taught using this model, and it is featured in workbooks produced by popular private publishers in Indonesia. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Indonesia Guides characteristics Guidelines are present in all characters except for those used for letter spacing. To create a versatile font for teachers designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. It replaces the glyph shape with the guidelines and matches the width of the letter space. Find the detailed characteristics of this country's Model in Playwrite Indonesia. Family name in font menus Playwrite Indonesia Guides appears in font menus with a two-letter country code \u2018ID\u2019, Playwrite ID Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Indonesia, see primarium.info/countries/indonesia. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite ID Guides\", and click OK. If some text is already selected, the font choice will apply. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/indonesia" + }, + "Playwrite IE": { + "name": "Playwrite IE", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "The NCAA publishes the national curriculum, and issues of language are dealt with in the \u201cPrimary Language Curriculum\u201d, which was last published in 2019. This document is fully bilingual in English and Irish Gaelic. An additional guideline document for teachers called \u201dPrimary Language Curriculum. Support Material for teachers. Writing\u201d, is also published by the NCAA. This devotes a full section to handwriting and suggests that children can be introduced to cursive writing as early as the junior infant level. In practice, however, each school can choose its own methods for teaching handwriting. Most teachers start with either print script (locally called \u201cmanuscript\u201d) or precursive letters in junior and senior infant levels. From Class 1 onwards, students are taught to add exit strokes to letters and then connect them to achieve a cursive hand. Playwrite Ireland is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite IE Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Ireland characteristics This model showcases a sloped, continuous cursive style where uppercase letters connect to the following letter whenever possible. The letter 'H' is notable for its distinctive crossbar shape. Unlike other models in this category, lowercase letters have short extenders with loops but do not start with curved entry strokes. The construction of the bowls in 'b' and 'p' differs significantly from each other. The letter 'z' features a curved top and a looped descender. Family name in font menus Playwrite Ireland appears in font menus with a two-letter country code \u2018IE\u2019, Playwrite IE, and features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Ireland, see primarium.info/countries/ireland. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite IE\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/ireland" + }, + "Playwrite IE Guides": { + "name": "Playwrite IE Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Ireland Guides is a single-weight font designed to harmonize seamlessly with its companion, Playwrite Ireland. This font includes guideline markers on the baseline, x-height, ascenders, and descenders, providing a visual aid for primary school children. These guides help young learners grasp the proportions of letterforms and assist them in drawing letters with confidence and accuracy. The NCAA publishes the national curriculum, and issues of language are dealt with in the \u201cPrimary Language Curriculum\u201d, which was last published in 2019. This document is fully bilingual in English and Irish Gaelic. An additional guideline document for teachers called \u201dPrimary Language Curriculum. Support Material for teachers. Writing\u201d, is also published by the NCAA. This devotes a full section to handwriting and suggests that children can be introduced to cursive writing as early as the junior infant level. In practice, however, each school can choose its own methods for teaching handwriting. Most teachers start with either print script (locally called \u201cmanuscript\u201d) or precursive letters in junior and senior infant levels. From Class 1 onwards, students are taught to add exit strokes to letters and then connect them to achieve a cursive hand. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Ireland characteristics Guidelines are present in all characters except for those used for letter spacing. To create a versatile font for teachers designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. It replaces the glyph shape with the guidelines and matches the width of the letter space. Find the detailed characteristics of this country's Model in Playwrite Ireland. Family name in font menus Playwrite Ireland appears in font menus with a two-letter country code \u2018IE\u2019, Playwrite IE Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Ireland, see primarium.info/countries/ireland. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite IE Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/ireland" + }, + "Playwrite IN": { + "name": "Playwrite IN", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "According to the Indian National Curriculum Framework, students must be taught three languages, starting with their home tongue, and English can be among the languages they learn. Students should learn how to write in Grades 1 and 2, but the document does not specify any methods or models for teaching handwriting. The new NCERT textbooks for English are titled Mridang. The book for grade 1 teaches students print-style letterforms. No cursive writing instruction appears in this or the grade 2 textbook. However, NCERT\u2019s previous English textbook series, called Marigold, focused on cursive writing in grade 2 (7\u20138 years old) and showed samples in a style similar to one developed by Irish-born British diplomat, Vere Foster, in the second half of the nineteenth century. Further, handwriting textbooks produced by a major private publisher directly attribute the samples in their volumes to Foster\u2019s model. Playwrite India is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite IN Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite India characteristics This slanted continuous cursive style features medium-length extenders and draws inspiration from Vere Foster's New Civil Service writing models. The script includes decorative capital letters, with 'A' and 'H' particularly notable for their elaborated crossbars. Lowercase letters are designed with loops on both ascenders and descenders, and several letters begin with curved entry strokes. The letter 'r' is distinguished by a knot, and 'q' is characterized by a short exit stroke in its descender. Family name in font menus Playwrite India appears in font menus with a two-letter country code \u2018IN\u2019, Playwrite IN, and features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in India, see primarium.info/countries/india. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite IN\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/india" + }, + "Playwrite IN Guides": { + "name": "Playwrite IN Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite India Guides is a single-weight font designed to harmonize seamlessly with its companion, Playwrite India. This font includes guideline markers on the baseline, x-height, ascenders, and descenders, providing a visual aid for primary school children. These guides help young learners grasp the proportions of letterforms and assist them in drawing letters with confidence and accuracy. According to the Indian National Curriculum Framework, students must be taught three languages, starting with their home tongue, and English can be among the languages they learn. Students should learn how to write in Grades 1 and 2, but the document does not specify any methods or models for teaching handwriting. The new NCERT textbooks for English are titled Mridang. The book for grade 1 teaches students print-style letterforms. No cursive writing instruction appears in this or the grade 2 textbook. However, NCERT\u2019s previous English textbook series, called Marigold, focused on cursive writing in grade 2 (7\u20138 years old) and showed samples in a style similar to one developed by Irish-born British diplomat, Vere Foster, in the second half of the nineteenth century. Further, handwriting textbooks produced by a major private publisher directly attribute the samples in their volumes to Foster\u2019s model. To contribute, see github.com/TypeTogether/Playwrite. Playwrite India Guides characteristics Guidelines are present in all characters except for those used for letter spacing. To create a versatile font for teachers designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. It replaces the glyph shape with the guidelines and matches the width of the letter space. Find the detailed characteristics of this country's Model in Playwrite India. Family name in font menus Playwrite India Guides appears in font menus with a two-letter country code \u2018IN\u2019, Playwrite IN Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in India, see primarium.info/countries/india. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite IN Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/india" + }, + "Playwrite IS": { + "name": "Playwrite IS", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "The latest edition of the national curriculum, published in 2014, requires that at the end of fourth grade, students must \u201cwrite all the letters, write clearly and understandably.\u201d Handwriting teaching in Iceland happens during grades 1-3 (6-9 years old), and books by the MMS adhere to a progressive system based on simplified modern italic styles. According to this system, students should first be introduced to the lowercase letters of Grunnskrift or the initial model. These are simplified and unconnected letters, slightly slanted and with exit strokes. This should be followed by uppercase letters of the same model. Finally, in the third grade (8-9 years old), students learn Tengiskrift or joined letters. Playwrite \u00cdsland is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite IS Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite \u00cdsland characteristics This slanted modern cursive handwriting is crafted for high-speed writing and features print-style uppercase letters, with 'M' notably having splain legs. The lowercase letters are inspired by early Italic calligraphies, including the chancery style. Letters that end with a descender do not connect to the subsequent character, making this a semi-connected model. Both 'b' and 'p' feature closed bowls, while 'z' and 'r' are designed with an italic structure, stressing the script\u2019s aesthetic and functional attributes. Family name in font menus Playwrite \u00cdsland appears in font menus with a two-letter country code \u2018IS\u2019, Playwrite IS, and features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in \u00cdsland, see primarium.info/countries/iceland. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite IS\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/iceland" + }, + "Playwrite IS Guides": { + "name": "Playwrite IS Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite \u00cdsland Guides is a single-weight font designed to harmonize seamlessly with its companion, Playwrite \u00cdsland. This font includes guideline markers on the baseline, x-height, ascenders, and descenders, providing a visual aid for primary school children. These guides help young learners grasp the proportions of letterforms and assist them in drawing letters with confidence and accuracy. The latest edition of the national curriculum, published in 2014, requires that at the end of fourth grade, students must \u201cwrite all the letters, write clearly and understandably.\u201d Handwriting teaching in Iceland happens during grades 1-3 (6-9 years old), and books by the MMS adhere to a progressive system based on simplified modern italic styles. According to this system, students should first be introduced to the lowercase letters of Grunnskrift or the initial model. These are simplified and unconnected letters, slightly slanted and with exit strokes. This should be followed by uppercase letters of the same model. Finally, in the third grade (8-9 years old), students learn Tengiskrift or joined letters. To contribute, see github.com/TypeTogether/Playwrite. Playwrite \u00cdsland characteristics Guidelines are present in all characters except for those used for letter spacing. To create a versatile font for teachers designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. It replaces the glyph shape with the guidelines and matches the width of the letter space. Find the detailed characteristics of this country's Model in Playwrite \u00cdsland. Family name in font menus Playwrite \u00cdsland appears in font menus with a two-letter country code \u2018IS\u2019, Playwrite IS Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in \u00cdsland, see primarium.info/countries/iceland. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite IS Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/iceland" + }, + "Playwrite IT Moderna": { + "name": "Playwrite IT Moderna", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Italy holds an important place in the historical development of handwriting styles. Handwriting produced in the Latin script finds its roots in the models produced during the Italian Renaissance. The most prevalent form of handwriting taught in Italy is an upright cursive style developed in the early to mid-20th century, which, according to handwriting expert Francesco Ascoli, was prescribed in the country\u2019s national guidelines in 1945. At the beginning of the 21st century, the decline in the quality of handwriting in Italy caught the attention of the educational community. To rectify this situation, educators and handwriting experts started to explore different ways to improve instruction in primary schools by revamping approaches and resources for traditional handwriting education, or introducing new teaching schemes. The Scrittura Corsiva modern cursive project has gained significant recognition among the latter. Playwrite Italia Moderna is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite IT Moderna Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Italia Moderna characteristics This is a fully joined modern cursive, completely upright, with short ascenders and descenders. it has simplified print style capital letters. Identity traits: It has serifs and 'M' has splain legs. Lowercases use descender loops to connect with the next letter in 'f', 'g', 'j' and 'y'. 'p' and 'b' have closed bowls, 'k' is written with two strokes, and 'f' is missing its top loop. Family name in font menus Playwrite Italia Moderna appears in font menus with a two-letter country code \u2018IT\u2018 and a the word \u2018Moderna\u2018, Playwrite IT Moderna. It features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info, and to learn more about handwriting education in Italy, see primarium.info/countries/italy. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite IT Moderna\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/italy" + }, + "Playwrite IT Moderna Guides": { + "name": "Playwrite IT Moderna Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Italia Moderna Guides is a single-weight font designed to harmonize seamlessly with its companion, Playwrite Italia Moderna. This font includes guideline markers on the baseline, x-height, ascenders, and descenders, providing a visual aid for primary school children. These guides help young learners grasp the proportions of letterforms and assist them in drawing letters with confidence and accuracy. Italy holds an important place in the historical development of handwriting styles. Handwriting produced in the Latin script finds its roots in the models produced during the Italian Renaissance. The most prevalent form of handwriting taught in Italy is an upright cursive style developed in the early to mid-20th century, which, according to handwriting expert Francesco Ascoli, was prescribed in the country\u2019s national guidelines in 1945. At the beginning of the 21st century, the decline in the quality of handwriting in Italy caught the attention of the educational community. To rectify this situation, educators and handwriting experts started to explore different ways to improve instruction in primary schools by revamping approaches and resources for traditional handwriting education, or introducing new teaching schemes. The Scrittura Corsiva modern cursive project has gained significant recognition among the latter. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Italia Moderna Guides characteristics Guidelines are present in all characters except for those used for letter spacing. To create a versatile font for teachers designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. It replaces the glyph shape with the guidelines and matches the width of the letter space. Find the detailed characteristics of this country's Model in Playwrite Italia Moderna. Family name in font menus Playwrite Italia Moderna Guides appears in font menus with a two-letter country code \u2018IT\u2018 and a the word \u2018Moderna\u2018, Playwrite IT Moderna Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info, and to learn more about handwriting education in Italy, see primarium.info/countries/italy. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite IT Moderna Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/italy" + }, + "Playwrite IT Trad": { + "name": "Playwrite IT Trad", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Italy holds an important place in the historical development of handwriting styles. Handwriting produced in the Latin script finds its roots in the models produced during the Italian Renaissance. The most prevalent form of handwriting taught in Italy is an upright cursive style developed in the early to mid-20th century, which, according to handwriting expert Francesco Ascoli, was prescribed in the country\u2019s national guidelines in 1945. At the beginning of the 21st century, the decline in the quality of handwriting in Italy caught the attention of the educational community. To rectify this situation, educators and handwriting experts started to explore different ways to improve instruction in primary schools by revamping approaches and resources for traditional handwriting education or introducing new teaching schemes. The Scrittura Corsiva modern cursive project has gained significant recognition among the latter. Playwrite Italia Tradizionale is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite IT Trad Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Italia Tradizionale characteristics This upright, fully joined, modern cursive features short ascenders and descenders. It utilizes simplified print-style capital letters. Distinctive identity traits include a serifed 'I' and an 'M' with splain legs. Lowercase letters 'f', 'g', 'j', and 'y' employ descender loops to connect to the next letter seamlessly. Both 'p' and 'b' are designed with closed bowls, 'k' is constructed with two strokes, and 'f' is notable for the absence of its top loop, creating a recognizable handwriting model. Family name in font menus Playwrite Italia Tradizionale appears in font menus with a two-letter country code, \u2018IT\u2019 and a the \u2018Trad\u2019 abbreviation, Playwrite IT Trad. It features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Italy, see primarium.info/countries/italy. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite IT Trad\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/italy" + }, + "Playwrite IT Trad Guides": { + "name": "Playwrite IT Trad Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Italia Tradizionale Guides is a single-weight font designed to harmonize seamlessly with its companion, Playwrite Italia Tradizionale. This font includes guideline markers on the baseline, x-height, ascenders, and descenders, providing a visual aid for primary school children. These guides help young learners grasp the proportions of letterforms and assist them in drawing letters with confidence and accuracy. Italy holds an important place in the historical development of handwriting styles. Handwriting produced in the Latin script finds its roots in the models produced during the Italian Renaissance. The most prevalent form of handwriting taught in Italy is an upright cursive style developed in the early to mid-20th century, which, according to handwriting expert Francesco Ascoli, was prescribed in the country\u2019s national guidelines in 1945. At the beginning of the 21st century, the decline in the quality of handwriting in Italy caught the attention of the educational community. To rectify this situation, educators and handwriting experts started to explore different ways to improve instruction in primary schools by revamping approaches and resources for traditional handwriting education or introducing new teaching schemes. The Scrittura Corsiva modern cursive project has gained significant recognition among the latter. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Italia Tradizionale characteristics Guidelines are present in all characters except for those used for letter spacing. To create a versatile font for teachers designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. It replaces the glyph shape with the guidelines and matches the width of the letter space. Find the detailed characteristics of this country's Model in Playwrite Italia Tradizionale. Family name in font menus Playwrite Italia Tradizionale appears in font menus with a two-letter country code, \u2018IT\u2019 and a the \u2018Trad\u2019 abbreviation, Playwrite IT Trad Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Italy, see primarium.info/countries/italy. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite IT Trad Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/italy" + }, + "Playwrite MX": { + "name": "Playwrite MX", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Since the 1992 educational reform, the curricula for primary education no longer provide details about handwriting instruction or specific writing models. Moreover, it grants teachers the freedom to choose teaching methods for reading and writing instruction during the earliest stages. However, nearly all private schools and most public ones teach cursive writing \u2014 either alongside or sequentially \u2014 with print letters. But the resources they use for teaching cursive writing are privately acquired from publishing houses or created by teachers themselves. In this context, local type designers have been commissioned to create typefaces that match the styles familiar to teachers. These typefaces are usually similar to North American penmanship models, more likely, a derivative from the National Commission of Free Textbooks workbooks dating back to the 1960s. Playwrite M\u00e9xico is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite MX Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite M\u00e9xico characteristics This slanted continuous cursive closely mirrors North American models such as Palmer or Zaner-Bloser. The uppercase letters are cursive and include some complex shapes, notably in 'F', 'I', and 'G'. The lowercase letters feature medium-length extenders, with 'f' and 'q' displaying mirrored descender loops that add intricacy. The letter 'z' is designed with a curved top, while 'b', 'v', and 'w' incorporate knots, contributing to the overall ornate style. The construction of the letters is characterized by a slow and complex execution, emphasizing the deliberate and decorative nature of this handwriting style. Family name in font menus Playwrite M\u00e9xico appears in font menus with a two-letter country code \u2018MX\u2019, Playwrite MX, and features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Mexico, see primarium.info/countries/mexico. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite MX\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/mexico" + }, + "Playwrite MX Guides": { + "name": "Playwrite MX Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite M\u00e9xico Guides is a single-weight font designed to harmonize seamlessly with its companion, Playwrite M\u00e9xico. This font includes guideline markers on the baseline, x-height, ascenders, and descenders, providing a visual aid for primary school children. These guides help young learners grasp the proportions of letterforms and assist them in drawing letters with confidence and accuracy. Since the 1992 educational reform, the curricula for primary education no longer provide details about handwriting instruction or specific writing models. Moreover, it grants teachers the freedom to choose teaching methods for reading and writing instruction during the earliest stages. However, nearly all private schools and most public ones teach cursive writing \u2014 either alongside or sequentially \u2014 with print letters. But the resources they use for teaching cursive writing are privately acquired from publishing houses or created by teachers themselves. In this context, local type designers have been commissioned to create typefaces that match the styles familiar to teachers. These typefaces are usually similar to North American penmanship models, more likely, a derivative from the National Commission of Free Textbooks workbooks dating back to the 1960s. To contribute, see github.com/TypeTogether/Playwrite. Playwrite M\u00e9xico Guides characteristics Guidelines are present in all characters except for those used for letter spacing. To create a versatile font for teachers designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. It replaces the glyph shape with the guidelines and matches the width of the letter space. Find the detailed characteristics of this country's Model in Playwrite M\u00e9xico. Family name in font menus Playwrite M\u00e9xico Guides appears in font menus with a two-letter country code \u2018MX\u2019, Playwrite MX Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Mexico, see primarium.info/countries/mexico. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite MX Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/mexico" + }, + "Playwrite NG Modern": { + "name": "Playwrite NG Modern", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "In Nigeria, there is an emphasis on students receiving instruction in the language they hear and use every day. This poses a challenge in a country with limited resources and great linguistic diversity. Apart from four widely spoken languages \u2014 Hausa, Igbo, Yoruba and English \u2014 there are hundreds of regional languages as well as dialects. As a result, teacher training and educational resources are required for several languages. In the past, before the widespread use of computers, there was greater emphasis on handwriting. Today, while private schools with more resources may adopt foreign models like Nelson Handwriting, public schools face financial constraints, impacting their ability to prioritize handwriting education. Given these circumstances, the handwriting style learned by students is often influenced by the habits of their parents and teachers, and they end up mimicking what they see around them. Playwrite Nigeria Modern is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite NG Modern Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Nigeria Modern characteristics Following the tradition and current use of these booklets, Playwrite Nigeria Modern is a very slanted continuous cursive. Its lowercase letters have medium-length ascenders and descenders with loops that favor writing whole words without pen lifts. Based on the Palmer style, these loops are mirrored in the descending strokes of letters 'f' and 'q'. Some uppercase letters, such as the 'G', 'L', and 'Z', have decorative and complex cursive shapes. Family name in font menus Playwrite Nigeria Modern appears in font menus with a two-letter country code \u2018NG\u2019 and the word \u2018Modern\u2019, Playwrite NG Modern. It features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Nigeria, see primarium.info/countries/nigeria. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite NG Modern\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/nigeria" + }, + "Playwrite NG Modern Guides": { + "name": "Playwrite NG Modern Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Nigeria Modern Guides is a single-weight font designed to harmonize seamlessly with its companion, Playwrite Nigeria Modern. This font includes guideline markers on the baseline, x-height, ascenders, and descenders, providing a visual aid for primary school children. These guides help young learners grasp the proportions of letterforms and assist them in drawing letters with confidence and accuracy. In Nigeria, there is an emphasis on students receiving instruction in the language they hear and use every day. This poses a challenge in a country with limited resources and great linguistic diversity. Apart from four widely spoken languages \u2014 Hausa, Igbo, Yoruba and English \u2014 there are hundreds of regional languages as well as dialects. As a result, teacher training and educational resources are required for several languages. In the past, before the widespread use of computers, there was greater emphasis on handwriting. Today, while private schools with more resources may adopt foreign models like Nelson Handwriting, public schools face financial constraints, impacting their ability to prioritize handwriting education. Given these circumstances, the handwriting style learned by students is often influenced by the habits of their parents and teachers, and they end up mimicking what they see around them. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Nigeria Modern Guides characteristics Guidelines are present in all characters except for those used for letter spacing. To create a versatile font for teachers designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. It replaces the glyph shape with the guidelines and matches the width of the letter space. Find the detailed characteristics of this country's Model in Playwrite Nigeria Modern. Family name in font menus Playwrite Nigeria Modern Guides appears in font menus with a two-letter country code \u2018NG\u2019 and the word \u2018Modern\u2019, Playwrite NG Modern Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Nigeria, see primarium.info/countries/nigeria. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite NG Modern Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/nigeria" + }, + "Playwrite NL": { + "name": "Playwrite NL", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "In The Netherlands, handwriting education commonly begins in Groep 3 after students have learned fine and gross motor skills in previous years. The most widely used handwriting model in classrooms is verbonden schrift, a slanted continuous cursive with loops. However, teachers have increasingly opted for blokschrift, which features unjoined, simplified print letters. Some teachers choose to instruct in both models: one after another, together, or in a permutation that suits their students. Playwrite Netherland is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite NL Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Netherland characteristics This slanted fully joined handwriting style includes cursive uppercases, with the exception of 'S', and features complex shapes in letters such as 'I' and 'J'. The lowercase letters showcase long ascenders and descenders, each furnished with loops, enhancing the fluidity of the script. Curved entry strokes are present in the letters 'm', 'n', 'v', 'w', 'x', and 'y', contributing to the overall smooth and flowing appearance. The letter 'z' stands out as it is specifically constructed in an italic style, adding a distinct contrast within the script. Family name in font menus Playwrite Netherland appears in font menus with a two-letter country code \u2018NL\u2019, Playwrite NL, and features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Netherland, see primarium.info/countries/the-netherlands. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite NL\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/the-netherlands" + }, + "Playwrite NL Guides": { + "name": "Playwrite NL Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Netherland Guides is a single-weight font designed to harmonize seamlessly with its companion, Playwrite Netherland. This font includes guideline markers on the baseline, x-height, ascenders, and descenders, providing a visual aid for primary school children. These guides help young learners grasp the proportions of letterforms and assist them in drawing letters with confidence and accuracy. In The Netherlands, handwriting education commonly begins in Groep 3 after students have learned fine and gross motor skills in previous years. The most widely used handwriting model in classrooms is verbonden schrift, a slanted continuous cursive with loops. However, teachers have increasingly opted for blokschrift, which features unjoined, simplified print letters. Some teachers choose to instruct in both models: one after another, together, or in a permutation that suits their students. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Netherland Guides characteristics Guidelines are present in all characters except for those used for letter spacing. To create a versatile font for teachers designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. It replaces the glyph shape with the guidelines and matches the width of the letter space. Find the detailed characteristics of this country's Model in Playwrite Netherland. Family name in font menus Playwrite Netherland Guides appears in font menus with a two-letter country code \u2018NL\u2019, Playwrite NL Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Netherland, see primarium.info/countries/the-netherlands. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite NL Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/the-netherlands" + }, + "Playwrite NO": { + "name": "Playwrite NO", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "In Norway, the most prevalent form of handwriting in education is the stavskrift. It is an unlooped modern cursive style that borrows elements from continuous cursive writing. Students are taught uppercase and lowercase letters in trykkskrift, a simplified print script, in the first grade. In the middle of the second or beginning of the third grade, they are introduced to stavskrift and learn joining strokes between letters. This path may vary at the discretion of the teacher or the school, but in fourth grade, students are expected to have well-formed and legible handwriting with a certain degree of fluency. Playwrite Norge is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite NO Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Norge characteristics This modern cursive, semi-connected typeface includes elements from continuous cursive handwriting styles. The uppercase letters are decorative, with 'G' and 'Y' featuring descenders with loops that connect to the following letter. Lowercase letters have medium-length, loopless ascenders and descenders. Distinctive features include a straight descender on 'f', a loopless cursive shape in 'z', and cursive styles for 'p' and 'b'. Family name in font menus Playwrite Norge appears in font menus with a two-letter country code \u2018NO\u2019, Playwrite NO, and features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Norge, see primarium.info/countries/norway. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite NO\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/norway" + }, + "Playwrite NO Guides": { + "name": "Playwrite NO Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Norge Guides is a single-weight font designed to harmonize seamlessly with its companion, Playwrite Norge. This font includes guideline markers on the baseline, x-height, ascenders, and descenders, providing a visual aid for primary school children. These guides help young learners grasp the proportions of letterforms and assist them in drawing letters with confidence and accuracy. In Norway, the most prevalent form of handwriting in education is the stavskrift. It is an unlooped modern cursive style that borrows elements from continuous cursive writing. Students are taught uppercase and lowercase letters in trykkskrift, a simplified print script, in the first grade. In the middle of the second or beginning of the third grade, they are introduced to stavskrift and learn joining strokes between letters. This path may vary at the discretion of the teacher or the school, but in fourth grade, students are expected to have well-formed and legible handwriting with a certain degree of fluency. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Norge Guides characteristics Guidelines are present in all characters except for those used for letter spacing. To create a versatile font for teachers designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. It replaces the glyph shape with the guidelines and matches the width of the letter space. Find the detailed characteristics of this country's Model in Playwrite Norge. Family name in font menus Playwrite Norge Guides appears in font menus with a two-letter country code \u2018NO\u2019, Playwrite NO Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Norge, see primarium.info/countries/norway. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite NO Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/norway" + }, + "Playwrite NZ": { + "name": "Playwrite NZ", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "The style of handwriting currently taught in New Zealand is specified in Teaching Handwriting, a Ministry of Education publication, which was developed in response to teachers\u2019 requests for guidance on the style of handwriting that should be taught in primary school. Teachers and schools usually create their own resources for handwriting instruction based on the style advocated in this document. It was first released in 1985 and again in digital format in 2008. Even though Teaching Handwriting outlines a progressive handwriting system that advances from simplified print script to cursive writing, sometimes teachers will not teach the latter if it is not practical given their students' learning levels and other curriculum needs. Playwrite New Zealand is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite NZ Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite New Zealand characteristics This modern cursive style is extremely fast and slanted, featuring simplified print-style uppercase letters. Notable are the open 'G' without a crossbar, a serifed 'I', and a 'Y' with a slanted stem. The lowercase letters are semi-connected, exhibiting a very fast and angular construction typical of modern cursive styles based on italic forms. The letter 'f' has a straight descender, and 'q' is distinguished by a short exit stroke that serves as a finial, enhancing the dynamic and streamlined appearance of the script. Family name in font menus Playwrite New-Zealand appears in font menus with a two-letter country code \u2018NZ\u2019, Playwrite NZ, and features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in New-Zealand, see primarium.info/countries/new-zealand. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite NZ\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/new-zealand" + }, + "Playwrite NZ Guides": { + "name": "Playwrite NZ Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite New Zealand Guides is a single-weight font designed to harmonize seamlessly with its companion, Playwrite New Zealand. This font includes guideline markers on the baseline, x-height, ascenders, and descenders, providing a visual aid for primary school children. These guides help young learners grasp the proportions of letterforms and assist them in drawing letters with confidence and accuracy. The style of handwriting currently taught in New Zealand is specified in Teaching Handwriting, a Ministry of Education publication, which was developed in response to teachers\u2019 requests for guidance on the style of handwriting that should be taught in primary school. Teachers and schools usually create their own resources for handwriting instruction based on the style advocated in this document. It was first released in 1985 and again in digital format in 2008. Even though Teaching Handwriting outlines a progressive handwriting system that advances from simplified print script to cursive writing, sometimes teachers will not teach the latter if it is not practical given their students' learning levels and other curriculum needs. To contribute, see github.com/TypeTogether/Playwrite. Playwrite New Zealand Guides characteristics Guidelines are present in all characters except for those used for letter spacing. To create a versatile font for teachers designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. It replaces the glyph shape with the guidelines and matches the width of the letter space. Find the detailed characteristics of this country's Model in Playwrite New Zealand. Family name in font menus Playwrite New Zealand appears in font menus with a two-letter country code \u2018NZ\u2019, Playwrite NZ Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in New-Zealand, see primarium.info/countries/new-zealand. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite NZ Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/new-zealand" + }, + "Playwrite PE": { + "name": "Playwrite PE", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Due to the absence of handwriting education guidelines in the curriculum and no prescribed model, there is a great deal of diversity in the approaches to handwriting teaching. The most widespread method is to teach uppercase print-style letters first and connected cursive writing second. However, in some schools, students may start with cursive writing in the first grade itself, and in others, cursive writing is not taught at all. An important difference is seen in private schools, where handwriting may be taught using models imported from abroad. For instance, Spanish-English bilingual schools teach using the Sassoon model that was developed in England. Playwrite Per\u00fa is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite PE Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Per\u00fa characteristics This upright continuous cursive handwriting model features medium-length ascenders and descenders. The capital letters are cursive and include a few complex shapes, notably in 'F', 'R', and 'O'. The letter 'G' is distinctive, appearing to be influenced by American styles rather than the traditional French vertical cursives. The lowercase letters have looped extenders and showcase a unique two-stroke construction of 'k'. The letter 'f' is characterized by a straight descender, while 'v' and 'w' are noted for their knots, adding to the distinctiveness of this cursive style. Family name in font menus Playwrite Peru appears in font menus with a two-letter country code \u2018PE\u2019, Playwrite PE, and features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Peru, see primarium.info/countries/peru. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite PE\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/peru" + }, + "Playwrite PE Guides": { + "name": "Playwrite PE Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Per\u00fa Guides is a single-weight font designed to harmonize seamlessly with its companion, Playwrite Per\u00fa. This font includes guideline markers on the baseline, x-height, ascenders, and descenders, providing a visual aid for primary school children. These guides help young learners grasp the proportions of letterforms and assist them in drawing letters with confidence and accuracy. Due to the absence of handwriting education guidelines in the curriculum and no prescribed model, there is a great deal of diversity in the approaches to handwriting teaching. The most widespread method is to teach uppercase print-style letters first and connected cursive writing second. However, in some schools, students may start with cursive writing in the first grade itself, and in others, cursive writing is not taught at all. An important difference is seen in private schools, where handwriting may be taught using models imported from abroad. For instance, Spanish-English bilingual schools teach using the Sassoon model that was developed in England. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Per\u00fa Guides characteristics Guidelines are present in all characters except for those used for letter spacing. To create a versatile font for teachers designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. It replaces the glyph shape with the guidelines and matches the width of the letter space. Find the detailed characteristics of this country's Model in Playwrite Per\u00fa. Family name in font menus Playwrite Peru appears in font menus with a two-letter country code \u2018PE\u2019, Playwrite PE Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Peru, see primarium.info/countries/peru. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite PE Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/peru" + }, + "Playwrite PL": { + "name": "Playwrite PL", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Poland\u2019s podstawa programowa, or core curriculum, is published by the Ministerstwo, and available online, where it is continuously maintained. It mentions handwriting education very briefly, stating that the country\u2019s goal is that students must learn to write by hand, legibly and fluently, in sentences and continuous text. In Poland, the prevalent handwriting education model is a loopless, fully-joined vertical cursive, and students are taught upper and lower cases simultaneously. Handwriting primers show samples of this style alongside instructions on how to draw them. When it comes to reading, students learn that through a serif typeface. Playwrite Polska is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite PL Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Polska characteristics This vertical continuous cursive features decorative uppercase letters, with 'G', 'J', and 'Y' having descender loops that facilitate connections to subsequent letters. The lower cases have medium to long extenders and a restrained appearance. Ascenders are loopless, except for 'f', while 'g', 'j', and 'y' include looped descenders that complement the style of their corresponding uppercase forms. The letter 'k' is constructed in two strokes, and 'm', 'n', and 'r' start with curved entry strokes. Family name in font menus Playwrite Polska appears in font menus with a two-letter country code \u2018PL\u2019, Playwrite PL, and features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Poland, see primarium.info/countries/poland. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite PL\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/poland" + }, + "Playwrite PL Guides": { + "name": "Playwrite PL Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Polska Guides is a single-weight font designed to harmonize seamlessly with its companion, Playwrite Polska. This font includes guideline markers on the baseline, x-height, ascenders, and descenders, providing a visual aid for primary school children. These guides help young learners grasp the proportions of letterforms and assist them in drawing letters with confidence and accuracy. Poland\u2019s podstawa programowa, or core curriculum, is published by the Ministerstwo, and available online, where it is continuously maintained. It mentions handwriting education very briefly, stating that the country\u2019s goal is that students must learn to write by hand, legibly and fluently, in sentences and continuous text. In Poland, the prevalent handwriting education model is a loopless, fully-joined vertical cursive, and students are taught upper and lower cases simultaneously. Handwriting primers show samples of this style alongside instructions on how to draw them. When it comes to reading, students learn that through a serif typeface. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Polska Guides characteristics Guidelines are present in all characters except for those used for letter spacing. To create a versatile font for teachers designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. It replaces the glyph shape with the guidelines and matches the width of the letter space. Find the detailed characteristics of this country's Model in Playwrite Polska. Family name in font menus Playwrite Polska Guides appears in font menus with a two-letter country code \u2018PL\u2019, Playwrite PL Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Poland, see primarium.info/countries/poland. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite PL Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/poland" + }, + "Playwrite PT": { + "name": "Playwrite PT", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Even though writing may be introduced in preschool, systematic teaching of handwriting only happens in the 1\u00b0 Cycle. Since schools have pedagogic autonomy in Portugal, there are differences in how handwriting is taught. However, it should be noted that they must meet the curriculum goals set out by the government and are subject to periodic external evaluations. Schools usually begin with \u2018letra impressa\u2019, or print script letters, starting with capital letters for students aged 5\u20136 years old, before moving to a fully joined, vertical cursive writing, known as \u2018escrita vertical\u2019. There are also some traditional schools that start handwriting teaching with letra de m\u00e3o/manuscrita, or cursive letters from the beginning. Playwrite Portugal is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite PT Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Portugal characteristics This upright continuous cursive model features decorative capital letters, with a notably distinctive 'Q' and an 'S' with a vertical stem. The lowercase letters are constructed slowly and carefully, displaying medium-length, looped ascenders and descenders. Letters 'm', 'n', 'v', and 'w' begin with curved entry strokes, while 'z' is characterized by a flat top. Additionally, the letter 'f' has a mirrored descender loop, and the letters 'o', 'v', 'w', and 'z' include knots, enhancing the stylistic intricacy of this handwriting model. Family name in font menus Playwrite Portugal appears in font menus with a two-letter country code \u2018PT\u2019, Playwrite PT, and features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Portugal, see primarium.info/countries/portugal. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite PT\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/portugal" + }, + "Playwrite PT Guides": { + "name": "Playwrite PT Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Portugal Guides is a single-weight font designed to harmonize seamlessly with its companion, Playwrite Portugal. This font includes guideline markers on the baseline, x-height, ascenders, and descenders, providing a visual aid for primary school children. These guides help young learners grasp the proportions of letterforms and assist them in drawing letters with confidence and accuracy. Even though writing may be introduced in preschool, systematic teaching of handwriting only happens in the 1\u00b0 Cycle. Since schools have pedagogic autonomy in Portugal, there are differences in how handwriting is taught. However, it should be noted that they must meet the curriculum goals set out by the government and are subject to periodic external evaluations. Schools usually begin with \u2018letra impressa\u2019, or print script letters, starting with capital letters for students aged 5\u20136 years old, before moving to a fully joined, vertical cursive writing, known as \u2018escrita vertical\u2019. There are also some traditional schools that start handwriting teaching with letra de m\u00e3o/manuscrita, or cursive letters from the beginning. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Portugal Guides characteristics Guidelines are present in all characters except for those used for letter spacing. To create a versatile font for teachers designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. It replaces the glyph shape with the guidelines and matches the width of the letter space. Find the detailed characteristics of this country's Model in Playwrite Portugal. Family name in font menus Playwrite Portugal Guides appears in font menus with a two-letter country code \u2018PT\u2019, Playwrite PT Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Portugal, see primarium.info/countries/portugal. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite PT Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/portugal" + }, + "Playwrite RO": { + "name": "Playwrite RO", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "The curriculum goals for Comunicare \u00een limba rom\u00e2n\u0103, or Communication in the Romanian language, place importance on teaching handwriting. Instruction happens during the early years of primary education, specifically in preparatory, first, and second grades. While schools and teachers have some flexibility in their methods, the instruction process, its stages, and writing models are widely standardized. Handwriting education begins in preparatory grade with a focus on print script alphabet, also known as \u2018scris de tipar\u2018 or \u2018litere bloc\u2019, and on development of communication skills. In first grade, students gradually transition to a cursive writing model called \u2018litere de m\u00e2n\u0103\u2018. It is a continuous cursive style with a 18\u00ba slope, and its narrow proportions follow a grid. Playwrite Rom\u00e2nia is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite RO Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Rom\u00e2nia characteristics This slanted continuous cursive features a slow stroke speed and medium-length looped ascenders and descenders. The uppercase letters are decorative, highlighted by a straight spine in 'S' and a distinguishable shape in 'G'. Both capital and lowercase versions of 'X' and 'Z' include crossbars as a unifying stylistic element. The lowercase letters often incorporate knots, enhancing the complex appearance of the script. The letter 'f' has a loopless descender and connects to the next letter via its crossbar, while 'q' is notable for a short exit stroke in its descender. Family name in font menus Playwrite Romania appears in font menus with a two-letter country code \u2018RO\u2019, Playwrite RO, and features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Romania, see primarium.info/countries/romania. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite RO\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/romania" + }, + "Playwrite RO Guides": { + "name": "Playwrite RO Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Rom\u00e2nia Guides is a single-weight font designed to harmonize seamlessly with its companion, Playwrite Rom\u00e2nia. This font includes guideline markers on the baseline, x-height, ascenders, and descenders, providing a visual aid for primary school children. These guides help young learners grasp the proportions of letterforms and assist them in drawing letters with confidence and accuracy. The curriculum goals for Comunicare \u00een limba rom\u00e2n\u0103, or Communication in the Romanian language, place importance on teaching handwriting. Instruction happens during the early years of primary education, specifically in preparatory, first, and second grades. While schools and teachers have some flexibility in their methods, the instruction process, its stages, and writing models are widely standardized. Handwriting education begins in preparatory grade with a focus on print script alphabet, also known as \u2018scris de tipar\u2018 or \u2018litere bloc\u2019, and on development of communication skills. In first grade, students gradually transition to a cursive writing model called \u2018litere de m\u00e2n\u0103\u2018. It is a continuous cursive style with a 18\u00ba slope, and its narrow proportions follow a grid. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Rom\u00e2nia Guides characteristics Guidelines are present in all characters except for those used for letter spacing. To create a versatile font for teachers designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. It replaces the glyph shape with the guidelines and matches the width of the letter space. Find the detailed characteristics of this country's Model in Playwrite Rom\u00e2nia. Family name in font menus Playwrite Romania appears in font menus with a two-letter country code \u2018RO\u2019, Playwrite RO Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Romania, see primarium.info/countries/romania. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite RO Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/romania" + }, + "Playwrite SK": { + "name": "Playwrite SK", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "In 2020, the latest iteration of the R\u00e1mcov\u00fd U\u010debn\u00fd Pl\u00e1n, or Framework Curriculum, was published by the Ministerstvo. It provides a sample of fully-joined, cursive writing based on \u2018Zjednodu\u0161en\u00e1 psac\u00ed latinka\u2018, or Simplified Latin script, which was ratified by the government of erstwhile Czechoslovakia in 1932. According to the curriculum, students must learn to write based on this model, following its letter shapes as well as slant. The Ministerstvo has been sharing this model with private publishers since 1993, and in the absence of official digitization, publishers have produced their own versions for use in their textbooks. Until 2020, schools only received government funding for purchasing textbooks if they did so from state-verified publishers, though that is no longer the case. Playwrite Slovensko is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite SK Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Slovensko characteristics This slanted continuous cursive features medium to short extenders and is executed at a slow stroke speed. The capital letters maintain a cursive, mostly unadorned structure, with distinctive traits such as an unusually constructed 'Q' and a vertical spine in 'S'. Lowercase letters have loops on extenders but lack knots, with the exception of the German-style 't'. Several lowercase letters begin with curved entry strokes. The letter 'z' is styled in a plain italic form and does not have a descender. Family name in font menus Playwrite Slovensko appears in font menus with a two-letter country code \u2018SK\u2019, Playwrite SK, and features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Slovakia, see primarium.info/countries/slovakia. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite SK\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/slovakia" + }, + "Playwrite SK Guides": { + "name": "Playwrite SK Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Slovensko Guides is a single-weight font designed to harmonize seamlessly with its companion, Playwrite Slovensko. This font includes guideline markers on the baseline, x-height, ascenders, and descenders, providing a visual aid for primary school children. These guides help young learners grasp the proportions of letterforms and assist them in drawing letters with confidence and accuracy. The Ministerstvo has been sharing this model with private publishers since 1993, and in the absence of official digitization, publishers have produced their own versions for use in their textbooks. Until 2020, schools only received government funding for purchasing textbooks if they did so from state-verified publishers, though that is no longer the case. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Slovensko Guides characteristics Guidelines are present in all characters except for those used for letter spacing. To create a versatile font for teachers designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. It replaces the glyph shape with the guidelines and matches the width of the letter space. Find the detailed characteristics of this country's Model in Playwrite Slovensko. Family name in font menus Playwrite Slovensko Guides appears in font menus with a two-letter country code \u2018SK\u2019, Playwrite SK Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Slovakia, see primarium.info/countries/slovakia. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite SK Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/slovakia" + }, + "Playwrite TZ": { + "name": "Playwrite TZ", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "The primary school curriculum, published by the Ministry of Education, Science and Technology, and the Tanzania Institute of Education (TIE), was last updated in 2015. The first section, centered on the first two years of primary education (Standards 1 and 2) focuses on developing competencies in reading, writing and arithmetic. The TIE also publishes a syllabus that provides specific guidelines for the implementation of the curriculum. The syllabus states that students should learn print style letters first followed by cursive writing, but no models or samples are shown. In practice, Standard 1 students learn an almost upright precursive and progress to a fully-joined cursive from Standard 2 onwards. The primers available through the free online library services supply detailed samples and practice materials that are used in classrooms. Playwrite Tanzania is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite TZ Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Tanzania characteristics This sloped continuous cursive style includes decorative capital letters. 'A' and 'H' feature looped crossbars, while 'G' has a cursive structure but lacks a descending stroke. 'M' and 'N' are constructed differently, with only one following a cursive format. The lowercase letters have looped ascenders and descenders. Curved entry strokes appear in 'm', 'n', and 'v', but are absent in 'w'. The letter 'q' includes a mirrored loop in its descender. Family name in font menus Playwrite Tanzania appears in font menus with a two-letter country code \u2018TZ\u2019, Playwrite TZ, and features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Tanzania, see primarium.info/countries/tanzania. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite TZ\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/tanzania" + }, + "Playwrite TZ Guides": { + "name": "Playwrite TZ Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Tanzania Guides is a single-weight font designed to harmonize seamlessly with its companion, Playwrite Tanzania. This font includes guideline markers on the baseline, x-height, ascenders, and descenders, providing a visual aid for primary school children. These guides help young learners grasp the proportions of letterforms and assist them in drawing letters with confidence and accuracy. The primary school curriculum, published by the Ministry of Education, Science and Technology, and the Tanzania Institute of Education (TIE), was last updated in 2015. The first section, centered on the first two years of primary education (Standards 1 and 2) focuses on developing competencies in reading, writing and arithmetic. The TIE also publishes a syllabus that provides specific guidelines for the implementation of the curriculum. The syllabus states that students should learn print style letters first followed by cursive writing, but no models or samples are shown. In practice, Standard 1 students learn an almost upright precursive and progress to a fully-joined cursive from Standard 2 onwards. The primers available through the free online library services supply detailed samples and practice materials that are used in classrooms. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Tanzania Guides characteristics Guidelines are present in all characters except for those used for letter spacing. To create a versatile font for teachers designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. It replaces the glyph shape with the guidelines and matches the width of the letter space. Find the detailed characteristics of this country's Model in Playwrite Tanzania. Family name in font menus Playwrite Tanzania Guides appears in font menus with a two-letter country code \u2018TZ\u2019, Playwrite TZ Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Tanzania, see primarium.info/countries/tanzania. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite TZ Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/tanzania" + }, + "Playwrite US Modern": { + "name": "Playwrite US Modern", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "In the absence of a unified national approach, elementary education in the United States is supported by several private companies that espouse different approaches to teaching handwriting. According to American handwriting expert Kate Gladstone, it is difficult to confidently determine which handwriting models are most commonly taught in the country, but among the most widespread are Zaner-Bloser and D\u2019Nealian, both following a traditional style, and Handwriting Without Tears. Two other programs featuring modern cursive models \u2014 Getty-Dubay and Barchowsky Fluent Hand \u2014 are rapidly gaining interest as writing models not only for children but also for adults seeking to improve their handwriting. Playwrite USA Modern is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite US Modern Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite USA Modern characteristics This style is a straightforward, completely upright modern cursive. The uppercase letters adopt a simplified print style, with notable features including a serif on 'I' and an 'M' with a raised center. The lowercase letters are semi-connected and designed with loopless, medium-length ascenders and descenders. Unusually for this style, the letters 'm', 'n', and 'r' begin with a curved entry stroke, which adds a subtle complexity to the otherwise streamlined appearance of the script. Family name in font menus Playwrite USA Modern appears in font menus with a two-letter country code \u2018US\u2019 and a the word \u2018Modern\u2019, Playwrite US Modern. It features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in the United States of America, see primarium.info/countries/united-states-of-america. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite USA Modern\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/united-states-of-america" + }, + "Playwrite US Modern Guides": { + "name": "Playwrite US Modern Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite USA Modern Guides is a single-weight font designed to harmonize seamlessly with its companion, Playwrite USA Modern. This font includes guideline markers on the baseline, x-height, ascenders, and descenders, providing a visual aid for primary school children. These guides help young learners grasp the proportions of letterforms and assist them in drawing letters with confidence and accuracy. In the absence of a unified national approach, elementary education in the United States is supported by several private companies that espouse different approaches to teaching handwriting. According to American handwriting expert Kate Gladstone, it is difficult to confidently determine which handwriting models are most commonly taught in the country, but among the most widespread are Zaner-Bloser and D\u2019Nealian, both following a traditional style, and Handwriting Without Tears. Two other programs featuring modern cursive models \u2014 Getty-Dubay and Barchowsky Fluent Hand \u2014 are rapidly gaining interest as writing models not only for children but also for adults seeking to improve their handwriting. To contribute, see github.com/TypeTogether/Playwrite. Playwrite USA Modern Guides characteristics Guidelines are present in all characters except for those used for letter spacing. To create a versatile font for teachers designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. It replaces the glyph shape with the guidelines and matches the width of the letter space. Find the detailed characteristics of this country's Model in Playwrite USA Modern. Family name in font menus Playwrite USA Modern Guides appears in font menus with a two-letter country code \u2018US\u2019 and a the word \u2018Modern\u2019, Playwrite US Modern Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in the United States of America, see primarium.info/countries/united-states-of-america. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite USA Modern Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/united-states-of-america" + }, + "Playwrite US Trad": { + "name": "Playwrite US Trad", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "In the absence of a unified national approach, elementary education in the United States is supported by several private companies that espouse different approaches to teaching handwriting. According to American handwriting expert Kate Gladstone, it is difficult to confidently determine which handwriting models are most commonly taught in the country, but among the most widespread are Zaner-Bloser and D\u2019Nealian, both following a traditional style, and Handwriting Without Tears. Two other programs featuring modern cursive models \u2014 Getty-Dubay and Barchowsky Fluent Hand \u2014 are rapidly gaining interest as writing models not only for children but also for adults seeking to improve their handwriting. Playwrite USA Traditional is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite US Trad Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite USA Traditional characteristics This style follows the traditional American style of Zaner-Bloser and D'Nealian, featuring a slanted continuous cursive. Capital letters vary in appearance, with some like 'I', 'H', and 'G' being more decorative, and others such as 'A', 'N', and 'M' maintaining a cursive style. The construction of the letters appears fast and is complex in certain characters. Ascenders and descenders include loops to facilitate continuous writing, with mirrored loops in 'p' and 'q' enhancing the flow. Consistent with other English-speaking models, the entry strokes for 'v' and 'w' are distinctly different. Family name in font menus Playwrite USA Traditional appears in font menus with a two-letter country code \u2018US\u2019 and a the \u2018Trad\u2019 abbreviation, Playwrite US Trad. It features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in the United States of America, see primarium.info/countries/united-states-of-america. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in font editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite USA Trad\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/united-states-of-america" + }, + "Playwrite US Trad Guides": { + "name": "Playwrite US Trad Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite USA Traditional Guides is a single-weight font designed to harmonize seamlessly with its companion, Playwrite USA Traditional. This font includes guideline markers on the baseline, x-height, ascenders, and descenders, providing a visual aid for primary school children. These guides help young learners grasp the proportions of letterforms and assist them in drawing letters with confidence and accuracy. In the absence of a unified national approach, elementary education in the United States is supported by several private companies that espouse different approaches to teaching handwriting. According to American handwriting expert Kate Gladstone, it is difficult to confidently determine which handwriting models are most commonly taught in the country, but among the most widespread are Zaner-Bloser and D\u2019Nealian, both following a traditional style, and Handwriting Without Tears. Two other programs featuring modern cursive models \u2014 Getty-Dubay and Barchowsky Fluent Hand \u2014 are rapidly gaining interest as writing models not only for children but also for adults seeking to improve their handwriting. To contribute, see github.com/TypeTogether/Playwrite. Playwrite USA Traditional Guides characteristics Guidelines are present in all characters except for those used for letter spacing. To create a versatile font for teachers designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. It replaces the glyph shape with the guidelines and matches the width of the letter space. Find the detailed characteristics of this country's Model in Playwrite USA Traditional. Family name in font menus Playwrite USA Traditional Guides appears in font menus with a two-letter country code \u2018US\u2019 and a the \u2018Trad\u2019 abbreviation, Playwrite US Trad Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in the United States of America, see primarium.info/countries/united-states-of-america. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in font editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite USA Trad Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/united-states-of-america" + }, + "Playwrite VN": { + "name": "Playwrite VN", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "In Vietnam, an official handwriting model for teaching in primary schools was adopted in 2002. It is called the m\u1eabu ch\u1eef th\u1ea3o ti\u1ebfng vi\u1ec7t, or Vietnamese official cursive script, and has been in use from academic year 2002-03 onwards. Based on this model, students learn to write in both upright and (optionally) sloped cursive letters, without ever being taught print letters. Nevertheless, they do practice drawing the basic strokes that make up letters in preparation. Handwriting education happens between Grades 1 to 3, and while students are introduced to writing using a pencil, they graduate to writing with fountain pens while they are still in primary school. Playwrite Vi\u1ec7t Nam is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite VN Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Vi\u1ec7t Nam characteristics The model follows the structure and proportions of the upright, monolinear version of the Vietnamese official cursive script. These are the versions that are prioritized for teaching, while others may be introduced if the situation is conducive. The letter shapes derive from the French traditional vertical cursive writing, featuring long ascenders and descenders and round and fully joined lowercases. Letters 'b', 'r', 'v', and 'w' make use of knots to change the stroke direction, 'n' and 'm' have curved entry strokes and 'x' is created by means of two mirrored curves. Notable upper case features are the triangular yet decorative shapes of 'A', 'V' and 'W', and an 'S' with an upright spine. Family name in font menus Playwrite Vi\u1ec7t Nam appears in font menus with a two-letter country code \u2018VN\u2019, Playwrite VN, and features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Vi\u1ec7t Nam, see primarium.info/countries/vietnam. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite VN\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/vietnam" + }, + "Playwrite VN Guides": { + "name": "Playwrite VN Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Vi\u1ec7t Nam Guides is a single-weight font designed to harmonize seamlessly with its companion, Playwrite Vi\u1ec7t Nam. This font includes guideline markers on the baseline, x-height, ascenders, and descenders, providing a visual aid for primary school children. These guides help young learners grasp the proportions of letterforms and assist them in drawing letters with confidence and accuracy. In Vietnam, an official handwriting model for teaching in primary schools was adopted in 2002. It is called the m\u1eabu ch\u1eef th\u1ea3o ti\u1ebfng vi\u1ec7t, or Vietnamese official cursive script, and has been in use from academic year 2002-03 onwards. Based on this model, students learn to write in both upright and (optionally) sloped cursive letters, without ever being taught print letters. Nevertheless, they do practice drawing the basic strokes that make up letters in preparation. Handwriting education happens between Grades 1 to 3, and while students are introduced to writing using a pencil, they graduate to writing with fountain pens while they are still in primary school. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Vi\u1ec7t Nam Guides characteristics Guidelines are present in all characters except for those used for letter spacing. To create a versatile font for teachers designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. It replaces the glyph shape with the guidelines and matches the width of the letter space. Find the detailed characteristics of this country's Model in Playwrite Vi\u1ec7t Nam. Family name in font menus Playwrite Vi\u1ec7t Nam Guides appears in font menus with a two-letter country code \u2018VN\u2019, Playwrite VN Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Vi\u1ec7t Nam, see primarium.info/countries/vietnam. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite VN Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/vietnam" + }, + "Playwrite ZA": { + "name": "Playwrite ZA", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Through its website, the Department of Basic Education produces and distributes documents that outline curricula, educational goals and guidelines, implementation notes, and assessment policies. The Curriculum Assessment Policy Statements (CAPS) outlines the steps and objectives for handwriting instruction and specifies that students learn motor skills in Grade R, and unjoined upper and lowercase letters in Grade 1. They then gain speed and proficiency in Grade 2, and proceed to cursive writing. The document does not, however, prescribe any handwriting models that should be used for teaching. Despite the absence of a recommended model, teachers, specialized publishers, and educational resource providers have converged on their choice of fonts for handwriting education. Geometric \u201cball and stick\u201d letters are used for the first stage of instruction, and a very slanted continuous cursive style is used thereafter. Playwrite South Africa is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite ZA Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite South Africa characteristics This continuous cursive features a gentle slope and a relatively slow pace of construction. The uppercase letters incorporate cursive elements, with looped descenders in 'G', 'J', 'Y', and 'Z', enhancing their fluidity. The lowercase letters have looped ascenders and descenders to support seamless connections between letters. Notably, this style does not include curved entry strokes in 'm', 'n', 'v', and 'w', which is a departure from typical continuous cursives. However, it includes distinctly curved shapes in the letters 'x' and 'z', adding a dynamic element to the overall script. Family name in font menus Playwrite South Africa appears in font menus with a two-letter country code \u2018ZA\u2019, Playwrite ZA, and features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in South Africa, see primarium.info/countries/south-africa. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite ZA\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/south-africa" + }, + "Playwrite ZA Guides": { + "name": "Playwrite ZA Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite South Africa Guides is a single-weight font designed to harmonize seamlessly with its companion, Playwrite South Africa. This font includes guideline markers on the baseline, x-height, ascenders, and descenders, providing a visual aid for primary school children. These guides help young learners grasp the proportions of letterforms and assist them in drawing letters with confidence and accuracy. Through its website, the Department of Basic Education produces and distributes documents that outline curricula, educational goals and guidelines, implementation notes, and assessment policies. The Curriculum Assessment Policy Statements (CAPS) outlines the steps and objectives for handwriting instruction and specifies that students learn motor skills in Grade R, and unjoined upper and lowercase letters in Grade 1. They then gain speed and proficiency in Grade 2, and proceed to cursive writing. The document does not, however, prescribe any handwriting models that should be used for teaching. Despite the absence of a recommended model, teachers, specialized publishers, and educational resource providers have converged on their choice of fonts for handwriting education. Geometric \u201cball and stick\u201d letters are used for the first stage of instruction, and a very slanted continuous cursive style is used thereafter. To contribute, see github.com/TypeTogether/Playwrite. Playwrite South Africa Guides characteristics Guidelines are present in all characters except for those used for letter spacing. To create a versatile font for teachers designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. It replaces the glyph shape with the guidelines and matches the width of the letter space. Find the detailed characteristics of this country's Model in Playwrite South Africa. Family name in font menus Playwrite South Africa Guides appears in font menus with a two-letter country code \u2018ZA\u2019, Playwrite ZA Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in South Africa, see primarium.info/countries/south-africa. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite ZA Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/south-africa" + }, + "Plus Jakarta Sans": { + "name": "Plus Jakarta Sans", + "designer": [ + "Tokotype" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Plus Jakarta Sans is a fresh take on geometric sans serif styles, designed by Gumpita Rahayu from Tokotype. The fonts were originally commissioned by 6616 Studio for Jakarta Provincial Government program's +Jakarta City of Collaboration identity in 2020. Taking inspiration in Neuzeit Grotesk, Futura, and 1930s grotesque sans serifs with almost monolinear contrast and pointy curves, the fonts consist of modern and clean cut forms, the x-height dimension slightly taller to provide clear spaces between caps and x-height, and also equipped with open counters and balanced spaces to preserve the legibility at a large range of sizes. The beauty of diversity captured in typography. Like the city itself, the uniqueness of this font is that in some glyphs it has its own diversity and characteristic of various explorations of forms that enrich the expressions and stories that coexist. The charms of Plus Jakarta Sans fonts appear when one looks closer, manifesting in a beauty that emerges once seen as a whole. Each alternate in the family contains several alternative characters, divided into three stylistic sets which Lancip (Sharp), Lurus (Straight), and Lingkar (Swirl). As part of +Jakarta City of Collaboration, the fonts are made available for public use under the SIL Open Font License. To contribute, see github.com/tokotype/PlusJakartaSans.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Pochaevsk": { + "name": "Pochaevsk", + "designer": [ + "Aleksandr Andreev" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Pochaevsk is a contemporary Church Slavonic font that reproduces the typeface used in editions published by the Holy Dormition Pochaiv Lavra in the late 19th century and, subsequently, in editions published in the 20th century by Holy Trinity Monastery in Jordanville, New York. Due to its small vertical metrics, this font is convenient for use in bilingual editions featuring Church Slavonic text and text in another languages. To contribute, please see github.com/slavonic/pochaevsk.", + "primary_script": "Cyrl", + "article": null, + "minisite_url": null + }, + "Podkova": { + "name": "Podkova", + "designer": [ + "Cyreal" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Podkova is the Russian word for Horseshoe, and this is a monoline slab serif with diagonal terminals. The wide proportions and clean features aid legibility at small sizes, while the unusual letterforms provide enough character to be useful for display typography too. Initially designed by Ilya Yudin in 2010, it was carefully refined and expanded by Alexei Vanyashin into a wider range of weights (that made the bold style a little lighter) in January 2017. In September 2019, the family is now a variable font. To contribute, see github.com/cyrealtype/Podkova.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Poetsen One": { + "name": "Poetsen One", + "designer": [ + "Rodrigo Fuenzalida", + "Pablo Impallari" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Inspired by the hand painted signs in supermarkets, and the roman structures of the classical alphabets. Poetsen is a display font, but it's not just intended to be used on big 'straight to the eye' titles. Since it has a large x-height, it can be used on short paragraphs in relatively small bodies of text too.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Poiret One": { + "name": "Poiret One", + "designer": [ + "Denis Masharov" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "A fresh decorative geometric grotesque with a hint of Art Deco and c\u0091onstructivism. Poiret One is a unique typeface with light forms and pure elegance. Sleek and simple. Based on geometric forms, it has stylish lines and graceful curves. The font is applicable for large signs, labels, titles, headlines and any type of graphic design on the web, in motion graphics, or in print - from t-shirts to posters and logos. It is also well-suited for short texts and advertising where style is desired. Complete with a lower-case letters, the Poiret One is also useful for all-caps usage. To contribute to the project contact Denis Masharov.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Poller One": { + "name": "Poller One", + "designer": [ + "Yvonne Sch\u00fcttler" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Poller is a high contrast semi-extended style Sans Serif. Poller is both readable and full of personality. Because of the higher contrast it is best used from medium sizes to larger display settings. Poller was inspired by hand lettering on early 20th century German posters.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Poltawski Nowy": { + "name": "Poltawski Nowy", + "designer": [ + "Adam P\u00f3\u0142tawski", + "Mateusz Machalski", + "Borys Kosmynka", + "Ania Wielu\u0144ska" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "P\u00f3\u0142tawski Nowy is a digitisation project the Antykwa P\u00f3\u0142tawskiego typeface. A key aspect of the design of the digital version of the typeface from 1928 was the approach to the issue of developing the shape of characters from sources. Historical research was carried out in parallel with the preparation of the computer version, which allowed to learn about the unique story of this most recognizable Polish font design. The P\u00f3\u0142tawski Nowy type family is intended for typesetting in sizes from 10 to 18 pt. The project is implemented thanks to the support of the Digital Culture 2020 program of the Ministry of Culture and National Heritage. In the P\u00f3\u0142tawski Nowy digitisation, the source of the study were scans of a type specimen book from the Id\u017akowski i S-ka foundry, a set of drawings, punch patterns and punches made by Monotype in Salfords, Great Britain in 1934-1955. They were made available by the Type Archive London. Thanks to the standardization of characters and the balancing of the typographic rhythm, in the digital version, the typeface retains its ornamental character, while working well in smaller text sizes. The basic character set available in the sources has been extended with further variants of diacritics, small caps, subscript and superscript, variants of numbers (tabular, proportional, nautical) and a set of OpenType features. To contribute see github.com/kosmynkab/Poltawski-Nowy", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Poly": { + "name": "Poly", + "designer": [ + "Nicol\u00e1s Silva" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Poly is a medium contrast serif font. With short ascenders and a very high x-height, Poly is efficient in small sizes. Thanks to its careful balance between the x-height and glyph widths, it allows more economy and legibility than standard web serifs, even in small sizes. This font was originally designed to compose texts in agglutinative languages; these contain very long words. The goal was to develop a typeface that would tolerate cramped tracking and that would increase the number of letters on a single line. Poly is a Unicode typeface family that supports Open Type features and languages that use the Latin script and its variants, especially Native South American language families.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Pompiere": { + "name": "Pompiere", + "designer": [ + "Karolina Lach" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Pompiere is a low contrast condensed sans serif font. However unlike most sans it has very tall ascenders and and very small x height. Pompiere is playful and even a little sweet. This font was inspired by a handmade sign seen outside of NYC firefighters Squad Co. 18 in the West Village of Manhattan. Because of its small x height and modest weight it will work best at medium to large sizes.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ponnala": { + "name": "Ponnala", + "designer": [ + "Appaji Ambarisha Darbha" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "telugu" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Ponnala is a Telugu font. Designed by Appaji Ambarisha Darbha in 2013 and made available by Silicon Andhra under the SIL Open Font License v1.1. The Ponnala project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India. To contribute, see github.com/appajid/ponnala", + "primary_script": "Telu", + "article": null, + "minisite_url": null + }, + "Ponomar": { + "name": "Ponomar", + "designer": [ + "Aleksandr Andreev" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Ponomar is a contemporary Church Slavonic font that reproduces the typeface used in editions published by the Synodal Press of the Russian Orthodox Church in the early twentieth century. It is presently used in various liturgical books published by the Moscow Patriarchate. It also contains characters needed to typeset liturgical texts in Romanian (Moldovan) Cyrillic, Aleut, and Sakha (Yakut). To contribute, please see github.com/slavonic/Ponomar.", + "primary_script": "Cyrl", + "article": null, + "minisite_url": null + }, + "Pontano Sans": { + "name": "Pontano Sans", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Pontano Sans is a minimalist and light weighted Sans Serif. Pontano is designed mainly for use as a display font but is useable as a text font too. Pontano Sans has been designed to be used freely across the internet by web browsers on desktop computers, laptops and mobile devices. In February 2023, the font becomes variable (light to bold) and presents several improvements in terms of rendering and supported languages. To contribute, see github.com/googlefonts/PontanoSansFont.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Poor Story": { + "name": "Poor Story", + "designer": [ + "Yoon Design" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "korean", + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Poor Story is a Korean and Latin font.", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "Poppins": { + "name": "Poppins", + "designer": [ + "Indian Type Foundry", + "Jonny Pinhorn", + "Ninad Kale" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Geometric sans serif typefaces have always been popular, and with support for both the Devanagari and Latin writing systems, Poppins is an internationalist addition to the genre. Many of the Latin glyphs (such as the ampersand) are more constructed and rationalist than is typical. The Devanagari design was particularly novel when it was first published in 2015, and was the first ever Devanagari typeface with a range of weights in this genre. Just like the Latin, the Devanagari is based on pure geometry, particularly circles. Each letterform is nearly monolinear, with optical corrections applied to stroke joints where necessary to maintain an even typographic color. The Devanagari base character height and the Latin ascender height are equal; Latin capital letters are shorter than the Devanagari characters, and the Latin x-height is set rather high. The project was developed by Indian Type Foundry (ITF). The Devanagari was initially designed by Ninad Kale, while the Latin was initially designed by Jonny Pinhorn. Following their principal phase of designing the first 5 styles, the typeface was later refined, and expanded to include multiple weights and italics, by the ITF studio team. To contribute, see github.com/itfoundry/poppins", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Port Lligat Sans": { + "name": "Port Lligat Sans", + "designer": [ + "Tipo" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Port Lligat Sans is a display typeface. It has a soft variation in strokes, condensed structure, vertical stress, and a well balance groovy rhythm. It is particularly useful for both short text and headlines, but it is also comfortable for reading on screen. It is designed to become a super family with styles in many different typographical categories matching the exactly weight and width across the whole family. As a result they can be used together in many different ways. The first releases are the regular Roman styles of the Sans and Slab families. The Sans is the basic structure for the rest of the styles. It has a white interior simple form, non showy terminals. The strokes are not straight, they have entasis on them, also in the end of the strokes as terminals.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Port Lligat Slab": { + "name": "Port Lligat Slab", + "designer": [ + "Tipo" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Port Lligat Slab is a display typeface. It has a soft variation in strokes, condensed structure, vertical stress, and a well balance groovy rhythm. It is particularly useful for both short text and headlines, but it is also comfortable for reading on screen. It is designed to become a super family with styles in many different typographical categories matching the exactly weight and width across the whole family. As a result they can be used together in many different ways. The first releases are the regular Roman styles of the Sans and Slab families. The Slab matches exactly with the Sans but it has heavy slab serifs and rounded terminals. In small sizes it looks like a groovy serif typeface.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Potta One": { + "name": "Potta One", + "designer": [ + "Font Zone 108" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "japanese", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Potta One is a single style family which features letterforms that have been inspired by brush lettering. To contribute to the project, visit github.com/go108go/Potta", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "Pragati Narrow": { + "name": "Pragati Narrow", + "designer": [ + "Omnibus-Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Pragati Narrow is a libre Devanagari typeface family designed as a complement to Archivo Narrow. It is a sans-serif family with vertical and horizontal cuts. Pragati Narrow comes in 2 weights (Regular and Bold) and was specially developed for screen as webfont and desktop font, too. The Devanagari was designed by Marcela Romero, Pablo Cosgaya and Nicol\u00e1s Silva. The Latin version of Pragati is reminiscent of late nineteenth century American typefaces. It includes four Narrow styles and four Normal styles (in development), was derived from Chivo (designed by H\u00e9ctor Gatti) and was developed with the collaboration of the Omnibus-Type team. Pragati (\u092a\u094d\u0930\u0917\u0924\u093f) is the Hindi word for \u2018progress\u2019. This project is led by Omnibus-Type, a type foundry based in Argentina. To contribute, visit github.com/Omnibus-Type/PragatiNarrow.", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Praise": { + "name": "Praise", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Praise is a versatile script with variations from Casual (non-connecting) to Formal appeal. With nearly 3400 glyphs, the five stylistic sets gives a powerful solution to the design needs of the graphic design professional. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/praise-script.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Prata": { + "name": "Prata", + "designer": [ + "Cyreal" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Prata is an elegant Didone typeface with sharp features and organic teardrops. There is a certain tension in the contrast of its virile serifs and soft refined curves. Its triangular serifs complement and accent the thin strokes, and the high contrast means it will work best in display sizes. Designed by Ivan Petrov for Cyreal.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Preahvihear": { + "name": "Preahvihear", + "designer": [ + "Danh Hong" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "khmer", + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Preahvihear is a Khmer font for headlines, titles and subtitles, and even banner designs. To contribute, see github.com/danhhong/Preahvihear.", + "primary_script": "Khmr", + "article": null, + "minisite_url": null + }, + "Press Start 2P": { + "name": "Press Start 2P", + "designer": [ + "CodeMan38" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Press Start 2P is a bitmap font based on the font design from 1980s Namco arcade games. It works best at sizes of 8px, 16px and other multiples of 8. Although the design of uppercase letters and digits dates back to Atari's \"Sprint\" (1977), the specific glyph forms in this TrueType conversion are based on those from \"Return of Ishtar\" (1986), one of the first games to include and regularly use lowercase as well as uppercase letters in its screen font. Unlike the original font from the \"Return of Ishtar\" ROM, Press Start 2P includes a wide variety of non-ASCII Unicode characters for pan-European use, including Greek and Cyrillic. It could be expanded to support other scripts. To contribute to the project contact Cody \"CodeMan38\" Boisclair.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Pridi": { + "name": "Pridi", + "designer": [ + "Cadson Demak" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "thai", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Pridi means \u201cjoyful\u201d in Thai. Pridi is a slab serif Latin and looped Thai typeface that is well-suited for both body text and display. The looped Terminal Thai is designed specifically within loopless terminal concepts, and works well with the slab serif Latin without adding any slabs to any Thai glyphs. This font can be used as a body text in various media such as magazines, advertisements, and other print media. A similarity between some glyphs such as \u0e01 \u0e16 \u0e20 \u0e24 \u0e26, \u0e0e \u0e0f, \u0e1a \u0e1b, and \u0e02 \u0e0a is something to take into consideration because it might lead to confusion when typesetting very short texts. Pridi has a specific approach to the thick and thin strokes of Thai glyphs. Other type designers of Thai fonts may like to use this approach as a reference. Informal looped Thai typefaces have slightly simplified details, as compared to formal ones, and this allows designers to extend the font to heavier weights. The size and position of Thai vowel and tone marks need to be managed carefully, because they are all relevant to readability, legibility, and overall texture. The Pridi project is led by Cadson Demak, a type foundry in Thailand. To contribute, see github.com/cadsondemak/pridi", + "primary_script": "Thai", + "article": null, + "minisite_url": null + }, + "Princess Sofia": { + "name": "Princess Sofia", + "designer": [ + "Tart Workshop" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "She's a real princess who rules the casa with love, grace and fancy penmanship. A casual italic calligraphy inspired style perfect for titling with a little flair. Designed by Crystal Kluge of Tart Workshop (a DBA of Font Diner, Inc). To contribute to the project contact the Font Diner at support@fontdiner.com", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Prociono": { + "name": "Prociono", + "designer": [ + "Barry Schwartz" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Prociono (pro-tsee-O-no) is an Esperanto word meaning either the star Procyon or the animal species known as the raccoon. It is a roman with blackletter elements. To learn more, see bitbucket.org/sortsmill/sortsmill-fonts and theleagueofmoveabletype.com/prociono", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Prompt": { + "name": "Prompt", + "designer": [ + "Cadson Demak" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "thai", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Prompt in Thai means \u201cready,\u201d the same as in English. Prompt is a loopless Thai and sans Latin typeface. The simple and geometric Latin was developed to work harmoniously with the loopless Thai that has wide proportions and airy negative space. It is suitable for both web and print usage, such as magazines, newspapers, and posters. A similarity between some glyphs such as \u0e01 \u0e16 \u0e20 \u0e24 \u0e26, \u0e0e \u0e0f, \u0e1a \u0e1b, \u0e02 \u0e0a is something to take into consideration because it might lead to confusion when typesetting very short texts. Formal loopless Thai typefaces are simplified, compared to traditional looped Thai types, and this simplification has to be done properly in order to preserve the essense of each character. The size and position of Thai vowel and tone marks has been managed carefully, because they are all relevant to readability, legibility, and overall texture. The Prompt project is led by Cadson Demak, a type foundry in Thailand. To contribute, see github.com/cadsondemak/prompt", + "primary_script": "Thai", + "article": null, + "minisite_url": null + }, + "Prosto One": { + "name": "Prosto One", + "designer": [ + "Jovanny Lemonad", + "Pavel Emelyanov" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "This font was created during a 6 month collaboration by two designers in Russia, Jovanny Lemonad and Pavel Emelyanov. They wanted to make a modern 'accidental grotesque,' useful for logos and presentations. The project's initiator and chief designer is Pavel Emelyanov, who worked with his mentor Ivan Gladkikh, known as Jovanny Lemonad, who helped with technical expertize to finalize the font. To contribute to the project contact Jovanny Lemonad and Pavel Emelyanov.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Protest Guerrilla": { + "name": "Protest Guerrilla", + "designer": [ + "Octavio Pardo" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "math", + "symbols", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "The Protest Types began as personal project by designer Octavio Pardo to reflect on the shapes and voices of protest signs. So far it spans four font families, each with a different voice. Protest Guerrilla is an stencil version of Strike. An import and novel design feature of the project as a whole:Strike, Guerrilla and Riot all share the same spacing and kerning. This means designers have the possibility to write a message, and then decide the level of passion (or anger) that they want to express that message with, without altering any line lengths or page layouts. To contribute, please see github.com/octaviopardo/Protest.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Protest Revolution": { + "name": "Protest Revolution", + "designer": [ + "Octavio Pardo" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "math", + "symbols", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "The Protest Types began as personal project by designer Octavio Pardo to reflect on the shapes and voices of protest signs. So far it spans four font families, each with a different voice. Protest Revolution expresses the furious and messy painted signs. An import and novel design feature of the project as a whole:Strike, Guerrilla and Riot all share the same spacing and kerning. This means designers have the possibility to write a message, and then decide the level of passion (or anger) that they want to express that message with, without altering any line lengths or page layouts. To contribute, please see github.com/octaviopardo/Protest.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Protest Riot": { + "name": "Protest Riot", + "designer": [ + "Octavio Pardo" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "math", + "symbols", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "The Protest Types began as personal project by designer Octavio Pardo to reflect on the shapes and voices of protest signs. So far it spans four font families, each with a different voice. Protest Riot captures the shapes of naive and informal street signs. An import and novel design feature of the project as a whole:Strike, Guerrilla and Riot all share the same spacing and kerning. This means designers have the possibility to write a message, and then decide the level of passion (or anger) that they want to express that message with, without altering any line lengths or page layouts. To contribute, please see github.com/octaviopardo/Protest.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Protest Strike": { + "name": "Protest Strike", + "designer": [ + "Octavio Pardo" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "math", + "symbols", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "The Protest Types began as personal project by designer Octavio Pardo to reflect on the shapes and voices of protest signs. So far it spans four font families, each with a different voice. Protest Strike is a solid but peaceful Sans Serif typeface. An import and novel design feature of the project as a whole:Strike, Guerrilla and Riot all share the same spacing and kerning. This means designers have the possibility to write a message, and then decide the level of passion (or anger) that they want to express that message with, without altering any line lengths or page layouts. To contribute, please see github.com/octaviopardo/Protest.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Proza Libre": { + "name": "Proza Libre", + "designer": [ + "Jasper de Waard" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Proza Libre is the libre version of the retail Proza type family, by Bureau Roffa. It is made to render exceptionally well on screens across different operating systems, especially Windows, using ttfautohint. The Proza Libre project is led by Jasper de Waard, a type designer based in the Netherlands. To contribute, see github.com/jasperdewaard/Proza-Libre", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Public Sans": { + "name": "Public Sans", + "designer": [ + "USWDS", + "Dan Williams", + "Pablo Impallari", + "Rodrigo Fuenzalida" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Based on Libre Franklin, Public Sans is a strong, neutral typeface for interfaces, text, and headings. It was Developed by the United States Web Design System. The family was upgraded to a variable font in May 2022. To contribute, see github.com/uswds/public-sans", + "primary_script": null, + "article": null, + "minisite_url": "https://public-sans.digital.gov/" + }, + "Puppies Play": { + "name": "Puppies Play", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Puppies Play is a fun, bouncy script with connectors that give a playful flow. Perfect for baby shower invitations, nursery rhymes, and other items that require a fun, children's look. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/puppies-play.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Puritan": { + "name": "Puritan", + "designer": [ + "Ben Weiner" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "I started drawing letters with a computer when I first got one of my own in 1997. I\u2019d been studying sans serif type as a project on the Typography & Graphic Communication course that I was taking at Reading University, and learning about the different strands of development: \u2018grotesques\u2019 such as the delightful Monotype Series 215 were designed by type cutters or draftsmen, while geometric and humanist sans serifs like Futura and Gill Sans were constructed with compasses or quills by rationalist typographers and calligraphers. In the end, of course, they all needed a little wash and brush-up from the typefounder \u2013 to say nothing of the type designs. I was also in thrall of a typeface called Ehrhardt, a Monotype revival typeface that is based on a seventeenth century design by Miklos Kis. It too had endured a lot of cleaning, but though they were hard on the source material, those responsible created a very elegant condensed typeface. The result looks a bit like a house on an Amsterdam canal. Puritan was my response to these influences; it was also a way (I thought) that I could get hold of an interesting typeface without unofficially borrowing from the Typography department. It might be flawed, but it was mine! Well, I learned a lot from the experience. I wrote a short essay about Puritan as a project in my final year as an undergraduate. Rather than repeat it all here, I have converted the essay (presented as a booklet) into a PDF file of around 1200K which you can download. In October 1999, I submitted Puritan to the 3rd International Type Design Contest, where it made absolutely no impact.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Purple Purse": { + "name": "Purple Purse", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Purple Purse draws its inspiration from a vintage Ivory Soap ad from the 1950's. Somewhat of a cross between Bodoni and Pixie, this font finds that it never truly takes itself seriously. The fun little bounce of the typeface gives it a perky personality. To contribute to the project contact Brian J. Bonislawsky.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Pushster": { + "name": "Pushster", + "designer": [ + "Sir Andyj" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": null, + "primary_script": "Thai", + "article": "Font article goes here. No more of this: . Have you seen this man?", + "minisite_url": "https://fonts.google.com/icons" + }, + "Qahiri": { + "name": "Qahiri", + "designer": [ + "Khaled Hosny" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "arabic", + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Qahiri is a Kufic typeface based on the modernized and regularized old manuscript Kufic calligraphy style of the late master of Arabic calligraphy, Mohammad Abdul Qadir. Following the convention of naming Kufic styles after the cities they appeared in, Qahiri (\u0642\u0627\u0647\u0631\u064a) is named after the city of Cairo, Egypt (\u0627\u0644\u0642\u0627\u0647\u0631\u0629). To contribute, see github.com/alif-type/qahiri", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Quando": { + "name": "Quando", + "designer": [ + "Joana Correia" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Quando is a serifed text typeface inspired by brushy handwritten letters seen on an italian poster from the second world war. Quando is a flexible text typeface made for the web whose personality consistently shows in both small and large sizes. Quando's low contrast design helps it work better on screens and smaller sizes. Especially distinctive letterforms include letters like the a, g, x and Q. Quando's friendly feeling along with its clarity and familiarity makes it suitable for a broad range of uses.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Quantico": { + "name": "Quantico", + "designer": [ + "MADType" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Quantico is an angular typeface family that was inspired by old beer packaging and military lettering. It utilizes 30 degree angles and completely straight lines to form unique character shapes. Documentation can be found at www.madtype.com and to contribute to the project contact Matthew Desmond at mattdesmond@gmail.com", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Quattrocento": { + "name": "Quattrocento", + "designer": [ + "Impallari Type" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Classic, elegant, sober and strong, the Quattrocento typeface has wide and open letterforms. The generous x-height makes it very legible for body text at small sizes, while the tiny details can only be seen at larger sizes mean it is also a great choice for display typography. Some of their distinctive characteristics are: Low Contrast. The thins are just a tad thiner than the thicks, almost monotone. Cupped, tapered stems that flows naturally into the serifs. Distinctive K, R and & tail. Cupped B, D, E, F, P, Q, R and T. The Q is a humble expression of admiration and gratitude for Doyald Young. Alternate M, Two W alternates. Narrow L, T for better fit. Almost flat top serif on the lowercases. Shoulders of the m and n rise above the serif. Serif-less bottom j and y. It's the perfect sans-serif companion for Quattrocento Sans.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Quattrocento Sans": { + "name": "Quattrocento Sans", + "designer": [ + "Impallari Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Quattrocento Sans is a classic, elegant and sober typeface family. Warm, readable and not intrusive. It's the perfect sans-serif companion for Quattrocento. The wide and open letterforms and large x-height make it very legible for body text at small sizes. All the tiny details that only shows up at bigger sizes make it also great for display use.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Questrial": { + "name": "Questrial", + "designer": [ + "Joe Prince", + "Laura Meseguer" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Questrial is the perfect font for body text and headlines on a website. It's modern style, suited with past characteristics of great typefaces, make it highly readable in any context. The full-circle curves on many characters make Questrial a great font to blend seamlessly with other fonts while still maintaining it's uniqueness. It is heavily influenced by Swiss design, similar to a grotesk style which is closely found in Helvetica. The numbers in Questrial are tabular figures so they can be used in tables and forms to enable maximum satisfaction. Questrial language support includes African Latin and full coverage of Vietnamese, additional to all Western, Central, and South-Eastern European languages. To contribute see github.com/googlefonts/questrial Giving African languages more Latin font choices Questrial font provides pan-African Latin support Due to the scarcity of open source fonts for African languages, Google has released Questrial, offering more font choices for digital Africa. During colonial times, European colonial powers in Africa made their languages (English, Dutch, French, Portuguese, Spanish, and more) the official languages in government, educational, cultural, and other state institutions in African countries. In post-colonial times, African countries aiming to maintain their native (non-colonial) languages face a major roadblock: not enough fonts with Pan-African support that provide all of the letters and diacritics (or accent) marks for the proper spelling of their languages. Proper spelling isn\u2019t just for school tests and national spelling competitions, it\u2019s vital for communication and for language survival. Educational institutions and users need fonts that can show the orthography (proper spelling) for each language, so that students can learn how to write correctly. Otherwise, if pupils see the same word written in different ways, with different kinds of punctuation marks replacing diacritics, they may never learn the proper way to spell. Without standard spelling, students could confuse words that may look similar but have different meanings. These are some examples of words in African languages with similar spellings and different meanings: f\u0254 (to say) and fo (to greet) in Bambara mot\u00f3 (head) and m\u0254\u0301t\u0254 (fire) in Lingala o\u0323\u0300ta\u0301 (enemy) and ota (bullet) in Yoruba To learn more, read:Giving African languages more Latin font choices (English)Offrir plus de choix de polices latines pour les langues africaines (French)", + "minisite_url": null + }, + "Quicksand": { + "name": "Quicksand", + "designer": [ + "Andrew Paglinawan" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Quicksand is a display sans serif with rounded terminals. The project was initiated by Andrew Paglinawan in 2008 using geometric shapes as a core foundation. It is designed for display purposes but kept legible enough to use in small sizes as well. In 2016, in collaboration with Andrew, it was thoroughly revised by Thomas Jockin to improve the quality. In 2019, Mirko Velimirovic converted the family into a variable font. To contribute, see github.com/andrew-paglinawan/QuicksandFamily.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Quintessential": { + "name": "Quintessential", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "The Quintessential typeface is a calligraphic lettering style based on the Italic Hand. As speed became more essential in writing hands, styles became less formal and more relaxed. Classic, clean, and casual, Quintessential fits a lot of design uses - hence its name. To contribute to the project contact Brian J. Bonislawsky.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Qwigley": { + "name": "Qwigley", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Qwigley is both beautiful and contemporary with a few untraditional forms that add to it's modern look. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/qwigley.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Qwitcher Grypen": { + "name": "Qwitcher Grypen", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Inspired by the letterforms that come from using an architectural ruling pen, Qwitcher Grypen is a casual brush script with a bit of an edge. It comes in two styles, Regular and Bold, with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/qwitcher-grypen.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "REM": { + "name": "REM", + "designer": [ + "Octavio Pardo" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "The REM font family is a sans serif font ready for corporate and display uses. It features a heavy low contrast combined with outstrokes that get slightly thinner, which is the opposite of the conventional approach. All together gives it a contemporary feeling suitable for modern branding. With more than 960 glyphs the font is ready for complex type setting with four sets of figures, Small Caps and some alternate glyphs. The name REM is an acronym for \"Rapid Eye Movement,\" which refers to a stage of sleep characterized by quick, random eye movements. I dreamt of it and began drawing it from my dream. To contribute, see github.com/octaviopardo/REM", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Racing Sans One": { + "name": "Racing Sans One", + "designer": [ + "Impallari Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Around 1800 (100 years before Helvetica and Univers) the first Sans Serif typefaces to include lowercase letters used to have very High Contrast (the difference between thick and thin lines). Maybe because the were derived from the more traditional serif typefaces of the time. But for same reason, as the genre evolved, the fashion was to create 'monoline' sans, of very little contrast. Today, contrasted Sans are very rare, and only a few are successful. While digging in old specimens, we found three that immediately caught our attention: Doric Italic and Taylor Gothic from American Type Founders (1897), and Charter Oak from Keystone Type Foundry of Philadelphia (1906). Racing Sans is a current high contrast sans, paying tribute to this forgotten genre.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Radio Canada": { + "name": "Radio Canada", + "designer": [ + "Charles Daoud", + "Coppers and Brasses", + "Alexandre Saumier Demers", + "Jacques Le Bailly" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "canadian-aboriginal", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "CBC/Radio-Canada is Canada's national public broadcaster. Their mandate is to inform, enlighten and entertain, in order to strengthen Canadian culture on radio, television and digital platforms. The Radio-Canada font was created in 2017 by Montreal-based designer and typographer Charles Daoud, in collaboration with Coppers and Brasses and Alexandre Saumier Demers. It was designed specifically for CBC/Radio-Canada as a brand unifying information font for all the Public Broadcaster\u2019s platforms. Fittingly, for a Public Broadcaster, this is a peoples\u2019 font and the humanistic style stands out with distinctive angles and subtle curves. Its x-height ensures excellent legibility and respects digital accessibility standards, making it very effective when used in continuous text. In 2018, the Radio-Canada font won three awards, in the Font Design category at Communication Arts Typography, Applied Arts Design Annual and at Grand Prix Grafika. Several optimizations saw the light of day in 2021. The number of supported languages has increased from 106 to 317 Latin languages. In 2023, Jacques Le Bailly (Baron von Fonthausen) expanded the font to include the support of Indigenous languages. To contribute, see github.com/cbcrc/radiocanadafonts. To learn more, read You can now use Radio-Canada\u2019s brand typeface: The award-winning variable font comes to Google Fonts (English), Voici Radio-Canada, la police de caract\u00e8res du diffuseur public canadien, plusieurs fois prim\u00e9e et maintenant disponible sur Google Fonts (French).", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Radio Canada Big": { + "name": "Radio Canada Big", + "designer": [ + "\u00c9tienne Aubert Bonn" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "CBC/Radio-Canada is Canada's national public broadcaster. Their mandate is to inform, enlighten, and entertain in order to strengthen Canadian culture on radio, television, and digital platforms. Radio Canada Big is a variable font with a weight axis that spans from Regular (400) to Bold (700), offering a spectrum of options to suit diverse design needs. To contribute, see github.com/googlefonts/radiocanadadisplay.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Radley": { + "name": "Radley", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Radley is based on lettering originally drawn and designed for woodcarved titling work. It was later digitized and extended to be used on the web. Radley is a practical face, based on letterforms used by hand carvers who cut letters quickly, efficiently, and with style. It can be used for both titling and text typography. The basic letterforms in Radley grew out of sketching and designing directly into wood with traditional carving chisels. These were scanned and traced into FontForge and cleaned up digitally, then the character set was expanded. There is something unique about carving letters into wood with traditional hand tools, and hopefully Radley carries some of the original spirit of these hand carved letterforms. Since the initial launch in 2012, Radley was updated by Vernon Adams adding an Italic and support for more Latin languages. He made many glyph refinements throughout the family based on user feedback. In 2017 the family was updated by Marc Foley to complete the work started by Vernon. To contribute, see github.com/googlefonts/RadleyFont", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rajdhani": { + "name": "Rajdhani", + "designer": [ + "Indian Type Foundry" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Rajdhani has modularized letterforms and supports the Devanagari and Latin writing systems. The squared and condensed appearance may be interpreted as technical or even futuristic. Typically round bowls and other letterform elements have straight sides in Rajdhani. The stroke terminals typically end in flat line segments that are horizontal or vertical, rather than diagonal. Their corners are slightly rounded, giving stroke-endings a softer feeling, rather than a pointy one. Satya Rajpurohit and Jyotish Sonowal developed the Devanagari component together, while the Latin was designed by Shiva Nalleperumal. To contribute, see github.com/itfoundry/rajdhani", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Rakkas": { + "name": "Rakkas", + "designer": [ + "Zeynep Akay" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "arabic", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Rakkas is single-weight display typeface that supports the Arabic and Latin scripts. The two scripts share a united style, with neither pretending to be the other, and each interesting in its own right. The Arabic design is inspired by Ruq'ah lettering on Egyptian movie posters from the 50s and 60s, and makes use of contextual alternates to emulate calligraphy. It offers different forms for many letter position and it cascades vertically, giving the user an opportunity to play. The Latin design infuses a blackletter design with informality. The Rakkas project is led by Zeynep Akay, a type designer based in London, UK. To contribute, see github.com/zeynepakay/Rakkas", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Raleway": { + "name": "Raleway", + "designer": [ + "Matt McInerney", + "Pablo Impallari", + "Rodrigo Fuenzalida" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Raleway is an elegant sans-serif typeface family. Initially designed by Matt McInerney as a single thin weight, it was expanded into a 9 weight family by Pablo Impallari and Rodrigo Fuenzalida in 2012 and iKerned by Igino Marini. A thorough review and italic was added in 2016. It is a display face and the download features both old style and lining numerals, standard and discretionary ligatures, a pretty complete set of diacritics, as well as a stylistic alternate inspired by more geometric sans-serif typefaces than its neo-grotesque inspired default character set. It also has a sister family, Raleway Dots. More information can be found at theleagueofmoveabletype.com/raleway and impallari.com/fonts/raleway To contribute to the project, visit github.com/impallari/Raleway", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Raleway Dots": { + "name": "Raleway Dots", + "designer": [ + "Matt McInerney", + "Pablo Impallari", + "Rodrigo Fuenzalida", + "Brenda Gallo" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "A dotted version of Raleway, for posters and big headlines. It is a display face and the downloadable font features both old-style and lining numerals, standard and discretionary ligatures, as well as stylistic alternates that are inspired by more geometric sans-serif typefaces than the default which is neo-grotesque. To contribute to the project, visit github.com/impallari/Raleway", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ramabhadra": { + "name": "Ramabhadra", + "designer": [ + "Purushoth Kumar Guttula" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "telugu" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Ramabhadra is a Telugu font developed for use in headlines, posters and at large sizes. The letterforms are very round and have a uniform thickness, and the terminals have a small temple shape that appear like a sans-serif design. This font includes unique Telugu conjunct letters. Ramabhadra is named after the Telugu poet from the court of the king Krishnadevaraya, and was one of the Astadiggajalu (literally eight legends) there. The Telugu is designed and developed by Purushoth Kumar Guttula in 2013 and made available by Silicon Andhra under the SIL Open Font License v1.1. The Latin is designed by Steve Matteson at Monotype, an internaional type foundry, and initially published as Arimo. The Ramabhadra project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India. To contribute, see github.com/appajid/ramabhadra", + "primary_script": "Telu", + "article": null, + "minisite_url": null + }, + "Ramaraja": { + "name": "Ramaraja", + "designer": [ + "Appaji Ambarisha Darbha" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "telugu" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Ramaraja is an Open Source typeface supporting both the Telugu and Latin scripts. It was developed mainly for use in news publications and is suitable for text, headings, posters, and invitations. Developed by Appaji Ambarisha Darbha in 2013 and made available by Silicon Andhra under the SIL Open Font License v1.1. The Ramaraja project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India. To contribute, see github.com/appajid/ramaraja", + "primary_script": "Telu", + "article": null, + "minisite_url": null + }, + "Rambla": { + "name": "Rambla", + "designer": [ + "Martin Sommaruga" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Rambla is a humanist sans for medium-long texts. It\u2019s slightly condensed, with a generous x-height and short ascenders and descenders. Its proportions are economical in both height and width. It\u2019s elegant at large sizes and legible at the same time, with a lot of rhythm in small sizes. To contribute to the project contact Martin Sommaruga.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rammetto One": { + "name": "Rammetto One", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Rammetto is a typeface based on the Stephenson Blake uppercase display font, Basuto, released in 1926. The Rammetto design refines some of the old font's forms, introduces a full set of lowercase characters and adds extended support for European languages. To contribute, see github.com/googlefonts/RammettoFont.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rampart One": { + "name": "Rampart One", + "designer": [ + "Fontworks Inc." + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Rampart is a unique outline shadow font made in the image of 3-D blocks. It is best used for added impact or to demonstrate strength and stability. To contribute to the project, visit github.com/fontworks-fonts/Rampart", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "Ranchers": { + "name": "Ranchers", + "designer": [ + "Impallari Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Ranchers is one of the many hand-lettering artists' relaxed interpretations of sans serif type, typical of the 1950s. It's great for big posters and fun headlines. Use it bigger than 40px for maximum effect.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rancho": { + "name": "Rancho", + "designer": [ + "Sideshow" + ], + "license": "apache2", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Rancho is a comfortable brush script typeface that works just as well in a barn or at the country club.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ranga": { + "name": "Ranga", + "designer": [ + "TipTopTyp" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Once Allan was a sign painter in Berlin. Grey paneling work in the subway, bad materials, a city split in two. Now things have changed. His (character) palette of activities have expanded tremendously: even Indian flavours are are no longer foreign to him. Bolder brush is used when there is need for true impact. Sensitive subjects are treated with subtlety of regular style. Slightly inclined. This project is led by TipTopTyp, a type foundry based in Berlin, Germany. To contribute, see Ranga on GitHub.", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Rasa": { + "name": "Rasa", + "designer": [ + "Rosetta", + "Anna Giedry\u015b", + "David B\u0159ezina" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "gujarati", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Intended for continuous reading on the web (longer articles in online news, magazines, blogs), Rasa supports over 92 languages in Latin and 2 in Gujarati script (Gujarati and Kachchi). The fonts supports a wide array of basic and compound syllables used in Gujarati. A Latin-only version is available as Yrsa. In terms of glyphs included Rasa is a superset of Yrsa and includes the complete Latin, but in Rasa the Latin may be adjusted to support the primary Gujarati font. It is a deliberate experiment in remixing existing typefaces: The Latin part began with Eben Sorkin's Merriweather. The Gujarati began with David B\u0159ezina\u2019s Skolar Gujarati. To contribute, see github.com/rosettatype/yrsa.", + "primary_script": "Gujr", + "article": null, + "minisite_url": null + }, + "Rationale": { + "name": "Rationale", + "designer": [ + "Cyreal" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Rationale One is a compact monoline webfont designed to work well on screen from large headlines to 12 pt body copy. The concept was to create a modular-based font with optical corrections guided by snap eye judgements. Such irregularities add a warm impression to the overall strict geometrical logic. The idea of subtle stroke cuts originated from the letter n, and was selectively incorporated throughout the characters. This feature becomes visible from 36 pt and above. In body sizes stroke cuts enrich the typographic color with light nuances. Designed by Alexei Vanyashin in cooperation with Olexa Volochay and Vladimir Pavlikov.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ravi Prakash": { + "name": "Ravi Prakash", + "designer": [ + "Appaji Ambarisha Darbha" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "telugu" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Ravi Prakash is a Telugu display typeface, mainly suitable for headings, posters and decorative invitations. As a web font it should be used in very large pixel sizes, while in print the design may be used in a broader range of sizes, perhaps even as small as at 16pt. The Telugu is designed by Appaji Ambarisha Darbha in 2013 and made available by Silicon Andhra under the SIL Open Font License v1.1. The Latin is designed by Eduardo Tunni and originally published as Joti One. The Ravi Prakash project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India. To contribute, see github.com/appajid/raviprakash", + "primary_script": "Telu", + "article": null, + "minisite_url": null + }, + "Readex Pro": { + "name": "Readex Pro", + "designer": [ + "Thomas Jockin", + "Nadine Chahine", + "Bonnie Shaver-Troup", + "Santiago Orozco", + "H\u00e9ctor G\u00f3mez" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "arabic", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Arab", + "article": "Could a new typeface make it easier for the more than 400 million Arabic speakers around the world to read? Type designers Dr. Nadine Chahine and Thomas Jockin joined forces to find out. They created Readex Pro in Arabic using the methodology behind Lexend, made for Latin. The name Readex was chosen as a shortened form of \u201creading expanded.\u201d When Dr. Bonnie Shaver-Troup started the Lexend project, her goal was to help people to read more easily and fluently by reducing visual noise. The Lexend fonts have distinct letterforms, and offer the option to widen tracking (the spacing between letters) together with widening the shapes of individual letterforms themselves. This novel functionality is based on a theory known as the \u201cShaver-Troup Formulation,\u201d which was described in detail in a 2003 USA patent application. To learn more, read The Design of Readex Pro (English) and \u062e\u0637 \u200fReadex Pro: \u0627\u0633\u062a\u0643\u0634\u0627\u0641 \u062d\u062f\u0648\u062f \u0633\u0647\u0648\u0644\u0629 \u0642\u0631\u0627\u0621\u0629 \u0627\u0644\u0646\u0635 \u0645\u0646 \u062e\u0644\u0627\u0644 \u062e\u0637 \u0639\u0631\u0628\u064a \u062c\u062f\u064a\u062f (Arabic)", + "minisite_url": null + }, + "Recursive": { + "name": "Recursive", + "designer": [ + "Arrow Type", + "Stephen Nixon" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Recursive is typographic palette for UI & code. It draws inspiration from single-stroke casual, a style of brush writing used in signpainting that is stylistically flexible and warmly energetic. Recursive adapts this aesthetic basis into an extensive variable font family, designed to excel in digital interactive environments, including data-rich user interfaces, technical documentation, and code editors. Recursive offers a lot more styles than you see here! To download the full Recursive Sans & Mono family, learn more about its 5 variable axes, and to configure advanced Google Fonts URL embed code for access to Recursive\u2019s full stylistic range, check out its website at: \u2192 recursive.design The Recursive project is led by Arrow Type, a type foundry based in Brooklyn, NY, USA. To contribute, see its GitHub repo. Update, April 2021: the Google Fonts release of Recursive has been updated to incorporate various changes from its initial release. This includes fixes that correct printing issues, ensure consistent default line heights between styles on macOS, improve the handling of combining accents, add localization features for several languages, and resolve various other earlier issues.", + "primary_script": null, + "article": null, + "minisite_url": "https://recursive.design" + }, + "Red Hat Display": { + "name": "Red Hat Display", + "designer": [ + "MCKL" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Red Hat is a family of typefaces produced in 2 optical sizes and a monospace style, in a range of weights with italics. The fonts were originally commissioned by Paula Scher, Pentagram and designed by Jeremy Mickel, MCKL for the new Red Hat identity. Red Hat is a fresh take on the geometric sans genre, taking inspiration from a range of American sans serifs including Tempo and Highway Gothic. The Display styles are low contrast and spaced tightly, with a large x-height and open counters. The Text styles have a slightly smaller x-height and narrower width for better legibility, are spaced more generously, and have thinned joins for better performance at small sizes. The two families can be used together seamlessly at a range of sizes. The family has been upgraded to variable fonts with a weight axis (Light to Bold) in June 2021. The November 2024 update addresses a frequently reported weight issue. The Medium and SemiBold weights now have slightly different weight compared to the previous version, ensuring better weight distribution within the design space and improved fluidity in the variable font. To contribute, see github.com/RedHatOfficial/RedHatFont", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Red Hat Mono": { + "name": "Red Hat Mono", + "designer": [ + "MCKL" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "monospace" + ], + "description": "Red Hat is a family of typefaces produced in 2 optical sizes and this monospace style, each with a range of weights and with italics. The fonts were originally commissioned by Paula Scher at Pentagram, and designed by Jeremy Mickel at MCKL for a new Red Hat brand identity. The Red Hat typefaces are a fresh take on the geometric sans genre, taking inspiration from a range of American sans serifs including Tempo and Highway Gothic. The Display styles are low contrast and spaced tightly, with a large x-height and open counters. The Text styles have a slightly smaller x-height and narrower width for better legibility, are spaced more generously, and have thinned joins for better performance at small sizes. The two families can be used together seamlessly at a range of sizes. The November 2024 update addresses a frequently reported weight issue. The Medium and SemiBold weights now have slightly different weight compared to the previous version, ensuring better weight distribution within the design space and improved fluidity in the variable font. To contribute, see github.com/RedHatOfficial/RedHatFont", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Red Hat Text": { + "name": "Red Hat Text", + "designer": [ + "MCKL" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Red Hat is a family of typefaces produced in 2 optical sizes and a monospace style, in a range of weights with italics. The fonts were originally commissioned by Paula Scher, Pentagram and designed by Jeremy Mickel, MCKL for the new Red Hat identity. Red Hat is a fresh take on the geometric sans genre, taking inspiration from a range of American sans serifs including Tempo and Highway Gothic. The Display styles are low contrast and spaced tightly, with a large x-height and open counters. The Text styles have a slightly smaller x-height and narrower width for better legibility, are spaced more generously, and have thinned joins for better performance at small sizes. The two families can be used together seamlessly at a range of sizes. The family has been upgraded to variable fonts with a weight axis (Light to Bold) in June 2021. The November 2024 update addresses a frequently reported weight issue. The Medium and SemiBold weights now have slightly different weight compared to the previous version, ensuring better weight distribution within the design space and improved fluidity in the variable font. To contribute, see github.com/RedHatOfficial/RedHatFont", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Red Rose": { + "name": "Red Rose", + "designer": [ + "Jaikishan Patel" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Red Rose Pro is a latin display typeface designed by Jaikishan Patel. It was exclusively designed for posters of Genre: Love, Romance, Drama, Thriller, Noir and Passion. The current version of the family includes 3 weights; Light, Regular and Bold. Each font includes 640 glyphs that covers Western, Central and South Latin as well as Vietnamese. To contribute, see github.com/magictype/redrose", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Redacted": { + "name": "Redacted", + "designer": [ + "Christian Naths" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "symbols", + "display" + ], + "description": null, + "primary_script": null, + "article": "Redacted and Redacted Script are suitable for wireframing and rapid prototyping. Designed to be unreadable, it keeps your wireframes free of distracting Lorem Ipsum or other dummy text. To contribute, see github.com/christiannaths/redacted-font. Flow and Redacted: Check out these new options for wireframes and other early-stage designs Give your simulated text a realistic look while making it easy to add copy later on with Dan Ross\u2019s Flow Fonts and Christian Naths\u2019s Redacted. Showing text in an early-stage wireframe can be distracting, even if it\u2019s just Lorem ipsum placeholder copy. After all, a successful wireframe is clean and simple, with just enough information to communicate an idea. But how do you convey \u201cthis is text\u201d without showing text? One popular technique is to draw shapes that resemble a block of redacted text. (Redacted text is usually used as a security or privacy measure in a document to make certain words unreadable.) Another technique is to use handwritten scribbles. This creates a sketch-like look that\u2019s especially suited to quick concepting. To learn more, visit Flow and Redacted: Check out these new options for wireframes and other early-stage designs", + "minisite_url": null + }, + "Redacted Script": { + "name": "Redacted Script", + "designer": [ + "Christian Naths" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "symbols", + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Redacted and Redacted Script are suitable for wireframing and rapid prototyping. Designed to be unreadable, it keeps your wireframes free of distracting Lorem Ipsum or other dummy text. To contribute, see github.com/christiannaths/redacted-font. Flow and Redacted: Check out these new options for wireframes and other early-stage designs Give your simulated text a realistic look while making it easy to add copy later on with Dan Ross\u2019s Flow Fonts and Christian Naths\u2019s Redacted. Showing text in an early-stage wireframe can be distracting, even if it\u2019s just Lorem ipsum placeholder copy. After all, a successful wireframe is clean and simple, with just enough information to communicate an idea. But how do you convey \u201cthis is text\u201d without showing text? One popular technique is to draw shapes that resemble a block of redacted text. (Redacted text is usually used as a security or privacy measure in a document to make certain words unreadable.) Another technique is to use handwritten scribbles. This creates a sketch-like look that\u2019s especially suited to quick concepting. To learn more, visit Flow and Redacted: Check out these new options for wireframes and other early-stage designs", + "minisite_url": null + }, + "Reddit Mono": { + "name": "Reddit Mono", + "designer": [ + "Stephen Hutchings", + "OrangeRed" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "monospace" + ], + "description": "Reddit Mono is a humanist sans-serif designed for Reddit. Reddit Mono is complemented by Reddit Sans and Reddit Sans Condensed. To contribute to this project, see github.com/reddit/redditsans", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Reddit Sans": { + "name": "Reddit Sans", + "designer": [ + "Stephen Hutchings", + "OrangeRed" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Reddit Sans is a humanist sans-serif designed for Reddit. Reddit Sans is complemented by Reddit Sans Condensed and Reddit Mono. To contribute to this project, see github.com/reddit/redditsans", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Reddit Sans Condensed": { + "name": "Reddit Sans Condensed", + "designer": [ + "Stephen Hutchings", + "OrangeRed" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Reddit Sans Condensed is a humanist sans-serif designed for Reddit. Reddit Sans Condensed is complemented by Reddit Sans and Reddit Mono. To contribute to this project, see github.com/reddit/redditsans", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Redressed": { + "name": "Redressed", + "designer": [ + "Astigmatic" + ], + "license": "apache2", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Redressed is a medium weight typeface which blends script and italic letterforms together in an upright non-connecting style. Open spacing and stylish letterforms lend themselves to titling, but also to clean legibility at smaller sizes as body copy.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Reem Kufi": { + "name": "Reem Kufi", + "designer": [ + "Khaled Hosny", + "Santiago Orozco" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "arabic", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Reem Kufi is a Kufic typeface based on early Kufic (Mushafi) models, but retrofitted to the Fatimid Kufic grid and with borrowing from its forms. Reem Kufi is largely based on the Kufic designs of the late master of Arabic calligraphy Mohammed Abdul Qadir who revived this art in the 20th century and formalised its rules. Reem Kufi is particularly suitable for display settings, in titles or decorations. Due to its unmistakable old Kufic style, it gives a feeling of something old, historical, or Islamic. The Arabic component was designed by Khaled Hosny, who combined it with the Latin component by Santiago Orozco. Reem is an Arabic female name that literally means \u201ca white deer,\u201d and is also the name of Khaled's daughter. To contribute, see github.com/alif-type/reem-kufi", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Reem Kufi Fun": { + "name": "Reem Kufi Fun", + "designer": [ + "Khaled Hosny", + "Santiago Orozco" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "arabic", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Reem Kufi Fun is a Kufic typeface based on early Kufic (Mushafi) models, but retrofitted to the Fatimid Kufic grid and with borrowing from its forms. Reem Kufi Ink is largely based on the Kufic designs of the late master of Arabic calligraphy Mohammed Abdul Qadir who revived this art in the 20th century and formalised its rules. Reem Kufi Fun is particularly suitable for display settings, in titles or decorations. Due to its unmistakable old Kufic style, it gives a feeling of something old, historical, or Islamic. The Arabic component was designed by Khaled Hosny, who combined it with the Latin component by Santiago Orozco. Reem is an Arabic female name that literally means \u201ca white deer,\u201d and is also the name of Khaled's daughter. This font uses the COLRv0 and CPAL tables. Please visit the gf-guide color page to learn more about Color Fonts technology. To contribute, see github.com/alif-type/reem-kufi", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Reem Kufi Ink": { + "name": "Reem Kufi Ink", + "designer": [ + "Khaled Hosny", + "Santiago Orozco" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "arabic", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Reem Kufi Ink is a Kufic typeface based on early Kufic (Mushafi) models, but retrofitted to the Fatimid Kufic grid and with borrowing from its forms. Reem Kufi Ink is largely based on the Kufic designs of the late master of Arabic calligraphy Mohammed Abdul Qadir who revived this art in the 20th century and formalised its rules. Reem Kufi Ink is particularly suitable for display settings, in titles or decorations. Due to its unmistakable old Kufic style, it gives a feeling of something old, historical, or Islamic. The Arabic component was designed by Khaled Hosny, who combined it with the Latin component by Santiago Orozco. Reem is an Arabic female name that literally means \u201ca white deer,\u201d and is also the name of Khaled's daughter. This font uses the COLRv1, CPAL and SVG tables. Please visit the gf-guide color page to learn more about Color Fonts technology. To contribute, see github.com/alif-type/reem-kufi", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Reenie Beanie": { + "name": "Reenie Beanie", + "designer": [ + "James Grieshaber" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Reene Beanie is a fun font based on basic ball-point pen handwriting. It has a playful and loose look, which lends itself to casual and informal messages. With a little imagination, Reenie Beanie could be used to represent the scribbling of a mad scientist, or the recipes of a genius chef.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Reggae One": { + "name": "Reggae One", + "designer": [ + "Fontworks Inc." + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "japanese", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Reggae is a very popular display font often used in Japanese boys' magazines and digital content. The sharpened ends give off a dynamic pulse, making this font ideal to express rhythm, movement and energy, or for emphasis. To contribute to the project, visit github.com/fontworks-fonts/Reggae", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "Rethink Sans": { + "name": "Rethink Sans", + "designer": [ + "Hans Thiessen" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Rethink is one of the largest global independent creative agencies. Founded in Vancouver in 1999, it now has offices in New York, Toronto, Vancouver, and Montr\u00e9al. Rethink Sans was created in 2023 by Rethink's ECD of Design Hans Thiessen. It was developed specifically to help everyone design with greater confidence and craft in Google Workspace. Rethink Sans is a fork of DM Sans by Colophon Foundry, which in turn is a fork of Poppins by Indian Type Foundry. Deceptively simple, Rethink Sans is filled with thoughtfully turbocharged features, including: weight-specific tracking, two styles of circled numbers a simple keystroke away, and tabular lining figures right out-of-the-box. To contribute, see github.com/hans-thiessen/Rethink-Sans", + "minisite_url": null + }, + "Revalia": { + "name": "Revalia", + "designer": [ + "Johan Kallas", + "Mihkel Virkus" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Revalia is a display sans-serif typeface design, loosely based on the packaging labels of 20th century canned goods. The design has a high x-height, wide letter shapes and the design flirts with medieval letterforms. To contribute to the project contact Johan Kallas and Mihkel Virkus.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rhodium Libre": { + "name": "Rhodium Libre", + "designer": [ + "James Puckett" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Rhodium Libre was designed for use on screens at small sizes and the Latin and Devanagari scripts. To that end, the design is generally uncomplicated and coarse, lacking the small details that are lost on screens; this also reduces the file size to improve latency when used as a web font. The letters are designed slightly wide, with open counters, a large x-height in the Latin glyphs, and so on. The Devanagari glyphs are the same height as the Latin capitals to allow them to stand alongside the oversized Latin lowercase. Historical models for Rhodium\u2019s design are Fortune (AKA Volta) by Konrad Bauer and Walter Baum, and Rex by Intertype. Matthew Carter\u2019s Verdana provided insight into designing type for small sizes and adverse reading environments. The Devanagari glyph set supports contemporary Hindi, Marathi, and Nepali. The Latin glyph set supports Adobe\u2019s Latin-3 character set. This project is led by Dunwich Type Founders, a type foundry based in Denver, Colorado, USA, who design contemporary typeface families. To contribute, see github.com/DunwichType/RhodiumLibre", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ribeye": { + "name": "Ribeye", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Ribeye and Ribeye Marrow are reminiscent of a cartoon tattoo style of lettering, but exhibit a playfulness that breaks traditional weight distribution across its letterforms. An edgy attitude, friendly syncopation, and highly legible letterforms makes these fonts a real pair of charmers.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ribeye Marrow": { + "name": "Ribeye Marrow", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Ribeye and Ribeye Marrow are reminiscent of a cartoon tattoo style of lettering, but exhibit a playfulness that breaks traditional weight distribution across its letterforms. An edgy attitude, friendly syncopation, and highly legible letterforms makes these fonts a real pair of charmers.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Righteous": { + "name": "Righteous", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Righteous was initially inspired by the all capitals letterforms from the deco posters of Hungarian artist Robert Ber\u00e9ny for Modiano. Grid based and geometric in execution, the letterforms are highly readable at a range of point sizes. Unlike that of the inspiration source, Righteous has a full lowercase to increase flexibility of use.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Risque": { + "name": "Risque", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Risque finds its inspiration from the title screen of the 1962 Looney Toons cartoon called \"Martian through Georgia\". Originally an all Capitals reference, it has been created with a lowercase as lively as the irregular latin-esque Capitals. A frolicking fun typeface for retro and all-around offbeat occasions. To contribute to the project contact Brian J. Bonislawsky.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Road Rage": { + "name": "Road Rage", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Road Rage is a return to the days of grunge. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/road-rage.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Roboto": { + "name": "Roboto", + "designer": [ + "Christian Robertson", + "ParaType", + "Font Bureau" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext", + "math", + "symbols", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Roboto has a dual nature. It has a mechanical skeleton and the forms are largely geometric. At the same time, the font features friendly and open curves. While some grotesks distort their letterforms to force a rigid rhythm, Roboto doesn\u2019t compromise, allowing letters to be settled into their natural width. This makes for a more natural reading rhythm more commonly found in humanist and serif types. Updated July 2020: Upgraded to a variable font with Weight and Width axes, that closely match the previous static fonts released as two families, this one and a sibling Roboto Condensed family. Roboto is part of a superfamily set that includes Roboto Slab and Roboto Mono To report issues or contribute, see github.com/TypeNetwork/Roboto. This repository also contains further font builds for different platforms.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Roboto Condensed": { + "name": "Roboto Condensed", + "designer": [ + "Christian Robertson" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Roboto has a dual nature. It has a mechanical skeleton and the forms are largely geometric. At the same time, the font features friendly and open curves. While some grotesks distort their letterforms to force a rigid rhythm, Roboto doesn\u2019t compromise, allowing letters to be settled into their natural width. This makes for a more natural reading rhythm more commonly found in humanist and serif types. This is the Condensed family, which can be used alongside the normal Roboto family and the Roboto Slab family. In August 2023, the family has been upgraded to a variable font. To contribute, please see github.com/googlefonts/roboto-classic.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Roboto Flex": { + "name": "Roboto Flex", + "designer": [ + "Font Bureau", + "David Berlow", + "Santiago Orozco", + "Irene Vlachou", + "Ilya Ruderman", + "Yury Ostromentsky", + "Mikhail Strukov" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Watch the introduction video on YouTube There\u2019s no perfect typeface that works for every size, every device, every application, every style, and every mood. But as the default for Android, with over 2.5 billion active users spanning over 190 countries, and as Google Fonts\u2019 most popular download, Roboto needs to be as flexible as possible. The Roboto superfamily has grown over time, being updated over the years to improve its language support and aesthetic qualities. Initially launched in 2011 as sans and condensed with slab and mono companions, and expanded with Roboto Serif, Roboto Flex is the latest step forward for this powerful typeface system. Roboto Flex is Google Fonts\u2019 biggest project to date. With a huge range of weights and widths across a full set of optical sizes, plus additional capabilities for fine-tuning, Roboto Flex was designed by Font Bureau to be super scalable, adaptable, customizable, and optimizable. With Flex, you can customize Roboto to express and finesse your text in ways never before possible. Today, people are constantly switching between devices, resizing browsers, and spreading our viewports across multiple screens. So Google commissioned Font Bureau to re-imagine Roboto to \u201cflex\u201d along with us, with a special emphasis on large-screen capabilities. This was achieved by amplifying the original design to an extreme range of weights, grades, widths and optical sizes. The second benefit of Roboto Flex is the designer\u2019s ability to fitness and fine-tune their designs with parametric axes. Font Bureau first demonstrated the concept of parametric axes in Amstelvar Alpha (2017), to provide the ultimate in typographic flexibility. With early prototypes of Roboto Flex, Font Bureau demonstrated new solutions to the typographic problems that digital designers face. Demonstrations of high quality justification, better dark-mode typography and other uses of parametric axes are documented at variablefonts.typenetwork.com The needs of developers, designers, and \u2014 of course \u2014 end-user readers were prioritized and aligned during development. To make Roboto Flex production-ready for all print and digital media, Font Bureau expanded the glyph set with careful planning and development, in partnership with script experts for Cyrillic and Greek. Rigorous testing of each glyph across every axis required new type design tools to be developed, like typeroof, which can be used to explore the depth of the design. The final file size of the complete package is remarkably small, given the range of expressive styles now available. By driving variable fonts technology to its limits, it offers the most interesting and useful typographic tools for end users and designers. With a fully loaded Optical Size axis, Roboto Flex makes the layout of texts with deep hierarchies more straightforward and heightens the quality of every design that uses it. And none of this would be possible without the long list of contributors involved. Special thanks to David Berlow, Santiago Orozco, Ilya Ruderman, Irene Vlachou, Yury Ostromentsky, Mikhail Strukov, Dave Crossland, Damien Correll, Marc Foley, David Jonathan Ross, Chris Lewis, Eben Sorkin, Viktoriya Grabowska, Adam Twardoch, Roel Nieksens, Laurence Penney, and Thomas Linard. Roboto Flex is developed by Font Bureau for Google, based on the design initiated by Christian Robertson. To learn more, read Roboto \u2026 But Make It Flex on the Material Design blog.", + "minisite_url": null + }, + "Roboto Mono": { + "name": "Roboto Mono", + "designer": [ + "Christian Robertson" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "monospace" + ], + "description": null, + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Roboto Serif": { + "name": "Roboto Serif", + "designer": [ + "Commercial Type", + "Greg Gazdowicz" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Roboto Serif is a variable typeface family designed to create a comfortable and frictionless reading experience. Minimal and highly functional, it is useful anywhere (even for app interfaces) due to the extensive set of weights and widths across a broad range of optical sizes. While it was carefully crafted to work well in digital media, across the full scope of sizes and resolutions we have today, it is just as comfortable to read and work in print media. To contribute, see github.com/googlefonts/roboto-serif. Say hello to Roboto Serif The newest member of the Roboto superfamily is designed to make reading more comfortable at any size, in any format. Get it on Google Fonts and check out the specimen: Getting Comfortable With Roboto Serif. It's been almost 20 years since the introduction of Matthew Carter\u2019s Georgia\u2014one of the first serif typefaces designed to make reading easier on the low-resolution screens of the time. That year (1993), Americans with Internet access spent fewer than 30 minutes a month surfing the Web. Now we spend almost seven hours a day. Thankfully, reading on-screen has gotten a lot more comfortable since the 90\u2019s. For one thing, you can pick up your device and move over to the sofa. Letterforms are also crisper, smoother, and more legible on today\u2019s screens/devices\u2014and they render more quickly. But another huge (though perhaps less obvious) factor in all of this is the advancement of font technology. Georgia was one of the first eleven \u201cCore Fonts for the Web\u201d that paved the way for OpenType and, eventually, variable fonts. Today, a well-designed, OpenType serif can be just as readable on-screen as it is in print. And a well-designed variable serif can give readers additional benefits on-screen. Enter: Roboto Serif. To learn more, read Say Hello to Roboto Serif.", + "minisite_url": "https://fonts.withgoogle.com/roboto-serif" + }, + "Roboto Slab": { + "name": "Roboto Slab", + "designer": [ + "Christian Robertson" + ], + "license": "apache2", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SLAB_SERIF", + "classifications": [], + "description": "Roboto has a dual nature. It has a mechanical skeleton and the forms are largely geometric. At the same time, the font features friendly and open curves. While some grotesks distort their letterforms to force a rigid rhythm, Roboto doesn\u2019t compromise, allowing letters to be settled into their natural width. This makes for a more natural reading rhythm more commonly found in humanist and serif types. This is the Roboto Slab family, which can be used alongside the normal Roboto family and the Roboto Condensed family. In November 2019, the family was updated with a variable font \"Weight\" axis. To contribute, see github.com/googlefonts/robotoslab.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rochester": { + "name": "Rochester", + "designer": [ + "Sideshow" + ], + "license": "apache2", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "On the town with the latest sensation they call Rochester! This dapper fresh face is dressed to the nines and ready for action! Inspired by elegant calligraphic forms from the early age of Victorian and Art Deco, Rochester is the perfect selection when you want to add a touch of class or a smart looking formal style to any correspondence or memorandum!", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rock 3D": { + "name": "Rock 3D", + "designer": [ + "Shibuya Font" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "japanese", + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "This is a font based on the sketch of 3D letters by handicapped artists, refined & created by design major students, capturing the solidness of the 3D with two dimensional sketch. This is one of the work of Shibuya Font project, a collaboration of design major students and handicapped artist living in Shibuya city, officially approved by Shibuya city in Tokyo. Shibuya font Official Site: http://www.shibuyafont.jp To contribute to the project, visit github.com/shibuyafont/3d-rock-font", + "primary_script": "Hira", + "article": null, + "minisite_url": null + }, + "Rock Salt": { + "name": "Rock Salt", + "designer": [ + "Sideshow" + ], + "license": "apache2", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Rock Salt was hand-crafted with felt-tip markers for a personal look you can pepper throughout your next project.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "RocknRoll One": { + "name": "RocknRoll One", + "designer": [ + "Fontworks Inc." + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "RocknRoll is an original pop-style font. The strokes of varying intensity add momentum and the rounded dots create a lively and dynamic feel. To contribute to the project, visit github.com/fontworks-fonts/RocknRoll", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "Rokkitt": { + "name": "Rokkitt", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SLAB_SERIF", + "classifications": [], + "description": "Rokkitt was initiated by Vernon Adams when he was inspired by the type forms of a number of distinctive geometric slab serifs, sometimes called Egyptians, popular in the late nineteenth and early to mid twentieth centuries. In 1910 the Inland Type Foundry published Litho Antique and similar types were published by American Type Founders in the 1920s and Monotype Corporation in the 1930s. Rokkitt is intended for use as a display font, in headings and headlines, though it can also be used as an alternative to sans serif designs at text sizes. Update January 2017: Vernon Adams began the project in 2011, and developed the typeface until 2014. During 2016 Kalapi Gajjar completed Vernon's original work and released a substantial update with a full set of 9 weights, and support for more Latin languages. Update July 2019: The family has been converted into a variable font. Update January 2023: The family has now an italic. To contribute, see github.com/googlefonts/RokkittFont.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Romanesco": { + "name": "Romanesco", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "The Romanesco typeface is a refined, semi-bold and narrow hand crafted calligraphic style. With stabbing strokes that nod to historical styles, and modern flair leaning towards the current, Romanesco lends itself to a wide array of stylistic uses for a narrow typestyle.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ropa Sans": { + "name": "Ropa Sans", + "designer": [ + "Botjo Nikoltchev" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Ropa Sans is an open-source subset of the Ropa Sans Pro family. Ropa Sans Pro consists of 8 weights plus extra designed italics and small caps, with extensive coverage of Latin and essential coverage of Cyrillic and Greek scripts, and is available commercially from lettersoup.de. This Open Font License version, Ropa Sans, consists of the regular weight and the corresponding italic, and covers Latin-based languages only. While the upright styles pay a distant homage to the technical aesthetics of the early-20th century DIN series, the strongly humanistic italics breathe in quirky freshness and create a unique flavour. The step to a remarkable Italic with its extreme ink-traps caused a hard change of nearly all shapes of the first slices of Roman.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rosario": { + "name": "Rosario", + "designer": [ + "Omnibus-Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Omnibus Type proudly presents Rosario, a new typeface of classic proportions, subtle contrast and weak endings. Carefully produced, elegant, ideal for magazines and academic journals. Rosario is the name of the city of the designer, H\u00e9ctor Gatti. Rosario was initially developed for private use in 2003. In September 2019, The family has been converted to a variable font family. To contribute, see github.com/Omnibus-Type/Rosario.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rosarivo": { + "name": "Rosarivo", + "designer": [ + "Pablo Ugerman" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "handwriting" + ], + "description": "Rosarivo is a typeface designed for use in letterpress printing. It is an elegant and luxurious typeface with high quality details. It works especially well in delicate editorial design. Its letterpress origins mean it has a lighter color than a typical Roman text type. Its features include carefully designed serifs, gradual stroke and marked contrast, calligraphic and humanistic forms, and large ascenders and descenders. It is designed to work well in long texts with generous line spacing. It originates from work presented to the post-graduate course in Typeface Design at the University of Buenos Aires in 2011. Rosarivo is a Unicode typeface family that supports languages that use the Latin script and its variants, and could be expanded to support other scripts. To contribute to the project contact Pablo Ugerman.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rouge Script": { + "name": "Rouge Script", + "designer": [ + "Sabrina Mariela Lopez" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Rouge Script is a formal script type, initiall drawn by hand with a copperplate nib and redrawn with the termination style of a brush script. This gives it the flavor of a casual script. It is very soft and has fast curves, while its low slant angle makes it very legible and improves the render on-screen. It works perfectly for titles or short phrases in branding, magazines, food, feminine and fashion related typography.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rowdies": { + "name": "Rowdies", + "designer": [ + "Jaikishan Patel" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Rowdies is a Latin display typeface inspired by the rough & tough Indian action cinema. Roughness and oddness of each individual letter contribute collectively as a typeface to the fantasy of being bold, fearless and strong. Designed by Jaikishan Patel for action, drama, adventure, thriller, noir & crime genres of storytelling. The font family includes 600+ glyphs in 3 weights; Light, Regular, and Bold. To contribute, see https://github.com/magictype/rowdies", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rozha One": { + "name": "Rozha One", + "designer": [ + "Indian Type Foundry" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Rozha One is a very high contrast Open Source font, which currently offers support for the Devanagari and Latin scripts. Created primarily for display use, the extreme difference between its letters\u2019 thick and thin strokes make it an excellent choice for large headlines and poster-sized graphics. The Indian Type Foundry released Rozha One in 2014; its Devanagari character set was designed by Tim Donaldson and Jyotish Sonowal. Shiva Nallaperumal designed the Latin. The font\u2019s Latin characters are drawn in a fat face \u2018modern\u2019 or \u2018Didone\u2019 style, similar to letters that were commonly used in 19th century advertising posters in the West. Rozha One\u2019s Latin characters barely differentiate between upper and lowercase letter sizes; the x-height of its lowercase letters is so high \u2013 and the size of its capital letters so small \u2013 that these virtually blend into one another in a line of text. Nevertheless, the Devanagari letters are drawn in such a way that they harmonise with the font\u2019s Latin very well in settings where texts in multiple languages sit alongside one another. The headline of the Devanagari base characters is the same thickness as the Latin letters\u2019 serifs. Certain Devanagari letter strokes and vowel marks bare visually similarity to the font\u2019s Latin letters. However, Rozha One does not appear Latinized or un-Devanagari. The font includes 1,095 glyphs, offering full support for the conjuncts and ligatures required by languages written with the Devanagari script. When used in on-screen design environments, Rozha One should be used in very large pixel sizes. However in print, the design may be used in a broader range of sizes, perhaps even as small as at 16 or 18 points. The Rozha project is led by Indian Type Foundry, a type design foundry based in Ahmedabad, India. To contribute, see github.com/itfoundry/rozhaone", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Rubik": { + "name": "Rubik", + "designer": [ + "Hubert and Fischer", + "Meir Sadan", + "Cyreal", + "Daniel Grumer", + "Omaima Dajani" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "arabic", + "cyrillic", + "cyrillic-ext", + "hebrew", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Rubik is a sans serif font family with slightly rounded corners designed by Philipp Hubert and Sebastian Fischer at Hubert & Fischer as part of the Chrome Cube Lab project. Rubik is a 5 weight family with Roman and Italic styles, that accompanies Rubik Mono One, a monospaced variation of the Black roman design. Meir Sadan redesigned the Hebrew component in 2015. Alexei Vanyashin redesigned the Cyrillic component in 2016. To contribute, see github.com/googlefonts/Rubik.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rubik 80s Fade": { + "name": "Rubik 80s Fade", + "designer": [ + "NaN", + "Luke Prowse" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "hebrew", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. Check for more Rubik \"Filtered\" fonts! To contribute, see github.com/NaN-xyz/Rubik-Filtered.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rubik Beastly": { + "name": "Rubik Beastly", + "designer": [ + "NaN", + "Luke Prowse" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "hebrew", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. Check for more Rubik \"Filtered\" fonts!. To contribute, see github.com/NaN-xyz/Rubik-Filtered.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rubik Broken Fax": { + "name": "Rubik Broken Fax", + "designer": [ + "NaN", + "Luke Prowse" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "hebrew", + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. Check for more Rubik \"Filtered\" fonts! To contribute, see github.com/NaN-xyz/Rubik-Filtered.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rubik Bubbles": { + "name": "Rubik Bubbles", + "designer": [ + "NaN", + "Luke Prowse" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "hebrew", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. Check for more Rubik \"Filtered\" fonts!. To contribute, see github.com/NaN-xyz/Rubik-Filtered.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rubik Burned": { + "name": "Rubik Burned", + "designer": [ + "NaN", + "Luke Prowse" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "hebrew", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. Check for more Rubik \"Filtered\" fonts! To contribute, see github.com/NaN-xyz/Rubik-Filtered.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rubik Dirt": { + "name": "Rubik Dirt", + "designer": [ + "NaN", + "Luke Prowse" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "hebrew", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. Check for more Rubik \"Filtered\" fonts! To contribute, see github.com/NaN-xyz/Rubik-Filtered.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rubik Distressed": { + "name": "Rubik Distressed", + "designer": [ + "NaN", + "Luke Prowse" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "hebrew", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. Check for more Rubik \"Filtered\" fonts! To contribute, see github.com/NaN-xyz/Rubik-Filtered.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rubik Doodle Shadow": { + "name": "Rubik Doodle Shadow", + "designer": [ + "NaN", + "Luke Prowse" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "hebrew", + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. Check for more Rubik \"Filtered\" fonts! To contribute, see github.com/NaN-xyz/Rubik-Filtered.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rubik Doodle Triangles": { + "name": "Rubik Doodle Triangles", + "designer": [ + "NaN", + "Luke Prowse" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "hebrew", + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. Check for more Rubik \"Filtered\" fonts! To contribute, see github.com/NaN-xyz/Rubik-Filtered.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rubik Gemstones": { + "name": "Rubik Gemstones", + "designer": [ + "NaN", + "Luke Prowse" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "hebrew", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. Check for more Rubik \"Filtered\" fonts! To contribute, see github.com/NaN-xyz/Rubik-Filtered.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rubik Glitch": { + "name": "Rubik Glitch", + "designer": [ + "NaN", + "Luke Prowse" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "hebrew", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. Check for more Rubik \"Filtered\" fonts!. To contribute, see github.com/NaN-xyz/Rubik-Filtered.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rubik Glitch Pop": { + "name": "Rubik Glitch Pop", + "designer": [ + "NaN", + "Luke Prowse" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "hebrew", + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. Check for more Rubik \"Filtered\" fonts! To contribute, see github.com/NaN-xyz/Rubik-Filtered.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rubik Iso": { + "name": "Rubik Iso", + "designer": [ + "NaN", + "Luke Prowse" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "hebrew", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. Check for more Rubik \"Filtered\" fonts! To contribute, see github.com/NaN-xyz/Rubik-Filtered.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rubik Lines": { + "name": "Rubik Lines", + "designer": [ + "NaN", + "Luke Prowse" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "hebrew", + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. Check for more Rubik \"Filtered\" fonts! To contribute, see github.com/NaN-xyz/Rubik-Filtered.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rubik Maps": { + "name": "Rubik Maps", + "designer": [ + "NaN", + "Luke Prowse" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "hebrew", + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. Check for more Rubik \"Filtered\" fonts! To contribute, see github.com/NaN-xyz/Rubik-Filtered.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rubik Marker Hatch": { + "name": "Rubik Marker Hatch", + "designer": [ + "NaN", + "Luke Prowse" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "hebrew", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. Check for more Rubik \"Filtered\" fonts! To contribute, see github.com/NaN-xyz/Rubik-Filtered.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rubik Maze": { + "name": "Rubik Maze", + "designer": [ + "NaN", + "Luke Prowse" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "hebrew", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. Check for more Rubik \"Filtered\" fonts! To contribute, see github.com/NaN-xyz/Rubik-Filtered.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rubik Microbe": { + "name": "Rubik Microbe", + "designer": [ + "NaN", + "Luke Prowse" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "hebrew", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. Check for more Rubik \"Filtered\" fonts!. To contribute, see github.com/NaN-xyz/Rubik-Filtered.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rubik Mono One": { + "name": "Rubik Mono One", + "designer": [ + "Hubert and Fischer" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "monospace" + ], + "description": "Rubik is a sans serif font family with slightly rounded corners designed by Philipp Hubert and Sebastian Fischer at Hubert & Fischer as part of the Chrome Cube Lab project. Rubik Mono One is a monospaced sister of the Black roman style in the Rubik family, which has 5 weights.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rubik Moonrocks": { + "name": "Rubik Moonrocks", + "designer": [ + "NaN", + "Luke Prowse" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "hebrew", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. Check for more Rubik \"Filtered\" fonts!. To contribute, see github.com/NaN-xyz/Rubik-Filtered.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rubik Pixels": { + "name": "Rubik Pixels", + "designer": [ + "NaN", + "Luke Prowse" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "hebrew", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. Check for more Rubik \"Filtered\" fonts! To contribute, see github.com/NaN-xyz/Rubik-Filtered.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rubik Puddles": { + "name": "Rubik Puddles", + "designer": [ + "NaN", + "Luke Prowse" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "hebrew", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. Check for more Rubik \"Filtered\" fonts!. To contribute, see github.com/NaN-xyz/Rubik-Filtered.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rubik Scribble": { + "name": "Rubik Scribble", + "designer": [ + "NaN", + "Luke Prowse" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "hebrew", + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. Check for more Rubik \"Filtered\" fonts! To contribute, see github.com/NaN-xyz/Rubik-Filtered.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rubik Spray Paint": { + "name": "Rubik Spray Paint", + "designer": [ + "NaN", + "Luke Prowse" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "hebrew", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. Check for more Rubik \"Filtered\" fonts! To contribute, see github.com/NaN-xyz/Rubik-Filtered.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rubik Storm": { + "name": "Rubik Storm", + "designer": [ + "NaN", + "Luke Prowse" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "hebrew", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. Check for more Rubik \"Filtered\" fonts! To contribute, see github.com/NaN-xyz/Rubik-Filtered.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rubik Vinyl": { + "name": "Rubik Vinyl", + "designer": [ + "NaN", + "Luke Prowse" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "hebrew", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. Check for more Rubik \"Filtered\" fonts! To contribute, see github.com/NaN-xyz/Rubik-Filtered.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rubik Wet Paint": { + "name": "Rubik Wet Paint", + "designer": [ + "NaN", + "Luke Prowse" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "hebrew", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. Check for more Rubik \"Filtered\" fonts!. To contribute, see github.com/NaN-xyz/Rubik-Filtered.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ruda": { + "name": "Ruda", + "designer": [ + "Mariela Monsalve", + "Angelina Sanchez" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Ruda is a sans serif typeface originally developed for a specific context of use, product labels. Designed by Mariela Monsalve and Angelina Sanchez, Ruda features a very large x-height, low cap-height and open forms. In Febraury 2020, the family has been upgraded to a variable font. To contribute, see github.com/marmonsalve/Ruda-new. Ruda is a collaboration between marie monsalve and Angelina Saanchez.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rufina": { + "name": "Rufina", + "designer": [ + "Martin Sommaruga" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Rufina combines features of several typographic styles with Bodoni forms found in the calligraphy of flexible tip pens. High contrast enables it to work well in text and headlines. To contribute to the project contact Martin Sommaruga.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ruge Boogie": { + "name": "Ruge Boogie", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Smack a pi\u00f1ata or celebrate Cinco de Mayo with Ruge Boogie. This two-font set is a fun and bouncy style with a joyful flair. Great for scrapbooking, tubes, and other fun stuff. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/ruge-boogie.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ruluko": { + "name": "Ruluko", + "designer": [ + "Ana Sanfelippo", + "Ang\u00e9lica D\u00edaz", + "Meme Hern\u00e1ndez" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Ruluko is a typeface designed to aid those learning to read. The shapes you see are related to the handwriting typically used at schools in Argentina. The concept is that those who have learned to read this handwriting style may recognise this type style more easily than other typefaces often used in this context. But as a warm and stylish sans serif text type, you may use Ruluko for any purpose. Designed by Ana Sanfelippo (@anasanfelippo), Ang\u00e9lica D\u00edaz (@angiecinadiaz) and Meme Hern\u00e1ndez (@memepeca).", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rum Raisin": { + "name": "Rum Raisin", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Rum Raisin draws inspiration from a vintage Kelloggs Raisin Bran cereal box. Taken from a formerly unicase design, this has been developed as a caps/lowercase character set. The original unicase a is in the Delta character slot, as an alternate to a more suitable A. To contribute to the project contact Brian J. Bonislawsky.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ruslan Display": { + "name": "Ruslan Display", + "designer": [ + "Oleg Snarsky", + "Denis Masharov", + "Vladimir Rabdu" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "The Ruslan Display font is based on a 1970s typeface made by Ukrainian designer Oleg Snarsky, which evokes the ustav and semiustav styles of the 11th\u201316th centuries, known as the Ruthenian period. This is featured in the signage of Kiev's Teremky metro station, and in a collection of Snarsky's typefaces in the book \u201c\u0428\u0440\u0438\u0444\u0442\u044b-\u0430\u043b\u0444\u0430\u0432\u0438\u0442\u044b \u0434\u043b\u044f \u0440\u0435\u043a\u043b\u0430\u043c\u043d\u044b\u0445 \u0438 \u0434\u0435\u043a\u043e\u0440\u0430\u0442\u0438\u0432\u043d\u043e-\u043e\u0444\u043e\u0440\u043c\u0438\u0442\u0435\u043b\u044c\u0441\u043a\u0438\u0445 \u0440\u0430\u0431\u043e\u0442\u201c published in 1979 and available online. It was digitized and extended with an original Latin complement by Russian designer Denis Masharov, in collaboration with Vladimir Rabdu, in 2011. The name means \u2018lion\u2019. Suitable for lettering, Ruslan Display can also be used to set short texts and supports Latin and Cyrillic.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Russo One": { + "name": "Russo One", + "designer": [ + "Jovanny Lemonad" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Russo means Russian. It seems strange that in a such font there is no snow, vodka or bears. What I wanted to show is that Russian culture is quite varied and modern. In Russia, too, some people love good fonts and typography. Russo One is designed for headlines and logotypes. It is simple and original, stylish and casual.Russo One is a Unicode typeface family that supports languages that use the Cyrillic, Baltic, Turkish, Central Europe, Latin script and its variants, and could be expanded to support other scripts. To contribute to the project contact Jovanny Lemonad.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ruthie": { + "name": "Ruthie", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Ruthie is an elegant calligraphic script with ornate capital forms. To contribute, see github.com/googlefonts/ruthie.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ruwudu": { + "name": "Ruwudu", + "designer": [ + "SIL International" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "arabic", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Ruwudu is intended to provide a libre and open font family for Arabic script languages in West Africa that use the Rubutun Kano style. This font supports the characters known to be used by languages written in this style of Arabic script, but may not have the characters needed for other languages. Smart font routines automatically adjust the shape and position of characters. To contribute, please see github.com/silnrsi/font-ruwudu.", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Rye": { + "name": "Rye", + "designer": [ + "Nicole Fally" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Rye's bold attention getting shapes are useful for advertising. Rye is a medium contrast design inspired by posters using wood type. It gives off a feeling of the American West. It is suitable for use in medium to large sizes including headlines. This font was made specifically to be web type.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "STIX Two Math": { + "name": "STIX Two Math", + "designer": [ + "Tiro Typeworks", + "Ross Mills", + "John Hudson", + "Paul Hanslow" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "latin", + "latin-ext", + "math", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "The Scientific and Technical Information eXchange (STIX) fonts are intended to satisfy the demanding needs of authors, publishers, printers, and others working in the scientific, medical, and technical fields. The STIX Two fonts consist of one Math font, two variable text fonts (Roman and Italic), and eight static text (Regular to Bold in both roman and italic variants). Together, they provide a uniform set of fonts that can be used throughout the production process. The STIX project began through the joint efforts of American Mathematical Society (AMS), American Institute of Physics (AIP), American Physical Society (APS), American Chemical Society (ACS), The Institute of Electrical and Electronic Engineers (IEEE), and Elsevier. These companies are collectively known as the STI Pub companies. To contribute, see github.com/stipub/stixfonts.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "STIX Two Text": { + "name": "STIX Two Text", + "designer": [ + "Tiro Typeworks", + "Ross Mills", + "John Hudson", + "Paul Hanslow" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "The Scientific and Technical Information eXchange (STIX) fonts are intended to satisfy the demanding needs of authors, publishers, printers, and others working in the scientific, medical, and technical fields. The STIX Two fonts consist of two variable text fonts (Roman and Italic), eight static text (Regular to Bold in both roman and italic variants) and one Math font (currently only available for direct download from the repository). Together, they provide a uniform set of fonts that can be used throughout the production process. The STIX project began through the joint efforts of American Mathematical Society (AMS), American Institute of Physics (AIP), American Physical Society (APS), American Chemical Society (ACS), The Institute of Electrical and Electronic Engineers (IEEE), and Elsevier. These companies are collectively known as the STI Pub companies. To contribute, see github.com/stipub/stixfonts.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "SUSE": { + "name": "SUSE", + "designer": [ + "Ren\u00e9 Bieder" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "SUSE was created to reflect the innovative and open-source spirit of the SUSE company. It provides clarity and legibility, making it ideal for both digital and print media. The hybrid design combines geometric precision with monospaced stability, ensuring a modern and efficient aesthetic. To contribute, see github.com/SUSE/suse-font. SUSE is a sans serif typeface designed by Ren\u00e9 Bieder, embodying a unique hybrid between geometric and monospaced features. It captures the essence of SUSE, a company renowned for its open-source solutions. This versatile typeface family includes the following styles: Thin, ExtraLight, Light, Regular, Medium, SemiBold, Bold, and ExtraBold. It stands out with its distinctive design, perfect for modern, open-source, and tech-focused projects. Its variety of weights allows for flexibility in design, from headlines to body text, ensuring consistency and harmony across different use cases. SUSE supports over 200 Latin-based languages", + "minisite_url": null + }, + "Sacramento": { + "name": "Sacramento", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "The Sacramento typeface is a monoline, semi-connected script inspired by hand-lettering artist brochure work of the 1950's and 1960's. It stands on a thin line between formal and casual lettering styles, yet it has a commanding presence for headlines and titles. To contribute to the project contact Brian J. Bonislawsky.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Sahitya": { + "name": "Sahitya", + "designer": [ + "Juan Pablo del Peral" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "devanagari", + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Sahitya is a Devanagari typeface family based on the Latin Alegreya fonts. It was designed to match the style and feel of the original Latin characters. Juan Pablo del Peral designed the Latin, and led the design of the Devanagari with Sol Matas. Thanks to Erin McLaughlin, Vaishnavi Murthyand, Noopur Datye, Dan Reynolds and Jos\u00e9 Nicol\u00e1s Silva for their support and feedback. The Sahitya project is led by Juan Pablo del Peral, a type designer based in Argentina. To contribute, see github.com/juandelperal/sahitya", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Sail": { + "name": "Sail", + "designer": [ + "Miguel Hernandez" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Sail is a Didot script for headline, display and poster uses. A fresh air comes to all the glyphs, its windy uppercases are especially suited for display texts and web navigation. Elegant swashes and a clean lowercases also make it suitable for larger paragraphs.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Saira": { + "name": "Saira", + "designer": [ + "Omnibus-Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Saira is a sans serif system. It features a huge range of weights and widths, ready for all kind of typographic challenges. This is the Normal family, which is part of the superfamily along with Semi Condensed, Condensed, and Extra Condensed, each with 9 weights. Saira has been upgraded in 2020 to a variable font with axes for weight and width, adding expanded widths to the superfamily. This typeface was designed by Hector Gatti and developed by the Omnibus Type team. To contribute to the project, visit github.com/Omnibus-Type/Saira", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Saira Condensed": { + "name": "Saira Condensed", + "designer": [ + "Omnibus-Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Saira is a sans serif system. It features a huge range of weights and widths, ready for all kind of typographic challenges. This is the Condensed family, which is part of the superfamily along with Normal, Semi Condensed, and Extra Condensed, each with 9 weights. This typeface was designed by Hector Gatti and developed by the Omnibus Type team. To contribute to the project, visit github.com/Omnibus-Type", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Saira Extra Condensed": { + "name": "Saira Extra Condensed", + "designer": [ + "Omnibus-Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Saira is a sans serif system. It features a huge range of weights and widths, ready for all kind of typographic challenges. This is the Extra Condensed family, which is part of the superfamily along with Normal, Semi Condensed, and Condensed, each with 9 weights. This typeface was designed by Hector Gatti and developed by the Omnibus Type team. To contribute to the project, visit github.com/Omnibus-Type", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Saira Semi Condensed": { + "name": "Saira Semi Condensed", + "designer": [ + "Omnibus-Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Saira is a sans serif system. It features a huge range of weights and widths, ready for all kind of typographic challenges. This is the Semi Condensed family, which is part of the superfamily along with Normal, Condensed, and Extra Condensed, each with 9 weights. This typeface was designed by Hector Gatti and developed by the Omnibus Type team. To contribute to the project, visit github.com/Omnibus-Type", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Saira Stencil One": { + "name": "Saira Stencil One", + "designer": [ + "Hector Gatti", + "Omnibus-Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Saira Stencil is the stencil version of Saira, designed by H\u00e9ctor Gatti and developed by Omnibus-Type Team. To contribute, see github.com/Omnibus-Type/Saira/tree/master/SairaStencilOne.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Salsa": { + "name": "Salsa", + "designer": [ + "John Vargas Beltr\u00e1n" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "handwriting" + ], + "description": "Salsa was inspired by the old LP album covers from the 1970s, which is why the name is of the main musical genre of Latin America. Avoiding any stereotypes of grunge, vernacular or decorated styles, the font was designed from the vertical structure of an italic, based on behavior and nature of the flat round brush stroke. Salsa was developed as the final project in the postgraduate programme in Typography at the University of Buenos Aires. Functionally it can be used in titles and short texts, and has been developed with Swash Caps.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Sanchez": { + "name": "Sanchez", + "designer": [ + "Daniel Hernandez" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SLAB_SERIF", + "classifications": [], + "description": "Sanchez is a slab serif typeface family from Chilean type foundry LatinoType.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Sancreek": { + "name": "Sancreek", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Sancreek has been designed for use mostly as a caps-only display webfont, though lowercase characters have also been included. Sancreek is a contemporary take on some of the large wooden poster fonts of the ninteenth century. Sancreek can be used freely across the internet by web browsers on desktop computers, laptops and mobile devices.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Sankofa Display": { + "name": "Sankofa Display", + "designer": [ + "Batsirai Madzonga" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Sankofa Display is a captivating African typeface that draws inspiration from a rich tapestry of African art styles, with a particular focus on straight-line geometric designs. This typeface embodies the essence of Africa's diverse cultural heritage, blending elements from various artistic traditions. To contribute, see github.com/batsimadz/Sankofa-Display.", + "primary_script": null, + "article": null, + "minisite_url": "https://www.sankofadisplay.com" + }, + "Sansation": { + "name": "Sansation", + "designer": [ + "Bernd Montag" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "greek", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Sansation is a sans serif typeface family.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Sansita": { + "name": "Sansita", + "designer": [ + "Omnibus-Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Sansita is a tasty new Omnibus Type font designed by Pablo Cosgaya. The flavor of Sansita's lowercase explores the relationship between typography and calligraphy. The elegance of Sansita's uppercase makes this an excellent choice for packaging, brief texts, branding and slogans.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Sansita Swashed": { + "name": "Sansita Swashed", + "designer": [ + "Omnibus-Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "An ornate version of Sansita, with curvy uppercase letters, certain alternative lowercase letters and new ligatures. Sansita Swashed is designed by Pablo Cosgaya (Omnibus-Type) and developed by Aldo De Losa. To contribute, please see github.com/Omnibus-Type/Sansita-Swashed.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Sarabun": { + "name": "Sarabun", + "designer": [ + "Suppakit Chalermlarp" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "thai", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Sarabun is an open source multi-script webfont that supports both Latin and Thai. It is the \"TH Sarabun New\" font, made available under the Open Font License. The name \"Sarabun\" (\u0e2a\u0e32\u0e23\u0e1a\u0e23\u0e23\u0e13, RTGS: Saraban) means documentary affairs. The font is used in the Government Gazette of Thailand newspaper, and you can read more details about this font project on Wikipedia's National Fonts page.", + "primary_script": "Thai", + "article": null, + "minisite_url": null + }, + "Sarala": { + "name": "Sarala", + "designer": [ + "Andres Torresi" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Sarala is a Devanagari typeface family designed by Andr\u00e9s Torresi and Carolina Giovagnoli for Huerta Tipogr\u00e1fica. It is based on the original Latin typeface Telex, a sans serif typeface for text. It is a humanist sans serif design, conceived to be a web font with nice legibility at normal text sizes. Originally based on grid fitting shapes it became a multi-purpose typeface with low contrast, open counter forms, wide proportions and a touch of freshness. Thanks to Jos\u00e9 Nicol\u00e1s Silva, Vaishnavi Murthy and Erin McLaughlin for their feedback. The Sarala project is led by Andr\u00e9s Torresi, a type designer based in Argentina. To contribute, see github.com/andrestelex/sarala", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Sarina": { + "name": "Sarina", + "designer": [ + "James Grieshaber" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Sarina is a display typeface with brush style letterforms. Sarina's medium contrast and wide setting offers a casual breezy feeling. Sarina is appropriate for medium to larger sizes.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Sarpanch": { + "name": "Sarpanch", + "designer": [ + "Indian Type Foundry" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Display families with extensive character sets are rare for any script. With Indian typefaces, large character sets are often even less common. The Indian Type Foundry\u2019s font families have been an exception, however. Sarpanch continues this trend. Sarpanch is an Open Source typeface supporting the Devanagari and Latin scripts. It was designed for use in large point sizes and pixel sizes. Sarpanch\u2019s letterforms are made up of strokes with a high contrast. They are also drawn with wide proportions, based on a squared construction principle. Six fonts make up the Sarpanch family, ranging in weight from Regular to Black. As weight increases along the family\u2019s axis, vertical strokes become thicker, but the typeface\u2019s horizontals retain the same thickness across each weight. While the rather wide Regular weight of the family is almost monolinear, the Black weight appears to have a very high degree of contrast. The Regular, Medium and Semibold fonts are recommended for use in short headlines, while Bold, Heavy and Black are intended primarily for setting single words or pairs. At display sizes, Sarpanch works equally well on screen or in print. Each font contains 1035 glyphs and offers full support for the conjuncts and ligatures required by languages written in the Devanagari script. The Medium\u2013Black weights of the Sarpanch family were design by Manushi Parikh at ITF in 2014. Jyotish Sonowal designed the Regular weight. Sarpanch is an excellent choice for use in advertising or for news tickers on television screens (breaking news, etc.) In Hindi, the word Sarpanch means \u2018the head of a village\u2019.", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Sassy Frass": { + "name": "Sassy Frass", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "SassyFrass is a fun little script font with lots of squiggles and giggles, especially in the uppercase forms. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/sassy-frass.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Satisfy": { + "name": "Satisfy", + "designer": [ + "Sideshow" + ], + "license": "apache2", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Looking for a brush script with a little pizazz? This new Sideshow typeface will fill the bill! Satisfy gives you the look of a timeless classic with a unique modern flair. Download this font by designer Squid and you'll be satisfied!", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Savate": { + "name": "Savate", + "designer": [ + "Plomb Type", + "Max Esn\u00e9e" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "Savate is a humanist sans-serif typeface with reverse contrast. Its name, borrowed from the French martial art, reflects the typeface\u2019s sense of motion. Its open, generous curves and assertive forms evoke wide gestures and dynamic rhythm. Designed with both flexibility and impact in mind, Savate comes in a full range of weights from Extralight to Black, with matching italics, making it well-suited for everything from bold headlines to confident, readable text. To contribute, see github.com/maxesnee/savate. This new release is a complete redraw of the original Savate, first published in 2016 by the We.ch collective (Max Esn\u00e9e and Hadrien Bulliat) through Velvetyne. While it stays true to the spirit of the original design, every glyph has been refined to improve rhythm, structure, and overall cohesion. The family has also been significantly expanded, now offering a full palette of styles and expanded language support, including Latin Pan-African, making Savate a versatile tool for a broad range of typographic needs. Your browser does not support the video tag. Your browser does not support the video tag. Your browser does not support the video tag. Your browser does not support the video tag. Your browser does not support the video tag.", + "minisite_url": "https://www.plombtype.com/savate" + }, + "Sawarabi Gothic": { + "name": "Sawarabi Gothic", + "designer": [ + "mshio" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "japanese", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Sawarabi Gothic (\u3055\u308f\u3089\u3073\u30b4\u30b7\u30c3\u30af) is a Japanese font by mshio. Carefully designed for high legibility, it works well in small text sizes. It already has many hiragana, katakana, ruled lines, and so on, but it does not yet have enough kanji glyphs. Only 4,469 kanji are available in this version, and the project is under active development. There is also another related family, Sawarabi Mincho. 6,945 glyphs. Now released under the SIL Open Font License.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Sawarabi Mincho": { + "name": "Sawarabi Mincho", + "designer": [ + "mshio" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "braille", + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Sawarabi Mincho (\u3055\u308f\u3089\u3073\u660e\u671d) is a Japanese font by mshio. With a delicate and beautiful design, it is suitable for text and headline usage. It already has many hiragana, katakana, ruled lines, and so on, and this version includes 3297 kanji glyphs. There is also another related family, Sawarabi Gothic. To contribute to the project, visit osdn.net/projects/sawarabi-fonts/", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "Scada": { + "name": "Scada", + "designer": [ + "Jovanny Lemonad" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "In 2005, Scada was designed as the corporate identity font for the Latvian design studio Scada.lv. In 2011 the design studio decided to make Scada a libre font. Over 6 months the font was reworked, improved and expanded into a family. It has a modern style, specifically designed for small sizes.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Scheherazade New": { + "name": "Scheherazade New", + "designer": [ + "SIL International" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "arabic", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Scheherazade New is a traditional naskh typeface, supporting all Arabic script characters in Unicode 14.0. It is named after the heroine of the classic Arabian Nights tale. In May 2022, the font has been upgraded, offering a more extensive glyphset. The April 2023 upgrade brings two new weights: Medium and SemiBold. The language support is also improved. This font was developed by SIL, and you can learn more about it at software.sil.org/scheherazade. To contribute, see github.com/silnrsi/font-scheherazade.", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Schibsted Grotesk": { + "name": "Schibsted Grotesk", + "designer": [ + "Bakken & B\u00e6ck", + "Henrik Kongsvoll" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Schibsted Grotesk is a digital-first font family crafted for user interfaces. Taking visual cues from Schibsted's proud history of printed media as well as our pioneering digital nature, Schibsted Grotesk was designed to become an active tool that empowers brand ambassadors and inspires internal and external audiences. Schibsted Grotesk covers the Underware Latin Plus character set, using 4 masters distributed across weights and italics. To contribute, see github.com/schibsted/schibsted-grotesk.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Schoolbell": { + "name": "Schoolbell", + "designer": [ + "Font Diner" + ], + "license": "apache2", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Do you hear it? It's the sweet sound that let's you know when it's time to eat lunch in the cafeteria, head out to recess, or hop on the bus to head home! It's Schoolbell, the delightfully playful handwriting font from the finest lettering artist in the 2nd Grade!", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Scope One": { + "name": "Scope One", + "designer": [ + "Dalton Maag" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Scope One is a light slab serif typeface with elegant expressions that make it broadly useful for many different contexts. The design is optimized for titling and display usage and is ideally used at 14 points and above. The tall vertical proportions of the lowercase mean that it can be used in a way similar to small caps, giving a more refined typographic impression. It supports a broad range of languages using the Latin writing system. The font has been enhanced for good on-screen display quality, and has been tested extensively in a variety of on-screen and print environments. Scope One is a Dalton Maag original design commissioned by Google Fonts for use in presentation slide decks. A foundry specimen is maintained at daltonmaag.github.io/scope-one To contribute, see github.com/daltonmaag/scope-one", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Seaweed Script": { + "name": "Seaweed Script", + "designer": [ + "Neapolitan" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Hear that? That's the sound of tropical ocean breezes as they whistle gently through your laptop! Grab a mai-tai, a hammock under a swaying palm tree and let your hair down as your fingers gently caress the keyboard just like seaweed! Enjoy Seaweed Script when a rustic tropical beachside script is called for and watch out for Squid! Designed by Dave 'Squid' Cohen of Neapolitan (a DBA of Font Diner, Inc.) To contribute to the project, contact the Font Diner.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Secular One": { + "name": "Secular One", + "designer": [ + "Michal Sahar" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "hebrew", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Secular One is an original Hebrew and Latin humanistic sans serif typeface with a single weight. At the time of publication (2016) there were not yet many Hebrew sans serif text typefaces. The designer Michal Sahar wanted to create a fresh, \u201ceasy going\u201d design, simple but not neutral, friendly but not flattering or over-styled, straight but not too much\u2026 and highly readable in small sizes and long paragraphs. The Secular letterforms work equally well when used at large sizes where the delicate and eccentric elements are revealed, making it useful for branding purposes as well as typsetting long-form texts. The June 2023 update features a bigger glyphset and some small fixes. The Secular project is led by Michal Sahar, a type designer based in Tel Aviv, Israel. To contribute, see github.com/MichalSahar/Secular", + "primary_script": "Hebr", + "article": null, + "minisite_url": null + }, + "Sedan": { + "name": "Sedan", + "designer": [ + "Sebasti\u00e1n Salazar" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Sedan is a Garalde typeface prized for its timeless elegance, perfect for enhancing publications. With balanced proportions, subtle contrasts, and graceful serifs, Sedan offer both clarity and sophistication. Its versatility makes it ideal for various print materials, from magazines to scholarly journals, ensuring text remains inviting and accessible while exuding classic charm. Sedan embodies the enduring allure of Garalde designs in publishing. Sedan SC is also available, a small caps sister family next to the Roman and Italic Sedan . To contribute, see github.com/googlefonts/sedan .", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Sedan SC": { + "name": "Sedan SC", + "designer": [ + "Sebasti\u00e1n Salazar" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Sedan is a Garalde typeface prized for its timeless elegance, perfect for enhancing publications. With balanced proportions, subtle contrasts, and graceful serifs, Sedan offer both clarity and sophistication. Its versatility makes it ideal for various print materials, from magazines to scholarly journals, ensuring text remains inviting and accessible while exuding classic charm. Sedan embodies the enduring allure of Garalde designs in publishing. Check out the classic Sedan family, with a Regular and Italic styles. To contribute, see github.com/googlefonts/sedan .", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Sedgwick Ave": { + "name": "Sedgwick Ave", + "designer": [ + "Pedro Vergani", + "Kevin Burke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "The Sedgwick Ave project expresses handwritten graffiti letterforms with two designs: This is Sedgwick Ave, ideal for text size usage, and accompanied by Sedgwick Ave Display, intended for larger size usage.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Sedgwick Ave Display": { + "name": "Sedgwick Ave Display", + "designer": [ + "Pedro Vergani", + "Kevin Burke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "The Sedgwick Ave project expresses handwritten graffiti letterforms with two designs: This is Sedgwick Ave Display, intended for larger size usage, accompanied by Sedgwick Ave, ideal for text size usage.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Sen": { + "name": "Sen", + "designer": [ + "Kosal Sen" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Sen \u2013 a Geohumanist sans, is Philatype\u2019s first typeface released under the SIL Open Font License (OFL). Sen is a geometrically constructed sans-serif with a sensible, friendly look. Think of it as a more neutral version of geometric classics such as Avenir or Futura with a humanist touch. It\u2019s unassuming, unique, and most importantly, easy to read. In June 2023, the font is updated as a variable font, going from Regular to ExtraBold. To contribute, please see github.com/philatype/Sen.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Send Flowers": { + "name": "Send Flowers", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Send Flowers is a mono-weight script font with clean connecting strokes and a highly legible style. It has a cute look, but since it is a cursive it has a bit more sophistication that is appropriate for an older audience. It's old school juvenile, with a delicate appeal. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/send-flowers.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Sevillana": { + "name": "Sevillana", + "designer": [ + "Brownfox" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Sevillana is named after a folk music style widespread in Seville (Andalusia) in Spain. The typeface is inspired by the lettering of commemorative plates which can be seen on house walls in Andalusia. Those ceramic plates are handmade and each one is unique. Individual handwriting may vary but the style is always recognizable. Sevillana is a generalized character based on that diversity, a headline typeface that can be used in middle and large sizes, it can be used for restaurant menus, concert posters, different kinds of signage etc. Designed by Olga Umpeleva for Brownfox. To contribute to the project contact Gayaneh Bagdasaryan.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Seymour One": { + "name": "Seymour One", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Seymour One is derived from the earlier webfont Sigmar One, but the forms have also been influenced by late nineteenth and early twentieth century British sans-serif typefaces. The result is a display face that is ideal for bold, unpretentious, and slightly playful display typography. Seymour One is designed to be used conventionally but also as an 'all caps' font. Seymour One is designed to be used freely across the internet by web browsers on desktop computers, laptops and mobile devices. The August 2023 update features a bigger glyphset and some minor aesthetic modifications. To contribute, see github.com/googlefonts/seymourFont.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Shadows Into Light": { + "name": "Shadows Into Light", + "designer": [ + "Kimberly Geswein" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "This clean, neat handwriting font has a feminine feel with nice rounded edges and curves. It is perfect for adding a personalized touch to your project.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Shadows Into Light Two": { + "name": "Shadows Into Light Two", + "designer": [ + "Kimberly Geswein" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "A totally revised and updated version of this popular clean, neat handwriting font. It has a feminine feel with nice rounded edges and curves. It is perfect for adding a personalized touch to your project.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Shafarik": { + "name": "Shafarik", + "designer": [ + "Aleksandr Andreev" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "glagolitic", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "The Shafarik font, named after Pavel Jozef \u0160af\u00e1rik (1795\u20131861), Slovak-born scholar and one of the founders of modern Slavic philology, is a specialized font intended for an academic presentation of Old Church Slavonic (OCS) texts written in either the Cyrillic or Glagolitic alphabets. To contribute, please see github.com/slavonic/Shafarik.", + "primary_script": "Cyrl", + "article": null, + "minisite_url": null + }, + "Shalimar": { + "name": "Shalimar", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Shalimar is an upright script inspired by the calligraphic strokes of a flat nib pen. There are script style capitals that may be substituted by more Roman forms with the stylistic set. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/shalimar.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Shantell Sans": { + "name": "Shantell Sans", + "designer": [ + "Shantell Martin", + "Arrow Type", + "Anya Danilova" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "British visual artist and philosopher Shantell Martin is famous for using words in her artwork in the Oculus at the World Trade Center, in New York City, and for her music and art collaboration with Kendrick Lamar at Art Basel in Miami. Her art has taken over the screens of New York\u2019s Times Square and the Lincoln Center stage, home of the New York City Ballet. Back in school, she was scared of spelling tests. However, outside of school, she felt that words were art and provided emotional relief. A discovery in her early 20s opened her eyes to why reading and writing were so difficult for her, and set in motion her desire to create the To inspire others to have fun with writing and words, she teamed up with Stephen Nixon of Arrow Type to create Shantell Sans. Shantell Martin, Stephen Nixon, and Anya Danilova share their experiences of the making of Shantell Sans. To learn more, visit The Story of Shantell Sans .", + "minisite_url": "https://www.shantellsans.com" + }, + "Shanti": { + "name": "Shanti", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Shanti One is a straightforward sans serif designed to be used freely across the internet by web browsers on desktop computers, laptops and mobile devices. The September 2023 update features a bigger glyphset, fractions and some minor aesthetic modifications. To contribute, see github.com/googlefonts/ShantiFont.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Share": { + "name": "Share", + "designer": [ + "Carrois Apostrophe" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Share is a sans serif family. There are two more related families, Share Tech and Share Tech Mono.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Share Tech": { + "name": "Share Tech", + "designer": [ + "Carrois Apostrophe" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Share Tech is a sans serif, based on the Share family. There is also Share Tech Mono.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Share Tech Mono": { + "name": "Share Tech Mono", + "designer": [ + "Carrois Apostrophe" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "monospace" + ], + "description": "Share Tech Mono is a monospaced sans serif, based on the Share family. There is also Share Tech, a proportionally spaced version. Updated, July 2015: 'fi' ligature issue fixed.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Shippori Antique": { + "name": "Shippori Antique", + "designer": [ + "FONTDASU" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Shippori Antique follows long-established standards for dialogue in manga and was created to provide people who draw manga in Japan a beautiful antique font for free. The Kana follow an antique, Ming Dynasty style design based on Shippori Mincho with thick lines. The Latin was designed in an old sans-serif style. Finally, the Kanji was created by modifying the SIL licensed Genseki Gothic. Shippori Antique is the standard version of the font. Shippori Antique B1 (https://fonts.google.com/specimen/Shippori+Antique+B1) has rounded corners and ink pooling. To contribute to the project, visit github.com/fontdasu/ShipporiAntique", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "Shippori Antique B1": { + "name": "Shippori Antique B1", + "designer": [ + "FONTDASU" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Shippori Antique follows long-established standards for dialogue in manga and was created to provide people who draw manga in Japan a beautiful antique font for free. The Kana follow an antique, Ming Dynasty style design based on Shippori Mincho with thick lines. The Latin was designed in an old sans-serif style. Finally, the Kanji was created by modifying the SIL licensed Genseki Gothic. Shippori Antique B1 features rounded corners and ink pooling. Shippori Antique (https://fonts.google.com/specimen/Shippori+Antique) is the standard version of the font. To contribute to the project, visit github.com/fontdasu/ShipporiAntique", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "Shippori Mincho": { + "name": "Shippori Mincho", + "designer": [ + "FONTDASU" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Shippori Mincho is an old-style Mincho style created to provide novel writers in Japan a beautiful Mincho style for free. It is based on The Tokyo Tsukiji Type Foundry No. 5 Mincho style, which had a great influence on the Japanese Mincho style, which is widely used today. The Regular was originally designed for long-form text setting in novels and the Extra Bold was originally designed for titles and headlines. Eventually it became a family of 5 weights from Regular to Extra Bold. Shippori Mincho is designed to be beautiful even when the characters are enlarged so that they can be used widely from amateurs to editorial designers. Alternate characters are also included for those who are particular about the characters. The Kanji are based on the SIL licensed font, Genryu Mincho. Shippori Mincho is the standard version of the font. Shippori Mincho B1 (https://fonts.google.com/specimen/Shippori+Mincho+B1) has rounded corners and ink pooling. To contribute to the project, visit github.com/fontdasu/ShipporiMincho", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "Shippori Mincho B1": { + "name": "Shippori Mincho B1", + "designer": [ + "FONTDASU" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Shippori Mincho is an old-style Mincho style created to provide novel writers in Japan a beautiful Mincho style for free. It is based on The Tokyo Tsukiji Type Foundry No. 5 Mincho style, which had a great influence on the Japanese Mincho style, which is widely used today. The Regular was originally designed for long-form text setting in novels and the Extra Bold was originally designed for titles and headlines. Eventually it became a family of 5 weights from Regular to Extra Bold. Shippori Mincho is designed to be beautiful even when the characters are enlarged so that they can be used widely from amateurs to editorial designers. Alternate characters are also included for those who are particular about the characters. The Kanji are based on the SIL licensed font, Genryu Mincho. Shippori Mincho is the standard version of the font. Shippori Mincho B1 (https://fonts.google.com/specimen/Shippori+Mincho+B1) has rounded corners and ink pooling. To contribute to the project, visit github.com/fontdasu/ShipporiMincho", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "Shizuru": { + "name": "Shizuru", + "designer": [ + "Shibuya Font" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "japanese", + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "This is a font based on the handwritten sketch by handicapped artists, refined & created by design major students. The unique lines create its exceptional atmosphere. This is one of the work of Shibuya Font project, a collaboration of design major students and handicapped artist living in Shibuya city, officially approved by Shibuya city in Tokyo. The Shibuya Font Project official site is at shibuyafont.jp To contribute to the project, visit github.com/shibuyafont/shizuru-font", + "primary_script": "Hira", + "article": null, + "minisite_url": null + }, + "Shojumaru": { + "name": "Shojumaru", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Shojumaru draws inspiration from a movie poster for a 1957 film titled Sayonara, starring Marlon Brando. It breaks the formula of a chop suey style by mixing chop suey and traditional letterforms to create a powerful and unique letterforms all its own.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Short Stack": { + "name": "Short Stack", + "designer": [ + "James Grieshaber" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Short Stack is a low contrast semi-geometric typeface inspired by childish written letters. It is sturdy, and clear but also whimsical and fun, and works well from medium text sizes to larger display sizes.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Shrikhand": { + "name": "Shrikhand", + "designer": [ + "Jonny Pinhorn" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "gujarati", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Shrikhand supports the Gujarati and Latin writing systems. The name (\u0ab6\u0acd\u0ab0\u0ac0\u0a96\u0a82\u0aa1) is a sweet and creamy Gujarati dessert that is a particular favourite of the designer, Jonny Pinhorn. In the three or four years prior to the initial development of this font in June 2015, Jonny lived in Ahmedabad, Gujarat, working for Indian Type Foundry. During this time India had a profound effect on his design philosophy and general worldview. Shrikhand is the culmination of three years absorbing the colourful and vibrant hand-painted lettering that can be seen on the streets in Gujarat. Big, bold, and unapologetic, Shrikhand is a display type that evolved from discussions with colleagues about how good the Gujarati script looks when it is free to be as curvaceous and expressive as possible. To contribute, see github.com/jonpinhorn/shrikhand", + "primary_script": "Gujr", + "article": null, + "minisite_url": null + }, + "Siemreap": { + "name": "Siemreap", + "designer": [ + "Danh Hong" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "khmer" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "The Siemreap fonts are designed for readable and beautiful rendering of text in the Khmer script, the national language of Cambodia. The designer, Danh Hong, has many years of experience creating fonts for Khmer and other Southeast Asian languages, and is actively involved in the KhmerOS project, dedicated to a vision where Cambodians can learn and use computers in their own language.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Sigmar": { + "name": "Sigmar", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Sigmar is a casual, display specific webfont. It's design is based upon various fonts found in mid twentieth century pulp magazine advertising. It's an improved version of Sigmar One, whose small caps have been replaced by basic lower cases, for the Summer of Type in 2023. To contribute, see github.com/googlefonts/sigmarone.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Sigmar One": { + "name": "Sigmar One", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Sigmar is a casual, display specific webfont. It's design is based upon various fonts found in mid twentieth century pulp magazine advertising.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Signika": { + "name": "Signika", + "designer": [ + "Anna Giedry\u015b" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Signika variable font is a sans-serif with a gentle character, developed for wayfinding, signage, and other media where clarity of information is required. It has a low contrast and tall x-height to improve readability of texts in small sizes as well as in large distances from the reader. Being a typical signage typeface it is inspired by typefaces such as Ronnia, Meta, and Tahoma. The typeface comes with a wide character set supporting Western European languages, Polish, and Czech. The figures are designed as tabular. In July 2023, a GRAD axis is added to solve the optical effects of negative text setting (dark color text on light background). To contribute, see github.com/googlefonts/Signika", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Signika Negative": { + "name": "Signika Negative", + "designer": [ + "Anna Giedry\u015b" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Signika is a sans-serif with a gentle character, developed for wayfinding, signage, and other media where clarity of information is required. It has a low contrast and tall x-height to improve readability of texts in small sizes as well as in large distances from the reader. Being a typical signage typeface it is inspired by typefaces such as Ronnia, Meta, and Tahoma. The typeface comes with a wide character set supporting Western European languages, Polish, and Czech. The figures are designed as tabular. Signika Negative is an alternative version, optimized to solve the effect of juxtaposed positive and negative text setting, where the text in negative tends to look thicker. The source code of Signika is available from Github.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Silkscreen": { + "name": "Silkscreen", + "designer": [ + "Jason Kottke" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Silkscreen is a pixel typeface that was designed for rendering type at small sizes for web graphics. It\u2019s got a chunky, retro-computing look that also works well when you use it big. Silkscreen includes two weights, regular and bold, that looks good on the web, mobile devices, and even in print. Since its release in 1999, it has been used by companies like Flickr, Herman Miller, Volvo, and Adobe, by pop stars like Britney Spears and Carly Rae Jepsen, and in movies like The Bourne Legacy. Learn more at www.kottke.org. To contribute, see github.com/googlefonts/silkscreen.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Simonetta": { + "name": "Simonetta", + "designer": [ + "Brownfox" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "The Simonetta font is named in honour of Simonetta Vespucci. She was considered to be the most beautiful woman in Renaissance Florence and was nicknamed 'La Bella Simonetta.' She was a model for Sandro Botticelli's painting 'The Birth of Venus' and many of his other female characters. The Simonetta font is inspired by Italian Humanistic typefaces, but it is contemporary and has many original features. It has one-sided serifs and soft drops, is slightly slanted (some two degrees) and the Italics have the same slant. The Romans and Italics differ from each other only in their shapes, with the italics being much more calligraphic and angular. Designed by Gayaneh Bagdasaryan for Brownfox. To contribute to the project contact Gayaneh Bagdasaryan.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Single Day": { + "name": "Single Day", + "designer": [ + "DXKorea Inc" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "korean" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Single Day is a Korean and Latin font.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Sintony": { + "name": "Sintony", + "designer": [ + "Eduardo Rodriguez Tunni" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Sintony is a modern sans serif typeface, drawn with a slightly square structure and smooth stroke modulation. Great for long passages of text, he provides any text with a calm and clear feeling.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Sirin Stencil": { + "name": "Sirin Stencil", + "designer": [ + "Cyreal" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Sirin Stencil is a display humanist sans typeface by Olga Karpushina with careful brush-inspired detailing. It is designed for large sizes, but works surprizingly well in small body copy, when its stencil gaps merge. Sirin will work well on colored backgrounds creating an optical 3D effect.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Six Caps": { + "name": "Six Caps", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Six Caps is a highly condensed and tight display font. It is a stripped down and normalized version of classic grotesque display letterforms.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Sixtyfour": { + "name": "Sixtyfour", + "designer": [ + "Jens Kut\u00edlek" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Sixtyfour and Workbench fonts are inspired by the article Raster CRT Typography (According to DEC) by Norbert Landsteiner. They are a rework of some old pixel versions of the Commodore 64 and Amiga Workbench fonts the author created years ago. The fonts now include two custom axes: Scanlines, which allows control of the height of the lines and, as a result of this, the amount of vertical space between the lines. And Bleed to change the amount of horizontal bleed of the pixels due to the phosphor latency found in CRT displays. Due to this project's specificity and the fonts' historical origin, they only support a limited set of glyphs. To contribute, see github.com/jenskutilek/homecomputer-fonts", + "primary_script": null, + "article": null, + "minisite_url": "https://jenskutilek.github.io/homecomputer-fonts/documentation/demo-sixtyfour.html" + }, + "Sixtyfour Convergence": { + "name": "Sixtyfour Convergence", + "designer": [ + "Simon Cozens", + "Jens Kut\u00edlek" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "Sixtyfour Convergence is the COLRv1 companion of Sixtyfour a font inspired by the article Raster CRT Typography by Norbert Landsteiner, and is a rework of some old pixel versions of the Commodore 64. Due to this project's specificity and the fonts' historical origin, they only support a limited set of glyphs. This font uses the COLRv1 and CPAL tables. Please visit the gf-guide color page to learn more about Color Fonts technology. To contribute, see github.com/jenskutilek/homecomputer-fonts. Homecomputer Fonts These fonts are inspired by the interface fonts of two classic 1980s computers, the Commodore C64 (Sixtyfour) and Amiga (Workbench). When Jens Kutilek adapted them to the variable font technology, he did not just convert the pixel fonts, but tried to emulate the artifacts of rendering letters on a CRT screen. The above fonts include two custom axes: Scanlines, which allows control of the height of the lines and, as a result of this, the amount of vertical space between the lines. And Bleed to change the amount of horizontal bleed of the pixels due to the phosphor latency found in CRT displays. Sixtyfour Convergence Sixtyfour Convergence is Simon Cozens's COLRv1 take on Sixtyfour, which introduces two additional new custom axes: Horizontal Element Alignment and Vertical Element Alignment. These axes allow the control of the position of three painted layers, reproducing the control of the offset positions of the red, green, and blue colors common on CRT monitors.", + "minisite_url": null + }, + "Skranji": { + "name": "Skranji", + "designer": [ + "Neapolitan" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Skranji is primitive and exotic, evoking the thunder of Norse gods, designed by Dave 'Squid' Cohen of Neapolitan.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Slabo 13px": { + "name": "Slabo 13px", + "designer": [ + "John Hudson" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SLAB_SERIF", + "classifications": [], + "description": "Slabo is a collection of size-specific fonts for use in online advertising and other web uses. The collection currently includes this font, Slabo 13px, and Slabo 27px. Each font in the collection is fine-tuned for use at the pixel size in its name. The Slabo project is led by Tiro Typeworks, a type design foundry based in Canada. To contribute, see Slabo on GitHub.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Slabo 27px": { + "name": "Slabo 27px", + "designer": [ + "John Hudson" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SLAB_SERIF", + "classifications": [], + "description": "Slabo is a collection of size-specific fonts for use in online advertising and other web uses. The collection currently includes this font, Slabo 27px, and Slabo 13px. Each font in the collection is fine-tuned for use at the pixel size in its name. The Slabo project is led by Tiro Typeworks, a type design foundry based in Canada. To contribute, see Slabo on GitHub.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Slackey": { + "name": "Slackey", + "designer": [ + "Sideshow" + ], + "license": "apache2", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Don't let the name fool you! Slackey really pulls its weight when you need a fun, chunky display font. So next time you have a weighty headlining chore to do, let Slackey do all the heavy lifting! Designed with a good work ethic and plenty of manual labor by Squid.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Slackside One": { + "name": "Slackside One", + "designer": [ + "Maniackers Design" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "japanese", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Newly designed only for Google Fonts: sophisticated handwritten Japanese font. Slackside means loose end. To contribute to the project, visit github.com/ManiackersDesign/slackside", + "primary_script": "Hira", + "article": null, + "minisite_url": null + }, + "Smokum": { + "name": "Smokum", + "designer": [ + "Astigmatic" + ], + "license": "apache2", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Smokum is a western inspired slab-serif font with a little playful swagger to it. It's perfect for headlines and display uses that require a little loosened up country flair, but because of the contrast of thicks and thins, it will perform best as a WebFont at medium to large point sizes.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Smooch": { + "name": "Smooch", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Smooch is a brushy handwritten script font full of speedy personality. It has a contemporary feel often accomplished with stranded brush strokes. It is slightly bolder than other hand-lettered scripts by its creator and has up to five stylistic sets as well as initial and final positional forms expanding its utility. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/smooch.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Smooch Sans": { + "name": "Smooch Sans", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Smooch Sans was originally designed as a truncated font to be used to compliment the Smooch brush script file. It has been updated with an extensive character set and designed as a Variable font to a offer nine weight variations of this clean sans font. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/smooch-sans.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Smythe": { + "name": "Smythe", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Smythe is a reworking and mashing together of various typefaces from the late nineteenth and early twentieth centuries that can be best described as 'Arts and Crafts', or, 'Art Deco'. Smythe also has a touch of Batfink too!", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Sniglet": { + "name": "Sniglet", + "designer": [ + "Haley Fiege" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "A rounded display face that\u2019s great for headlines.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Snippet": { + "name": "Snippet", + "designer": [ + "Gesine Todt" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Snippet\u2019s light weight and unusual construction give texts a special flow and make you want to look twice! In headlines Snippet\u2019s many details show and help you create a clean but witty look.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Snowburst One": { + "name": "Snowburst One", + "designer": [ + "Annet Stirling" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Snowburst One is a low contrast serifed display typeface inspired by one of Annet Stirling's distinctive styles of lettering. Snowburst One's personality consistently shows in both small and large sizes. Because of the thin stokes this font is best used from medium to large sizes. Despite its surprising forms Snowburst is highly legible. Readers are likely to be both surprised and entertained by its unusual but friendly forms.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Sofadi One": { + "name": "Sofadi One", + "designer": [ + "Botjo Nikoltchev" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Sofadi is a fun font that blends jungle thoughts and liquid minds.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Sofia": { + "name": "Sofia", + "designer": [ + "LatinoType" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Sofia designed by Paula Nazal and Daniel Hern\u00e1ndez, is an upright script font with some unconventional ligatures. It is a coquettish, friendly and versatile typeface.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Sofia Sans": { + "name": "Sofia Sans", + "designer": [ + "Lettersoup", + "Botio Nikoltchev", + "Ani Petrova" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Originaly designed as a typeface for the capital city of Bulgaria, Sofia Sans is a comprehensive type system in four widths (Normal, SemiCondensed, Condensed and ExtraCondensed) with extended coverage of the Latin, Greek, and Cyrillic Scripts. Inspired by the early-twentieth-century so-called technical sans serifs typefaces with confident letterforms, a pronounced vertical impetus, and tense curves, Sofia Sans also has nice humanistic details and soft round corners that reminds print work with hot metal typesetting. With narrow proportions and a generous x-height, is a space-saving workhorse that would work well in very diverse environments. Sofia Sans is also a feature-rich OpenType family with a large character set including small caps, several figure styles, arrows, numerals in circles among others. To contribute, see github.com/lettersoup/Sofia-Sans.", + "primary_script": null, + "article": null, + "minisite_url": "https://www.lettersoup.de/sofia-sans/" + }, + "Sofia Sans Condensed": { + "name": "Sofia Sans Condensed", + "designer": [ + "Lettersoup", + "Botio Nikoltchev", + "Ani Petrova" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Originaly designed as a typeface for the capital city of Bulgaria, Sofia Sans is a comprehensive type system in four widths (Normal, SemiCondensed, Condensed and ExtraCondensed) with extended coverage of the Latin, Greek, and Cyrillic Scripts. Inspired by the early-twentieth-century so-called technical sans serifs typefaces with confident letterforms, a pronounced vertical impetus, and tense curves, Sofia Sans also has nice humanistic details and soft round corners that reminds print work with hot metal typesetting. With narrow proportions and a generous x-height, is a space-saving workhorse that would work well in very diverse environments. Sofia Sans is also a feature-rich OpenType family with a large character set including small caps, several figure styles, arrows, numerals in circles among others. To contribute, see github.com/lettersoup/Sofia-Sans.", + "primary_script": null, + "article": null, + "minisite_url": "https://www.lettersoup.de/sofia-sans/" + }, + "Sofia Sans Extra Condensed": { + "name": "Sofia Sans Extra Condensed", + "designer": [ + "Lettersoup", + "Botio Nikoltchev", + "Ani Petrova" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Originaly designed as a typeface for the capital city of Bulgaria, Sofia Sans is a comprehensive type system in four widths (Normal, SemiCondensed, Condensed and ExtraCondensed) with extended coverage of the Latin, Greek, and Cyrillic Scripts. Inspired by the early-twentieth-century so-called technical sans serifs typefaces with confident letterforms, a pronounced vertical impetus, and tense curves, Sofia Sans also has nice humanistic details and soft round corners that reminds print work with hot metal typesetting. With narrow proportions and a generous x-height, is a space-saving workhorse that would work well in very diverse environments. Sofia Sans is also a feature-rich OpenType family with a large character set including small caps, several figure styles, arrows, numerals in circles among others. To contribute, see github.com/lettersoup/Sofia-Sans.", + "primary_script": null, + "article": null, + "minisite_url": "https://www.lettersoup.de/sofia-sans/" + }, + "Sofia Sans Semi Condensed": { + "name": "Sofia Sans Semi Condensed", + "designer": [ + "Lettersoup", + "Botio Nikoltchev", + "Ani Petrova" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Originaly designed as a typeface for the capital city of Bulgaria, Sofia Sans is a comprehensive type system in four widths (Normal, SemiCondensed, Condensed and ExtraCondensed) with extended coverage of the Latin, Greek, and Cyrillic Scripts. Inspired by the early-twentieth-century so-called technical sans serifs typefaces with confident letterforms, a pronounced vertical impetus, and tense curves, Sofia Sans also has nice humanistic details and soft round corners that reminds print work with hot metal typesetting. With narrow proportions and a generous x-height, is a space-saving workhorse that would work well in very diverse environments. Sofia Sans is also a feature-rich OpenType family with a large character set including small caps, several figure styles, arrows, numerals in circles among others. To contribute, see github.com/lettersoup/Sofia-Sans.", + "primary_script": null, + "article": null, + "minisite_url": "https://www.lettersoup.de/sofia-sans/" + }, + "Solitreo": { + "name": "Solitreo", + "designer": [ + "Nathan Gross", + "Bryan Kirschen" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "hebrew", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "This font was developed by the Documenting Judeo-Spanish Project. Documenting Judeo-Spanish is a digital humanities project that began in 2019 under the leadership of Dr. Bryan Kirschen. Recalling his initial fascination with Solitreo and the limited resources available to learn this script, Dr. Kirschen decided to focus this project on the cursive variety that was once common to speakers of Judeo-Spanish around the world. A nearly-extinct alphabet to an endangered language, this style of writing can be found in documents ranging from journal entries and ledgers to personal correspondence and community minutes. Many of these very documents are sitting in basements and attics today and, to the untrained eye, are mistaken for Hebrew. Judeo-Spanish (Ladino) refers to the variety of Spanish that developed among Jewish populations who were expelled from Spain in 1492 and subsequently settled throughout Turkey and the Balkans, then of the Ottoman Empire. These Jews, known as Sephardim, preserved many features of Medieval (varieties of) Spanish, while incorporating linguistic elements from the languages spoken in their surroundings, including: Turkish, Greek, Serbo-Croatian, French, Italian, and Arabic. As a Jewish language, the Spanish of the Sephardim has always been in contact with Hebrew. And while Judeo-Spanish may sound like other Romance languages, in writing, it would have traditionally appeared more similar to a Semitic language. Solitreo refers to the Hebrew-based cursive script once used by Sephardim; it is the cursive variety of the Rashi alphabet. Solitreo, or Soletreo, is derived from Galician/Portuguese, meaning \u2018to spell.\u2019 For many Sephardim, Solitreo was simply known as ganchos, meaning \u2018hooks,\u2019 due to the ligatures that form between letters. This style of writing is distinct from the Ashkenazi-based alphabet used for cursive Hebrew today, making documents in Solitreo undecipherable to the untrained eye. A similar style of writing can also be found in documents written in Judeo-Arabic. Today, Solitreo is a relic of the past, as most writers of the language utilize Roman characters. Most non-Hebrew glyphs in this font were forked from Kalam. To contribute, see github.com/ladinoprojects/solitreo.", + "primary_script": "Hebr", + "article": null, + "minisite_url": null + }, + "Solway": { + "name": "Solway", + "designer": [ + "Mariya Lish", + "The Northern Block" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Solway is a playful slab-serif with a charming and understated tone of voice, inspired by the warmth of community and the idyll of rural-living. It is a contemporary family defined by the soft corners, ball terminals, rounded slabs that give it a welcoming and friendly appeal. Its monoline structure and minimal stroke contrast aspire to cohesion and stability. Available in five weights, it is suitable for a variety of projects. It could find perfect expression within lifestyle brands or nature, travel and foodie blogs. To contribute, see github.com/mashavp/Solway.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Sometype Mono": { + "name": "Sometype Mono", + "designer": [ + "Ryoichi Tsunekawa" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "monospace" + ], + "description": "Sometype Mono is a monospaced font family for coding and tabular layout. It is designed by Ryoichi Tsunekawa, a type designer based in Japan. To contribute, see github.com/googlefonts/sometype-mono.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Song Myung": { + "name": "Song Myung", + "designer": [ + "JIKJI" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "korean" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Song Myung is a Korean and Latin font. The Latin is based on Source Serif 4.", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "Sono": { + "name": "Sono", + "designer": [ + "Tyler Finck" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "monospace" + ], + "description": "Sono is a soft monospace (or proportional!) variable font. It has seven weights: ExtraLight through ExtraBold. The default style is fixed-width (and obviously not kerned), but thanks to the \"mono\" axis, you can add kerning and make the design proportional. To contribute, see github.com/sursly/sono.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Sonsie One": { + "name": "Sonsie One", + "designer": [ + "Riccardo De Franceschi" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Sonsie One is a heavy, medium contrast, large x-height script font. It was inspired by hand painted signs seen in Munich. Sonsie One improves on its sources by adding warmth, smoother flow and of touch of funkiness. Sonsie One is best used for display purposes at medium to large sizes.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Sora": { + "name": "Sora", + "designer": [ + "Jonathan Barnbrook", + "Juli\u00e1n Moncada" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Sora, meaning sky in Japanese, is a typeface family commissioned for the Sora decentralized autonomous economy focused on empowering projects that benefit society. Soramitsu, the developer of Sora, is a Japanese technology company specializing in blockchain development and well-known for creating the first central bank digital currency. Sora typeface was designed to capture Soramitsu's spirit and heritage resulting in a type family with cues of low-resolution aesthetics and early screen typography but without nostalgia, as every decision was considered towards the crisp digital environment of today. The particularly big x-height combined with evidently generous counters turns the family into a convenient tool for app and web interfaces, where clarity and effectiveness at any size is an imperative. To contribute, see github.com/sora-xor/sora-font", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Sorts Mill Goudy": { + "name": "Sorts Mill Goudy", + "designer": [ + "Barry Schwartz" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "A revival of Frederic Goudy's 'Goudy Oldstyle' with Regular and Italic styles, and extended Latin character coverage.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Sour Gummy": { + "name": "Sour Gummy", + "designer": [ + "Stefie Justprince" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "Sour Gummy Font is a fun and playful typeface that was first created in 2018 and has recently been updated to offer even more versatility and style. This font is perfect for adding a touch of whimsy and character to your designs. The letters are designed to look like they are made of bubbles, with rounded edges and a slightly irregular shape that adds to the playful nature of the font. Each letter is also slightly different, with some bubbles larger than others, creating a dynamic and interesting visual effect. The updated version of Sour Gummy Font now includes a full range of uppercase and lowercase letters, as well as numbers, punctuation, and special characters. This means that you can use this font for a wide range of projects, from headlines and logos to body text and social media posts. Whether you're designing a children's book cover, creating a playful logo for a brand, or just want to add a bit of fun to your designs, Product Bubble Font is the perfect choice. Its bold, bubbly letters are sure to catch the eye and bring a smile to your audience's faces. To contribute, see github.com/eifetx/Sour-Gummy-Fonts.", + "minisite_url": null + }, + "Source Code Pro": { + "name": "Source Code Pro", + "designer": [ + "Paul D. Hunt" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "monospace" + ], + "description": "Source Code was designed by Paul D. Hunt as a companion to Source Sans.This complementary family was adapted from the Source design due to a request to create a monospaced version for coding applications. Source Code preserves the design features and vertical proportions of Source Sans, but alters the glyph widths so that they are uniform across all glyphs and weights. Although this family was designed specifically for coding environments, for which a regular weight will typically suffice, Source Code has been made available in the same weight range as the corresponding Source Sans design.Source Code Pro currently supports a wide range of languages using the Latin script, and includes all the characters in the Adobe Latin 4 glyph set. As an open source project, it is expected that incremental updates will be made over time to extend glyph set coverage and functionality. In 2019, we have updated the family to Roman v2.030 and Italic v1.050. This update now supports Greek, Cyrillic, Vietnamese and Italic styles. To contribute, see github.com/adobe-fonts/source-code-pro.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Source Sans 3": { + "name": "Source Sans 3", + "designer": [ + "Paul D. Hunt" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Source\u00ae Sans Pro, Adobe's first open source typeface family, was designed by Paul D. Hunt. It is a sans serif typeface intended to work well in user interfaces. To contribute, see github.com/adobe-fonts/source-sans", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Source Serif 4": { + "name": "Source Serif 4", + "designer": [ + "Frank Grie\u00dfhammer" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Source Serif 4 is a serif typeface in the transitional style, designed to complement the Source Sans Pro family. The close companionship of Serif and Sans is achieved by a careful match of letter proportions and typographic color. Source Serif is loosely based on the work of Pierre Simon Fournier, and many idiosyncrasies typical to Fournier\u2019s designs (like the bottom serif on the b or the middle serif on the w) are also found in Source Serif. Without being a pure historical revival, Source Serif takes cues from Fournier and reworks them for a modern age. Both typeface families have different personalities because they spring from the hands of different designers: Source Serif was designed by Frank Grie\u00dfhammer, Source Sans was designed by Paul Hunt. Robert Slimbach consulted on both designs, which helped maintain the overall family harmony. Either design feels confident on its own but also works in combination with the other \u2014 just like their designers do. Source Serif continues Adobe\u2019s line of high-quality open source typefaces. Designed for a digital environment, the letter shapes are simplified and highly readable. Its historical roots, combined with expert guidance give the typeface a strong character of its own that will shine when used for extended text on paper or screen. Source Serif is an active Open Source project \u2013 if you are interested in contributing, please visit source-serif-pro on Github for more information.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Space Grotesk": { + "name": "Space Grotesk", + "designer": [ + "Florian Karsten" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Space Grotesk is a proportional sans-serif typeface variant based on Colophon Foundry's fixed-width Space Mono family (2016). Originally designed by Florian Karsten in 2018, Space Grotesk retains the monospace's idiosyncratic details while optimizing for improved readability at non-display sizes. \u2192 floriankarsten.github.io/space-grotesk Space Grotesk includes Latin Vietnamese, Pinyin, and all Western, Central, and South-Eastern European language support, as well as several OpenType features (old-style and tabular figures, superscript and subscript numerals, fractions, stylistic alternates). To contribute, see github.com/floriankarsten/space-grotesk.", + "primary_script": null, + "article": null, + "minisite_url": "https://floriankarsten.github.io/space-grotesk" + }, + "Space Mono": { + "name": "Space Mono", + "designer": [ + "Colophon Foundry" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "monospace" + ], + "description": null, + "primary_script": null, + "article": "Space Mono is an original fixed-width type family designed by Colophon Foundry for Google Design. It supports a Latin Extended glyph set, enabling typesetting for English and other Western European languages. Developed for editorial use in headline and display typography, the letterforms infuse a geometric foundation and grotesque details with qualities often found in headline typefaces of the 1960s (See: Microgramma, Eurostile), many of which have since been co-opted by science fiction films, television, and literature. Typographic features include old-style figures, superscript and subscript numerals, fractions, center-height and cap-height currency symbols, directional arrows, and multiple stylistic alternates. Colophon Foundry is a London and Los Angeles-based digital type foundry established in 2009. Its members comprise Benjamin Critton (US), Edd Harrington (UK), and Anthony Sheret (UK). The foundry's commissioned work in type design is complemented by work in editorial design, publishing, curation, and pedagogy. Visit colophon-foundry.org To contribute ideas and feedback, see github.com/googlefonts/spacemono Introducing Space Mono a monospaced typeface by Colophon Foundry for Google Fonts. As designers of type, we most often find ourselves composing a monospaced (sometimes called a fixed-width, fixed-pitch, or non-proportional) typeface in the service of building out the styles of an accompanying proportional type family or type system. It\u2019s about adapting the proportional type\u2019s forms and rules, and discovering how those letterforms behave within fixed limits to give the face new texture and capability. But what if that constraint was embraced? What if we set out to create a monospaced typeface that wasn\u2019t simply an extension, but rather something unto itself? To learn more, read Introducing Space Mono a new monospaced typeface by Colophon Foundry for Google Fonts.", + "minisite_url": null + }, + "Special Elite": { + "name": "Special Elite", + "designer": [ + "Astigmatic" + ], + "license": "apache2", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Special Elite mimics the Smith Corona Special Elite Type Number NR6 and Remington Noiseless typewriter models. A little bit of inked up grunge and a little old school analog flavor work together to give you a vintage typewriter typeface for your website and designs.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Special Gothic": { + "name": "Special Gothic", + "designer": [ + "Alistair McCready" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Special Gothic is a multi-width sans serif typeface built as a contemporary reimagining of the raw tenacity offered up by early 20th century Gothic type styles. Special Gothic was created for and in collaboration with Special Group to celebrate a monumental 15 years as an internationally renowned design and advertising studio. For the Expanded and Condensed versions, see Special Gothic Expanded and Special Gothic Condensed. To contribute, see github.com/AlistairMcCready/Special-Gothic.", + "minisite_url": null + }, + "Special Gothic Condensed One": { + "name": "Special Gothic Condensed One", + "designer": [ + "Alistair McCready" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Special Gothic is a multi-width sans serif typeface built as a contemporary reimagining of the raw tenacity offered up by early 20th century Gothic type styles. Special Gothic was created for and in collaboration with Special Group to celebrate a monumental 15 years as an internationally renowned design and advertising studio. For the Normal and Expanded versions, see Special Gothic and Special Gothic Expanded. To contribute, see github.com/AlistairMcCready/Special-Gothic.", + "minisite_url": null + }, + "Special Gothic Expanded One": { + "name": "Special Gothic Expanded One", + "designer": [ + "Alistair McCready" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Special Gothic is a multi-width sans serif typeface built as a contemporary reimagining of the raw tenacity offered up by early 20th century Gothic type styles. Special Gothic was created for and in collaboration with Special Group to celebrate a monumental 15 years as an internationally renowned design and advertising studio. For the Normal and Condensed versions, see Special Gothic and Special Gothic Condensed. To contribute, see github.com/AlistairMcCready/Special-Gothic.", + "minisite_url": null + }, + "Spectral": { + "name": "Spectral", + "designer": [ + "Production Type" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Latn", + "article": "Spectral is a new and versatile serif face available in seven weights of roman and italic, with small caps. Spectral offers an efficient, beautiful design that\u2019s intended primarily for text-rich, screen-first environments and long-form reading. Brought to you by Production Type and commissioned by Google Fonts, Spectral is now free to use across Google Docs, Sheets, and Slides, or in any of your projects. To contribute, see github.com/productiontype/spectral Spectral: A New Screen-First Typeface Production Type introduces their latest commission for Google Fonts Spectral is a new and versatile serif face available in seven weights of roman and italic, with small caps. Intended primarily for text-rich, screen-first environments and long-form reading, Spectral is brought to you by Production Type, commissioned by Google Fonts, and free to use across Google Docs, Sheets, and Slides, or in any of your projects. Screen-first typefaces The history of early digital typefaces, though still fairly recent, has already proven that typeface design doesn\u2019t need to reinvent itself because of technical constraints. One only has to look back over the last 20 years to discover work that forged a viable path. Many early digital types (Trinit\u00e9, Demos, Colorado, and Georgia for example) set a powerful example by being unobtrusive, transparent designs that rely on commonly accepted shapes, while remaining innovative and fit-for-purpose. These giants, on whose shoulders Spectral aspires to stand, form a solid set of accomplished, serious designs. To learn more, read Spectral: A New Screen-First Typeface.", + "minisite_url": null + }, + "Spectral SC": { + "name": "Spectral SC", + "designer": [ + "Production Type" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Spectral is a new and versatile serif face available in seven weights of roman and italic, with small caps. Spectral offers an efficient, beautiful design that\u2019s intended primarily for text-rich, screen-first environments and long-form reading. Brought to you by Production Type and commissioned by Google Fonts, Spectral is now free to use across Google Docs, Sheets, and Slides, or in any of your projects. To contribute, see github.com/productiontype/Spectral.", + "primary_script": "Latn", + "article": null, + "minisite_url": null + }, + "Spicy Rice": { + "name": "Spicy Rice", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Casual and exciting, Spicy Rice has a festive flair to it that works for winter holidays as well as summertime jams. The extra heavy letterforms imbued with a little exotic flavor are waiting for you to bring it to the party!", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Spinnaker": { + "name": "Spinnaker", + "designer": [ + "Elena Albertoni" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Spinnaker is based on French and UK lettering found on posters for travel by ship. It is a low contrast and slightly wide sans serif design, with a youthful sense of whimsy combined with the expected utility of a sans serif. Spinnaker is suitable for use in medium to large sizes.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Spirax": { + "name": "Spirax", + "designer": [ + "Brenda Gallo" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "In geometry, a spirax is a curved line starting from a central point and moving progressively away and around that point. The Spirax font is inspired in this concept, trying to make you feel that you can go away from your starting point but you\u2019ll never be foreign. Spirax has a pronounced contrast and original curves. It can be used for headlines and shorter texts and is cute at all sizes. Designed by Brenda Gallo and Gustavo Dipre.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Splash": { + "name": "Splash", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Inspired by the splatters that come from a heavily inked architectural ruling pen gliding along the surface of a highly textured watercolor page \u2014 Splash! Just as water droplets splash the ocean\u2019s shore, no two splashes are exactly alike. The result is wonderfully organic and natural. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/splash.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Spline Sans": { + "name": "Spline Sans", + "designer": [ + "Eben Sorkin", + "Mirko Velimirovi\u0107" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Spline Sans is a grotesque sans serif typeface family, purpose-built for UI interfaces, checkout processes, and paragraphs of text. Space efficiency is accomplished by condensing traditional grotesque proportions. The cool and restrained tone is accented with strategic \"thorn\" traps, which blossom into view when set at larger sizes. Spline Sans is an original typeface initiated by the Spline Team, and designed by Eben Sorkin and Mirko Velimirovi\u0107, with project management by Faride Mereb, testing and design feedback by Gon\u00e7alo Teixeira, and concept by Alejandro Le\u00f3n. Spline Sans supports an extended Latin glyph set, enabling the typesetting of English, Western, Central and Eastern European languages. To contribute ideas and feedback, see github.com/SorkinType/SplineSans", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Spline Sans Mono": { + "name": "Spline Sans Mono", + "designer": [ + "Eben Sorkin", + "Mirko Velimirovi\u0107" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "monospace" + ], + "description": "Spline Sans Mono is a Monospaced Grotesque purpose-built for UI interfaces, checkout processes, and programming. The cool and restrained tone is accented with strategic \"thorn\" traps, which blossom into view when set at larger sizes. Spline Sans Mono is an original typeface initiated by the Spline Team and designed by Eben Sorkin and Mirko Velimirovic. Project manager - Faride Mereb. Testing and design feedback - Gon\u00e7alo Teixeira. Concept - Alejandro Le\u00f3n. Spline Sans Mono supports English, and Western European languages. To contribute ideas and feedback, see github.com/SorkinType/SplineSansMono", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Squada One": { + "name": "Squada One", + "designer": [ + "Joe Prince" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Squada One is the perfect font to make a lasting impression on any webpage. Its bold presence and geometric, condensed form allow for setting in any context. Squada One can be used at any size while still maintaining clarity and smoothness.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Square Peg": { + "name": "Square Peg", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "This happy font is great for scrapping and casual situations. Square Peg has a shaky, rough, and almost mono-weight with slightly heavier horizontal strokes. It's hand written style lends itself to situations that require playful and casual themes. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/square-peg.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Sree Krushnadevaraya": { + "name": "Sree Krushnadevaraya", + "designer": [ + "Purushoth Kumar Guttula" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "telugu" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Sree Krushnadevaraya is a Telugu font suitable for headlines, invitations and posters and is best used in large sizes. It is named after the king who encouraged Telugu literature and poetry through his court, Bhuavana-Vijayam. The Telugu is designed and developed by Purushoth Kumar Guttula in 2013 and made available by Silicon Andhra under the SIL Open Font License v1.1. The Latin is designed by Joana Correia da Silva for Sorkin Type Co, a type foundry in Boston USA, and originally published as Cantata One. The Sree Krushnadevaraya project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India. To contribute, see github.com/appajid/sreekrushnadevaraya.", + "primary_script": "Telu", + "article": null, + "minisite_url": null + }, + "Sriracha": { + "name": "Sriracha", + "designer": [ + "Cadson Demak" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "thai", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Sriracha is a new Thai + Latin handwriting typeface, with an informal loopless + sans serif design. It has 2 stylistic set alternate glyph designs and intelligent OpenType features to recreate the impression of handwriting. Thanks to Pablo Impallari for the initial OpenType handwriting feature development. The Sriracha project is led by Cadson Demak, a type foundry in Thailand. To contribute, see github.com/cadsondemak/sriracha", + "primary_script": "Thai", + "article": null, + "minisite_url": null + }, + "Srisakdi": { + "name": "Srisakdi", + "designer": [ + "Cadson Demak" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "thai", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Srisakdi is a Thai and Latin family which was inspired by the Rattanakosin period. Its hand written appearance works well for articles of a retrospective nature.", + "primary_script": "Thai", + "article": null, + "minisite_url": null + }, + "Staatliches": { + "name": "Staatliches", + "designer": [ + "Brian LaRossa", + "Erica Carras" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Staatliches is a clean cut display face with charmingly unconventional proportions. The alphabet was designed in response to Herbert Bayer\u2019s title lettering on the cover of the first Bauhaus exhibition catalogue, which was published in 1923. It features full sets of capitals, numbers, punctuation, and symbols, in addition to alternate widths, discretionary ligatures, and common Latin accents.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Stalemate": { + "name": "Stalemate", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Stalemate is a script of vintage origins but still modern flair. This script exudes confidence and carefree attitude and makes a bold statement in any design. Designed by Jim Lyles for Astigmatic (AOETI). To contribute to the project contact Brian J. Bonislawsky.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Stalinist One": { + "name": "Stalinist One", + "designer": [ + "Alexey Maslov", + "Jovanny Lemonad" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Imagine a post-apocalyptic world in the future. Imagine hiding in the underground: people, dirty air and despair. To transfer information, they still use fonts. But they have become simple, with a utilitarian and strong spirit. Stalinist is typeface for a post-apocalyptic time. Stalinist is a font made in Moscow at the end of the 21st century. That's the way it is. Stalinist One was designed collaboratively between Alexey Maslov and Jovanny Lemonad. Updated September 2015: Internal metadata corrected.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Stardos Stencil": { + "name": "Stardos Stencil", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Stardos is a stencilled serif font designed to be used a display-only webfont. Stardos Stencil has been designed to be used freely across the internet by web browsers on desktop computers, laptops, mobile devices, and Cloud systems. Stardos Stencil is a stencilled serif font designed to be used a display-only webfont. Stardos Stencil has been designed to be used freely across the internet by web browsers on desktop computers, laptops, mobile devices, and Cloud systems.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Stick": { + "name": "Stick", + "designer": [ + "Fontworks Inc." + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "True to its name, Stick is designed with straight lines that create a cute and playful feel. The pastoral ambience also gives this font wide versatility for use in both paper mediums and digital content. To contribute to the project, visit github.com/fontworks-fonts/Stick", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "Stick No Bills": { + "name": "Stick No Bills", + "designer": [ + "Mooniak" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "sinhala" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Stick No Bills is a stencil style typeface supporting Sinhala and Latin scripts. The Latin typeface was first developed by Mooniak as the bespoke brand typeface for Stick No Bills poster gallery in Galle, Sri Lanka. Mooniak in collaboration with Stick No Bills open sourced the project and designed Sinhala glyph set to match the Latin set. The project is led by Mooniak and is hosted and developed on Github Mooniak welcomes suggestions and contributions to further develop the project.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Stint Ultra Condensed": { + "name": "Stint Ultra Condensed", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SLAB_SERIF", + "classifications": [ + "display" + ], + "description": "Stint Ultra Condensed is an ultra condensed square serif typestyle developed based on the letterforms of the Syncopate Family. While Syncopate boasts extra wide unicase forms, Stint Ultra Condensed goes in the exact opposite direction, featuring narrow letterforms of both the capital and lowercase varieties. This is the opposite of the Stint Ultra Expanded typestyle. Highly legible even in this ultra condensed form, Stint Ultra Condensed is a perfect font for getting in as much information as possible into limited realty websites and designs.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Stint Ultra Expanded": { + "name": "Stint Ultra Expanded", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SLAB_SERIF", + "classifications": [ + "display" + ], + "description": "Stint Ultra Expanded is an ultra expanded square serif typestyle developed based on the letterforms of the Syncopate Family. Syncopate boasts extra wide unicase forms, and Stint Ultra Expanded follows this direction, featuring wide letterforms of both the capital and lowercase varieties. This is the opposite of the Stint Ultra Condensed typestyle. Highly legible and matching the Syncopate family width, Stint Ultra Expanded is a perfect font for powerful headlines and copy when realty on websites and designs is less of a concern. To contribute to the project contact Brian J. Bonislawsky at astigma@astigmatic.com", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Stoke": { + "name": "Stoke", + "designer": [ + "Nicole Fally" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Stoke is a semi-wide, high-contrast, serif text typeface. It is inspired by letters found on 20th century UK posters, showing an odd combination of seriousness of form with whimsical proportions and details. The low x-height makes it more suitable for use at medium to large sizes.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Strait": { + "name": "Strait", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "When the space available is small, Strait becomes very useful. A great quality condensed typeface that is suitable for both display and text usage, and with excellent reading performance at 12 point size. The February 2023 update features a bigger glyphset, fractions and some minor aesthetic modifications. To contribute, see github.com/etunni/Strait.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Style Script": { + "name": "Style Script", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Style Script is a beautiful upright script with looks that vary from Casual to Formal in appearance. It takes the look and simplicity of 1950s and 60s advertising and combines it with up to date design characteristics. With three main stylistic sets, Plain, Script and Formal, Style Script transforms the Retro look into a versatile, and powerful font that can be used for nostalgic work, or 21st Century design. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/style-script.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Stylish": { + "name": "Stylish", + "designer": [ + "AsiaSoft Inc" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "korean" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Stylish is a Korean and Latin font", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "Sue Ellen Francisco": { + "name": "Sue Ellen Francisco", + "designer": [ + "Kimberly Geswein" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Sue Ellen Francisco is a tall, skinny font based on my own handwriting. It was created in Adobe Illustrator, using a Wacom tablet. It is named after a nickname I used for a friend. It is one of my earlier fonts and is imperfect, but I still enjoy the tall, slender lines.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Suez One": { + "name": "Suez One", + "designer": [ + "Michal Sahar" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "hebrew", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Suez One is an original Hebrew and Latin display serif typeface with a single weight. The Hebrew design for a modern serif is inspired by Hebrew calligraphy. It is intended for use in headline and display typography that needs a strong contemporary style. The Suez project is led by Michal Sahar, a type designer based in Tel Aviv, Israel. To contribute, see github.com/MichalSahar/Suez", + "primary_script": "Hebr", + "article": null, + "minisite_url": null + }, + "Sulphur Point": { + "name": "Sulphur Point", + "designer": [ + "Dale Sattler" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Sulphur Point is a geometric sans serif typeface, with low contrast stems, high x-height, restrained ascenders and descenders and minimal optical adjustments away from pure geometric form. Sulphur Point is intended for both display and copy use. The typeface is the result of an exploration of theories of the political production of space as manifested in the port and recreational marine facilities of Sulphur Point in Tauranga, New Zealand. The Sulphur Point project is led by Dale Sattler, a type designer based in New Zealand. To contribute, see github.com/noponies/sulphur-point", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Sumana": { + "name": "Sumana", + "designer": [ + "Cyreal" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Sumana is a family of Latin and Devanagari fonts for text setting and web usage. Designed by Alexei Vanyashin in 2014-2015 for Cyreal. The Latin counterpart is derived from Lora by Olga Karpushina, Cyreal. Its vertical and horizontal metrics are adjusted to better match with the Devanagari. The meaning of Sumana in Sanskrit is flower, which is the meaning of Lora in Spanish. It was quite a challenge to match the graphical characteristics of each script and took many iterations to finalise the first release. I tried to keep the Devanagari closer to a traditional Indian calligraphic model while flavouring it with graphic solutions derived from Lora's Latin. It is my first attempt to design a Devanagari, and I am thankful to Google Fonts for making this project happen, and to all experts who consulted with me on this project, including: Fiona Ross, Eric McLaughlin, Vaishnavi Murthy, Pria Ravichandran, and Wei Huang. The comments and revision history can be found in this discussion in the Google Fonts forum. This project is led by Cyreal, an international type foundry focused on designing contemporary Latin and Cyrillic typefaces. To contribute, visit github.com/cyrealtype/Sumana", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Sunflower": { + "name": "Sunflower", + "designer": [ + "JIKJISOFT" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "korean" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Sunflower is a Korean and Latin font", + "primary_script": "Hang", + "article": null, + "minisite_url": null + }, + "Sunshiney": { + "name": "Sunshiney", + "designer": [ + "Sideshow" + ], + "license": "apache2", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Sunshiney is a little a ray of hand-crafted goodness that can lighten up the dreariest of domains.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Supermercado One": { + "name": "Supermercado One", + "designer": [ + "James Grieshaber" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Supermercado One is a low contrast semi geometric typeface inspired by naive industrial letters. It is not a typical mechanical sans because it incorporates unexpected swashes, especially in its capitals, and is surprisingly versatile. While distinctive when set at larges sizes, it can also work at fairly small sizes and in blocks of text.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Sura": { + "name": "Sura", + "designer": [ + "Carolina Giovagnoli" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Sura is a Devanagari typeface family designed by Carolina Giovagnoli. It is based on the original Latin typeface Andada, a serif typeface for text. Andada is a text font with an organic-slab serif, hybrid style, a solid design of medium stroke contrast. This font has received an award at the 2010 Ibero-America Design Biennial. The Biennial was shown in Spain, Argentina, Chile, El Salvador, Uruguay, Bolivia, Colombia and Venezuela. The Sura project is led by Carolina Giovagnoli, a type designer based in Argentina. To contribute, see github.com/CaroGiovagnoli/sura", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Suranna": { + "name": "Suranna", + "designer": [ + "Purushoth Kumar Guttula" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "telugu" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Suranna is a Telugu font developed mainly for the use in news publications. It has a unique shape due its heavy weight at the bottom of letters, and it includes many conjunct glyphs. Suranna is named after the Telugu poet from the court of the king Krishnadevaraya, and was one of the Astadiggajalu (literally eight legends) there. The Telugu is designed and developed by Purushoth Kumar Guttula in 2013 and made available by Silicon Andhra under the SIL Open Font License v1.1. The Latin is designed by Cyreal, a type foundry in Moscow Russia, and originally published as Prata. The Suranna project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India. To contribute, see github.com/appajid/suranna", + "primary_script": "Telu", + "article": null, + "minisite_url": null + }, + "Suravaram": { + "name": "Suravaram", + "designer": [ + "Purushoth Kumar Guttula" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "telugu" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Suravaram is a brush script font, suitable for headings, posters, invitations and anywhere you want to use a handwriting style. It is named after Suravaram Gurajada, whose literature and poetry enriched the Telugu people. The Telugu is designed and developed by Purushoth Kumar Guttula in 2013 and made available by Silicon Andhra under the SIL Open Font License v1.1. The Latin is designed by Vernon Adams and originally published as Tienne. The Suravaram project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India. To contribute, see github.com/appajid/suravaram", + "primary_script": "Telu", + "article": null, + "minisite_url": null + }, + "Suwannaphum": { + "name": "Suwannaphum", + "designer": [ + "Danh Hong" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "khmer", + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Suwannaphum is a Khmer font for body text, that pairs well with Latin serif fonts. To contribute, see github.com/danhhong/Suwannaphum.", + "primary_script": "Khmr", + "article": null, + "minisite_url": null + }, + "Swanky and Moo Moo": { + "name": "Swanky and Moo Moo", + "designer": [ + "Kimberly Geswein" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Swanky and Moo Moo is based on the handwriting of a young mom. I love the uniqueness of the letters and the personality it conveys. The name comes from the writer\u2019s family nicknames.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Syncopate": { + "name": "Syncopate", + "designer": [ + "Astigmatic" + ], + "license": "apache2", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Syncopate was designed in 2010 as a headline and display typeface. Light in weight with a wide body width, it is a unicase design where the traditional lowercase x-height has been abandoned and a single uppercase height rules the design of all of the alpha and numeric glyphs. Some uppercase glyphs are copied to their lowercase slots, where other lowercase glyphs such as the a, e, and r, are scaled up to uppercase heights. This motif allows for a vast array of setting possibilities. Though intended for display, Syncopate does work well for limited text runs. The letter forms are a modern and stylish sans serif inspired by the many trendy sans serif typefaces that are so prevalent today. The lighter weight and wide body impart a certain level of elegance, while the unicase approach keeps the look lively and fresh. A true bold was added in April 2011.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Syne": { + "name": "Syne", + "designer": [ + "Bonjour Monde", + "Lucas Descroix", + "George Triantafyllakos" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "greek", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "The Syne family was originally designed in 2017 for the Art Center \"Synesth\u00e9sie\", based in Saint-Denis \u2014 a suburb of Paris. The Art Center aims to gather diverse artistic personalities in order to create new and enriching situations. Based on that idea, Syne is an exploration of atypical associations of weights and styles. Syne Regular is the starting point of the family. It is quite an archetypal geometric sans-serif, giving the art center a practical asset for their daily use. When getting bolder, the typeface also gets wider, forcing radical graphic design choices. Checkout the other two members of this heteroclite family: Syne Mono and Syne Tactile. A Greek script designed by George Triantafyllakos has been added in March 2022. Syne was conceptualized by Bonjour Monde and designed by Lucas Descroix with the help of Arman Mohtadji. To contribute, see gitlab.com/bonjour-monde/fonderie/syne-typeface", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Syne Mono": { + "name": "Syne Mono", + "designer": [ + "Bonjour Monde", + "Lucas Descroix" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "monospace" + ], + "description": "The Syne family was originally designed in 2017 for the Art Center \"Synesth\u00e9sie\", based in Saint-Denis \u2014 a suburb of Paris. The Art Center aims to gather diverse artistic personalities in order to create new and enriching situations. Based on that idea, Syne is an exploration of atypical associations of weights and styles. Syne Mono is another take on letting go of control. Based on Syne Regular, it has been processed by Bonjour Monde\u2019s DataFace tool, automatically switching on-curve points into off-curve ones and vice-versa. Checkout the other two members of this heteroclite family: Syne and Syne Tactile. Syne was conceptualized by Bonjour Monde and designed by Lucas Descroix with the help of Arman Mohtadji. To contribute, see gitlab.com/bonjour-monde/fonderie/syne-typeface", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Syne Tactile": { + "name": "Syne Tactile", + "designer": [ + "Bonjour Monde", + "Lucas Descroix" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "The Syne family was originally designed in 2017 for the Art Center \"Synesth\u00e9sie\", based in Saint-Denis \u2014 a suburb of Paris. The Art Center aims to gather diverse artistic personalities in order to create new and enriching situations. Based on that idea, Syne is an exploration of atypical associations of weights and styles. Syne Tactile shares its x-height and optical weight with Syne Regular. The unusual exercice of trackpad-calligraphy, in association with handwriting models from the Renaissance, gives the font a rough yet flourished look. Checkout the other two members of this heteroclite family: Syne and Syne Mono. Syne was conceptualized by Bonjour Monde and designed by Lucas Descroix with the help of Arman Mohtadji. To contribute, see gitlab.com/bonjour-monde/fonderie/syne-typeface", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Tac One": { + "name": "Tac One", + "designer": [ + "Afrotype", + "Seyi Olusanya", + "Eyiyemi Adegbite", + "David Udoh", + "Mirko Velimirovi\u0107" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "math", + "symbols", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "Tac One is the initial release of a single style, bold weight, sans serif typeface project that is inspired by the wordmark of one of the most significant festivals in Africa's post-colonial history, Festac '77. As a inspired revival, it expands upon the six lowercase letters, single quotes and numeral 7 in the festival's wordmark, and the result is a contemporary font with comprehensive language support for all African languages that are commonly written with the Latin writing system. Tac is the second project from Afrotype. To contribute, see github.com/Afrotype/tac", + "minisite_url": null + }, + "Tagesschrift": { + "name": "Tagesschrift", + "designer": [ + "Yanone" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Tagesschrift (\u201cday-font\u201d) is the result of a one-day type design experiment. It was written with a broad-nib pen, digitized, and adjusted all in a single day. The mixture of the quirky but still traditional appearance of this casual Antiqua suggests Tagesschrift to be used in a broad range of packaging and advertising applications. To contribute, please see github.com/yanone/tagesschrift.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Tai Heritage Pro": { + "name": "Tai Heritage Pro", + "designer": [ + "SIL International" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "tai-viet", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Tavt", + "article": "Tai Heritage Pro is an open source font designed to reflect the traditional hand-written style of the Tai Viet script. The font is Unicode-encoded, based on The Unicode Standard version 5.2 or later, and is available in regular and bold weights, with both OpenType and Graphite rendering. Learn more at software.sil.org/taiheritage. To contribute, see github.com/silnrsi/font-taiheritagepro. SIL International recently released three typefaces for lesser-served writing systems (Tai Viet, Yi, Lepcha) used in Asia. SIL has also created Andika, which is specially designed to maximize legibility for new readers. SIL and lesser-served languages SIL International has a team of type designers who specialize in creating typefaces for lesser-served or non-dominant language communities. These are communities that exist alongside larger, more prominent language communities such as Chinese, English, or Arabic. These relatively smaller communities may have their own script, or they may have sounds in their language that are not represented in the script used by the majority language. Some non-dominant languages are endangered. According to UNESCO, about 40% of the estimated 7,000 languages are at risk of extinction. Without typefaces, these language communities can't survive online. To learn more, read New SIL Typefaces: Expanding type for legibility and lesser-served languages", + "minisite_url": null + }, + "Tajawal": { + "name": "Tajawal", + "designer": [ + "Boutros Fonts", + "Mourad Boutros", + "Soulaf Khalifeh" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "arabic", + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Tajawal is a distinctive low contrast Arabic and sans serif Latin typeface family in 7 weights was created and designed by Boutros\u2122 following a modern geometric style while still respecting the calligraphy rules of the Arabic script. Its fluid geometry makes it the perfect choice to use in both print and web applications, and alongside other Latin typefaces. To contribute, see github.com/googlefonts/tajawal", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Tangerine": { + "name": "Tangerine", + "designer": [ + "Toshi Omagari" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Tangerine is a calligraphic typeface inspired by many italic chancery hands from the 16th and 17th centuries. Its tall ascender, the most distinct characteristic of this type, takes a wide line space between lines and gives a graceful texture. Use Tangerine for titles or short texts at large sizes because of the short height of lowercase letters. Tangerine was named after a woman who encouraged Toshi to begin this work.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Tapestry": { + "name": "Tapestry", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Tapestry is a Roman calligraphic family with a slight rustic and country appearance. Its thick and thin strokes emulate the strokes of a flat nib pen. The capital letters are inspired by Roman serif forms, whilst the extra thin movements in the lowercase letters compliment the capitals and allows Tapestry to dance on the page. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/tapestry.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Taprom": { + "name": "Taprom", + "designer": [ + "Danh Hong", + "Neapolitan" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "khmer", + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Taprom is a Khmer font for body text. The Khmer design is inspired by a popular style of Khmer handwriting letterforms. The Latin design is a copy of Seaweed Script, by Neapolitan. To contribute, see github.com/danhhong/Taprom.", + "primary_script": "Khmr", + "article": null, + "minisite_url": null + }, + "Tauri": { + "name": "Tauri", + "designer": [ + "Yvonne Sch\u00fcttler" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Tauri is a semi condensed sans typeface with a sense of restraint, clarity and rigor. Tauri's unique qualities do not shout and instead emerge slowly and organically as it is used. Tauri is useful from small to medium sizes but has enough subtle detail to be used at large sizes as well if it is more tightly spaced.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Taviraj": { + "name": "Taviraj", + "designer": [ + "Cadson Demak" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "thai", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Taviraj is a serif Latin and looped Thai typeface that has a wide structure that ensures readability and legibility. It is well-suited for formal usage. Thai letters have thick and thin strokes, similar to the Latin, together with rounded and airy looped terminals. Taviraj is a 9 weight family that includes italics. Taviraj is a Thai word that refers to the last two kings of Krungsri Ayutthaya, the former capital of Thailand. People also metaphorically refer to Taviraj as the fall of a dynasty, and that is the reason why it appeared in the poem written by King Rama V regarding the situation of Siam being threatened by French expansionism, with his majesty expressing his sorrow towards the possibility of the end of his era. A traditional Thai style of typeface is called \u201cfarangses,\u201d which means french, and Taviraj is in this genre. This contradiction highlights its origin. A similarity between some glyphs such as \u0e01 \u0e16 \u0e20 \u0e24 \u0e26 and \u0e0e \u0e0f is something to take into consideration because it might lead to confusion when typesetting very short texts. Taviraj takes a specific approach when dealing with the thick and thin strokes of Thai glyphs. Other type designers of Thai fonts may like to use this approach as a reference. Formal looped Thai typefaces have delicate details so care must be taken when expanding them to heavier weights, to retain all the details. The size and position of Thai vowel and tone marks has been managed carefully because they are all relevant to readability, legibility, and overall texture. The Taviraj project is led by Cadson Demak, a type foundry in Thailand. To contribute, see github.com/cadsondemak/taviraj", + "primary_script": "Thai", + "article": null, + "minisite_url": null + }, + "Teachers": { + "name": "Teachers", + "designer": [ + "Alfredo Marco Pradil", + "Chank Diesel" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "greek-ext", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "The Teachers font is an educational font family created for use by publishers, teachers, students, and parents of children in grades K through 6. It is a clean geometric sans serif font intended to represent the letterforms of the alphabet as American children are taught to draw them in grade school. The font family was thoughtfully brought to life by a team of educators, designers and editors in 2023 for use in magazines and books, but is also well suited for class worksheets, newsletters, websites and other instructional and educational purposes. The Teachers font comes in 8 styles: Regular, SemiBold, Bold, and ExtraBold, with Italics. It is also available in variable font format with an adjustable weight axis, allowing designers more control over the font's display. The Teachers fonts and refined character sets were assembled by font designer Chank Diesel, making edits and updates to the previously existing opensource fonts Glacial Indifference (Regular and Bold) by Alfredo Marco Pradil of Hanken Design Co. To contribute, see github.com/chankfonts/Teachers-fonts.", + "minisite_url": null + }, + "Teko": { + "name": "Teko", + "designer": [ + "Indian Type Foundry" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Teko is an Open Source typeface that currently supports the Devanagari and Latin scripts. This font family has been created for use in headlines and other display-sized text on screen. Five font styles make up the initial release. Display families with extensive character sets are rare for any script. With Indian typefaces, however, large character sets are even less common. ITF\u2019s designs are an exception. The Teko typeface features letterforms with low stroke contrast, square proportions and a structure that appears visually simple. The Regular, Medium and Semibold fonts are recommended for use in long headlines, while Bold is intended primarily for setting just one or two words. The Light is a beautiful variant that may be put to exceptionally good use in large headlines on websites. At display sizes, Teko works equally well on screen or in print. Each font contains 1090 glyphs, offering full support for the conjuncts and ligatures required by languages written with the Devanagari script. Teko is an excellent choice for use in advertising or for news tickers on television screens (breaking news, etc.) Manushi Parikh designed the Teko typeface for the Indian Type Foundry, who published it in 2014. In 2023, Marc Foley converted the family to a variable font. To contribute, see github.com/googlefonts/teko.", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Tektur": { + "name": "Tektur", + "designer": [ + "Adam Jagosz" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Tektur is a constructed typeface featuring octagonal outlines and rectangular counters. This rudimentary principle is applied where rounds are typically found, but most of the diagonals are left intact which helps preserve good readability and a familiar stance. The x-height is set high and ascenders are aligned with the cap height allowing for compact typesetting. To contribute, see github.com/hyvyys/Tektur", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Telex": { + "name": "Telex", + "designer": [ + "Huerta Tipogr\u00e1fica" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Telex is a humanist sans serif conceived to be a web font with nice legibility at normal text sizes. Originally based on grid fitting shapes it became a multi-purpose typeface with low contrast, open counter forms, wide proportions and a touch of freshness. Designed by Andr\u00e9s Torresi for Huerta Tipogr\u00e1fica.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Tenali Ramakrishna": { + "name": "Tenali Ramakrishna", + "designer": [ + "Appaji Ambarisha Darbha" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "telugu" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Tenali Ramakrishna is an Open Source typeface developed for use in news publications and is suitable for text, headings, posters, and invitations. The Telugu is designed by Appaji Ambarisha Darbha in 2013 and made available by Silicon Andhra under the SIL Open Font License v1.1. The Latin is designed by Wojciech Kalinowski and originally published as Classica. The Tenali Ramakrishna project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India. To contribute, see github.com/appajid/tenaliramakrishna", + "primary_script": "Telu", + "article": null, + "minisite_url": null + }, + "Tenor Sans": { + "name": "Tenor Sans", + "designer": [ + "Denis Masharov" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Tenor Sans is a humanist sans-serif typeface designed by Denis Masharov. Intended for the setting of body text, it can also be applied to headlines. Optimized for print and web, it has excellent legibility characteristics in its letterforms. It contains an extended Latin and extended Cyrillic alphabets, Western and Central European, Cyrillic, Turkish, Baltic, Icelandic and Celtic.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Text Me One": { + "name": "Text Me One", + "designer": [ + "Julia Petretta" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Text Me One is a monolinear font that plays with the shapes of open counters and un-connecting lines. A relatively large x-height and prominent in-strokes and out-strokes aid legibility. Its flavour is playful, with a hint of pop, and is ideal for large format lettering or continuous body text. To contribute to the project contact Julia Petretta.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Texturina": { + "name": "Texturina", + "designer": [ + "Guillermo Torres", + "Omnibus-Type" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Texturina is a highly applicable typeface with the richness of Blackletter, yet maintaining fluidity by combining broken and softened curves. Texturina is designed by Guillermo Torres. To contribute, see github.com/Omnibus-Type/Texturina.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Thasadith": { + "name": "Thasadith", + "designer": [ + "Cadson Demak" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "thai", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Thasadith is a Thai and Latin family. It's a humanist sans serif with rounded corners. It was originally developed as part of the Srisakdi family.", + "primary_script": "Thai", + "article": null, + "minisite_url": null + }, + "The Girl Next Door": { + "name": "The Girl Next Door", + "designer": [ + "Kimberly Geswein" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "'the girl next door' is based on the handwriting of a middle school geography teacher. From her personality to her handwriting, she is the typical girl next door - she puts you at ease in every situation and is perfectly comfortable and confident in who she is. Her handwriting reflects that and is readable, neat, and yet comfortable and welcoming.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "The Nautigal": { + "name": "The Nautigal", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Inspired by the hand lettering design for a friend\u2019s yacht, this contemporary script style, The Nautigal is fluid yet formal with beautiful connectors. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/the-nautigal.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Tienne": { + "name": "Tienne", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Tienne is a display and text serif webfont designed to be used freely across the internet by web browsers on desktop computers, laptops and mobile devices. It was designed by 'remixing' Droid Serif and Artifika, two other fonts in the Google Font Directory that are available under the SIL Open Font License which allows for remixing fonts with interpolation techniques.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "TikTok Sans": { + "name": "TikTok Sans", + "designer": [ + "Contrast Foundry", + "Grilli Type", + "Type Network" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "With its playful, fresh, and dynamic design, TikTok Sans is perfect for making your video captions stand out. You may recognize this font as the default font used in millions of TikTok videos. Bring your creations to life and amplify your voice with TikTok Sans. Supports over 460+ languages for Latin, Greek, and Cyrillic Includes variable font with Weight, Width, Slant, and Optical Size axes Offers tabular numerals, disambiguation stylistic set, character variants, and more Optimized for high-DPI mobile UI typesetting Features manual TrueType hinting To contribute, see https://github.com/tiktok/TikTokSans", + "minisite_url": "https://tiktok.com/font" + }, + "Tillana": { + "name": "Tillana", + "designer": [ + "Indian Type Foundry" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Tillana is a refreshingly informal family of typefaces for Devanagari and Latin. The fonts were first published by the Indian Type Foundry as an open source project in 2014. Coming in at 1,021 glyphs per weight, Tillana has all of the characters necessary to set a variety of European languages, as well as Indian languages like Hindi, Marathi, Nepali, and more. The Tillana family includes five styles, which range in weight from Regular through Extra Bold. Tillana\u2019s Latin do not connect; this part of the family is a non-joining script type. The Devanagari part is one of the few \u201ctrue cursive\u201d designs currently available for the script. Characters from both writing systems appear as if they were fluidly handwritten, particularly the Devanagari. Tillana\u2019s letterforms are slanted at a 10 degree angle. The strokes are show visible contrast, and the dynamic counter forms are one of the design\u2019s most prominent features. The forms involve many loops and hooks and most of the knots are loops rather than closed, black forms. All vertical strokes in both scripts have swelling at their tops and bottoms, and the Devanagari characters\u2019 central vertical strokes almost always break through the headline. Handwriting artefacts are present in the Latin letters, too, such as hook on the descender of the lowercase q. Tillana\u2019s Devanagari base character height falls vertically between the Latin upper and lowercase letter heights. The Latin characters have a small x-height and long ascenders and descenders. Lipi Raval designed the Devanagari components of Tillana, and worked together with Jonny Pinhorn on the Latin. This project is led by Indian Type Foundry, a type foundry based in Ahmedabad, Gujurat, India, who design contemporary Indian typeface families. To contribute, see github.com/itfoundry/tillana", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Tilt Neon": { + "name": "Tilt Neon", + "designer": [ + "Andy Clymer" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "Tilt is a family of type inspired by the dimensional lettering found in storefront signage. It\u2019s comprised of three related variable font styles that you might find in a shop window \u2014 Tilt Neon, Tilt Prism, and Tilt Warp. All three are based around the same letter model of a sign painter\u2019s geometric sans serif, similar to the typefaces Futura or Avant Garde, but with the kinds of details you might expect to see when the letter is built up with a brush. The three styles are designed and built as variable fonts. They allow users to rotate the orientation of their glyphs with \u201cRotation in X\u201d and \u201cRotation in Y\u201d axes. The rotation is limited to \u00b145\u00b0 so that the letterforms never rotate past a readable range. To contribute, see github.com/googlefonts/Tilt-Fonts. The most common axes used in variable fonts are Italic, Optical Size, Slant, Weight, and Width. And while you can sometimes get creative at the extremes of these axes, they're more often used to finesse type. For example, with Weight, you don't have to settle on what the type designer designated as the Bold style, you can tweak it to be a bit lighter or heavier so it's perfect for you. Variable fonts also open up many possibilities for creative expression! And Google Fonts is adding a bunch of fonts to your palette with new axes to get your juices flowing. First up are the Tilt fonts by Andy Clymer, Tilt Neon, Tilt Prism, and Tilt Warp: Initially sparked by the experience of seeing a neon sign from the side, Clymer was inspired to create fonts that allow the orientation of their glyphs to be rotated horizontally and vertically. \"With variable fonts, I thought it was kind of amazing how the physical form of a common sans-serif could inadvertently blend into something that looked like graffiti lettering,\" says Clymer. All three fonts are takes on dimensional storefront signage and are controlled by Rotation in X (HROT), and Rotation in Y (VROT) variable axes. The rotation is limited to \u00b145\u00b0 so that the letterforms are always within a readable range. To learn more, visit:Get ready for a windfall of new axes, starting with Tilt Neon, Tilt Prism, and Tilt Warp Tilt minisite", + "minisite_url": "https://fonts.withgoogle.com/tilt" + }, + "Tilt Prism": { + "name": "Tilt Prism", + "designer": [ + "Andy Clymer" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "Tilt is a family of type inspired by the dimensional lettering found in storefront signage. It\u2019s comprised of three related variable font styles that you might find in a shop window \u2014 Tilt Neon, Tilt Prism, and Tilt Warp. All three are based around the same letter model of a sign painter\u2019s geometric sans serif, similar to the typefaces Futura or Avant Garde, but with the kinds of details you might expect to see when the letter is built up with a brush. The three styles are designed and built as variable fonts. They allow users to rotate the orientation of their glyphs with \u201cRotation in X\u201d and \u201cRotation in Y\u201d axes. The rotation is limited to \u00b145\u00b0 so that the letterforms never rotate past a readable range. To contribute, see github.com/googlefonts/Tilt-Fonts. The most common axes used in variable fonts are Italic, Optical Size, Slant, Weight, and Width. And while you can sometimes get creative at the extremes of these axes, they're more often used to finesse type. For example, with Weight, you don't have to settle on what the type designer designated as the Bold style, you can tweak it to be a bit lighter or heavier so it's perfect for you. Variable fonts also open up many possibilities for creative expression! And Google Fonts is adding a bunch of fonts to your palette with new axes to get your juices flowing. First up are the Tilt fonts by Andy Clymer, Tilt Neon, Tilt Prism, and Tilt Warp: Initially sparked by the experience of seeing a neon sign from the side, Clymer was inspired to create fonts that allow the orientation of their glyphs to be rotated horizontally and vertically. \"With variable fonts, I thought it was kind of amazing how the physical form of a common sans-serif could inadvertently blend into something that looked like graffiti lettering,\" says Clymer. All three fonts are takes on dimensional storefront signage and are controlled by Rotation in X (HROT), and Rotation in Y (VROT) variable axes. The rotation is limited to \u00b145\u00b0 so that the letterforms are always within a readable range. To learn more, visit:Get ready for a windfall of new axes, starting with Tilt Neon, Tilt Prism, and Tilt Warp Tilt minisite", + "minisite_url": "https://fonts.withgoogle.com/tilt" + }, + "Tilt Warp": { + "name": "Tilt Warp", + "designer": [ + "Andy Clymer" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "Tilt is a family of type inspired by the dimensional lettering found in storefront signage. It\u2019s comprised of three related variable font styles that you might find in a shop window \u2014 Tilt Neon, Tilt Prism, and Tilt Warp. All three are based around the same letter model of a sign painter\u2019s geometric sans serif, similar to the typefaces Futura or Avant Garde, but with the kinds of details you might expect to see when the letter is built up with a brush. The three styles are designed and built as variable fonts. They allow users to rotate the orientation of their glyphs with \u201cRotation in X\u201d and \u201cRotation in Y\u201d axes. The rotation is limited to \u00b145\u00b0 so that the letterforms never rotate past a readable range. To contribute, see github.com/googlefonts/Tilt-Fonts. The most common axes used in variable fonts are Italic, Optical Size, Slant, Weight, and Width. And while you can sometimes get creative at the extremes of these axes, they're more often used to finesse type. For example, with Weight, you don't have to settle on what the type designer designated as the Bold style, you can tweak it to be a bit lighter or heavier so it's perfect for you. Variable fonts also open up many possibilities for creative expression! And Google Fonts is adding a bunch of fonts to your palette with new axes to get your juices flowing. First up are the Tilt fonts by Andy Clymer, Tilt Neon, Tilt Prism, and Tilt Warp: Initially sparked by the experience of seeing a neon sign from the side, Clymer was inspired to create fonts that allow the orientation of their glyphs to be rotated horizontally and vertically. \"With variable fonts, I thought it was kind of amazing how the physical form of a common sans-serif could inadvertently blend into something that looked like graffiti lettering,\" says Clymer. All three fonts are takes on dimensional storefront signage and are controlled by Rotation in X (HROT), and Rotation in Y (VROT) variable axes. The rotation is limited to \u00b145\u00b0 so that the letterforms are always within a readable range. To learn more, visit:Get ready for a windfall of new axes, starting with Tilt Neon, Tilt Prism, and Tilt Warp Tilt minisite", + "minisite_url": "https://fonts.withgoogle.com/tilt" + }, + "Timmana": { + "name": "Timmana", + "designer": [ + "Appaji Ambarisha Darbha" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "telugu" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Timmana is a Telugu display typeface, mainly suitable for headings, posters and decorative invitations. As a web font it should be used in very large pixel sizes, while in print the design may be used in a broader range of sizes, perhaps even as small as at 16pt. Designed by Appaji Ambarisha Darbha in 2013 and made available by Silicon Andhra under the SIL Open Font License v1.1. The Timmana project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India. To contribute, see github.com/appajid/timmana", + "primary_script": "Telu", + "article": null, + "minisite_url": null + }, + "Tinos": { + "name": "Tinos", + "designer": [ + "Steve Matteson" + ], + "license": "apache2", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "hebrew", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Tinos was designed by Steve Matteson as an innovative, refreshing serif design that is metrically compatible with Times New Roman\u2122. Tinos offers improved on-screen readability characteristics and the pan-European WGL character set and solves the needs of developers looking for width-compatible fonts to address document portability across platforms. Updated in May 2013 with improved hinting and released under the Apache 2.0 license.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Tiny5": { + "name": "Tiny5", + "designer": [ + "Stefan Schmidt" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "tiny5 is a variable-width, 5-pixel font playing with the concept of least amount of information while producing both legible and aesthetically pleasing text. It is inspired by the graphing calculators and digital gadgets of the 1980s-90s, where the constraints of limited pixel space demanded efficient and minimalist design. It can be used for invoking a retro or nostalgic feel, for conveying the idea of minimalism, or for efficiently presenting information on small displays. tiny5 supports the Google Fonts Latin Kernel, Latin Core, Latin Plus, Latin African, Greek Core, Cyrillic Core and Cyrillic Plus character set. To contribute, see github.com/Gissio/font_tiny5.", + "minisite_url": null + }, + "Tiro Bangla": { + "name": "Tiro Bangla", + "designer": [ + "Tiro Typeworks", + "John Hudson", + "Fiona Ross", + "Neelakash Kshetrimayum" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "bengali", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Beng", + "article": "Tiro Bangla has its origins in a typeface designed for the Murty Classical Library of India book series, so is especially suited to traditional literary publishing but also made with the needs of today\u2019s multiple print and screen media in mind. The design follows manuscript traditions of letterform construction, and was inspired by the proportions and overall texture of handset metal type used by leading Kolkata publishing houses in pre-mechanical typography. For the Open Font License release, Tiro Bangla has been extended to support additional characters, and features a new italic companion. Each font also includes a Latin subset including diacritics for transcription of Indian languages. Tiro Bangla was designed by John Hudson and Fiona Ross. The italic was adapted by Neelakash Kshetrimayum. To contribute, see github.com/TiroTypeworks/Indigo. Modern Tiro Indic collection for classical South Asian texts The beauty and challenges of bridging the old and the new Two type designers separated by an eight-hour time difference, an ocean, and pandemic travel bans collaborated over video calls and email to make a cohesive set of fonts in 8 South Asian languages. In 2012, Harvard University Press commissioned Fiona Ross and John Hudson, through Tiro Typeworks, to design typefaces for the Murty Classical Library of India book series. The publisher needed to reprint ancient Indian literary, historical, and religious texts, including Vedic and early Sanskrit works. Since these old texts had been printed using traditional letterforms and early Indian typography techniques, the new fonts needed to retain some of the traditional style of the old texts, yet be clear and legible in modern print and digital media. In 2019 Google Fonts approached Tiro to make an extended and updated version of the Murty Fonts to be released as open source fonts in the Tiro Indic collection, offering users traditional text styles suitable for a variety of uses. Study the classics and language structure Before designing the typefaces, it was important to research classical texts and understand the unique characteristics of the languages. \u201cWe looked at very lovely manuscripts or early Indian printed materials from the 18th or 19th Centuries,\u201d said John Hudson. To learn more, read Modern Tiro Indic collection for classical South Asian texts.", + "minisite_url": null + }, + "Tiro Devanagari Hindi": { + "name": "Tiro Devanagari Hindi", + "designer": [ + "Tiro Typeworks", + "John Hudson", + "Fiona Ross", + "Paul Hanslow" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Deva", + "article": "Tiro Devanagari Hindi has its origins in a typeface designed for the Murty Classical Library of India book series, so is especially suited to traditional literary publishing but also made with the needs of today\u2019s multiple print and screen media in mind. The Tiro Devanagari design applies a contemporary approach to the traditional styling of 19th and 20th Century metal types exemplified in those of the renowned Nirnaya Sagar Press, and is characterised by broader proportions, more generous counters, and strong diagonal strokes and terminals. The Hindi font balances traditional and modern forms of conjuncts. For the Open Font License release, Tiro Devanagari Hindi has been extended to support additional characters, and features a new italic companion. Each font also includes a Latin subset including diacritics for transcription of Indian languages. Tiro Devanagari Hindi was designed by John Hudson and Fiona Ross. The italic was adapted by Paul Hanslow. To contribute, see github.com/TiroTypeworks/Indigo. Modern Tiro Indic collection for classical South Asian texts The beauty and challenges of bridging the old and the new Two type designers separated by an eight-hour time difference, an ocean, and pandemic travel bans collaborated over video calls and email to make a cohesive set of fonts in 8 South Asian languages. In 2012, Harvard University Press commissioned Fiona Ross and John Hudson, through Tiro Typeworks, to design typefaces for the Murty Classical Library of India book series. The publisher needed to reprint ancient Indian literary, historical, and religious texts, including Vedic and early Sanskrit works. Since these old texts had been printed using traditional letterforms and early Indian typography techniques, the new fonts needed to retain some of the traditional style of the old texts, yet be clear and legible in modern print and digital media. In 2019 Google Fonts approached Tiro to make an extended and updated version of the Murty Fonts to be released as open source fonts in the Tiro Indic collection, offering users traditional text styles suitable for a variety of uses. Study the classics and language structure Before designing the typefaces, it was important to research classical texts and understand the unique characteristics of the languages. \u201cWe looked at very lovely manuscripts or early Indian printed materials from the 18th or 19th Centuries,\u201d said John Hudson. To learn more, read Modern Tiro Indic collection for classical South Asian texts.", + "minisite_url": null + }, + "Tiro Devanagari Marathi": { + "name": "Tiro Devanagari Marathi", + "designer": [ + "Tiro Typeworks", + "John Hudson", + "Fiona Ross", + "Paul Hanslow" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Deva", + "article": "Tiro Devanagari Marathi has its origins in a typeface designed for the Murty Classical Library of India book series, so is especially suited to traditional literary publishing but also made with the needs of today\u2019s multiple print and screen media in mind. The Tiro Devanagari design applies a contemporary approach to the traditional styling of 19th and 20th Century metal types exemplified in those of the renowned Nirnaya Sagar Press, and is characterised by broader proportions, more generous counters, and strong diagonal strokes and terminals. The Marathi font favours traditional, vertical forms of many conjuncts as still found in Marathi literary publishing. For the Open Font License release, Tiro Devanagari Marathi has been extended to support additional characters, and features a new italic companion. Each font also includes a Latin subset including diacritics for transcription of Indian languages. Tiro Devanagari Marathi was designed by John Hudson and Fiona Ross. The italic was adapted by Paul Hanslow. To contribute, see github.com/TiroTypeworks/Indigo. Modern Tiro Indic collection for classical South Asian texts The beauty and challenges of bridging the old and the new Two type designers separated by an eight-hour time difference, an ocean, and pandemic travel bans collaborated over video calls and email to make a cohesive set of fonts in 8 South Asian languages. In 2012, Harvard University Press commissioned Fiona Ross and John Hudson, through Tiro Typeworks, to design typefaces for the Murty Classical Library of India book series. The publisher needed to reprint ancient Indian literary, historical, and religious texts, including Vedic and early Sanskrit works. Since these old texts had been printed using traditional letterforms and early Indian typography techniques, the new fonts needed to retain some of the traditional style of the old texts, yet be clear and legible in modern print and digital media. In 2019 Google Fonts approached Tiro to make an extended and updated version of the Murty Fonts to be released as open source fonts in the Tiro Indic collection, offering users traditional text styles suitable for a variety of uses. Study the classics and language structure Before designing the typefaces, it was important to research classical texts and understand the unique characteristics of the languages. \u201cWe looked at very lovely manuscripts or early Indian printed materials from the 18th or 19th Centuries,\u201d said John Hudson. To learn more, read Modern Tiro Indic collection for classical South Asian texts.", + "minisite_url": null + }, + "Tiro Devanagari Sanskrit": { + "name": "Tiro Devanagari Sanskrit", + "designer": [ + "Tiro Typeworks", + "John Hudson", + "Fiona Ross", + "Paul Hanslow" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Deva", + "article": "Tiro Devanagari Sanskrit has its origins in a typeface designed for the Murty Classical Library of India book series, so is especially suited to traditional literary publishing but also made with the needs of today\u2019s multiple print and screen media in mind. The Tiro Devanagari design applies a contemporary approach to the traditional styling of 19th and 20th Century metal types exemplified in those of the renowned Nirnaya Sagar Press, and is characterised by broader proportions, more generous counters, and strong diagonal strokes and terminals. The Sanskrit font favours traditional forms of conjuncts. For the Open Font License release, Tiro Devanagari Sanskrit has been extended to support additional characters, including signs for Vedic texts, and features a new italic companion. Each font also includes a Latin subset including diacritics for transcription of Indian languages. Tiro Devanagari Sanskrit was designed by John Hudson and Fiona Ross. The italic was adapted by Paul Hanslow. To contribute, see github.com/TiroTypeworks/Indigo. Modern Tiro Indic collection for classical South Asian texts The beauty and challenges of bridging the old and the new Two type designers separated by an eight-hour time difference, an ocean, and pandemic travel bans collaborated over video calls and email to make a cohesive set of fonts in 8 South Asian languages. In 2012, Harvard University Press commissioned Fiona Ross and John Hudson, through Tiro Typeworks, to design typefaces for the Murty Classical Library of India book series. The publisher needed to reprint ancient Indian literary, historical, and religious texts, including Vedic and early Sanskrit works. Since these old texts had been printed using traditional letterforms and early Indian typography techniques, the new fonts needed to retain some of the traditional style of the old texts, yet be clear and legible in modern print and digital media. In 2019 Google Fonts approached Tiro to make an extended and updated version of the Murty Fonts to be released as open source fonts in the Tiro Indic collection, offering users traditional text styles suitable for a variety of uses. Study the classics and language structure Before designing the typefaces, it was important to research classical texts and understand the unique characteristics of the languages. \u201cWe looked at very lovely manuscripts or early Indian printed materials from the 18th or 19th Centuries,\u201d said John Hudson. To learn more, read Modern Tiro Indic collection for classical South Asian texts.", + "minisite_url": null + }, + "Tiro Gurmukhi": { + "name": "Tiro Gurmukhi", + "designer": [ + "Tiro Typeworks", + "John Hudson", + "Fiona Ross", + "Paul Hanslow" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "gurmukhi", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Guru", + "article": "Tiro Gurmukhi has its origins in a typeface designed for the Murty Classical Library of India book series, so is especially suited to traditional literary publishing but also made with the needs of today\u2019s multiple print and screen media in mind. The design reintroduces the stroke modulation of traditional Punjabi manuscript styles that is absent from the monolinear typefaces that became conventional for the script in the 20th Century. This gives Tiro Gurmukhi a strong traditional flavour while also something fresh in the context of modern typography. For the Open Font License release, Tiro Gurmukhi has been extended to support additional characters, and features a new italic companion. Each font also includes a Latin subset including diacritics for transcription of Indian languages. Tiro Gurmukhi was designed by John Hudson and Fiona Ross. The italic was adapted by Paul Hanslow. To contribute, see github.com/TiroTypeworks/Indigo. Modern Tiro Indic collection for classical South Asian texts The beauty and challenges of bridging the old and the new Two type designers separated by an eight-hour time difference, an ocean, and pandemic travel bans collaborated over video calls and email to make a cohesive set of fonts in 8 South Asian languages. In 2012, Harvard University Press commissioned Fiona Ross and John Hudson, through Tiro Typeworks, to design typefaces for the Murty Classical Library of India book series. The publisher needed to reprint ancient Indian literary, historical, and religious texts, including Vedic and early Sanskrit works. Since these old texts had been printed using traditional letterforms and early Indian typography techniques, the new fonts needed to retain some of the traditional style of the old texts, yet be clear and legible in modern print and digital media. In 2019 Google Fonts approached Tiro to make an extended and updated version of the Murty Fonts to be released as open source fonts in the Tiro Indic collection, offering users traditional text styles suitable for a variety of uses. Study the classics and language structure Before designing the typefaces, it was important to research classical texts and understand the unique characteristics of the languages. \u201cWe looked at very lovely manuscripts or early Indian printed materials from the 18th or 19th Centuries,\u201d said John Hudson. To learn more, read Modern Tiro Indic collection for classical South Asian texts.", + "minisite_url": null + }, + "Tiro Kannada": { + "name": "Tiro Kannada", + "designer": [ + "Tiro Typeworks", + "John Hudson", + "Fiona Ross", + "Kaja S\u0142ojewska" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "kannada", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Knda", + "article": "Tiro Kannada has its origins in a typeface designed for the Murty Classical Library of India book series, so is especially suited to traditional literary publishing but also made with the needs of today\u2019s multiple print and screen media in mind. The design takes inspiration from several sources: the crisp, open counters of the 19th Century types of the renowned Basel Mission Press; the styling of ligatures in types of the Gujarat Type Foundry from the 1930s; and the dynamic stroke angles of unattributed types found in a 20th Century Kannada textbook. Tiro Kannada features generously proportioned subscript letters for enhanced legibility. For the Open Font License release, Tiro Kannada has been extended to support additional characters, and features a new italic companion. Each font also includes a Latin subset including diacritics for transcription of Indian languages. Tiro Kannada was designed by John Hudson and Fiona Ross. The italic was adapted by Kaja S\u0142ojewska. To contribute, see github.com/TiroTypeworks/Indigo. Modern Tiro Indic collection for classical South Asian texts The beauty and challenges of bridging the old and the new Two type designers separated by an eight-hour time difference, an ocean, and pandemic travel bans collaborated over video calls and email to make a cohesive set of fonts in 8 South Asian languages. In 2012, Harvard University Press commissioned Fiona Ross and John Hudson, through Tiro Typeworks, to design typefaces for the Murty Classical Library of India book series. The publisher needed to reprint ancient Indian literary, historical, and religious texts, including Vedic and early Sanskrit works. Since these old texts had been printed using traditional letterforms and early Indian typography techniques, the new fonts needed to retain some of the traditional style of the old texts, yet be clear and legible in modern print and digital media. In 2019 Google Fonts approached Tiro to make an extended and updated version of the Murty Fonts to be released as open source fonts in the Tiro Indic collection, offering users traditional text styles suitable for a variety of uses. Study the classics and language structure Before designing the typefaces, it was important to research classical texts and understand the unique characteristics of the languages. \u201cWe looked at very lovely manuscripts or early Indian printed materials from the 18th or 19th Centuries,\u201d said John Hudson. To learn more, read Modern Tiro Indic collection for classical South Asian texts.", + "minisite_url": null + }, + "Tiro Tamil": { + "name": "Tiro Tamil", + "designer": [ + "Tiro Typeworks", + "Fernando Mello", + "Fiona Ross", + "Kaja S\u0142ojewska" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "tamil" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Taml", + "article": "Tiro Tamil has its origins in a typeface designed for the Murty Classical Library of India book series, so is especially suited to traditional literary publishing but also made with the needs of today\u2019s multiple print and screen media in mind. The design takes inspiration from Tamil metal types developed in Madras (Chennai) in the 19th and early 20th Century, which were influenced by both traditional palm leaf manuscripts and contemporary writing. The stroke modulation makes for a dynamic design for modern typography, while traditional forms of ligatures are accessible via OpenType Layout features. For the Open Font License release, Tiro Tamil has been extended to support additional characters, and features a new italic companion suitable for traditional slanted Tamil typography. Each font also includes a Latin subset including diacritics for transcription of Indian languages. Tiro Tamil was designed by Fernando Mello and Fiona Ross. The italic was adapted by Kaja S\u0142ojewska. To contribute, see github.com/TiroTypeworks/Indigo. Modern Tiro Indic collection for classical South Asian texts The beauty and challenges of bridging the old and the new Two type designers separated by an eight-hour time difference, an ocean, and pandemic travel bans collaborated over video calls and email to make a cohesive set of fonts in 8 South Asian languages. In 2012, Harvard University Press commissioned Fiona Ross and John Hudson, through Tiro Typeworks, to design typefaces for the Murty Classical Library of India book series. The publisher needed to reprint ancient Indian literary, historical, and religious texts, including Vedic and early Sanskrit works. Since these old texts had been printed using traditional letterforms and early Indian typography techniques, the new fonts needed to retain some of the traditional style of the old texts, yet be clear and legible in modern print and digital media. In 2019 Google Fonts approached Tiro to make an extended and updated version of the Murty Fonts to be released as open source fonts in the Tiro Indic collection, offering users traditional text styles suitable for a variety of uses. Study the classics and language structure Before designing the typefaces, it was important to research classical texts and understand the unique characteristics of the languages. \u201cWe looked at very lovely manuscripts or early Indian printed materials from the 18th or 19th Centuries,\u201d said John Hudson. To learn more, read Modern Tiro Indic collection for classical South Asian texts.", + "minisite_url": null + }, + "Tiro Telugu": { + "name": "Tiro Telugu", + "designer": [ + "Tiro Typeworks", + "John Hudson", + "Fiona Ross", + "Kaja S\u0142ojewska" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "telugu" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Tiro Telugu has its origins in a typeface designed for the Murty Classical Library of India book series, so is especially suited to traditional literary publishing but also made with the needs of today\u2019s multiple print and screen media in mind. The design combines the proportions of Telugu manuscript tradition, notably in the generous proportions of subscript letters to aid legibility with the pronounced stroke modulation and shaping of counters and finials inspired by the elegant metal types of the Swatantra Type Foundry. Tiro Telugu uses extensive contextual layout behaviour to support arbitrary conjuncts, making it suitable for Sanskrit and Pali as well as Telugu language texts. For the Open Font License release, Tiro Telugu has been extended to support additional characters, and features a new italic companion. Each font also includes a Latin subset including diacritics for transcription of Indian languages. Tiro Telugu was designed by John Hudson and Fiona Ross. The italic was adapted by Kaja S\u0142ojewska. To contribute, see github.com/TiroTypeworks/Indigo. To learn more, read Modern Tiro Indic collection for classical South Asian texts.", + "primary_script": "Telu", + "article": null, + "minisite_url": null + }, + "Titan One": { + "name": "Titan One", + "designer": [ + "Rodrigo Fuenzalida" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Titan One is a really fat display type with a happy and cheerful personality. It takes most of its essence from hand lettering with big brushes. It is designed to be used mainly on headers and short texts.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Titillium Web": { + "name": "Titillium Web", + "designer": [ + "Accademia di Belle Arti di Urbino" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Titillium is born inside the Accademia di Belle Arti di Urbino as a didactic project Course Type design of the Master of Visual Design Campi Visivi. The aim of the project is the creation of a collective fonts released under OFL. Each academic year, a dozen students work on the project, developing it further and solving problems. Any type designer interested in the amendment or revision of Titillium is invited to co-operate with us, or develop their own variants of the typeface according to the terms specified in the Open Font license. We also ask all graphic designers who use Titillium in their projects to email us some examples of the typeface family in use, in order to prepare a case histories database. Three years after the birth of Titillium, the project is still evolving, and even we don\u2019t know what it will become in the future. Special thanks go to: Prof. Luciano Perondi, design and curation Prof. Marcello Signorile, coordination Prof. Manuel Zanettin, web project supervision Diego Giusti, design of the first prototype", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Tomorrow": { + "name": "Tomorrow", + "designer": [ + "Tony de Marco", + "Monica Rizzolli" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Tomorrow is a geometric family ranging from a neutral Thin weight to a vibrant contrast-based Black. It is an excellent fit for small sizes and big headlines. Easy to read and hard to forget. The Tomorrow project is led by Just in Type, a type design foundry based in Brazil. To contribute, see github.com/MonicaRizzolli/Tomorrow", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Tourney": { + "name": "Tourney", + "designer": [ + "Tyler Finck", + "ETC" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Tourney is a collaboration of tech and sport. At least, that is where the inspiration came from. Tourney would feel at home on a space ship or in a stadium. The lightest weight of Tourney (100) is almost an outline and that \"stroke\" thickens as the weights increase. 900 is completely solid. To contribute, see github.com/Etcetera-Type-Co/Tourney.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Trade Winds": { + "name": "Trade Winds", + "designer": [ + "Sideshow" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Ahoy, matey! Prepare to set sail on the high seas! Let TradeWinds guide you to exotic ports of call where your next adventure begins. This breezy font by Squid and Sideshow will blow you away!", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Train One": { + "name": "Train One", + "designer": [ + "Fontworks Inc." + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "japanese", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Train is a gothic-style typeface made with an outer and inner line. It is open and vibrant, and its strong first impression makes it suitable for logos and titles. It is distributed under the name \"Railway\" in Japan by FontWorks. To contribute to the project, visit github.com/fontworks-fonts/Train", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "Triodion": { + "name": "Triodion", + "designer": [ + "Aleksandr Andreev" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Triodion is a contemporary Church Slavonic font that reproduces the typeface most commonly used in liturgical books published in St. Petersburg and Moscow at the end of the 19th and beginning of the 20th century and the current editions printed in Moscow by the Publishing House of the Moscow Patriarchate. To contribute, please see github.com/slavonic/Triodion.", + "primary_script": "Cyrl", + "article": null, + "minisite_url": null + }, + "Trirong": { + "name": "Trirong", + "designer": [ + "Cadson Demak" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "thai", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Trirong means \u201ctricolor flag\u201d in Thai, and represents the flag of Thailand. A serif Latin and looped Thai typeface, it is characterized by thick and thin strokes, and its narrow and tall structure echoes that of traditional Thai typefaces. It saves space while preserving readability and legibility with its oval-shape looped terminal. This looped Thai and Transitional serif Latin works well in formal contexts. The similarity between some glyphs such as \u0e01 \u0e16 \u0e20 \u0e24 \u0e26, and \u0e0e and \u0e0f is something to take into consideration because it might lead to confusion when typesetting very short texts. Trirong takes a specific approach in how it deals with the thick and thin strokes in Thai glyphs. Other type designers of Thai fonts may like to use this approach as a reference. Formal looped Thai typefaces have delicate details, so it is important for type designers to take care when extending them into heavy weights and avoid obscuring important details. The sizes and positions of vowels and tone marks need to be managed carefully too, because they are all relevant to readability, legibility, and overall texture. The Trirong project is led by Cadson Demak, a type foundry in Thailand. To contribute, see github.com/cadsondemak/trirong", + "primary_script": "Thai", + "article": null, + "minisite_url": null + }, + "Trispace": { + "name": "Trispace", + "designer": [ + "Tyler Finck", + "ETC" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Trispace is a typeface where all letters occupy one of three possible widths. Monospace inspired, but with some proportional touches. Trispace is designed by Tyler Finck (ETC). To contribute see github.com/Etcetera-Type-Co/Trispace", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Trocchi": { + "name": "Trocchi", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Trocchi is a design derived from a number of old faces from the English typecutter Vincent Figgins (1766-1844) including Nebiolo\u2019s \u2018Egiziano\u2019, and Caslon & Co\u2019s \u2018Antique No.4\u2032 and \u2018Ionic No.2\u2032. Trocchi derivates from these earlier designs to produce a more casual slab serif. Trocchi is designed for use both as text and display type. The font is named after the Scottish novelist Alexander Trocchi. To contribute to the project contact Vernon Adams and see Trocchi on GitHub.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Trochut": { + "name": "Trochut", + "designer": [ + "Andreu Balius" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Trochut is a funny geometric typeface developed by Andreu Balius as an homage to Joan Trochut Blanchart (1920-1980) from its Bisonte type specimen. Useful for your cool magazine stuff, it also works quite well on posters, book jackets and other display uses on the web. Trochut currently includes Regular, Italic and Bold styles. More are available from TypeRepublic.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Truculenta": { + "name": "Truculenta", + "designer": [ + "Omnibus-Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Truculenta is an irregular sans serif typeface based on mid-century lettering works, yet with a little twist. This quirky grotesque is a variable font with three axes (weight, width and optical size), allowing a wide range of text sizes without losing readability. This vibrant typeface is highly suitable for packaging, branding, book covers, illustrated editions, and film titles. Truculenta was designed by Ivan Castro, Eva Sanz and Omnibus-Type Team. To contribute, see github.com/Omnibus-Type/Truculenta.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Trykker": { + "name": "Trykker", + "designer": [ + "Magnus Gaarde" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Trykker is a high contrast serifed text face. Trykker has a pleasant old fashioned elegance derived from on 16th century text faces. Trykker can be used from small sizes to larger display settings.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Tsukimi Rounded": { + "name": "Tsukimi Rounded", + "designer": [ + "Takashi Funayama" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Tsukimi Rounded is kana font that is based san-go(Japanese traditional go-number sized type, #3) in Tsukiji Type Foundry\u2019s specimen books. Original san-go type is Mincho style but Tsukimi Rounded is sans-serif typeface with rounded terminals. To contribute to the project, visit github.com/mt-funa/Tsukimi-Rounded", + "primary_script": "Hira", + "article": null, + "minisite_url": null + }, + "Tuffy": { + "name": "Tuffy", + "designer": [ + "Thatcher Ulrich" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext", + "phoenician" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Tuffy is a grotesque sans-serif type.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Tulpen One": { + "name": "Tulpen One", + "designer": [ + "Naima Ben Ayed" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Tulpen is a tall sans serif type, suitable for display uses in headlines and other large text.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Turret Road": { + "name": "Turret Road", + "designer": [ + "Dale Sattler" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Turret Road is a geometric sans serif typeface, with very low contrast, high x-height, high glyph height, and playful diacritics. Turret Road delves into eugenics, solar evolution, science fiction and homeward conversations. For more information, see its project overview. To contribute, see github.com/noponies/Turret-Road.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Twinkle Star": { + "name": "Twinkle Star", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Twinkle Star is a cute and fun juvenile script. It comes in two stylistic styles: A Script with a more curvy quality and a casual style with more children writing resemblance. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/twinkle-star.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ubuntu": { + "name": "Ubuntu", + "designer": [ + "Dalton Maag" + ], + "license": "ufl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "The Ubuntu Font Family are a set of matching new libre/open fonts in development during 2010-2011. The development is being funded by Canonical Ltd on behalf the wider Free Software community and the Ubuntu project. The technical font design work and implementation is being undertaken by Dalton Maag. Both the final font Truetype/OpenType files and the design files used to produce the font family are distributed under an open licence and you are expressly encouraged to experiment, modify, share and improve. The new Ubuntu Font Family was started to enable the personality of Ubuntu to be seen and felt in every menu, button and dialog. The typeface is sans-serif, uses OpenType features and is manually hinted for clarity on desktop and mobile computing screens. The scope of the Ubuntu Font Family includes all the languages used by the various Ubuntu users around the world in tune with Ubuntu's philosophy which states that every user should be able to use their software in the language of their choice. So the Ubuntu Font Family project will be extended to cover many more written languages. Ubuntu and Canonical are registered trademarks of Canonical Ltd.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ubuntu Condensed": { + "name": "Ubuntu Condensed", + "designer": [ + "Dalton Maag" + ], + "license": "ufl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "The Ubuntu Font Family are a set of matching new libre/open fonts in development during 2010-2011. The development is being funded by Canonical Ltd on behalf the wider Free Software community and the Ubuntu project. The technical font design work and implementation is being undertaken by Dalton Maag. Both the final font Truetype/OpenType files and the design files used to produce the font family are distributed under an open licence and you are expressly encouraged to experiment, modify, share and improve. The new Ubuntu Font Family was started to enable the personality of Ubuntu to be seen and felt in every menu, button and dialog. The typeface is sans-serif, uses OpenType features and is manually hinted for clarity on desktop and mobile computing screens. The scope of the Ubuntu Font Family includes all the languages used by the various Ubuntu users around the world in tune with Ubuntu's philosophy which states that every user should be able to use their software in the language of their choice. So the Ubuntu Font Family project will be extended to cover many more written languages. Ubuntu and Canonical are registered trademarks of Canonical Ltd. Updated August 2014: All styles were updated to 0.83 to fix a problem where some characters were not displayed as expected in some OS X applications.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ubuntu Mono": { + "name": "Ubuntu Mono", + "designer": [ + "Dalton Maag" + ], + "license": "ufl", + "category": "MONOSPACE", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "monospace" + ], + "description": "The Ubuntu Font Family are a set of matching new libre/open fonts in development during 2010-2011. The development is being funded by Canonical Ltd on behalf the wider Free Software community and the Ubuntu project. The technical font design work and implementation is being undertaken by Dalton Maag. Both the final font Truetype/OpenType files and the design files used to produce the font family are distributed under an open licence and you are expressly encouraged to experiment, modify, share and improve. The new Ubuntu Font Family was started to enable the personality of Ubuntu to be seen and felt in every menu, button and dialog. The typeface is sans-serif, uses OpenType features and is manually hinted for clarity on desktop and mobile computing screens. The scope of the Ubuntu Font Family includes all the languages used by the various Ubuntu users around the world in tune with Ubuntu's philosophy which states that every user should be able to use their software in the language of their choice. So the Ubuntu Font Family project will be extended to cover many more written languages. Ubuntu and Canonical are registered trademarks of Canonical Ltd.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ubuntu Sans": { + "name": "Ubuntu Sans", + "designer": [ + "Dalton Maag" + ], + "license": "ufl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "The Ubuntu Font Family are a set of matching new libre/open fonts in development during 2010-2011, with further expansion work and bug fixing in 2015 and 2022-2023. The development is being funded by Canonical Ltd on behalf the wider Free Software community and the Ubuntu project. The technical font design work and implementation has been undertaken by Dalton Maag, Type Network, DJR, and Dual Type. Both the final font Truetype/OpenType files and the design files used to produce the font family are distributed under an open licence and you are expressly encouraged to experiment, modify, share and improve. The new Ubuntu Font Family was started to enable the personality of Ubuntu to be seen and felt in every menu, button and dialog. The scope of the Ubuntu Font Family includes all the languages used by the various Ubuntu users around the world in tune with Ubuntu's philosophy which states that every user should be able to use their software in the language of their choice. So the Ubuntu Font Family project will be extended to cover many more written languages. Ubuntu and Canonical are registered trademarks of Canonical Ltd. To contribute, see github.com/canonical/Ubuntu-Sans-fonts.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ubuntu Sans Mono": { + "name": "Ubuntu Sans Mono", + "designer": [ + "Dalton Maag" + ], + "license": "ufl", + "category": "MONOSPACE", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "monospace" + ], + "description": "The Ubuntu Font Family are a set of matching new libre/open fonts in development during 2010-2011, with further expansion work and bug fixing in 2015 and 2022-2023. The development is being funded by Canonical Ltd on behalf the wider Free Software community and the Ubuntu project. The technical font design work and implementation has been undertaken by Dalton Maag, Type Network, DJR, and Dual Type. Both the final font Truetype/OpenType files and the design files used to produce the font family are distributed under an open licence and you are expressly encouraged to experiment, modify, share and improve. The new Ubuntu Font Family was started to enable the personality of Ubuntu to be seen and felt in every menu, button and dialog. The scope of the Ubuntu Font Family includes all the languages used by the various Ubuntu users around the world in tune with Ubuntu's philosophy which states that every user should be able to use their software in the language of their choice. So the Ubuntu Font Family project will be extended to cover many more written languages. Ubuntu and Canonical are registered trademarks of Canonical Ltd. To contribute, see github.com/canonical/Ubuntu-Sans-Mono-fonts.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Uchen": { + "name": "Uchen", + "designer": [ + "Christopher J. Fynn" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "tibetan" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Uchen is a free, Unicode compatible, Tibetan script font designed in Uchen style, it is suitable for use in desktop publishing. Created for the Dzongkha Development Commission. Uchen is also available here.", + "primary_script": "Tibt", + "article": null, + "minisite_url": null + }, + "Ultra": { + "name": "Ultra", + "designer": [ + "Astigmatic" + ], + "license": "apache2", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Ultra is an ultra bold slab typeface with nods to wood type styles like Clarendon and Egyptian. Strong and dramatic letterforms for titling, a serious, yet friendly, and easily legible typestyle. Perfect for power headlines and titling for impact.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Unbounded": { + "name": "Unbounded", + "designer": [ + "NaN" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Unbounded is possibly the first open source, freely available and on-chain funded font in the world, thanks to the Polkadot treasury. Unbounded by both name and nature, it is available in eight display weights ranging from Light to Black as a variable font. The typeface supports both Latin and Cyrillic scripts with over 1300 individual glyphs, including a collection of symbols and a unique figure building system. In addition the sizeable glyph set accommodates for hundreds of languages worldwide. Unbounded is the product of a joint collaboration between Studio Koto, NaN, Parity Technologies and Web3 Foundation for Polkadot Network. To contribute, please see github.com/googlefonts/unbounded.", + "primary_script": null, + "article": null, + "minisite_url": "https://unbounded.polkadot.network/" + }, + "Uncial Antiqua": { + "name": "Uncial Antiqua", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Uncial Antiqua is a hybrid typeface which combines the speedier penned styles of Uncial and Half Uncial letterforms together in a formal text representation. Signature letterforms to the Uncial & Half Uncial styles are not sacrificed in this compilation, yet readability is surprisingly maintained when read in context.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Underdog": { + "name": "Underdog", + "designer": [ + "Sergey Steblina", + "Jovanny Lemonad" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Underdog is an informal typeface with broken corner lines. It can serve many different purposes, in posters, magazine headlines or on food packaging. It changes its mood as the context of use changes: it can be playful in a childish design, feel punk in musical posters, unceremonious in fashion magazines or aggressive in a warning poster. The inspiration for this typeface comes from hand-made signs seen on the street, and also the lettering found in musical culture. All shapes, lines and corners look like they are improvised, yet each of them has common rules to make the whole typeface work together, in both short words and longer sentences. The typeface was designed by Sergey Steblina, and the font was technically engineered and published by Jovanny Lemonad.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Unica One": { + "name": "Unica One", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Unica One is a condensed unicase sans serif style. Good performance for composing headlines and short texts. Readbility and simplicity are some of the virtues of this unique typeface. Since Junuary 2023, the glyphset is completed and and the font has a bigger language support To contribute, see github.com/etunni/unica.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "UnifrakturCook": { + "name": "UnifrakturCook", + "designer": [ + "j. 'mach' wust" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "UnifrakturCook is a blackletter font. It is based on Peter Wiegel\u2019s font Koch fette deutsche Schrift which is in turn based on a 1910 typeface by Rudolf Koch. While the glyph design of Peter Wiegel\u2019s font has hardly been changed at all, UnifrakturCook uses smart font technologies for displaying the font\u2019s ligatures (OpenType, Apple Advanced Typography and SIL Graphite). An experimental feature is the distinction of good blackletter typography between required ligatures \u2039ch, ck, \u017ft, tz\u203a that must be kept when letterspacing is increased, and regular ligatures (for instance, \u2039fi, fl\u203a) that are broken up when letterspacing is increased. Using the ligatures: Whenever you type a sequence such as \u2039tz\u203a, it will automatically be displayed as a ligature. When you want to oppress a ligature, for instance in the German word \u00abZeitzone\u00bb \u2018time zone\u2019 that should have no tz-ligature, then you put a zero width non-joiner between the \u2039t\u203a and the \u2039z\u203a or, alternatively, you write \u00abZeit‌zone\u00bb in the HTML code. Unfortunately, this will only work on a browser that is capable of displaying ligatures. Of course, UnifrakturMaguntia provides the character \u2039\u017f\u203a (U+017F LATIN SMALL LETTER LONG S)! UnifrakturCook is optimized for @font-face linking on the internet by combining standards compliance with a permissive license. UnifrakturCook has first been published in 2010 at UnifrakturCook. It has been edited with FontForge, the libre outline font editor. OpenType features have been added with FontForge directly. AAT features have been added with ftxenhancer of the Apple Font Tools. Graphite has been added with the Graphite Compiler. For more information about AAT and Graphite, you may want to check out the Free Tengwar Font Project: Adding Graphite and AAT to a font.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "UnifrakturMaguntia": { + "name": "UnifrakturMaguntia", + "designer": [ + "j. 'mach' wust" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "UnifrakturMaguntia is based on Peter Wiegel\u2019s font Berthold Mainzer Fraktur which is in turn based on a 1901 typeface by Carl Albert Fahrenwaldt. While the glyph design of Peter Wiegel\u2019s font has hardly been changed at all, UnifrakturMaguntia uses smart font technologies for displaying the font\u2019s ligatures (OpenType, Apple Advanced Typography and SIL Graphite). An experimental feature is the distinction of good blackletter typography between required ligatures \u2039ch, ck, \u017ft, tz\u203a that must be kept when letterspacing is increased, and regular ligatures (for instance, \u2039fi, fl\u203a) that are broken up when letterspacing is increased.UnifrakturMaguntia is optimized for @font-face linking on the internet by combining standards compliance with a permissive license.UnifrakturMaguntia has first been published in 2010 at UnifrakturMaguntia. It has been edited with FontForge, the libre outline font editor. OpenType features have been added with FontForge directly. AAT features have been added with ftxenhancer of the Apple Font Tools. Graphite has been added with the Graphite Compiler. For more information about AAT and Graphite, you may want to check out the Free Tengwar Font Project: Adding Graphite and AAT to a font.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Unkempt": { + "name": "Unkempt", + "designer": [ + "Sideshow" + ], + "license": "apache2", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Unkempt is lacking in order and neatness, and began with hand-lettering. This off-kilter gem is definitely different than a traditional regimented typeface.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Unlock": { + "name": "Unlock", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Unlock is a geometric typeface with vertical stress, short descenders and a significant \"x\" height . Basic shapes from rectangles, some with rounded corners (the only presence of curves), completely rectangular counterpounchs and innovative solutions for the joints, make Unlock has a unique style. Their rough appearance, reminiscent of the old types of wood although the design of many of the signs we associate also a futuristic design. Unlock is ideal for the composition of headlines and short texts but its design provides for the possibility of using it in small sizes. The February 2023 update features a bigger glyphset, fractions and some minor aesthetic modifications. To contribute, see github.com/etunni/unlock.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Unna": { + "name": "Unna", + "designer": [ + "Omnibus-Type" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Unna has a soft look that is expressed through delicated serifs and strong stems, thus accentuating the typical neoclassical vertical texture. The type designer, Jorge de Buen, was inspired to name this design with the surname of his mother.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "UoqMunThenKhung": { + "name": "UoqMunThenKhung", + "designer": [ + "Moonlit Owen" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "chinese-traditional", + "cyrillic", + "latin", + "symbols2" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Hant", + "article": "UoqMunThenKhung is a modified version of the FontKai Kaisei project, adapting the Kanji character set for Traditional Chinese typesetting. It is a calligraphic, high-contrast design with a clean and fresh feel that makes it optimal for formal settings, even with a friendly character. To contribute to the project, please visit github.com/MoonlitOwen/ThenKhung.", + "minisite_url": null + }, + "Updock": { + "name": "Updock", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "What's Updock? Other than a famous query by an even more famous bunny, it's a beautiful script font with a nearly upright stress. Updock is an extremely legible formal script with clean connectors and a variety of of discretionary ligatures. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/updock.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Urbanist": { + "name": "Urbanist", + "designer": [ + "Corey Hu" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "Urbanist is a low-contrast, geometric sans-serif inspired by Modernist typography and design. The project was launched by Corey Hu in 2020 with 9 weights and accompanying italics. Conceived from elementary shapes, Urbanist's neutrality makes it a versatile display font for print and digital mediums. It is currently available as a variable font with a weight axis. To contribute, see github.com/coreyhu/Urbanist. New font family: Urbanist by Corey Hu Urbanist is a low-contrast, geometric sans-serif inspired by Modernist typography and design. The project was launched by Corey Hu in 2020 with 9 weights and accompanying italics. Conceived from elementary shapes, Urbanist's neutrality makes it a versatile display font for print and digital mediums. It is currently available as a variable font with a weight axis: https://fonts.google.com/specimen/Urbanist To learn more, read New font family: Urbanist by Corey Hu.", + "minisite_url": null + }, + "VT323": { + "name": "VT323", + "designer": [ + "Peter Hull" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "monospace" + ], + "description": "This font was created from the glyphs of the DEC VT320 text terminal, which I used in college, and for which I have retained an unaccountable nostalgia. I used a variety of tools, including Gimp, Python/PIL, and of course, FontForge. The VT320 glyphs were designed with a nonrectangular pixel aspect ratio to fit the way the terminal scanned the CRT, so for this VT323 variation I had Python munge the locations and attempt to emulate the way the electron beam actually illuminated the phosphor and smeared the pixels horizontally on the terminal's CRT, so it looks more like what the actual glyph looked like on the screen. Python then drew the proper pixels into a 1:1 pixel grid as a monochrome PNG, which FontForge autoscanned into outlines. I have attempted to support most of the glyphs available on the VT320, but that is a limited set to begin with, so please don't be disappointed that I haven't supported Esperanto or Riograndenser Hunsr\u00fcckisch or whatever. There is another earlier variation called \"VT321\" that uses a more standard 1:1 pixel drawing technique, if you want to grab that as well. I personally like VT323 better, and actually use it as my terminal font when cruising on the command line.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Vampiro One": { + "name": "Vampiro One", + "designer": [ + "Riccardo De Franceschi" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Foundry: Sorkin Type Co Vampiro One is a low contrast script font. It was inspired by the 20th century Italian tradition of monoline scripts. Vampiro One is best used for display purposes at medium to large sizes. To contribute to the project contact Eben Sorkin. Updated September 2015: Internal metadata corrected.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Varela": { + "name": "Varela", + "designer": [ + "Joe Prince" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Varela is a modern sans-serif font that blends styles of many great typefaces. Its uniqueness stems from vertical cuts on lowercase letters such as \"a, c, e, g, s\" and uppercase letters such as \"C, G, J, S\". Because it is extremely clean and minimalistic in design, it is able to sit well in body text at small sizes, or be used for headlines and menu items. Varela is a great font for anything containing text or content.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Varela Round": { + "name": "Varela Round", + "designer": [ + "Joe Prince" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "hebrew", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Varela Round is based on the well known font Varela. Its rounded corners make it perfect for a soft feel and work great at any size. It is suitable for headlines and printed collateral, and maintains its distinct properties amongst other objects. Varela Round is a great font for any website.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Varta": { + "name": "Varta", + "designer": [ + "Joana Correia", + "Viktoriya Grabowska", + "Eben Sorkin" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Varta is a sans serif family that fuses warm humanity with bright clarity and professional crispness whos congenial personality emerges at larger sizes. It is a variable font that has been designed to render well down to surprisingly small sizes and on both low and high-quality screens, which provides a broad range of utility. Its features make it well suited to a variety of tasks, including sign systems, editorial design, packaging, and extended reading on screens. To contribute, see https://github.com/SorkinType/Varta Varta is published by Sorkin Type.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Vast Shadow": { + "name": "Vast Shadow", + "designer": [ + "Nicole Fally" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SLAB_SERIF", + "classifications": [ + "display" + ], + "description": "Vast is a Victorian slab serif advertising type. Vast has a feeling of sturdy solidity combined with just a little bit of refinement. Because Vast Shadow has a thin shadow that won't display well at small sizes we recommend that you use it from 32px and larger.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Vazirmatn": { + "name": "Vazirmatn", + "designer": [ + "Saber Rastikerdar" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "arabic", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Vazirmatn is a Persian/Arabic font project that started in 2015 under the name Vazir with the idea of a new simple and legible typeface suitable for web pages and applications. Thanks to DejaVu Sans font (v2.35) published in public domain there was a free software base to start the Vazir project. Although Vazir was a completely different typeface, still the original software was common. For the Latin glyphset, Vazirmatn is combined with Roboto. The last release in June 2022, fixes some bugs, improves the design, and offers a more expanded glyphset. Check out the font's website! To contribute, see github.com/rastikerdar/vazirmatn.", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Vesper Libre": { + "name": "Vesper Libre", + "designer": [ + "Mota Italic" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Vesper has a classical foundation, but with an entirely modern appearance, making reading comfortable, but never boring. Vesper's Devanagari design was started by Rob Keller in 2006 and inspired Vesper's Latin letterforms. This process was featured in a I Love Typography article in 2009. The Devanagari character set was completed in 2014 through a collaboration with Kimya Gandhi. Vesper Libre is a special web version that has been optimized for online use. Tiny details have been simplified and the character set is reduced for the perfect balance of beautiful web typography with fast page loading. Update, April 2015: A major revision was made that adjusted the character set, OpenType features and vertical merics. The Vesper Libre project is led by Mota Italic, a type design foundry based in Mumbai, India. To contribute, see github.com/motaitalic/vesper-libre", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Viaoda Libre": { + "name": "Viaoda Libre", + "designer": [ + "Gydient", + "Vi\u1ec7tAnh Nguy\u1ec5n" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Viaoda Libre is a display family inspired by Vietnamese cultural symbolism. Its design feels traditional yet it features some modern elements. Viaoda Libre works well in large titles and subtitles. We're actively working on the family. We hope to improve the Vietnamese in future releases. Contact at gydient.com Contribute at github.com/bettergui/ViaodaLibre", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Vibes": { + "name": "Vibes", + "designer": [ + "AbdElmomen Kadhim (blueMix)" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "arabic", + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Vibes is a typeface designed for Arabic, as well as English languages. It was designed to be a mixture that radiates energy, flexibility, and cuteness. It is specially designed to be used for title texts. Acknowledgements goes to Nadine Chahine, where this work wouldn't incepted without her help. To contribute, see github.com/bluemix/vibes-typeface.", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Vibur": { + "name": "Vibur", + "designer": [ + "Johan Kallas" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Vibur is a font based on handwriting. Author of the typeface Johan Kallas set out to create a display font from his own handwriting by making it more pronounced and re-modelling the strokes - making it nicer than his actual handwriting is - that can be used for various typesetting contexts. It comes with numerous ligatures that can be activated with OpenType features. The curvy style is best combined with playful and bright designs.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Victor Mono": { + "name": "Victor Mono", + "designer": [ + "Rune Bj\u00f8rner\u00e5s" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "monospace" + ], + "description": "Victor Mono is a monospaced font with optional semi-connected cursive italics and programming symbol ligatures. The typeface is slender, crisp and narrow, with a large x-height and clear punctuation, making it legible and ideal for code. The typeface was created to meet specific requirements for code and programming: narrow enough to fit a lot of text wide enough to be scannable strict, geometric and readable regular style more friendly and flowing italics programming symbol ligatures To contribute, see github.com/rubjo/victor-mono-font", + "primary_script": null, + "article": null, + "minisite_url": "https://rubjo.github.io/victor-mono" + }, + "Vidaloka": { + "name": "Vidaloka", + "designer": [ + "Cyreal" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Vidaloka is a Didone display typeface for headlines and short blocks of text. Because of its high contrast it will work best from 16px and above. The main features are curlified drops and sloped terminals. Tail of Q has a distinctive baroque inspired form. Vidaloka is designed by Alexei Vanyashin and Olga Karpushina.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Viga": { + "name": "Viga", + "designer": [ + "Fontstage" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Viga is a sans serif with a good performance on screen. Its anatomy gives it a great personality and also makes it useful for reading on screen.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Vina Sans": { + "name": "Vina Sans", + "designer": [ + "Nguyen Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Vina Sans is an open-source font inspired by the letters on street signs, flyers, and posters found throughout Vietnam. In addition, the font also incorporates an element of font errors that appear a lot on publications with a low level of perfection. To contribute, please visit github.com/nguyentype/vinasans.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Voces": { + "name": "Voces", + "designer": [ + "Ana Paula Megda", + "Pablo Ugerman" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Voces is a new graphic solution for the glyphs of the International Phonetic Alphabet (IPA), considering the specific use-case of bilingual dictionaries. For this purpose, the typeface was conceived as a sans serif with gradual strokes, generous counterforms, a large \"x\" height, and short ascenders and descenders. These features attempt to solve the problems of spatial economy and print fidelity that dictionary typesetting presents. Ink traps were applied with consideration for the aesthetic and functional requirements. Voces was selected for exhibition in Tipos Latinos 2010. Voces is designed by Ana Paula Megda and Pablo Ugerman. To contribute to the project contact them at info@ugrdesign.com.ar Updated January 2016: The non-breaking space character is now empty and set to the same width as the space character.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Volkhov": { + "name": "Volkhov", + "designer": [ + "Cyreal" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Volkhov is a low-contrast seriffed typeface with a robust character, intended for providing a motivating reading experience. As a four-weight family it is well-suited for complex text environments being economic and legible, contemporary and prominent. Many of its design solutions relate to this purpose: large open counters, rather short descenders, and brutal asymmetric serifs. Spacing in Bold is slightly increased compared to the normal weight, because the bold mass is mostly grown inwards. The Italic has a steep angle and a distinctive calligraphically reminiscent character, as a counterpart to the rigorous Regular. Designed by Ivan Petrov.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Vollkorn": { + "name": "Vollkorn", + "designer": [ + "Friedrich Althausen" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Vollkorn came into being as the first typeface design by Friedrich Althausen. First published in 2005 under a Creative Commons license, it was soon downloaded thousands of times and used in all kinds of web and print projects. It intends to be a quiet, modest and high quality text face for bread and butter use. Unlike many text typefaces from the Renaissance period until now, it has dark and meaty serifs and a bouncing and healthy look. It might be used in body copy, or just as well for headlines and titles. \u00bbVollkorn\u00ab (pronounced \u00bbFollkorn\u00ab) is German for \u00bbwholemeal\u00ab which refers to the old term \u00bbBrotschrift\u00ab. It stood for the small fonts for every day use in hand setting times. In May 2020, it was updated to be a Variable Font with a \"Weight\" axis in both Roman and Italic. The Vollkorn project is led by Friedrich Althausen, a typeface designer in Germany. To contribute, see github.com/FAlthausen/Vollkorn-Typeface", + "primary_script": null, + "article": null, + "minisite_url": "http://vollkorn-typeface.com/" + }, + "Vollkorn SC": { + "name": "Vollkorn SC", + "designer": [ + "Friedrich Althausen" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Vollkorn came into being as my first type designing attempt. I published the Regular in 2005 under a Creative-Commons-License. Until the counter finally collapsed two years later it had been downloaded thousands of times and used for web and print matters. It intends to be a quiet, modest and well working text face for bread and butter use. Unlike its examples in the book faces from the renaissance until today, it has dark and meaty serifs and a bouncing and healthy look. It might be used as body type as well as for headlines or titles. \u00bbVollkorn\u00ab (pronounced \u00bbFollkorn\u00ab) is German for \u00bbwholemeal\u00ab which refers to the old term \u00bbBrotschrift\u00ab. It stood for the small fonts for every day use in hand setting times. This is the Small Cap sister family to the main Vollkorn family.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Voltaire": { + "name": "Voltaire", + "designer": [ + "Yvonne Sch\u00fcttler" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Voltaire is a low-contrast condensed semi-geometric style sans-serif. Voltaire is highly readable and will work from medium text sizes all the way up to larger display settings. Voltaire was inspired by 20th century Swedish posters whose letters have similar forms. Latest upgrade from January 2023 expands the Latin script language coverage and kerning added. To contribute, see github.com/SorkinType/Voltaire .", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Vujahday Script": { + "name": "Vujahday Script", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Vujaday! That eerie feeling that nothing like this has ever happened before. This script font comes with both a plain and a script stylistic set. Its rough edge adds to the handwritten feel. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/vujahday.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "WDXL Lubrifont JP N": { + "name": "WDXL Lubrifont JP N", + "designer": [ + "NightFurySL2001" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "japanese", + "latin", + "latin-ext", + "symbols2" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Jpan", + "article": "WDXL Lubrifont is a Chinese display font that emphasize on a compact yet welcoming experience, expanded for daily Chinese typography with professional typesetting in mind. To contribute to the project or raise an issue, please visit the GitHub repository.", + "minisite_url": null + }, + "WDXL Lubrifont SC": { + "name": "WDXL Lubrifont SC", + "designer": [ + "NightFurySL2001" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "chinese-simplified", + "cyrillic", + "latin", + "latin-ext", + "symbols2" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Hans", + "article": "WDXL Lubrifont is a Chinese display font that emphasize on a compact yet welcoming experience, expanded for daily Chinese typography with professional typesetting in mind. To contribute to the project or raise an issue, please visit the GitHub repository.", + "minisite_url": null + }, + "WDXL Lubrifont TC": { + "name": "WDXL Lubrifont TC", + "designer": [ + "NightFurySL2001" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "chinese-traditional", + "cyrillic", + "latin", + "latin-ext", + "symbols2" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Hant", + "article": "WDXL Lubrifont is a Chinese display font that emphasize on a compact yet welcoming experience, expanded for daily Chinese typography with professional typesetting in mind. To contribute to the project or raise an issue, please visit the GitHub repository.", + "minisite_url": null + }, + "Waiting for the Sunrise": { + "name": "Waiting for the Sunrise", + "designer": [ + "Kimberly Geswein" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Waiting for the Sunrise is based on the handwriting of a high school student. The title comes from the song Lift Me Up by The Afters. Although this font was created during a time of darkness in my life, it is a cheery, perky font. It is a reminder to me of the joy that comes after mourning.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Wallpoet": { + "name": "Wallpoet", + "designer": [ + "Lars Berggren" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Wallpoet is inspired by the often political, short, sometimes provocative, sometimes funny or both, messages found on city walls, sprayed by some anonymous agent. Words, images or both! The idea behind the font is making a font with a bit of punch, but still easy to use for template graffiti. Print, cut & spray - being the key concept. That's why it has no curves and off course is a stencil font. With the font, Lars wants to pay respect to the urban guerilla scene, which has inspired him so often with it's total disrespect for the traditional and ingenious ability to break out of the traditional box.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Walter Turncoat": { + "name": "Walter Turncoat", + "designer": [ + "Sideshow" + ], + "license": "apache2", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Contrary to popular lore, Walter Turncoat was NOT a traitor executed during the Revolutionary War. Actually, Walter spent his days carefully executing new typefaces doing his part to help establish a free press! Ever the patriot, Squid honors old Walter with this spiffy font sure to bring out the Yankee Doodle in you. * All characters described above are fictitious with the possible exception of Squid, whose existence remains an ongoing debate. Nevertheless you should check out his other fonts.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Warnes": { + "name": "Warnes", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "The retro look of this typeface reminds us of the metal badges used in the past to show car model names. The family name \u201cWarnes\u201d is the name of a street in the city of Buenos Aires where all the shops are garages selling spare parts. The February 2023 update features a bigger glyphset, fractions and some minor aesthetic modifications. To contribute, see github.com/etunni/warnes.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Water Brush": { + "name": "Water Brush", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "It's cool and refreshing. Water Brush is a contemporary script style. The dry brush texture is indicative of a camel hair brush filled with color on a watercolor textured paper. The characters are loose and expressive\u2014 perfect for casual and sophisticated situations. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/water-brush.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Waterfall": { + "name": "Waterfall", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Waterfall is a calligraphic script that combines elements of traditional hand lettered italic form with more formal, elegant script connecting characters. It's both beautiful and contemporary. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/waterfall.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Wavefont": { + "name": "Wavefont", + "designer": [ + "Dmitry Ivanov" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [], + "stroke": null, + "classifications": [ + "symbols", + "display" + ], + "description": "Wavefont is a variable font with Weight, Round, and Vertical Alignment axes for rendering data like waveforms, spectrums, diagrams, and bars. Wavefont bars correspond to values from 0 to 100, assigned to different characters: 0-9 chars are for simplified manual input with step 10 (bar height = number). a-z/A-Z for manual input with step 2, softened at edges a and Z (bar height = number of letter). U+0100-017F for 0..127 values with step 1. letter-spacing CSS property with ch units is useful to adjust distance between bars, 1ch === 1 bar width. To contribute, see github.com/dy/wavefont", + "primary_script": null, + "article": null, + "minisite_url": "https://dy.github.io/wavefont/scripts/" + }, + "Wellfleet": { + "name": "Wellfleet", + "designer": [ + "Riccardo De Franceschi" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SLAB_SERIF", + "classifications": [], + "description": "Foundry: Sorkin Type Co Wellfleet is a versatile low-contrast slab serif text typeface with a a bouncy and upbeat feeling. It was inspired by German poster lettering. Despite having display letters as a source of inspiration, Wellfleet is functional in a wide range of sizes. Source files are available from Google Code. To contribute to the project contact Eben Sorkin.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Wendy One": { + "name": "Wendy One", + "designer": [ + "Alejandro Inler" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Wendy is loosely inspired by the STABILO logotype, a brand that works as a conceptual and aesthetic reference. It evokes in me design values, form and style. The challenge was take a logotype consisting of seven letters as a starting point to develop an alphabet. I liked the idea of the original logo for the beauty of its forms: original and risky. I liked to continue the work of someone whose development was arrested at another time, to animate these characters, giving them new life through the design of a typeface that finds the balance between the old and new forms. The font was developed by Alejandro Inler in conjunction with Julieta Ulanovsky.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Whisper": { + "name": "Whisper", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Designed in the early nineties, it still holds up well as a contemporary calligraphic script with non-Roman script capitals. It has an a strong italic with angular strokes and a warm, flowing look. Use Whisper for situations that call for a strong elegance. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/whisper.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "WindSong": { + "name": "WindSong", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "WindSong is a beautiful elongated script with multiple stylistic sets that gives a powerful solution to the design needs of the graphic design professional. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/windsong.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Winky Rough": { + "name": "Winky Rough", + "designer": [ + "Typofactur" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "Winky Rough is the roughed variant of Winky Sans (https://github.com/typofactur/winkysans) imitating dried ink on rough paper. Winky Rough is a variable font with a weight axis that ranges from Light (300) to Black (900) and has matching italic styles. But be careful! Like flowing ink on paper the forms grows in all directions. While the slim weights might have been written with a fineliner, the black style look like ink blots from a broken pen. To contribute, see github.com/typofactur/winkyrough.", + "minisite_url": null + }, + "Winky Sans": { + "name": "Winky Sans", + "designer": [ + "Typofactur" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "Winky Sans looks like the sober, grown-up cousin of Comic Sans. Informal and personable, but not silly. Based on Aniva Sans, the letter shapes are rounded and thickened at the endings, and little irregularities were added, wich results in the impression of handwriting. Winky Sans is a variable font with a weight axis that ranges from Light (300) to Black (900). But be careful! Like flowing ink on paper the forms grows in all directions. While the slim weights might have been written with a fineliner, the black style look like ink blots from a broken pen. The Rough styles imitate dried ink on rough paper. To contribute, see github.com/typofactur/winkysans.", + "minisite_url": null + }, + "Wire One": { + "name": "Wire One", + "designer": [ + "Cyreal" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Wire One is a condensed monoline sans brought to you by Alexei Vanyashin and Gayaneh Bagdasaryan from Cyreal Type Foundry. Its modular-based characters are flavored with a sense of art nouveau. Nearly hairline thickness suggests usage for body text above 12px. While at display sizes it reveals its tiny dot terminals to create a sharp mood in headlines. It is recommended to adjust letter-spacing for sizes below 30px to 0.033em and up. For 12 px we recommend the value of 0.085em. To contribute, see github.com/cyrealtype/Wire-One.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Wittgenstein": { + "name": "Wittgenstein", + "designer": [ + "J\u00f6rg Drees" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "The font interprets the serifs with clear, sharp forms. Based on the quote from Ludwig Wittgenstein that what can be said can be said clearly, it bears his name. The style consists of a normal and a bold version, which can be expanded over time. To contribute, see github.com/jrgdrs/Wittgenstein. Discover the Elegance of Wittgenstein Font Precision and Modernity in Every Stroke Introducing Wittgenstein, a typeface that redefines serif typography with clarity and sophistication. Inspired by the philosophy of Ludwig Wittgenstein, who recognized that what can be said can be said clearly, this font embodies his ethos with its sharp, well-defined form. Why Wittgenstein Stands Out Clarity in Design: Each letter is meticulously crafted with clear, sharp serifs that are more than just decorative\u2014they command attention. Versatile Styles: Available in five weights, from Regular to Black, and in italics, Wittgenstein adapts to any project. Its variable fonts with weight axis provide flexibility for diverse design needs. Historical Elegance: This modern interpretation of Georg Trump's Mediaeval Old Style font and Walter Diethelm's Antiqua from the 1950s offers a broad-nib touch with contemporary flair. Exceptional Readability: Ideal for high-volume texts and bold headlines, Wittgenstein ensures high readability and clarity, whether on digital screens or printed materials. Perfect for Your Next Project Wittgenstein is an ideal choice for editorial layouts, corporate branding, or any design requiring a sharp, professional edge. It effortlessly blends modern aesthetics with timeless elegance, making it a versatile addition to any designer's toolkit. Download and Enjoy Embrace the precision and beauty of Wittgenstein Font, and elevate your design projects with Wittgenstein's distinctive charm.", + "minisite_url": null + }, + "Wix Madefor Display": { + "name": "Wix Madefor Display", + "designer": [ + "Dalton Maag" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Wix Madefor is a compact font family of three weights for display setting, and four text weights for use in user interfaces. The text fonts also have matching italics, with shapes rooted in cursive forms, despite the typeface\u2019s geometric structure, allowing Wix to have different expressions, from functional to more playful. The typeface was designed to carry subtle features with an engaging and clean appearance. To contribute, see github.com/wix/wixmadefor.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Wix Madefor Text": { + "name": "Wix Madefor Text", + "designer": [ + "Dalton Maag" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Wix Madefor is a compact font family of five weights for display setting, and four text weights for use in user interfaces. The text fonts also have matching italics, with shapes rooted in cursive forms, despite the typeface's geometric structure, allowing Wix to have different expressions, from functional to more playful. The typeface was designed to carry subtle features with an engaging and clean appearance. To contribute, see github.com/wix/wixmadefor.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Work Sans": { + "name": "Work Sans", + "designer": [ + "Wei Huang" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Work Sans is a typeface family based loosely on early Grotesques, such as those by Stephenson Blake, Miller & Richard and Bauerschen Giesserei. The Regular weight and others in the middle of the family are optimised for on-screen text usage at medium-sizes (14px-48px) and can also be used in print design. The fonts closer to the extreme weights are designed more for display use both on the web and in print. Overall, features are simplified and optimised for screen resolutions; for example, diacritic marks are larger than how they would be in print. A version optimised for desktop applications is available from the Work Sans github project page. The Work Sans project is led by Wei Huang, a type designer from Australia. To contribute, see github.com/weiweihuanghuang/Work-Sans Updated August 2015: All styles were updated to v1.40 to change the Thin (100) style to be the same as 'HairLine' in previous versions - even thinner! This avoids the complication of a second \"Hairline\" family. The ExtraLight (200) and Light (300) styles also changed accordingly. Reflow will occur from previous versions on these weights. Updated February 2020: Family has been upgraded to a variable font family.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Workbench": { + "name": "Workbench", + "designer": [ + "Jens Kut\u00edlek" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "latin", + "math", + "symbols" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Workbench and Sixtyfour fonts are inspired by the article Raster CRT Typography (According to DEC) by Norbert Landsteiner. They are a rework of some old pixel versions of the Commodore 64 and Amiga Workbench fonts the author created years ago. The fonts now include two custom axes: Scanlines, which allows control of the height of the lines and, as a result of this, the amount of vertical space between the lines. And Bleed to change the amount of horizontal bleed of the pixels due to the phosphor latency found in CRT displays. Due to this project's specificity and the fonts' historical origin, they only support a limited set of glyphs. To contribute, see github.com/jenskutilek/homecomputer-fonts", + "primary_script": null, + "article": null, + "minisite_url": "https://jenskutilek.github.io/homecomputer-fonts/documentation/demo-workbench.html" + }, + "Xanh Mono": { + "name": "Xanh Mono", + "designer": [ + "Yellow Type", + "L\u00e2m B\u1ea3o", + "Duy Dao" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "monospace" + ], + "description": "Xanh Mono is a mono-serif typeface, designed by Lam Bao and Duy Dao. In Vietnamese, \u201cXanh\u201d has a lot of meanings, including blue; green; young; etc. We believe that Xanh Mono will not only present a fresh and gentle look, but also a stylish and unique approach for both reading and display purposes. Xanh Mono l\u00e0 m\u1ed9t m\u1eb7t ch\u1eef mono c\u00f3 ch\u00e2n, \u0111\u01b0\u1ee3c thi\u1ebft k\u1ebf b\u1edfi L\u00e2m B\u1ea3o v\u00e0 Duy \u0110\u00e0o t\u1eeb x\u01b0\u1edfng \u0111\u00fac ch\u1eef k\u0129 thu\u1eadt s\u1ed1 \u0111\u1ea7u ti\u00ean t\u1ea1i Vi\u1ec7t Nam, c\u00f2n \u0111\u01b0\u1ee3c bi\u1ebft \u0111\u1ebfn l\u00e0 Yellow Type Foundry. Xanh Mono theo s\u1ef1 l\u1eafng \u0111\u1ecdng, nh\u1eb9 nh\u00e0ng nh\u01b0ng v\u1eabn \u0111\u1ee7 c\u00e1 t\u00ednh \u0111\u1ec3 v\u1eeba s\u1eed d\u1ee5ng cho tr\u1ea3i nghi\u1ec7m \u0111\u1ecdc v\u00e0 ti\u00eau \u0111\u1ec1 l\u1edbn.B\u1ea3o v\u00e0 Duy hy v\u1ecdng Xanh Mono s\u1ebd l\u00e0 s\u1ef1 l\u1ef1a ch\u1ecdn ph\u00f4ng ch\u1eef tuy\u1ec7t v\u1eddi d\u00e0nh cho b\u1ea1n. To contribute see https://github.com/yellow-type-foundry/xanhmono.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Yaldevi": { + "name": "Yaldevi", + "designer": [ + "Mooniak" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "sinhala" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Yaldevi is a narrow font intended for titles and short texts in the web supporing Latin and Sinhala scripts. Condensed shapes and dimensions make it possible to fit more text in a line. The x-height of Latin and body height of Sinhala is generous, and has short ascenders and descenders, increasing the space efficiency. It has a somewhat neutral personality with a touch of soft and smooth curves that add some whimsy. Yaldevi will perform well when used in headlines, subheads and shorter text blocks such as pull quotes. Sinhala glyphs have some peculiarities and experimental shapes that were invented to perform well as a display face while belonging in the formal text typeface category. Make sure you check out all these features before using it. The project is led by Mooniak Latin set is designed by Sol Matas. Initial development and release was funded by Google Fonts in 2015. Project sources are hosted and developed on Github and Mooniak welcomes suggestions and contributions to the development.", + "primary_script": "Sinh", + "article": null, + "minisite_url": null + }, + "Yanone Kaffeesatz": { + "name": "Yanone Kaffeesatz", + "designer": [ + "Yanone", + "Cyreal" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "math", + "symbols", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "\"Yanone Kaffeesatz\" was first published in 2004 and is Yanone\u2019s first ever finished typeface. Its Bold is reminiscent of 1920s coffee house typography, while the rather thin fonts bridge the gap to present times. Lacking self confidence and knowledge about the type scene, Yanone decided to publish the family for free under a Creative Commons License. A decision that should turn out one of the best he ever made. It has been downloaded over 100,000 times to date, and you can witness Kaffeesatz use on German fresh-water gyms, Dubai mall promos and New Zealand McDonalds ads. And of course on coffee and foodstuff packaging and caf\u00e9 design around the globe. In 2009 he reworked much of the typeface and it got published in FontShop\u2019s FontFont Library under the new name FF Kava. You can read more about it in an extensive article by Yves Peters on FontFeed. Updated in December 2013 with Cyrillic, designed by Sol Matas and Juan Pablo del Peral at Huerta Tipogr\u00e1fica. To contribute, see github.com/yanone/kaffeesatz.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Yantramanav": { + "name": "Yantramanav", + "designer": [ + "Erin McLaughlin" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Yantramanav (\u092f\u0902\u0924\u094d\u0930\u092e\u093e\u0928\u0935) is a Devanagari typeface family designed by Erin McLaughlin. The style and weights of Yantramanav's Devanagari were designed as a compliment to Roboto, a Latin family designed by Christian Robertson. This project is led by Erin McLaughlin, an independent typeface designer, font developer, and consultant who specializes in Indic fonts. To contribute, see github.com/erinmclaughlin/Yantramanav", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Yarndings 12": { + "name": "Yarndings 12", + "designer": [ + "Sarah Cadigan-Fried" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "math", + "symbols" + ], + "stroke": null, + "classifications": [ + "display", + "symbols" + ], + "description": "The Soft Type Collection is designed for knitters to chart out their typographic projects. Yarndings is an ornamental typeface inspired by a mix of typographic ornamentation, traditional Fair Isle & Nordic knitting patterns, and dingbat fonts from the 1990's. Each typeface has a \u201cRegular\u201d and \u201cCharted\u201d version, and some include multiple scales so you can fit type on your knits, no matter the project's size. Check out the charted version Yarndings 12 Charted. In this collection, the number following the typeface's name indicates the height of the capital letters for that typeface. To contribute, see github.com/scfried/soft-type-yarndings.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Yarndings 12 Charted": { + "name": "Yarndings 12 Charted", + "designer": [ + "Sarah Cadigan-Fried" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "math", + "symbols" + ], + "stroke": null, + "classifications": [ + "display", + "symbols" + ], + "description": "The Soft Type Collection is designed for knitters to chart out their typographic projects. Yarndings is an ornamental typeface inspired by a mix of typographic ornamentation, traditional Fair Isle & Nordic knitting patterns, and dingbat fonts from the 1990's. Each typeface has a \u201cRegular\u201d and \u201cCharted\u201d version, and some include multiple scales so you can fit type on your knits, no matter the project's size. Check out the non-charted version Yarndings 12. In this collection, the number following the typeface's name indicates the height of the capital letters for that typeface. To contribute, see github.com/scfried/soft-type-yarndings.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Yarndings 20": { + "name": "Yarndings 20", + "designer": [ + "Sarah Cadigan-Fried" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "math", + "symbols" + ], + "stroke": null, + "classifications": [ + "display", + "symbols" + ], + "description": "The Soft Type Collection is designed for knitters to chart out their typographic projects. Yarndings is an ornamental typeface inspired by a mix of typographic ornamentation, traditional Fair Isle & Nordic knitting patterns, and dingbat fonts from the 1990's. Each typeface has a \u201cRegular\u201d and \u201cCharted\u201d version, and some include multiple scales so you can fit type on your knits, no matter the project's size. Check out the charted version Yarndings 20 Charted. In this collection, the number following the typeface's name indicates the height of the capital letters for that typeface. To contribute, see github.com/scfried/soft-type-yarndings.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Yarndings 20 Charted": { + "name": "Yarndings 20 Charted", + "designer": [ + "Sarah Cadigan-Fried" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "math", + "symbols" + ], + "stroke": null, + "classifications": [ + "symbols", + "display" + ], + "description": "The Soft Type Collection is designed for knitters to chart out their typographic projects. Yarndings is an ornamental typeface inspired by a mix of typographic ornamentation, traditional Fair Isle & Nordic knitting patterns, and dingbat fonts from the 1990's. Each typeface has a \u201cRegular\u201d and \u201cCharted\u201d version, and some include multiple scales so you can fit type on your knits, no matter the project's size. Check out the non-charted version Yarndings 20. In this collection, the number following the typeface's name indicates the height of the capital letters for that typeface. To contribute, see github.com/scfried/soft-type-yarndings.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Yatra One": { + "name": "Yatra One", + "designer": [ + "Catherine Leigh Schmidt" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Yatra One is a Devanagari and Latin libre font inspired by the hand-painted signage of the Mumbai local railway. This heavy weight high-contrast display face preserves the idiosyncratic character of brush-painted signage by featuring angular cuts and open knots. Notably, the Latin adopts a Devanagari brush angle. A Mumbai native, Yatra offers basic Marathi alternates. The Yatra One project is led by Catherine Leigh Schmidt, a type designer based in the USA. To contribute, see github.com/cathschmidt/yatra-one", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Yellowtail": { + "name": "Yellowtail", + "designer": [ + "Astigmatic" + ], + "license": "apache2", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Yellowtail is an old school flavored flat brush script typeface of medium weight. It's mix of connecting and non-connecting letterforms lend to its unique look and legibility. Yellowtail nods to classic 1930's typestyles like Gillies Gothic & Kaufmann, yet has the loose visual cadence of sign painter scripts.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Yeon Sung": { + "name": "Yeon Sung", + "designer": [ + "Woowahan brothers" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "korean", + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "BM YEONSUNG is a Korean and Latin font.", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "Yeseva One": { + "name": "Yeseva One", + "designer": [ + "Jovanny Lemonad" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "A serif display type that is very feminine. I think that this is the only type in the world with such a feminine essence. Yeseva's name is from the phrase \"Yes, Eva.\" As a sign of complete agreement between a man and a woman. I dedicate this font to my beloved wife.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Yesteryear": { + "name": "Yesteryear", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Yesteryear is a flat nib connecting script font loosely based on the title screen from the 1942 film \"The Palm Beach Story\". Taking on a slightly sharper feel than its source, it evokes comparisons to chrome scripts of vintage automobilia.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Yomogi": { + "name": "Yomogi", + "designer": [ + "Satsuyako" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "cyrillic", + "japanese", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Yomogi is extra thin hand writing font that is easy to read and makes a strong impression. It includes Google Latin Plus, hiragana, katakana, JIS level 1 and 2 kanji glyphs. The design of the letters combined cuteness and readability, and it is made into a monospaced font that could also be used in the vertical writing style. To contribute to the project, visit github.com/satsuyako/YomogiFont", + "primary_script": "Hira", + "article": null, + "minisite_url": null + }, + "Young Serif": { + "name": "Young Serif", + "designer": [ + "Bastien Sozeau" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Young Serif is a heavy weight old style serif typeface, taking inspiration from Plantin Infant or ITC Italian Old Style. The lowercase b and f feature rounded curves, adding a tender and generous quality to this font. To contribute, please see github.com/noirblancrouge/YoungSerif.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Yrsa": { + "name": "Yrsa", + "designer": [ + "Rosetta", + "Anna Giedry\u015b", + "David B\u0159ezina" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Intended for continuous reading on the web (longer articles in online news, magazines, blogs), Yrsa supports over 92 languages. A special consideration was given to Central and East European languages and proper shaping of their accents. A version that also supports 2 languages in the Gujarati script (Gujarati and Kachchi), is available as Rasa. In terms of glyphs included Rasa is a superset of Yrsa and includes the complete Latin, but in Rasa the Latin may be adjusted to support the primary Gujarati font. It is a deliberate experiment in remixing existing typefaces: The Latin part began with Eben Sorkin's Merriweather. The Gujarati began with David B\u0159ezina\u2019s Skolar Gujarati. To contribute, see github.com/rosettatype/yrsa.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ysabeau": { + "name": "Ysabeau", + "designer": [ + "Christian Thalmann" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "latin", + "latin-ext", + "math", + "symbols", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Ysabeau combines the familiar timeless letterforms of the Garamond legacy with the unencumbered crispness of a clean low-contrast sans serif. Unlike other humanist sans, Ysabeau retains the confident wide stride and unapologetic extenders of the world's favorite book face for unmitigated reading comfort. Try it on your e-reader and never look back! Pair it with EB Garamond or Cormorant for a perfect match, or blow it up to page-filling sizes and revel in its elegance. Ysabeau offers extensive Latin, Greek and Cyrillic. To contribute, see github.com/CatharsisFonts/Ysabeau.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ysabeau Infant": { + "name": "Ysabeau Infant", + "designer": [ + "Christian Thalmann" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "latin", + "latin-ext", + "math", + "symbols", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Ysabeau combines the familiar timeless letterforms of the Garamond legacy with the unencumbered crispness of a clean low-contrast sans serif. Unlike other humanist sans, Ysabeau retains the confident wide stride and unapologetic extenders of the world's favorite book face for unmitigated reading comfort. Try it on your e-reader and never look back! Pair it with EB Garamond or Cormorant for a perfect match, or blow it up to page-filling sizes and revel in its elegance. Ysabeau offers extensive Latin, Greek and Cyrillic. To contribute, see github.com/CatharsisFonts/Ysabeau.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ysabeau Office": { + "name": "Ysabeau Office", + "designer": [ + "Christian Thalmann" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "latin", + "latin-ext", + "math", + "symbols", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Ysabeau combines the familiar timeless letterforms of the Garamond legacy with the unencumbered crispness of a clean low-contrast sans serif. Unlike other humanist sans, Ysabeau retains the confident wide stride and unapologetic extenders of the world's favorite book face for unmitigated reading comfort. Try it on your e-reader and never look back! Pair it with EB Garamond or Cormorant for a perfect match, or blow it up to page-filling sizes and revel in its elegance. Ysabeau offers extensive Latin, Greek and Cyrillic. To contribute, see github.com/CatharsisFonts/Ysabeau.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ysabeau SC": { + "name": "Ysabeau SC", + "designer": [ + "Christian Thalmann" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "latin", + "latin-ext", + "math", + "symbols", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Ysabeau combines the familiar timeless letterforms of the Garamond legacy with the unencumbered crispness of a clean low-contrast sans serif. Unlike other humanist sans, Ysabeau retains the confident wide stride and unapologetic extenders of the world's favorite book face for unmitigated reading comfort. Try it on your e-reader and never look back! Pair it with EB Garamond or Cormorant for a perfect match, or blow it up to page-filling sizes and revel in its elegance. Ysabeau offers extensive Latin, Greek and Cyrillic. To contribute, see github.com/CatharsisFonts/Ysabeau.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Yuji Boku": { + "name": "Yuji Boku", + "designer": [ + "Kinuta Font Factory" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "\"Yuji\" is a series of fonts digitizing handwriting by the calligrapher Yuji Kataoka. Yuji Boku is a new and joyful design. It has both simplicity and warmth. Fonts in the Yuji Family: Yuji Mai Yuji Syuku To contribute to the project, visit github.com/Kinutafontfactory/Yuji", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "Yuji Hentaigana Akari": { + "name": "Yuji Hentaigana Akari", + "designer": [ + "Kinuta Font Factory" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "japanese", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "\"Yuji\" is a series of fonts digitizing handwriting by the calligrapher Yuji Kataoka. Akari is a \"Hentaigana\" font which contains stylistic alternate versions of the standard Hiragana set that were abandoned in 1900 during a script reform. As there are no Hentaigana for Katakana, no Katakana are included. Latin is all-caps / small caps. Fonts in the Yuji Family: Yuji Hentaigana Akebono Yuji Boku Yuji Mai Yuji Syuku To contribute to the project, visit github.com/Kinutafontfactory/Yuji", + "primary_script": "Hira", + "article": null, + "minisite_url": null + }, + "Yuji Hentaigana Akebono": { + "name": "Yuji Hentaigana Akebono", + "designer": [ + "Kinuta Font Factory" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "japanese", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "\"Yuji\" is a series of fonts digitizing handwriting by the calligrapher Yuji Kataoka. Akebono is a \"Hentaigana\" font which contains stylistic alternate versions of the standard Hiragana set that were abandoned in 1900 during a script reform. As there are no Hentaigana for Katakana, no Katakana are included. Latin is all-caps / small caps. Fonts in the Yuji Family: Yuji Hentaigana Akari Yuji Boku Yuji Mai Yuji Syuku To contribute to the project, visit github.com/Kinutafontfactory/Yuji", + "primary_script": "Hira", + "article": null, + "minisite_url": null + }, + "Yuji Mai": { + "name": "Yuji Mai", + "designer": [ + "Kinuta Font Factory" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "\"Yuji\" is a series of fonts digitizing handwriting by the calligrapher Yuji Kataoka. Yuji Mai expresses a free, unrestrained, emotional beauty. The Latin alphabets were written to match the kana strokes. Fonts in the Yuji Family: Yuji Boku Yuji Syuku To contribute to the project, visit github.com/Kinutafontfactory/Yuji", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "Yuji Syuku": { + "name": "Yuji Syuku", + "designer": [ + "Kinuta Font Factory" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "\"Yuji\" is a series of fonts digitizing handwriting by the calligrapher Yuji Kataoka. Yuji Syuku has tradition and dignity, but is also approachable. This design can be widely accepted by the general public. Fonts in the Yuji Family: Yuji Boku Yuji Mai To contribute to the project, visit github.com/Kinutafontfactory/Yuji", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "Yusei Magic": { + "name": "Yusei Magic", + "designer": [ + "Tanukizamurai" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Yusei Magic is a font based on handwritten letters written with permanent marker. It has a thick vertical stroke and a thin horizontal stroke, so it is highly visible. The design of the letters has both the strength of bold lines and the softness of spaciousness. Highly recommended for handwriting on blackboards and pop art designs. To contribute to the project, visit github.com/tanukifont/YuseiMagic", + "primary_script": "Japn", + "article": null, + "minisite_url": null + }, + "ZCOOL KuaiLe": { + "name": "ZCOOL KuaiLe", + "designer": [ + "Liu Bingke", + "Yang Kang", + "Wu Shaojie" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "chinese-simplified", + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "ZCool Kuaile was created by a team of font design trainees under the leadership of typographer Liu Bingke. First, Liu created the character shape framework and design standards; then, a group of over 100 typography apprentices participated in building out the character set. Finally, Liu and other designers from his workshop, including Yang Kang and Wu Shaojie, edited and adjusted the characters to unify the design.", + "primary_script": "Hans", + "article": null, + "minisite_url": null + }, + "ZCOOL QingKe HuangYou": { + "name": "ZCOOL QingKe HuangYou", + "designer": [ + "Zheng Qingke" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "chinese-simplified", + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "ZCool QingKe HuangYou was designed and produced by Zheng Qingke, and donated to the ZCOOL font project for public use. It features innovative character shapes and rounded lines, with right angles adjusted to a rounded 4pt corner radius. The lower right corner of the radicals are notched at a 45 degree angle, which raises the visual center of the font, effectively solving readability issues due to stroke crossing.", + "primary_script": "Hans", + "article": null, + "minisite_url": null + }, + "ZCOOL XiaoWei": { + "name": "ZCOOL XiaoWei", + "designer": [ + "Li Dawei" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "chinese-simplified", + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "ZCOOL XiaoWei was contributed to the ZCOOL font project by designer Li Dawei and the team at Zuozi, who created the typeface as a gift for David\u2019s daughter, \u201cLittle Fern\u201d, on her third birthday. It is intended to help fill the dearth of logo-ready Chinese display fonts. The brush strokes are agile and recognizable, with spacing optimized to display at small or large sizes.", + "primary_script": "Hans", + "article": null, + "minisite_url": null + }, + "Zain": { + "name": "Zain", + "designer": [ + "Boutros Fonts" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "arabic", + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Zain Group (zain.com) is a leading provider of innovative technologies and digital lifestyle communications operating in eight markets across the Middle East and Africa. The objectives behind the Zain range of typefaces were to create a unique modern range (8 weights: ExtraLight, Light, Regular, Italic, Bold, ExtraBold, Black and LightItalic ) that supports Arabic and Latin languages as well as Urdu, Farsi, Kurdish, Indonesian and Tagalog. It's suitable for headlines, sub-headings and body text, respecting Arabic calligraphy and cultural rules with maximum legibility. A key design objective has been the harmony between the Latin and the Arabic and its suitability for all communications needs, whether in print or on the web. To contribute, please see github.com/googlefonts/zain.", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Zen Antique": { + "name": "Zen Antique", + "designer": [ + "Yoshimichi Ohira" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "greek", + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Jpan", + "article": "Zen Antique features two kinds of Antique Japanese with Kanji. The impression of the weights (thickness) of strokes are different among characters\u2014Hiragana and Latin alphabets are slightly lighter, while Katakana and Kanji are slightly heavier, which gives the unique rhythm and taste in this font. Zen Antique Soft has a slightly rounded effect on the corners. To contribute to the project, visit github.com/googlefonts/zen-antique Zen Antique \u306b\u306f\u3001\u53e4\u98a8\u306a\u96f0\u56f2\u6c17\u306e\u4e8c\u7a2e\u985e\u306e\u6f22\u5b57\u3092\u542b\u3080\u65e5\u672c\u8a9e\u66f8\u4f53\u304c\u3042\u308a\u307e\u3059\u3002 \u6587\u5b57\u306b\u3088\u3063\u3066\u753b\u7dda\u306e\u592a\u3055\u306b\u5909\u5316\u304c\u3042\u308a\u3001\u3072\u3089\u304c\u306a\u3068\u6b27\u6587\u306f\u7d30\u3081\u3001\u30ab\u30bf\u30ab\u30ca\u3068\u6f22\u5b57\u306f\u592a\u3081\u3067\u3001\u30d5\u30a9\u30f3\u30c8\u306b\u72ec\u7279\u306e\u30ea\u30ba\u30e0\u3068\u5473\u308f\u3044\u3092\u4e0e\u3048\u3066\u3044\u307e\u3059\u3002 \u307e\u305f\u3001 Zen Antique Soft \u3067\u306f\u3001\u89d2\u304c\u5c11\u3057\u4e38\u304f\u306a\u3063\u3066\u3044\u307e\u3059\u3002 \u3053\u306e\u30d7\u30ed\u30b8\u30a7\u30af\u30c8\u306b\u53c2\u52a0\u3057\u3066\u8ca2\u732e\u3057\u305f\u3044\u65b9\u306f\u3001\u6b21\u306e URL \u3092\u3054\u53c2\u7167\u304f\u3060\u3055\u3044\u3002github.com/googlefonts/zen-antique Say Hello to our big new Japanese collection with Zen Fonts: Learn about the complex beauty of Japanese fonts In 2019, Google Fonts started an ambitious project to expand its font library with a variety of typeface designs for Japanese. At that point Google Fonts had fewer than 10 Japanese families, most of which were basic Mincho (serif) and gothic (sans) designs. Since then the collection of Japanese fonts within the library has grown, now with 38 font families from 18 designers, in a variety of styles \u2013 from formal text types to fun display fonts. All these Japanese fonts are now live on Google Fonts for anyone to test out and use in any project. The Zen Fonts collection is the largest set of Japanese fonts on Google Fonts As part of this larger effort to expand Japanese offerings, Google Fonts collaborated with type designer Yoshimichi Ohira to open his prestigious collection of Zen Fonts typefaces to the public. With 23 Japanese and three Latin fonts in various styles of mincho (serif), gothic (sans serif), maru (rounded), and display styles, the Zen Fonts collection is now the largest set of Japanese fonts in Google Fonts\u2019 expansive library, and is also available in Adobe Fonts. Check out The Story of Zen Fonts - interview with Yoshimichi Ohira to learn more. To learn more, read:Say Hello to our big new Japanese collection with Zen Fonts (English)The Story of Zen Fonts - interview with Yoshimichi Ohira (English)Zen\u30d5\u30a9\u30f3\u30c8: \u65b0\u3057\u3044\u65e5\u672c\u8a9e\u30d5\u30a9\u30f3\u30c8\u30b3\u30ec\u30af\u30b7\u30e7\u30f3\u306e\u767b\u5834 - \u65e5\u672c\u8a9e\u30d5\u30a9\u30f3\u30c8\u306e\u8907\u96d1\u306a\u7f8e\u3057\u3055\u306b\u3064\u3044\u3066 - (Japanese)Zen\u30d5\u30a9\u30f3\u30c8\u306e\u304a\u306f\u306a\u3057\uff1a\u5927\u5e73\u5584\u9053\u3055\u3093\u3068\u306e\u30a4\u30f3\u30bf\u30d3\u30e5\u30fc (Japanese)", + "minisite_url": null + }, + "Zen Antique Soft": { + "name": "Zen Antique Soft", + "designer": [ + "Yoshimichi Ohira" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "greek", + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Jpan", + "article": "Zen Antique features two kinds of Antique Japanese with Kanji. The impression of the weights (thickness) of strokes are different among characters\u2014Hiragana and Latin alphabets are slightly lighter, while Katakana and Kanji are slightly heavier, which gives the unique rhythm and taste in this font. This is Zen Antique Soft, a version of Zen Antique with a slightly rounded effect on the corners. To contribute to the project, visit github.com/googlefonts/zen-antique Zen Antique \u306b\u306f\u3001\u53e4\u98a8\u306a\u96f0\u56f2\u6c17\u306e\u4e8c\u7a2e\u985e\u306e\u6f22\u5b57\u3092\u542b\u3080\u65e5\u672c\u8a9e\u66f8\u4f53\u304c\u3042\u308a\u307e\u3059\u3002 \u6587\u5b57\u306b\u3088\u3063\u3066\u753b\u7dda\u306e\u592a\u3055\u306b\u5909\u5316\u304c\u3042\u308a\u3001\u3072\u3089\u304c\u306a\u3068\u6b27\u6587\u306f\u7d30\u3081\u3001\u30ab\u30bf\u30ab\u30ca\u3068\u6f22\u5b57\u306f\u592a\u3081\u3067\u3001\u30d5\u30a9\u30f3\u30c8\u306b\u72ec\u7279\u306e\u30ea\u30ba\u30e0\u3068\u5473\u308f\u3044\u3092\u4e0e\u3048\u3066\u3044\u307e\u3059\u3002 \u307e\u305f\u3001Zen Antique Soft \u3067\u306f\u3001\u89d2\u304c\u5c11\u3057\u4e38\u304f\u306a\u3063\u3066\u3044\u307e\u3059\u3002 \u3053\u306e\u30d7\u30ed\u30b8\u30a7\u30af\u30c8\u306b\u53c2\u52a0\u3057\u3066\u8ca2\u732e\u3057\u305f\u3044\u65b9\u306f\u3001\u6b21\u306e URL \u3092\u3054\u53c2\u7167\u304f\u3060\u3055\u3044\u3002github.com/googlefonts/zen-antique Say Hello to our big new Japanese collection with Zen Fonts: Learn about the complex beauty of Japanese fonts In 2019, Google Fonts started an ambitious project to expand its font library with a variety of typeface designs for Japanese. At that point Google Fonts had fewer than 10 Japanese families, most of which were basic Mincho (serif) and gothic (sans) designs. Since then the collection of Japanese fonts within the library has grown, now with 38 font families from 18 designers, in a variety of styles \u2013 from formal text types to fun display fonts. All these Japanese fonts are now live on Google Fonts for anyone to test out and use in any project. The Zen Fonts collection is the largest set of Japanese fonts on Google Fonts As part of this larger effort to expand Japanese offerings, Google Fonts collaborated with type designer Yoshimichi Ohira to open his prestigious collection of Zen Fonts typefaces to the public. With 23 Japanese and three Latin fonts in various styles of mincho (serif), gothic (sans serif), maru (rounded), and display styles, the Zen Fonts collection is now the largest set of Japanese fonts in Google Fonts\u2019 expansive library, and is also available in Adobe Fonts. Check out The Story of Zen Fonts - interview with Yoshimichi Ohira to learn more. To learn more, read:Say Hello to our big new Japanese collection with Zen Fonts (English)The Story of Zen Fonts - interview with Yoshimichi Ohira (English)Zen\u30d5\u30a9\u30f3\u30c8: \u65b0\u3057\u3044\u65e5\u672c\u8a9e\u30d5\u30a9\u30f3\u30c8\u30b3\u30ec\u30af\u30b7\u30e7\u30f3\u306e\u767b\u5834 - \u65e5\u672c\u8a9e\u30d5\u30a9\u30f3\u30c8\u306e\u8907\u96d1\u306a\u7f8e\u3057\u3055\u306b\u3064\u3044\u3066 - (Japanese)Zen\u30d5\u30a9\u30f3\u30c8\u306e\u304a\u306f\u306a\u3057\uff1a\u5927\u5e73\u5584\u9053\u3055\u3093\u3068\u306e\u30a4\u30f3\u30bf\u30d3\u30e5\u30fc (Japanese)", + "minisite_url": null + }, + "Zen Dots": { + "name": "Zen Dots", + "designer": [ + "Yoshimichi Ohira" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "Zen Dots Family is one of three Latin fonts designed by Yoshimichi Ohira, as part of the Zen Fonts collection. Zen Dots was designed with a futuristic vision and inspired by the different eras in science fiction films. To contribute, see github.com/googlefonts/zen-dots. Say Hello to our big new Japanese collection with Zen Fonts: Learn about the complex beauty of Japanese fonts In 2019, Google Fonts started an ambitious project to expand its font library with a variety of typeface designs for Japanese. At that point Google Fonts had fewer than 10 Japanese families, most of which were basic Mincho (serif) and gothic (sans) designs. Since then the collection of Japanese fonts within the library has grown, now with 38 font families from 18 designers, in a variety of styles \u2013 from formal text types to fun display fonts. All these Japanese fonts are now live on Google Fonts for anyone to test out and use in any project. The Zen Fonts collection is the largest set of Japanese fonts on Google Fonts As part of this larger effort to expand Japanese offerings, Google Fonts collaborated with type designer Yoshimichi Ohira to open his prestigious collection of Zen Fonts typefaces to the public. With 23 Japanese and three Latin fonts in various styles of mincho (serif), gothic (sans serif), maru (rounded), and display styles, the Zen Fonts collection is now the largest set of Japanese fonts in Google Fonts\u2019 expansive library, and is also available in Adobe Fonts. Check out The Story of Zen Fonts - interview with Yoshimichi Ohira to learn more. To learn more, read:Say Hello to our big new Japanese collection with Zen Fonts (English)The Story of Zen Fonts - interview with Yoshimichi Ohira (English)Zen\u30d5\u30a9\u30f3\u30c8: \u65b0\u3057\u3044\u65e5\u672c\u8a9e\u30d5\u30a9\u30f3\u30c8\u30b3\u30ec\u30af\u30b7\u30e7\u30f3\u306e\u767b\u5834 - \u65e5\u672c\u8a9e\u30d5\u30a9\u30f3\u30c8\u306e\u8907\u96d1\u306a\u7f8e\u3057\u3055\u306b\u3064\u3044\u3066 - (Japanese)Zen\u30d5\u30a9\u30f3\u30c8\u306e\u304a\u306f\u306a\u3057\uff1a\u5927\u5e73\u5584\u9053\u3055\u3093\u3068\u306e\u30a4\u30f3\u30bf\u30d3\u30e5\u30fc (Japanese)", + "minisite_url": null + }, + "Zen Kaku Gothic Antique": { + "name": "Zen Kaku Gothic Antique", + "designer": [ + "Yoshimichi Ohira" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Jpan", + "article": "Zen Kaku Gothic New is a contemporary Japanese gothic (san serif) typeface family. With this font, you can express fine typesetting without any professional detailed arrangements. Because of the unique yet simple design, it gives naturally high legibility. Easy to use and read. Zen Kaku Gothic Antique is a classical yet simple and stylish version. Highly legible due to orthodox letterform design, and great for various usage, from title to text, and even captions. To contribute to the project, visit github.com/googlefonts/zen-kakugothic Zen Kaku Gothic New \u306f\u30d9\u30fc\u30b7\u30c3\u30af\u306a\u65e5\u672c\u8a9e\u306e\u30b5\u30f3\u30bb\u30ea\u30d5(\u30b4\u30b7\u30c3\u30af\u4f53)\u30d5\u30a1\u30df\u30ea\u30fc\u3067\u3059\u3002 \u3053\u306e\u66f8\u4f53\u3092\u7528\u3044\u308c\u3070\u3001\u7279\u306b\u5c02\u9580\u5bb6\u306e\u3088\u3046\u306a\u7d30\u304b\u3044\u4f5c\u696d\u3092\u3057\u306a\u304f\u3066\u3082\u3001\u9ad8\u54c1\u4f4d\u306a\u6587\u5b57\u7d44\u3092\u5b9f\u73fe\u3059\u308b\u3053\u3068\u304c\u3067\u304d\u307e\u3059\u3002 \u72ec\u81ea\u306e\u30b7\u30f3\u30d7\u30eb\u306a\u30c7\u30b6\u30a4\u30f3\u304c\u81ea\u7136\u306a\u8aad\u307f\u3084\u3059\u3055\u3092\u3082\u305f\u3089\u3057\u307e\u3059\u3002 \u4f7f\u3044\u3084\u3059\u304f\u8aad\u307f\u3084\u3059\u3044\u66f8\u4f53\u3067\u3059\u3002 Zen Kaku Gothic Antique \u306f\u53e4\u5178\u7684\u3067\u3001\u3057\u304b\u3082\u30b7\u30f3\u30d7\u30eb\u3067\u6d12\u843d\u305f\u30b5\u30f3\u30bb\u30ea\u30d5\u66f8\u4f53\u306e\u30d5\u30a1\u30df\u30ea\u30fc\u3067\u3059\u3002 \u6587\u5b57\u306e\u30c7\u30b6\u30a4\u30f3\u304c\u30aa\u30fc\u30bd\u30c9\u30c3\u30af\u30b9\u3067\u3001\u304d\u308f\u3081\u3066\u5224\u8aad\u3057\u3084\u3059\u3044\u66f8\u4f53\u3067\u3059\u3002 \u30bf\u30a4\u30c8\u30eb\u304b\u3089\u672c\u6587\u3001\u30ad\u30e3\u30d7\u30b7\u30e7\u30f3\u307e\u3067\u3001\u3055\u307e\u3056\u307e\u306a\u7528\u9014\u3067\u52b9\u679c\u7684\u306b\u3054\u5229\u7528\u3044\u305f\u3060\u3051\u307e\u3059\u3002 \u3053\u306e\u30d7\u30ed\u30b8\u30a7\u30af\u30c8\u306b\u53c2\u52a0\u3057\u3066\u8ca2\u732e\u3057\u305f\u3044\u65b9\u306f\u3001\u6b21\u306e URL \u3092\u3054\u53c2\u7167\u304f\u3060\u3055\u3044 github.com/googlefonts/zen-kakugothic Say Hello to our big new Japanese collection with Zen Fonts: Learn about the complex beauty of Japanese fonts In 2019, Google Fonts started an ambitious project to expand its font library with a variety of typeface designs for Japanese. At that point Google Fonts had fewer than 10 Japanese families, most of which were basic Mincho (serif) and gothic (sans) designs. Since then the collection of Japanese fonts within the library has grown, now with 38 font families from 18 designers, in a variety of styles \u2013 from formal text types to fun display fonts. All these Japanese fonts are now live on Google Fonts for anyone to test out and use in any project. The Zen Fonts collection is the largest set of Japanese fonts on Google Fonts As part of this larger effort to expand Japanese offerings, Google Fonts collaborated with type designer Yoshimichi Ohira to open his prestigious collection of Zen Fonts typefaces to the public. With 23 Japanese and three Latin fonts in various styles of mincho (serif), gothic (sans serif), maru (rounded), and display styles, the Zen Fonts collection is now the largest set of Japanese fonts in Google Fonts\u2019 expansive library, and is also available in Adobe Fonts. Check out The Story of Zen Fonts - interview with Yoshimichi Ohira to learn more. To learn more, read:Say Hello to our big new Japanese collection with Zen Fonts (English)The Story of Zen Fonts - interview with Yoshimichi Ohira (English)Zen\u30d5\u30a9\u30f3\u30c8: \u65b0\u3057\u3044\u65e5\u672c\u8a9e\u30d5\u30a9\u30f3\u30c8\u30b3\u30ec\u30af\u30b7\u30e7\u30f3\u306e\u767b\u5834 - \u65e5\u672c\u8a9e\u30d5\u30a9\u30f3\u30c8\u306e\u8907\u96d1\u306a\u7f8e\u3057\u3055\u306b\u3064\u3044\u3066 - (Japanese)Zen\u30d5\u30a9\u30f3\u30c8\u306e\u304a\u306f\u306a\u3057\uff1a\u5927\u5e73\u5584\u9053\u3055\u3093\u3068\u306e\u30a4\u30f3\u30bf\u30d3\u30e5\u30fc (Japanese)", + "minisite_url": null + }, + "Zen Kaku Gothic New": { + "name": "Zen Kaku Gothic New", + "designer": [ + "Yoshimichi Ohira" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Jpan", + "article": "Zen Kaku Gothic New is a contemporary Japanese gothic (san serif) typeface family. With this font, you can express fine typesetting without any professional detailed arrangements. Because of the unique yet simple design, it gives naturally high legibility. Easy to use and read. Zen Kaku Gothic Antique is a classical yet simple and stylish version. Highly legible due to orthodox letterform design, and great for various usage, from title to text, and even captions. To contribute to the project, visit github.com/googlefonts/zen-kakugothic Zen Kaku Gothic New \u306f\u30d9\u30fc\u30b7\u30c3\u30af\u306a\u65e5\u672c\u8a9e\u306e\u30b5\u30f3\u30bb\u30ea\u30d5(\u30b4\u30b7\u30c3\u30af\u4f53)\u30d5\u30a1\u30df\u30ea\u30fc\u3067\u3059\u3002 \u3053\u306e\u66f8\u4f53\u3092\u7528\u3044\u308c\u3070\u3001\u7279\u306b\u5c02\u9580\u5bb6\u306e\u3088\u3046\u306a\u7d30\u304b\u3044\u4f5c\u696d\u3092\u3057\u306a\u304f\u3066\u3082\u3001\u9ad8\u54c1\u4f4d\u306a\u6587\u5b57\u7d44\u3092\u5b9f\u73fe\u3059\u308b\u3053\u3068\u304c\u3067\u304d\u307e\u3059\u3002 \u72ec\u81ea\u306e\u30b7\u30f3\u30d7\u30eb\u306a\u30c7\u30b6\u30a4\u30f3\u304c\u81ea\u7136\u306a\u8aad\u307f\u3084\u3059\u3055\u3092\u3082\u305f\u3089\u3057\u307e\u3059\u3002 \u4f7f\u3044\u3084\u3059\u304f\u8aad\u307f\u3084\u3059\u3044\u66f8\u4f53\u3067\u3059\u3002 Zen Kaku Gothic Antique \u306f\u53e4\u5178\u7684\u3067\u3001\u3057\u304b\u3082\u30b7\u30f3\u30d7\u30eb\u3067\u6d12\u843d\u305f\u30b5\u30f3\u30bb\u30ea\u30d5\u66f8\u4f53\u306e\u30d5\u30a1\u30df\u30ea\u30fc\u3067\u3059\u3002 \u6587\u5b57\u306e\u30c7\u30b6\u30a4\u30f3\u304c\u30aa\u30fc\u30bd\u30c9\u30c3\u30af\u30b9\u3067\u3001\u304d\u308f\u3081\u3066\u5224\u8aad\u3057\u3084\u3059\u3044\u66f8\u4f53\u3067\u3059\u3002 \u30bf\u30a4\u30c8\u30eb\u304b\u3089\u672c\u6587\u3001\u30ad\u30e3\u30d7\u30b7\u30e7\u30f3\u307e\u3067\u3001\u3055\u307e\u3056\u307e\u306a\u7528\u9014\u3067\u52b9\u679c\u7684\u306b\u3054\u5229\u7528\u3044\u305f\u3060\u3051\u307e\u3059\u3002 \u3053\u306e\u30d7\u30ed\u30b8\u30a7\u30af\u30c8\u306b\u53c2\u52a0\u3057\u3066\u8ca2\u732e\u3057\u305f\u3044\u65b9\u306f\u3001\u6b21\u306e URL \u3092\u3054\u53c2\u7167\u304f\u3060\u3055\u3044 github.com/googlefonts/zen-kakugothic Say Hello to our big new Japanese collection with Zen Fonts: Learn about the complex beauty of Japanese fonts In 2019, Google Fonts started an ambitious project to expand its font library with a variety of typeface designs for Japanese. At that point Google Fonts had fewer than 10 Japanese families, most of which were basic Mincho (serif) and gothic (sans) designs. Since then the collection of Japanese fonts within the library has grown, now with 38 font families from 18 designers, in a variety of styles \u2013 from formal text types to fun display fonts. All these Japanese fonts are now live on Google Fonts for anyone to test out and use in any project. The Zen Fonts collection is the largest set of Japanese fonts on Google Fonts As part of this larger effort to expand Japanese offerings, Google Fonts collaborated with type designer Yoshimichi Ohira to open his prestigious collection of Zen Fonts typefaces to the public. With 23 Japanese and three Latin fonts in various styles of mincho (serif), gothic (sans serif), maru (rounded), and display styles, the Zen Fonts collection is now the largest set of Japanese fonts in Google Fonts\u2019 expansive library, and is also available in Adobe Fonts. Check out The Story of Zen Fonts - interview with Yoshimichi Ohira to learn more. To learn more, read:Say Hello to our big new Japanese collection with Zen Fonts (English)The Story of Zen Fonts - interview with Yoshimichi Ohira (English)Zen\u30d5\u30a9\u30f3\u30c8: \u65b0\u3057\u3044\u65e5\u672c\u8a9e\u30d5\u30a9\u30f3\u30c8\u30b3\u30ec\u30af\u30b7\u30e7\u30f3\u306e\u767b\u5834 - \u65e5\u672c\u8a9e\u30d5\u30a9\u30f3\u30c8\u306e\u8907\u96d1\u306a\u7f8e\u3057\u3055\u306b\u3064\u3044\u3066 - (Japanese)Zen\u30d5\u30a9\u30f3\u30c8\u306e\u304a\u306f\u306a\u3057\uff1a\u5927\u5e73\u5584\u9053\u3055\u3093\u3068\u306e\u30a4\u30f3\u30bf\u30d3\u30e5\u30fc (Japanese)", + "minisite_url": null + }, + "Zen Kurenaido": { + "name": "Zen Kurenaido", + "designer": [ + "Yoshimichi Ohira" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "greek", + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Jpan", + "article": "Zen Kurenaido is a Japanese font with a handwritten feeling. The brush-like elements are omitted from the design, leaving only the bones of the letter, resulting in an impression of ballpoint handwriting. To contribute to the project, visit github.com/googlefonts/zen-kurenaido Zen Kurenaido \u306f\u624b\u66f8\u304d\u306e\u6301\u3061\u5473\u3092\u6d3b\u304b\u3057\u305f\u65b0\u3057\u3044\u65e5\u672c\u8a9e\u66f8\u4f53\u306e\u30c7\u30b6\u30a4\u30f3\u3067\u3059 \u6bdb\u7b46\u7684\u306a\u8981\u7d20\u304c\u53d6\u308a\u9664\u304b\u308c\u3001\u6587\u5b57\u306e\u9aa8\u683c\u3060\u3051\u304c\u6b8b\u3055\u308c\u3066\u3044\u308b\u306e\u3067\u3001\u30dc\u30fc\u30eb\u30da\u30f3\u3067\u66f8\u3044\u305f\u3088\u3046\u306a\u5370\u8c61\u3092\u4e0e\u3048\u308b\u30d5\u30a9\u30f3\u30c8\u3067\u3059\u3002 \u3053\u306e\u30d7\u30ed\u30b8\u30a7\u30af\u30c8\u306b\u53c2\u52a0\u3057\u3066\u8ca2\u732e\u3057\u305f\u3044\u65b9\u306f\u3001\u6b21\u306e URL \u3092\u3054\u53c2\u7167\u304f\u3060\u3055\u3044 github.com/googlefonts/zen-kurenaido\u3002 Say Hello to our big new Japanese collection with Zen Fonts: Learn about the complex beauty of Japanese fonts In 2019, Google Fonts started an ambitious project to expand its font library with a variety of typeface designs for Japanese. At that point Google Fonts had fewer than 10 Japanese families, most of which were basic Mincho (serif) and gothic (sans) designs. Since then the collection of Japanese fonts within the library has grown, now with 38 font families from 18 designers, in a variety of styles \u2013 from formal text types to fun display fonts. All these Japanese fonts are now live on Google Fonts for anyone to test out and use in any project. The Zen Fonts collection is the largest set of Japanese fonts on Google Fonts As part of this larger effort to expand Japanese offerings, Google Fonts collaborated with type designer Yoshimichi Ohira to open his prestigious collection of Zen Fonts typefaces to the public. With 23 Japanese and three Latin fonts in various styles of mincho (serif), gothic (sans serif), maru (rounded), and display styles, the Zen Fonts collection is now the largest set of Japanese fonts in Google Fonts\u2019 expansive library, and is also available in Adobe Fonts. Check out The Story of Zen Fonts - interview with Yoshimichi Ohira to learn more. To learn more, read:Say Hello to our big new Japanese collection with Zen Fonts (English)The Story of Zen Fonts - interview with Yoshimichi Ohira (English)Zen\u30d5\u30a9\u30f3\u30c8: \u65b0\u3057\u3044\u65e5\u672c\u8a9e\u30d5\u30a9\u30f3\u30c8\u30b3\u30ec\u30af\u30b7\u30e7\u30f3\u306e\u767b\u5834 - \u65e5\u672c\u8a9e\u30d5\u30a9\u30f3\u30c8\u306e\u8907\u96d1\u306a\u7f8e\u3057\u3055\u306b\u3064\u3044\u3066 - (Japanese)Zen\u30d5\u30a9\u30f3\u30c8\u306e\u304a\u306f\u306a\u3057\uff1a\u5927\u5e73\u5584\u9053\u3055\u3093\u3068\u306e\u30a4\u30f3\u30bf\u30d3\u30e5\u30fc (Japanese)", + "minisite_url": null + }, + "Zen Loop": { + "name": "Zen Loop", + "designer": [ + "Yoshimichi Ohira" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": null, + "primary_script": null, + "article": "Zen Loop Family is one of three Latin fonts designed by Yoshimichi Ohira, as part of Zen Fonts collection. Japanese kana characters contain many loops. Zen Loop and Zen Loop Italic incorporates this visual aspect into a Latin font. The font looks as though it was shaped out of a thin wire, and almost depicts the movements of a living organism. To contribute, see github.com/googlefonts/zen-loop Say Hello to our big new Japanese collection with Zen Fonts: Learn about the complex beauty of Japanese fonts In 2019, Google Fonts started an ambitious project to expand its font library with a variety of typeface designs for Japanese. At that point Google Fonts had fewer than 10 Japanese families, most of which were basic Mincho (serif) and gothic (sans) designs. Since then the collection of Japanese fonts within the library has grown, now with 38 font families from 18 designers, in a variety of styles \u2013 from formal text types to fun display fonts. All these Japanese fonts are now live on Google Fonts for anyone to test out and use in any project. The Zen Fonts collection is the largest set of Japanese fonts on Google Fonts As part of this larger effort to expand Japanese offerings, Google Fonts collaborated with type designer Yoshimichi Ohira to open his prestigious collection of Zen Fonts typefaces to the public. With 23 Japanese and three Latin fonts in various styles of mincho (serif), gothic (sans serif), maru (rounded), and display styles, the Zen Fonts collection is now the largest set of Japanese fonts in Google Fonts\u2019 expansive library, and is also available in Adobe Fonts. Check out The Story of Zen Fonts - interview with Yoshimichi Ohira to learn more. To learn more, read:Say Hello to our big new Japanese collection with Zen Fonts (English)The Story of Zen Fonts - interview with Yoshimichi Ohira (English)Zen\u30d5\u30a9\u30f3\u30c8: \u65b0\u3057\u3044\u65e5\u672c\u8a9e\u30d5\u30a9\u30f3\u30c8\u30b3\u30ec\u30af\u30b7\u30e7\u30f3\u306e\u767b\u5834 - \u65e5\u672c\u8a9e\u30d5\u30a9\u30f3\u30c8\u306e\u8907\u96d1\u306a\u7f8e\u3057\u3055\u306b\u3064\u3044\u3066 - (Japanese)Zen\u30d5\u30a9\u30f3\u30c8\u306e\u304a\u306f\u306a\u3057\uff1a\u5927\u5e73\u5584\u9053\u3055\u3093\u3068\u306e\u30a4\u30f3\u30bf\u30d3\u30e5\u30fc (Japanese)", + "minisite_url": null + }, + "Zen Maru Gothic": { + "name": "Zen Maru Gothic", + "designer": [ + "Yoshimichi Ohira" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "greek", + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": "Jpan", + "article": "Zen Maru Gothic is a rounded san serif family that gives a soft and natural impression due to the deep rounds in the corners. Because of this unique soft impression the thin weight is also easy to use in any scenes. Cute and fashionable, soft and easy for any communications. To contribute to the project, visit https://github.com/googlefonts/zen-marugothic Zen Maru Gothic\u306f\u3001\u89d2\u306e\u6df1\u3044\u4e38\u307f\u306b\u3088\u3063\u3066\u30bd\u30d5\u30c8\u3067\u30ca\u30c1\u30e5\u30e9\u30eb\u306a\u5370\u8c61\u3092\u4e0e\u3048\u308b\u4e38\u30b4\u30b7\u30c3\u30af\u4f53\u3067\u3059\u3002\u3053\u306e\u7279\u6709\u306e\u30bd\u30d5\u30c8\u306a\u5370\u8c61\u306b\u3088\u308a\u3001\u7d30\u3044\u30a6\u30a8\u30a4\u30c8\u306f\u3069\u306e\u3088\u3046\u306a\u30b7\u30fc\u30f3\u306b\u3082\u4f3c\u5408\u3044\u307e\u3059\u3002\u30ad\u30e5\u30fc\u30c8\u3067\u30aa\u30b7\u30e3\u30ec\u306a\u3053\u306e\u30d5\u30a9\u30f3\u30c8\u306f\u3001\u69d8\u3005\u306a\u5834\u9762\u3067\u67d4\u3089\u304b\u304f\u3075\u3093\u308f\u308a\u3068\u3057\u305f\u30b3\u30df\u30e5\u30cb\u30b1\u30fc\u30b7\u30e7\u30f3\u306b\u6d3b\u7528\u3067\u304d\u307e\u3059\u3002 \u3053\u306e\u30d7\u30ed\u30b8\u30a7\u30af\u30c8\u306b\u53c2\u52a0\u3059\u308b\u306b\u306f\u3001\u3053\u3061\u3089\u306e\u30ea\u30f3\u30af\u3078 https://github.com/googlefonts/zen-marugothic Say Hello to our big new Japanese collection with Zen Fonts: Learn about the complex beauty of Japanese fonts In 2019, Google Fonts started an ambitious project to expand its font library with a variety of typeface designs for Japanese. At that point Google Fonts had fewer than 10 Japanese families, most of which were basic Mincho (serif) and gothic (sans) designs. Since then the collection of Japanese fonts within the library has grown, now with 38 font families from 18 designers, in a variety of styles \u2013 from formal text types to fun display fonts. All these Japanese fonts are now live on Google Fonts for anyone to test out and use in any project. The Zen Fonts collection is the largest set of Japanese fonts on Google Fonts As part of this larger effort to expand Japanese offerings, Google Fonts collaborated with type designer Yoshimichi Ohira to open his prestigious collection of Zen Fonts typefaces to the public. With 23 Japanese and three Latin fonts in various styles of mincho (serif), gothic (sans serif), maru (rounded), and display styles, the Zen Fonts collection is now the largest set of Japanese fonts in Google Fonts\u2019 expansive library, and is also available in Adobe Fonts. Check out The Story of Zen Fonts - interview with Yoshimichi Ohira to learn more. To learn more, read:Say Hello to our big new Japanese collection with Zen Fonts (English)The Story of Zen Fonts - interview with Yoshimichi Ohira (English)Zen\u30d5\u30a9\u30f3\u30c8: \u65b0\u3057\u3044\u65e5\u672c\u8a9e\u30d5\u30a9\u30f3\u30c8\u30b3\u30ec\u30af\u30b7\u30e7\u30f3\u306e\u767b\u5834 - \u65e5\u672c\u8a9e\u30d5\u30a9\u30f3\u30c8\u306e\u8907\u96d1\u306a\u7f8e\u3057\u3055\u306b\u3064\u3044\u3066 - (Japanese)Zen\u30d5\u30a9\u30f3\u30c8\u306e\u304a\u306f\u306a\u3057\uff1a\u5927\u5e73\u5584\u9053\u3055\u3093\u3068\u306e\u30a4\u30f3\u30bf\u30d3\u30e5\u30fc (Japanese)", + "minisite_url": null + }, + "Zen Old Mincho": { + "name": "Zen Old Mincho", + "designer": [ + "Yoshimichi Ohira" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "greek", + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Jpan", + "article": "Zen Old Mincho is a Japanese mincho (serif) typeface with a classic design. This font family started with the regular (400) weight, and bold and black weights were added due to huge demand. The wide range of weights means while the design is intended for text usage, it also works well in large sizes. To contribute to the project, visit github.com/googlefonts/zen-oldmincho Zen Old Mincho \u306f\u30d9\u30fc\u30b7\u30c3\u30af\u306a\u672c\u6587\u7528\u306e\u65e5\u672c\u8a9e\u660e\u671d\u4f53\u30d5\u30a1\u30df\u30ea\u30fc\u3067\u3059 \u3053\u306e\u30d5\u30a9\u30f3\u30c8\u30d5\u30a1\u30df\u30ea\u30fc\u306b\u306f\u3001\u306f\u3058\u3081\u306f\u300cRegular\u300d\u306e\u592a\u3055\u3057\u304b\u3042\u308a\u307e\u305b\u3093\u3067\u3057\u305f\u304c\u3001\u591a\u304f\u306e\u8981\u671b\u306b\u304a\u5fdc\u3048\u3057\u3066\u3001\u4ed6\u306e\u30a6\u30a7\u30a4\u30c8\u3082\u8ffd\u52a0\u3057\u307e\u3057\u305f\u3002\u4f7f\u3048\u308b\u592a\u3055\u306e\u7bc4\u56f2\u304c\u5e83\u3044\u305f\u3081\u3001\u672c\u6587\u7528\u3060\u3051\u3067\u306a\u304f\u3001\u305d\u306e\u4ed6\u3055 \u307e\u3056\u307e\u306a\u5834\u9762\u3084\u30e1\u30c7\u30a3\u30a2\u3067\u3054\u5229\u7528\u3044\u305f\u3060\u3051\u307e\u3059\u3002 \u3053\u306e\u30d7\u30ed\u30b8\u30a7\u30af\u30c8\u306b\u53c2\u52a0\u3057\u3066\u8ca2\u732e\u3057\u305f\u3044\u65b9\u306f\u3001\u6b21\u306e URL \u3092\u3054\u53c2\u7167\u304f\u3060\u3055\u3044\u3002 github.com/googlefonts/zen-oldmincho Say Hello to our big new Japanese collection with Zen Fonts: Learn about the complex beauty of Japanese fonts In 2019, Google Fonts started an ambitious project to expand its font library with a variety of typeface designs for Japanese. At that point Google Fonts had fewer than 10 Japanese families, most of which were basic Mincho (serif) and gothic (sans) designs. Since then the collection of Japanese fonts within the library has grown, now with 38 font families from 18 designers, in a variety of styles \u2013 from formal text types to fun display fonts. All these Japanese fonts are now live on Google Fonts for anyone to test out and use in any project. The Zen Fonts collection is the largest set of Japanese fonts on Google Fonts As part of this larger effort to expand Japanese offerings, Google Fonts collaborated with type designer Yoshimichi Ohira to open his prestigious collection of Zen Fonts typefaces to the public. With 23 Japanese and three Latin fonts in various styles of mincho (serif), gothic (sans serif), maru (rounded), and display styles, the Zen Fonts collection is now the largest set of Japanese fonts in Google Fonts\u2019 expansive library, and is also available in Adobe Fonts. Check out The Story of Zen Fonts - interview with Yoshimichi Ohira to learn more. To learn more, read:Say Hello to our big new Japanese collection with Zen Fonts (English)The Story of Zen Fonts - interview with Yoshimichi Ohira (English)Zen\u30d5\u30a9\u30f3\u30c8: \u65b0\u3057\u3044\u65e5\u672c\u8a9e\u30d5\u30a9\u30f3\u30c8\u30b3\u30ec\u30af\u30b7\u30e7\u30f3\u306e\u767b\u5834 - \u65e5\u672c\u8a9e\u30d5\u30a9\u30f3\u30c8\u306e\u8907\u96d1\u306a\u7f8e\u3057\u3055\u306b\u3064\u3044\u3066 - (Japanese)Zen\u30d5\u30a9\u30f3\u30c8\u306e\u304a\u306f\u306a\u3057\uff1a\u5927\u5e73\u5584\u9053\u3055\u3093\u3068\u306e\u30a4\u30f3\u30bf\u30d3\u30e5\u30fc (Japanese)", + "minisite_url": null + }, + "Zen Tokyo Zoo": { + "name": "Zen Tokyo Zoo", + "designer": [ + "Yoshimichi Ohira" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "Zen Loop Family is one of three Latin fonts designed by Yoshimichi Ohira, as part of the Zen Fonts collection. Tokyo Zoo was originally designed for an animal exhibition. The stripes suggest zoo cages but overall it\u2019s a fun and stylish design. To contribute, see github.com/googlefonts/zen-tokyo-zoo. Say Hello to our big new Japanese collection with Zen Fonts: Learn about the complex beauty of Japanese fonts In 2019, Google Fonts started an ambitious project to expand its font library with a variety of typeface designs for Japanese. At that point Google Fonts had fewer than 10 Japanese families, most of which were basic Mincho (serif) and gothic (sans) designs. Since then the collection of Japanese fonts within the library has grown, now with 38 font families from 18 designers, in a variety of styles \u2013 from formal text types to fun display fonts. All these Japanese fonts are now live on Google Fonts for anyone to test out and use in any project. The Zen Fonts collection is the largest set of Japanese fonts on Google Fonts As part of this larger effort to expand Japanese offerings, Google Fonts collaborated with type designer Yoshimichi Ohira to open his prestigious collection of Zen Fonts typefaces to the public. With 23 Japanese and three Latin fonts in various styles of mincho (serif), gothic (sans serif), maru (rounded), and display styles, the Zen Fonts collection is now the largest set of Japanese fonts in Google Fonts\u2019 expansive library, and is also available in Adobe Fonts. Check out The Story of Zen Fonts - interview with Yoshimichi Ohira to learn more. To learn more, read:Say Hello to our big new Japanese collection with Zen Fonts (English)The Story of Zen Fonts - interview with Yoshimichi Ohira (English)Zen\u30d5\u30a9\u30f3\u30c8: \u65b0\u3057\u3044\u65e5\u672c\u8a9e\u30d5\u30a9\u30f3\u30c8\u30b3\u30ec\u30af\u30b7\u30e7\u30f3\u306e\u767b\u5834 - \u65e5\u672c\u8a9e\u30d5\u30a9\u30f3\u30c8\u306e\u8907\u96d1\u306a\u7f8e\u3057\u3055\u306b\u3064\u3044\u3066 - (Japanese)Zen\u30d5\u30a9\u30f3\u30c8\u306e\u304a\u306f\u306a\u3057\uff1a\u5927\u5e73\u5584\u9053\u3055\u3093\u3068\u306e\u30a4\u30f3\u30bf\u30d3\u30e5\u30fc (Japanese)", + "minisite_url": null + }, + "Zeyada": { + "name": "Zeyada", + "designer": [ + "Kimberly Geswein" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Zeyada is based on the handwriting of a warm and generous young mom. Her family sponsors an amazing Ethiopian young woman named Zeyada and pays for her to continue to be in school. This font has curls and curves and is not a typical cursive, nor a typical print. It is slightly connected, but not a traditional script in any way.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Zhi Mang Xing": { + "name": "Zhi Mang Xing", + "designer": [ + "Wei Zhimang" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "chinese-simplified", + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "ZhiMang is a classic running script based on the handwritten calligraphy of Wei Zhimang. Running script is a semi-cursive style in which strokes within the character run together, but the characters themselves remain separated. In its singularity and richness, ZhiMang is reminiscent of works by celebrated calligrapher Wu Changshuo.", + "primary_script": "Hans", + "article": null, + "minisite_url": null + }, + "Zilla Slab": { + "name": "Zilla Slab", + "designer": [ + "Typotheque" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Zilla Slab is Mozilla's core typeface, used for the Mozilla wordmark, headlines and throughout their designs. A contemporary slab serif, based on Typotheque's Tesla, it is constructed with smooth curves and true italics, which gives text an unexpectedly sophisticated industrial look and a friendly approachability in all weights. Designed by Typotheque, this project is led by Mozilla. To contribute, see github.com/mozilla/zilla-slab", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Zilla Slab Highlight": { + "name": "Zilla Slab Highlight", + "designer": [ + "Typotheque" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SLAB_SERIF", + "classifications": [], + "description": "Zilla Slab is Mozilla's core typeface, used for the Mozilla wordmark, headlines and throughout their designs. A contemporary slab serif, based on Typotheque's Tesla, it is constructed with smooth curves and true italics, which gives text an unexpectedly sophisticated industrial look and a friendly approachability in all weights. This is the Highlight sister family. Designed by Typotheque, this project is led by Mozilla. To contribute, see github.com/mozilla/zilla-slab", + "primary_script": null, + "article": null, + "minisite_url": null + } + }, + "axisregistry": { + "ELSH": { + "tag": "ELSH", + "display_name": "Element Shape", + "min_value": 0.0, + "default_value": 0.0, + "max_value": 100.0, + "precision": -1, + "fallback": [ + { + "name": "Default", + "value": 0.0 + } + ], + "fallback_only": false, + "description": "In modular fonts, where glyphs are composed using multiple copies of the same element, this axis controls the shape of the element" + }, + "ELXP": { + "tag": "ELXP", + "display_name": "Element Expansion", + "min_value": 0.0, + "default_value": 0.0, + "max_value": 100.0, + "precision": 0, + "fallback": [ + { + "name": "Default", + "value": 0.0 + } + ], + "fallback_only": false, + "description": "As the Element Expansion axis progresses, the elements move apart." + }, + "ROND": { + "tag": "ROND", + "display_name": "Roundness", + "min_value": 0.0, + "default_value": 0.0, + "max_value": 100.0, + "precision": 0, + "fallback": [ + { + "name": "Default", + "value": 0.0 + } + ], + "fallback_only": false, + "description": "Adjust shapes from angular defaults (0%) to become increasingly rounded (up to 100%)." + }, + "SZP1": { + "tag": "SZP1", + "display_name": "Size of Paint 1", + "min_value": -100.0, + "default_value": 0.0, + "max_value": 100.0, + "precision": 0, + "fallback": [ + { + "name": "Default", + "value": 0.0 + } + ], + "fallback_only": false, + "description": "Modifies the size of a paint element going from an initial size (0) to positive values that increase the size (100%) or negative values that shrink it down (-100%). Reducing the size can create transparency." + }, + "SZP2": { + "tag": "SZP2", + "display_name": "Size of Paint 2", + "min_value": -100.0, + "default_value": 0.0, + "max_value": 100.0, + "precision": 0, + "fallback": [ + { + "name": "Default", + "value": 0.0 + } + ], + "fallback_only": false, + "description": "Modifies the size of a paint element going from an initial size (0) to positive values that increase the size (100%) or negative values that shrink it down (-100%). Reducing the size can create transparency. Paint 2 is in front of Paint 1." + }, + "XPN1": { + "tag": "XPN1", + "display_name": "Horizontal Position of Paint 1", + "min_value": -100.0, + "default_value": 0.0, + "max_value": 100.0, + "precision": 0, + "fallback": [ + { + "name": "Default", + "value": 0.0 + } + ], + "fallback_only": false, + "description": "The position of the paint moves left and right. Negative values move to the left and positive values move to the right, in the X dimension. Paint 1 is behind Paint 2." + }, + "XPN2": { + "tag": "XPN2", + "display_name": "Horizontal Position of Paint 2", + "min_value": -100.0, + "default_value": 0.0, + "max_value": 100.0, + "precision": 0, + "fallback": [ + { + "name": "Default", + "value": 0.0 + } + ], + "fallback_only": false, + "description": "The position of the paint moves left and right. Negative values move to the left and positive values move to the right, in the X dimension. Paint 2 is in front of Paint 1." + }, + "XTFI": { + "tag": "XTFI", + "display_name": "X transparent figures", + "min_value": -1000.0, + "default_value": 400.0, + "max_value": 2000.0, + "precision": 0, + "fallback": [ + { + "name": "Normal", + "value": 400.0 + } + ], + "fallback_only": false, + "description": "Assigns a 'white' per mille value to each instance of the design space." + }, + "YELA": { + "tag": "YELA", + "display_name": "Vertical Element Alignment", + "min_value": -100.0, + "default_value": 0.0, + "max_value": 100.0, + "precision": 0, + "fallback": [ + { + "name": "Default", + "value": 0.0 + } + ], + "fallback_only": false, + "description": "Align glyphs elements from their default position (0%), usually the baseline, to an upper (100%) or lower (-100%) position." + }, + "YPN1": { + "tag": "YPN1", + "display_name": "Vertical Position of Paint 1", + "min_value": -100.0, + "default_value": 0.0, + "max_value": 100.0, + "precision": 0, + "fallback": [ + { + "name": "Default", + "value": 0.0 + } + ], + "fallback_only": false, + "description": "The position of the paint moves up and down. Negative values move down and positive values move up. Paint 1 is behind Paint 2." + }, + "YPN2": { + "tag": "YPN2", + "display_name": "Vertical Position of Paint 2", + "min_value": -100.0, + "default_value": 0.0, + "max_value": 100.0, + "precision": 0, + "fallback": [ + { + "name": "Default", + "value": 0.0 + } + ], + "fallback_only": false, + "description": "The position of the paint moves up and down. Negative values move down and positive values move up. Paint 2 is in front of Paint 1." + }, + "ARRR": { + "tag": "ARRR", + "display_name": "AR Retinal Resolution", + "min_value": 10.0, + "default_value": 10.0, + "max_value": 60.0, + "precision": 0, + "fallback": [ + { + "name": "Default", + "value": 10.0 + } + ], + "fallback_only": false, + "description": " Resolution-specific enhancements in AR/VR typefaces to optimize rendering across the different resolutions of the headsets making designs accessible and easy to read." + }, + "BLED": { + "tag": "BLED", + "display_name": "Bleed", + "min_value": 0.0, + "default_value": 0.0, + "max_value": 100.0, + "precision": 0, + "fallback": [ + { + "name": "Default", + "value": 0.0 + } + ], + "fallback_only": false, + "description": "Bleed adjusts the overall darkness in the typographic color of strokes or other forms, without any changes in overall width, line breaks, or page layout. Negative values make the font appearance lighter, while positive values make it darker, similarly to ink bleed or dot gain on paper." + }, + "BNCE": { + "tag": "BNCE", + "display_name": "Bounce", + "min_value": -100.0, + "default_value": 0.0, + "max_value": 100.0, + "precision": 0, + "fallback": [ + { + "name": "Default", + "value": 0.0 + } + ], + "fallback_only": false, + "description": "Shift glyphs up and down in the Y dimension, resulting in an uneven, bouncy baseline." + }, + "CASL": { + "tag": "CASL", + "display_name": "Casual", + "min_value": 0.0, + "default_value": 0.0, + "max_value": 1.0, + "precision": -2, + "fallback": [ + { + "name": "Linear", + "value": 0.0 + }, + { + "name": "Casual", + "value": 1.0 + } + ], + "fallback_only": false, + "description": "Adjust stroke curvature, contrast, and terminals from a sturdy, rational Linear style to a friendly, energetic Casual style." + }, + "CRSV": { + "tag": "CRSV", + "display_name": "Cursive", + "min_value": 0.0, + "default_value": 0.5, + "max_value": 1.0, + "precision": -1, + "fallback": [ + { + "name": "Roman", + "value": 0.0 + }, + { + "name": "Auto", + "value": 0.5 + }, + { + "name": "Cursive", + "value": 1.0 + } + ], + "fallback_only": true, + "description": "Control the substitution of cursive forms along the Slant axis. 'Off' (0) maintains Roman letterforms such as a double-storey a and g, 'Auto' (0.5) allows for Cursive substitution, and 'On' (1) asserts cursive forms even in upright text with a Slant of 0." + }, + "EDPT": { + "tag": "EDPT", + "display_name": "Extrusion Depth", + "min_value": 0.0, + "default_value": 100.0, + "max_value": 1000.0, + "precision": 0, + "fallback": [ + { + "name": "Default", + "value": 100.0 + } + ], + "fallback_only": false, + "description": "Controls the 3D depth on contours." + }, + "EHLT": { + "tag": "EHLT", + "display_name": "Edge Highlight", + "min_value": 0.0, + "default_value": 12.0, + "max_value": 1000.0, + "precision": 0, + "fallback": [ + { + "name": "Default", + "value": 12.0 + } + ], + "fallback_only": false, + "description": "Controls thickness of edge highlight details." + }, + "ELGR": { + "tag": "ELGR", + "display_name": "Element Grid", + "min_value": 1.0, + "default_value": 1.0, + "max_value": 2.0, + "precision": -1, + "fallback": [ + { + "name": "Default", + "value": 1.0 + } + ], + "fallback_only": false, + "description": "In modular fonts, where glyphs are composed using multiple copies of the same element, this axis controls how many elements are used per one grid unit." + }, + "FILL": { + "tag": "FILL", + "display_name": "Fill", + "min_value": 0.0, + "default_value": 0.0, + "max_value": 1.0, + "precision": -2, + "fallback": [ + { + "name": "Normal", + "value": 0.0 + }, + { + "name": "Filled", + "value": 1.0 + } + ], + "fallback_only": false, + "description": "Fill in transparent forms with opaque ones. Sometimes interior opaque forms become transparent, to maintain contrasting shapes. This can be useful in animation or interaction to convey a state transition. Ranges from 0 (no treatment) to 1 (completely filled)." + }, + "FLAR": { + "tag": "FLAR", + "display_name": "Flare", + "min_value": 0.0, + "default_value": 0.0, + "max_value": 100.0, + "precision": 0, + "fallback": [ + { + "name": "Default", + "value": 0.0 + } + ], + "fallback_only": false, + "description": "As the flare axis grows, the stem terminals go from straight (0%) to develop a swelling (100%)." + }, + "GRAD": { + "tag": "GRAD", + "display_name": "Grade", + "min_value": -1000.0, + "default_value": 0.0, + "max_value": 1000.0, + "precision": 0, + "fallback": [ + { + "name": "Normal", + "value": 0.0 + } + ], + "fallback_only": false, + "description": "Finesse the style from lighter to bolder in typographic color, without any changes overall width, line breaks or page layout. Negative grade makes the style lighter, while positive grade makes it bolder. The units are the same as in the Weight axis." + }, + "HEXP": { + "tag": "HEXP", + "display_name": "Hyper Expansion", + "min_value": 0.0, + "default_value": 0.0, + "max_value": 100.0, + "precision": -1, + "fallback": [ + { + "name": "Default", + "value": 0.0 + } + ], + "fallback_only": false, + "description": "Expansion of inner and outer space of glyphs." + }, + "INFM": { + "tag": "INFM", + "display_name": "Informality", + "min_value": 0.0, + "default_value": 0.0, + "max_value": 100.0, + "precision": 0, + "fallback": [ + { + "name": "Default", + "value": 0.0 + } + ], + "fallback_only": false, + "description": "Adjusts overall design from formal and traditional (0%) to informal and unconventional (up to 100%)." + }, + "MONO": { + "tag": "MONO", + "display_name": "Monospace", + "min_value": 0.0, + "default_value": 0.0, + "max_value": 1.0, + "precision": -2, + "fallback": [ + { + "name": "Proportional", + "value": 0.0 + }, + { + "name": "Monospace", + "value": 1.0 + } + ], + "fallback_only": false, + "description": "Adjust the style from Proportional (natural widths, default) to Monospace (fixed width). With proportional spacing, each glyph takes up a unique amount of space on a line, while monospace is when all glyphs have the same total character width." + }, + "MORF": { + "tag": "MORF", + "display_name": "Morph", + "min_value": 0.0, + "default_value": 0.0, + "max_value": 60.0, + "precision": 0, + "fallback": [ + { + "name": "Default", + "value": 0.0 + } + ], + "fallback_only": false, + "description": "Letterforms morph: Changing in unconventional ways, that don't alter other attributes, like width or weight. The range from 0 to 60 can be understood as seconds." + }, + "SCAN": { + "tag": "SCAN", + "display_name": "Scanlines", + "min_value": -100.0, + "default_value": 0.0, + "max_value": 100.0, + "precision": 0, + "fallback": [ + { + "name": "Default", + "value": 0.0 + } + ], + "fallback_only": false, + "description": "Break up shapes into horizontal segments without any changes in overall width, letter spacing, or kerning, so there are no line breaks or page layout changes. Negative values make the scanlines thinner, and positive values make them thicker." + }, + "SHLN": { + "tag": "SHLN", + "display_name": "Shadow Length", + "min_value": 0.0, + "default_value": 50.0, + "max_value": 100.0, + "precision": -1, + "fallback": [ + { + "name": "Default", + "value": 50.0 + } + ], + "fallback_only": false, + "description": "Adjusts the font's shadow length from no shadow visible (0 %) to a maximum shadow applied (100%) relative to each family design." + }, + "SHRP": { + "tag": "SHRP", + "display_name": "Sharpness", + "min_value": 0.0, + "default_value": 0.0, + "max_value": 100.0, + "precision": 0, + "fallback": [ + { + "name": "Default", + "value": 0.0 + } + ], + "fallback_only": false, + "description": "Adjust shapes from angular or blunt default shapes (0%) to become increasingly sharped forms (up to 100%)." + }, + "SOFT": { + "tag": "SOFT", + "display_name": "Softness", + "min_value": 0.0, + "default_value": 0.0, + "max_value": 100.0, + "precision": -1, + "fallback": [ + { + "name": "Sharp", + "value": 0.0 + }, + { + "name": "Soft", + "value": 50.0 + }, + { + "name": "SuperSoft", + "value": 100.0 + } + ], + "fallback_only": false, + "description": "Adjust letterforms to become more and more soft and rounded." + }, + "SPAC": { + "tag": "SPAC", + "display_name": "Spacing", + "min_value": -100.0, + "default_value": 0.0, + "max_value": 100.0, + "precision": -1, + "fallback": [ + { + "name": "Default", + "value": 0.0 + } + ], + "fallback_only": false, + "description": "Adjusts the overall letter spacing of a font. The range is a relative percentage change from the family\u2019s default spacing, so the default value is 0." + }, + "VOLM": { + "tag": "VOLM", + "display_name": "Volume", + "min_value": 0.0, + "default_value": 0.0, + "max_value": 100.0, + "precision": 0, + "fallback": [ + { + "name": "Default", + "value": 0.0 + } + ], + "fallback_only": false, + "description": "Expands and exaggerates details of a typeface to emphasize the personality. Understood in a percentage amount, it goes from a neutral state (0%) to a maximum level (100%)." + }, + "WONK": { + "tag": "WONK", + "display_name": "Wonky", + "min_value": 0.0, + "default_value": 0.0, + "max_value": 1.0, + "precision": 0, + "fallback": [ + { + "name": "NonWonky", + "value": 0.0 + }, + { + "name": "Wonky", + "value": 1.0 + } + ], + "fallback_only": true, + "description": "Toggle the substitution of wonky forms. 'Off' (0) maintains more conventional letterforms, while 'On' (1) maintains wonky letterforms, such as leaning stems in roman, or flagged ascenders in italic. These forms are also controlled by Optical Size." + }, + "XELA": { + "tag": "XELA", + "display_name": "Horizontal Element Alignment", + "min_value": -100.0, + "default_value": 0.0, + "max_value": 100.0, + "precision": 0, + "fallback": [ + { + "name": "Default", + "value": 0.0 + } + ], + "fallback_only": false, + "description": "Align glyph elements from their default position (0%), usually the baseline, to a rightmost (100%) or leftmost (-100%) position." + }, + "XOPQ": { + "tag": "XOPQ", + "display_name": "Thick Stroke", + "min_value": -1000.0, + "default_value": 88.0, + "max_value": 2000.0, + "precision": 0, + "fallback": [ + { + "name": "Normal", + "value": 88.0 + } + ], + "fallback_only": false, + "description": "A parametric axis for varying thick stroke weights, such as stems." + }, + "XROT": { + "tag": "XROT", + "display_name": "Rotation in X", + "min_value": -180.0, + "default_value": 0.0, + "max_value": 180.0, + "precision": 0, + "fallback": [ + { + "name": "Default", + "value": 0.0 + } + ], + "fallback_only": false, + "description": "Glyphs rotate left and right, negative values to the left and positive values to the right, in the X dimension." + }, + "XTRA": { + "tag": "XTRA", + "display_name": "Counter Width", + "min_value": -1000.0, + "default_value": 400.0, + "max_value": 2000.0, + "precision": 0, + "fallback": [ + { + "name": "Normal", + "value": 400.0 + } + ], + "fallback_only": false, + "description": "A parametric axis for varying counter widths in the X dimension." + }, + "YEAR": { + "tag": "YEAR", + "display_name": "Year", + "min_value": -4000.0, + "default_value": 2000.0, + "max_value": 4000.0, + "precision": 0, + "fallback": [ + { + "name": "Default", + "value": 2000.0 + } + ], + "fallback_only": false, + "description": "Axis that shows in a metaphoric way the effect of time on a chosen topic." + }, + "YEXT": { + "tag": "YEXT", + "display_name": "Vertical Extension", + "min_value": 0.0, + "default_value": 0.0, + "max_value": 100.0, + "precision": 0, + "fallback": [ + { + "name": "Default", + "value": 0.0 + } + ], + "fallback_only": false, + "description": "The axis extends glyphs in the Y dimension, such as the Cap Height, Ascender and Descender lengths. This is a relative axis, starting at 0% and going to the typeface's individual maximum extent at 100%." + }, + "YOPQ": { + "tag": "YOPQ", + "display_name": "Thin Stroke", + "min_value": -1000.0, + "default_value": 116.0, + "max_value": 2000.0, + "precision": 0, + "fallback": [ + { + "name": "Normal", + "value": 116.0 + } + ], + "fallback_only": false, + "description": "A parametric axis for varying thin stroke weights, such as bars and hairlines." + }, + "YROT": { + "tag": "YROT", + "display_name": "Rotation in Y", + "min_value": -180.0, + "default_value": 0.0, + "max_value": 180.0, + "precision": 0, + "fallback": [ + { + "name": "Default", + "value": 0.0 + } + ], + "fallback_only": false, + "description": "Glyphs rotate up and down, negative values tilt down and positive values tilt up, in the Y dimension." + }, + "YTAS": { + "tag": "YTAS", + "display_name": "Ascender Height", + "min_value": 0.0, + "default_value": 750.0, + "max_value": 1000.0, + "precision": 0, + "fallback": [ + { + "name": "Normal", + "value": 750.0 + } + ], + "fallback_only": false, + "description": "A parametric axis for varying the height of lowercase ascenders." + }, + "YTDE": { + "tag": "YTDE", + "display_name": "Descender Depth", + "min_value": -1000.0, + "default_value": -250.0, + "max_value": 0.0, + "precision": 0, + "fallback": [ + { + "name": "Normal", + "value": -250.0 + } + ], + "fallback_only": false, + "description": "A parametric axis for varying the depth of lowercase descenders." + }, + "YTFI": { + "tag": "YTFI", + "display_name": "Figure Height", + "min_value": -1000.0, + "default_value": 600.0, + "max_value": 2000.0, + "precision": 0, + "fallback": [ + { + "name": "Normal", + "value": 600.0 + } + ], + "fallback_only": false, + "description": "A parametric axis for varying the height of figures." + }, + "YTLC": { + "tag": "YTLC", + "display_name": "Lowercase Height", + "min_value": 0.0, + "default_value": 500.0, + "max_value": 1000.0, + "precision": 0, + "fallback": [ + { + "name": "Normal", + "value": 500.0 + } + ], + "fallback_only": false, + "description": "A parametric axis for varying the height of the lowercase." + }, + "YTUC": { + "tag": "YTUC", + "display_name": "Uppercase Height", + "min_value": 0.0, + "default_value": 725.0, + "max_value": 1000.0, + "precision": 0, + "fallback": [ + { + "name": "Normal", + "value": 725.0 + } + ], + "fallback_only": false, + "description": "A parametric axis for varying the heights of uppercase letterforms." + }, + "ZROT": { + "tag": "ZROT", + "display_name": "Rotation in Z", + "min_value": -180.0, + "default_value": 0.0, + "max_value": 180.0, + "precision": 0, + "fallback": [ + { + "name": "Default", + "value": 0.0 + } + ], + "fallback_only": false, + "description": "Glyphs rotate left and right, negative values to the left and positive values to the right, in the Z dimension." + }, + "ital": { + "tag": "ital", + "display_name": "Italic", + "min_value": 0.0, + "default_value": 0.0, + "max_value": 1.0, + "precision": 0, + "fallback": [ + { + "name": "Roman", + "value": 0.0 + }, + { + "name": "Italic", + "value": 1.0 + } + ], + "fallback_only": true, + "description": "Adjust the style from roman to italic. This can be provided as a continuous range within a single font file, like most axes, or as a toggle between two roman and italic files that form a family as a pair." + }, + "opsz": { + "tag": "opsz", + "display_name": "Optical Size", + "min_value": 5.0, + "default_value": 14.0, + "max_value": 1200.0, + "precision": -1, + "fallback": [ + { + "name": "6pt", + "value": 6.0 + }, + { + "name": "7pt", + "value": 7.0 + }, + { + "name": "8pt", + "value": 8.0 + }, + { + "name": "9pt", + "value": 9.0 + }, + { + "name": "10pt", + "value": 10.0 + }, + { + "name": "11pt", + "value": 11.0 + }, + { + "name": "12pt", + "value": 12.0 + }, + { + "name": "14pt", + "value": 14.0 + }, + { + "name": "16pt", + "value": 16.0 + }, + { + "name": "17pt", + "value": 17.0 + }, + { + "name": "18pt", + "value": 18.0 + }, + { + "name": "20pt", + "value": 20.0 + }, + { + "name": "24pt", + "value": 24.0 + }, + { + "name": "28pt", + "value": 28.0 + }, + { + "name": "36pt", + "value": 36.0 + }, + { + "name": "48pt", + "value": 48.0 + }, + { + "name": "60pt", + "value": 60.0 + }, + { + "name": "72pt", + "value": 72.0 + }, + { + "name": "96pt", + "value": 96.0 + }, + { + "name": "120pt", + "value": 120.0 + }, + { + "name": "144pt", + "value": 144.0 + } + ], + "fallback_only": false, + "description": "Adapt the style to specific text sizes. At smaller sizes, letters typically become optimized for more legibility. At larger sizes, optimized for headlines, with more extreme weights and widths. In CSS this axis is activated automatically when it is available." + }, + "slnt": { + "tag": "slnt", + "display_name": "Slant", + "min_value": -90.0, + "default_value": 0.0, + "max_value": 90.0, + "precision": 0, + "fallback": [ + { + "name": "Default", + "value": 0.0 + } + ], + "fallback_only": false, + "description": "Adjust the style from upright to slanted. Negative values produce right-leaning forms, also known to typographers as an 'oblique' style. Positive values produce left-leaning forms, also called a 'backslanted' or 'reverse oblique' style." + }, + "wdth": { + "tag": "wdth", + "display_name": "Width", + "min_value": 25.0, + "default_value": 100.0, + "max_value": 200.0, + "precision": -1, + "fallback": [ + { + "name": "SuperCondensed", + "value": 25.0 + }, + { + "name": "UltraCondensed", + "value": 50.0 + }, + { + "name": "ExtraCondensed", + "value": 62.5 + }, + { + "name": "Condensed", + "value": 75.0 + }, + { + "name": "SemiCondensed", + "value": 87.5 + }, + { + "name": "Normal", + "value": 100.0 + }, + { + "name": "SemiExpanded", + "value": 112.5 + }, + { + "name": "Expanded", + "value": 125.0 + }, + { + "name": "ExtraExpanded", + "value": 150.0 + }, + { + "name": "UltraExpanded", + "value": 200.0 + } + ], + "fallback_only": false, + "description": "Adjust the style from narrower to wider, by varying the proportions of counters, strokes, spacing and kerning, and other aspects of the type. This typically changes the typographic color in a subtle way, and so may be used in conjunction with Weight and Grade axes." + }, + "wght": { + "tag": "wght", + "display_name": "Weight", + "min_value": 1.0, + "default_value": 400.0, + "max_value": 1000.0, + "precision": 0, + "fallback": [ + { + "name": "Thin", + "value": 100.0 + }, + { + "name": "ExtraLight", + "value": 200.0 + }, + { + "name": "Light", + "value": 300.0 + }, + { + "name": "Regular", + "value": 400.0 + }, + { + "name": "Medium", + "value": 500.0 + }, + { + "name": "SemiBold", + "value": 600.0 + }, + { + "name": "Bold", + "value": 700.0 + }, + { + "name": "ExtraBold", + "value": 800.0 + }, + { + "name": "Black", + "value": 900.0 + } + ], + "fallback_only": false, + "description": "Adjust the style from lighter to bolder in typographic color, by varying stroke weights, spacing and kerning, and other aspects of the type. This typically changes overall width, and so may be used in conjunction with Width and Grade axes." + } + } + }, + "production": { + "name": "production", + "url": "https://fonts.google.com/metadata/fonts", + "dl_url": "https://fonts.google.com/download?family={}", + "version_url": "https://fonts.google.com/metadata/versions", + "families": { + "ABeeZee": { + "name": "ABeeZee", + "version": "Version 1.003; ttfautohint (v1.8.3)" + }, + "ADLaM Display": { + "name": "ADLaM Display", + "version": "Version 2.000; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.28]" + }, + "AR One Sans": { + "name": "AR One Sans", + "version": "Version 1.001;gftools[0.9.33]" + }, + "Abel": { + "name": "Abel", + "version": "Version 1.003" + }, + "Abhaya Libre": { + "name": "Abhaya Libre", + "version": "Version 1.050 ; ttfautohint (v1.6)" + }, + "Aboreto": { + "name": "Aboreto", + "version": "Version 1.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Abril Fatface": { + "name": "Abril Fatface", + "version": "Version 1.001" + }, + "Abyssinica SIL": { + "name": "Abyssinica SIL", + "version": "Version 2.300" + }, + "Aclonica": { + "name": "Aclonica", + "version": "Version 1.001" + }, + "Acme": { + "name": "Acme", + "version": "Version 1.002" + }, + "Actor": { + "name": "Actor", + "version": "Version 1.001" + }, + "Adamina": { + "name": "Adamina", + "version": "Version 1.013" + }, + "Advent Pro": { + "name": "Advent Pro", + "version": "Version 3.000" + }, + "Afacad": { + "name": "Afacad", + "version": "Version 1.000" + }, + "Afacad Flux": { + "name": "Afacad Flux", + "version": "Version 1.100" + }, + "Agbalumo": { + "name": "Agbalumo", + "version": "Version 1.000; ttfautohint (v1.8.4)" + }, + "Agdasima": { + "name": "Agdasima", + "version": "Version 2.002" + }, + "Agu Display": { + "name": "Agu Display", + "version": "Version 1.103" + }, + "Aguafina Script": { + "name": "Aguafina Script", + "version": "Version 1.000" + }, + "Akatab": { + "name": "Akatab", + "version": "Version 4.000" + }, + "Akaya Kanadaka": { + "name": "Akaya Kanadaka", + "version": "Version 1.002; ttfautohint (v1.8.3)" + }, + "Akaya Telivigala": { + "name": "Akaya Telivigala", + "version": "Version 1.002; ttfautohint (v1.8.3)" + }, + "Akronim": { + "name": "Akronim", + "version": "Version 1.002" + }, + "Akshar": { + "name": "Akshar", + "version": "Version 1.100" + }, + "Aladin": { + "name": "Aladin", + "version": "Version 1.000" + }, + "Alata": { + "name": "Alata", + "version": "Version 1.005; ttfautohint (v1.8.4.7-5d5b)" + }, + "Alatsi": { + "name": "Alatsi", + "version": "Version 1.008; ttfautohint (v1.8.4.7-5d5b)" + }, + "Albert Sans": { + "name": "Albert Sans", + "version": "Version 1.025" + }, + "Aldrich": { + "name": "Aldrich", + "version": "Version 1.002 2011" + }, + "Alef": { + "name": "Alef", + "version": "Version 1.002;PS 001.002;hotconv 1.0.56;makeotf.lib2.0.21325" + }, + "Alegreya": { + "name": "Alegreya", + "version": "Version 2.009" + }, + "Alegreya SC": { + "name": "Alegreya SC", + "version": "Version 2.003; ttfautohint (v1.6)" + }, + "Alegreya Sans": { + "name": "Alegreya Sans", + "version": "Version 2.004; ttfautohint (v1.6)" + }, + "Alegreya Sans SC": { + "name": "Alegreya Sans SC", + "version": "Version 2.003; ttfautohint (v1.6)" + }, + "Aleo": { + "name": "Aleo", + "version": "Version 2.001;gftools[0.9.29]" + }, + "Alex Brush": { + "name": "Alex Brush", + "version": "Version 1.111; ttfautohint (v1.8.4.7-5d5b)" + }, + "Alexandria": { + "name": "Alexandria", + "version": "Version 5.100" + }, + "Alfa Slab One": { + "name": "Alfa Slab One", + "version": "Version 2.000" + }, + "Alice": { + "name": "Alice", + "version": "Version 2.003; ttfautohint (v1.8.3)" + }, + "Alike": { + "name": "Alike", + "version": "Version 1.301; ttfautohint (v1.8.4.7-5d5b)" + }, + "Alike Angular": { + "name": "Alike Angular", + "version": "Version 1.300; ttfautohint (v1.8.4.7-5d5b)" + }, + "Alkalami": { + "name": "Alkalami", + "version": "Version 3.000" + }, + "Alkatra": { + "name": "Alkatra", + "version": "Version 1.100;gftools[0.9.22]" + }, + "Allan": { + "name": "Allan", + "version": "Version 1.002" + }, + "Allerta": { + "name": "Allerta", + "version": "Version 1.0 " + }, + "Allerta Stencil": { + "name": "Allerta Stencil", + "version": "Version 1.02 " + }, + "Allison": { + "name": "Allison", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Allura": { + "name": "Allura", + "version": "Version 1.110" + }, + "Almarai": { + "name": "Almarai", + "version": "Version 1.10" + }, + "Almendra": { + "name": "Almendra", + "version": "Version 1.004" + }, + "Almendra Display": { + "name": "Almendra Display", + "version": "Version 1.004" + }, + "Almendra SC": { + "name": "Almendra SC", + "version": "Version 1.002" + }, + "Alumni Sans": { + "name": "Alumni Sans", + "version": "Version 1.018" + }, + "Alumni Sans Collegiate One": { + "name": "Alumni Sans Collegiate One", + "version": "Version 1.100" + }, + "Alumni Sans Inline One": { + "name": "Alumni Sans Inline One", + "version": "Version 1.100; ttfautohint (v1.8.3)" + }, + "Alumni Sans Pinstripe": { + "name": "Alumni Sans Pinstripe", + "version": "Version 1.010; ttfautohint (v1.8.4.7-5d5b)" + }, + "Alumni Sans SC": { + "name": "Alumni Sans SC", + "version": "Version 1.018" + }, + "Amarante": { + "name": "Amarante", + "version": "Version 1.001" + }, + "Amaranth": { + "name": "Amaranth", + "version": "Version 1.001" + }, + "Amatic SC": { + "name": "Amatic SC", + "version": "Version 2.505" + }, + "Amethysta": { + "name": "Amethysta", + "version": "Version 1.003" + }, + "Amiko": { + "name": "Amiko", + "version": "Version 1.001; ttfautohint (v1.3)" + }, + "Amiri": { + "name": "Amiri", + "version": "Version 1.000" + }, + "Amiri Quran": { + "name": "Amiri Quran", + "version": "0.117-H1" + }, + "Amita": { + "name": "Amita", + "version": "Version 1.004" + }, + "Anaheim": { + "name": "Anaheim", + "version": "Version 2.001" + }, + "Ancizar Sans": { + "name": "Ancizar Sans", + "version": "Version 8.100" + }, + "Ancizar Serif": { + "name": "Ancizar Serif", + "version": "Version 8.100" + }, + "Andada Pro": { + "name": "Andada Pro", + "version": "Version 3.003" + }, + "Andika": { + "name": "Andika", + "version": "Version 6.101" + }, + "Anek Bangla": { + "name": "Anek Bangla", + "version": "Version 1.003" + }, + "Anek Devanagari": { + "name": "Anek Devanagari", + "version": "Version 1.003" + }, + "Anek Gujarati": { + "name": "Anek Gujarati", + "version": "Version 1.003" + }, + "Anek Gurmukhi": { + "name": "Anek Gurmukhi", + "version": "Version 1.003" + }, + "Anek Kannada": { + "name": "Anek Kannada", + "version": "Version 1.003" + }, + "Anek Latin": { + "name": "Anek Latin", + "version": "Version 1.003" + }, + "Anek Malayalam": { + "name": "Anek Malayalam", + "version": "Version 1.003" + }, + "Anek Odia": { + "name": "Anek Odia", + "version": "Version 1.003" + }, + "Anek Tamil": { + "name": "Anek Tamil", + "version": "Version 1.003" + }, + "Anek Telugu": { + "name": "Anek Telugu", + "version": "Version 1.003" + }, + "Angkor": { + "name": "Angkor", + "version": "Version 8.000; ttfautohint (v1.8.3)" + }, + "Annapurna SIL": { + "name": "Annapurna SIL", + "version": "Version 2.000" + }, + "Annie Use Your Telescope": { + "name": "Annie Use Your Telescope", + "version": "Version 1.003 2001" + }, + "Anonymous Pro": { + "name": "Anonymous Pro", + "version": "Version 1.003" + }, + "Anta": { + "name": "Anta", + "version": "Version 1.000; ttfautohint (v1.8.4.7-5d5b)" + }, + "Antic": { + "name": "Antic", + "version": "Version 1.0012 " + }, + "Antic Didone": { + "name": "Antic Didone", + "version": "Version 2.001" + }, + "Antic Slab": { + "name": "Antic Slab", + "version": "Version 001.002 " + }, + "Anton": { + "name": "Anton", + "version": "Version 2.116; ttfautohint (v1.8.3)" + }, + "Anton SC": { + "name": "Anton SC", + "version": "Version 2.116; ttfautohint (v1.8.4.7-5d5b)" + }, + "Antonio": { + "name": "Antonio", + "version": "Version 1.002" + }, + "Anuphan": { + "name": "Anuphan", + "version": "Version 3.002" + }, + "Anybody": { + "name": "Anybody", + "version": "Version 1.113;gftools[0.9.25]" + }, + "Aoboshi One": { + "name": "Aoboshi One", + "version": "Version 1.000; ttfautohint (v1.8.3)" + }, + "Arapey": { + "name": "Arapey", + "version": "Version 1.002" + }, + "Arbutus": { + "name": "Arbutus", + "version": "Version 1.003" + }, + "Arbutus Slab": { + "name": "Arbutus Slab", + "version": "Version 1.002; ttfautohint (v0.92) -l 10 -r 16 -G 200 -x 7 -w \"GD\"" + }, + "Architects Daughter": { + "name": "Architects Daughter", + "version": "Version 1.003 2010" + }, + "Archivo": { + "name": "Archivo", + "version": "Version 2.001" + }, + "Archivo Black": { + "name": "Archivo Black", + "version": "Version 1.006" + }, + "Archivo Narrow": { + "name": "Archivo Narrow", + "version": "Version 3.002" + }, + "Are You Serious": { + "name": "Are You Serious", + "version": "Version 1.100" + }, + "Aref Ruqaa": { + "name": "Aref Ruqaa", + "version": "Version 1.003" + }, + "Aref Ruqaa Ink": { + "name": "Aref Ruqaa Ink", + "version": "Version 1.005" + }, + "Arima": { + "name": "Arima", + "version": "Version 1.101;gftools[0.9.23]" + }, + "Arimo": { + "name": "Arimo", + "version": "Version 1.33" + }, + "Arizonia": { + "name": "Arizonia", + "version": "Version 1.010; ttfautohint (v1.8.4.7-5d5b)" + }, + "Armata": { + "name": "Armata", + "version": "Version 1.003" + }, + "Arsenal": { + "name": "Arsenal", + "version": "Version 2.000" + }, + "Arsenal SC": { + "name": "Arsenal SC", + "version": "Version 2.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Artifika": { + "name": "Artifika", + "version": "Version 1.102; ttfautohint (v1.8.4.7-5d5b)" + }, + "Arvo": { + "name": "Arvo", + "version": "Version 1.006 2010 beta release; ttfautohint (v1.8.2)" + }, + "Arya": { + "name": "Arya", + "version": "Version 1.002" + }, + "Asap": { + "name": "Asap", + "version": "Version 3.001" + }, + "Asap Condensed": { + "name": "Asap Condensed", + "version": "Version 3.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Asar": { + "name": "Asar", + "version": "Version 1.003; ttfautohint (v1.3) -l 8 -r 50 -G 0 -x 0 -H 45 -D deva -f latn -m \"\" -w gG -t -X \"\"" + }, + "Asset": { + "name": "Asset", + "version": "Version 1.003; ttfautohint (v1.8.4.7-5d5b)" + }, + "Assistant": { + "name": "Assistant", + "version": "Version 3.000" + }, + "Asta Sans": { + "name": "Asta Sans", + "version": "Version 1.000" + }, + "Astloch": { + "name": "Astloch", + "version": "Version 1.002" + }, + "Asul": { + "name": "Asul", + "version": "Version 1.002" + }, + "Athiti": { + "name": "Athiti", + "version": "Version 1.033" + }, + "Atkinson Hyperlegible": { + "name": "Atkinson Hyperlegible", + "version": "Version 1.006; ttfautohint (v1.8.3)" + }, + "Atkinson Hyperlegible Mono": { + "name": "Atkinson Hyperlegible Mono", + "version": "Version 2.001" + }, + "Atkinson Hyperlegible Next": { + "name": "Atkinson Hyperlegible Next", + "version": "Version 2.001" + }, + "Atma": { + "name": "Atma", + "version": "Version 1.102;PS 1.100;hotconv 1.0.86;makeotf.lib2.5.63406" + }, + "Atomic Age": { + "name": "Atomic Age", + "version": "Version 1.008; ttfautohint (v1.4.1) -l 6 -r 46 -G 0 -x 0 -H 200 -D latn -f none -m \"\" -w g -X \"\"" + }, + "Aubrey": { + "name": "Aubrey", + "version": "Version 1.102; ttfautohint (v1.8.3)" + }, + "Audiowide": { + "name": "Audiowide", + "version": "Version 1.003" + }, + "Autour One": { + "name": "Autour One", + "version": "Version 1.007; ttfautohint (v0.92) -l 24 -r 24 -G 200 -x 7 -w \"GD\"" + }, + "Average": { + "name": "Average", + "version": "Version 1.003; ttfautohint (v1.8.4.7-5d5b)" + }, + "Average Sans": { + "name": "Average Sans", + "version": "Version 1.002" + }, + "Averia Gruesa Libre": { + "name": "Averia Gruesa Libre", + "version": "Version 1.002" + }, + "Averia Libre": { + "name": "Averia Libre", + "version": "Version 1.002" + }, + "Averia Sans Libre": { + "name": "Averia Sans Libre", + "version": "Version 1.002" + }, + "Averia Serif Libre": { + "name": "Averia Serif Libre", + "version": "Version 1.002" + }, + "Azeret Mono": { + "name": "Azeret Mono", + "version": "Version 1.002" + }, + "B612": { + "name": "B612", + "version": "Version 1.008" + }, + "B612 Mono": { + "name": "B612 Mono", + "version": "Version 1.008" + }, + "BIZ UDGothic": { + "name": "BIZ UDGothic", + "version": "Version 1.05" + }, + "BIZ UDMincho": { + "name": "BIZ UDMincho", + "version": "Version 1.06" + }, + "BIZ UDPGothic": { + "name": "BIZ UDPGothic", + "version": "Version 1.051" + }, + "BIZ UDPMincho": { + "name": "BIZ UDPMincho", + "version": "Version 1.06" + }, + "Babylonica": { + "name": "Babylonica", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Bacasime Antique": { + "name": "Bacasime Antique", + "version": "Version 2.000" + }, + "Bad Script": { + "name": "Bad Script", + "version": "Version 2.000; ttfautohint (v1.8.4.7-5d5b)" + }, + "Badeen Display": { + "name": "Badeen Display", + "version": "Version 1.000; ttfautohint (v1.8.4.7-5d5b)" + }, + "Bagel Fat One": { + "name": "Bagel Fat One", + "version": "Version 1.000; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.28]" + }, + "Bahiana": { + "name": "Bahiana", + "version": "Version 1.005" + }, + "Bahianita": { + "name": "Bahianita", + "version": "Version 1.008" + }, + "Bai Jamjuree": { + "name": "Bai Jamjuree", + "version": "Version 1.000; ttfautohint (v1.6)" + }, + "Bakbak One": { + "name": "Bakbak One", + "version": "Version 1.003; ttfautohint (v1.8.3)" + }, + "Ballet": { + "name": "Ballet", + "version": "Version 1.100" + }, + "Baloo 2": { + "name": "Baloo 2", + "version": "Version 1.700" + }, + "Baloo Bhai 2": { + "name": "Baloo Bhai 2", + "version": "Version 1.700" + }, + "Baloo Bhaijaan 2": { + "name": "Baloo Bhaijaan 2", + "version": "Version 1.701" + }, + "Baloo Bhaina 2": { + "name": "Baloo Bhaina 2", + "version": "Version 1.700" + }, + "Baloo Chettan 2": { + "name": "Baloo Chettan 2", + "version": "Version 1.700" + }, + "Baloo Da 2": { + "name": "Baloo Da 2", + "version": "Version 1.700" + }, + "Baloo Paaji 2": { + "name": "Baloo Paaji 2", + "version": "Version 1.700" + }, + "Baloo Tamma 2": { + "name": "Baloo Tamma 2", + "version": "Version 1.700" + }, + "Baloo Tammudu 2": { + "name": "Baloo Tammudu 2", + "version": "Version 1.700" + }, + "Baloo Thambi 2": { + "name": "Baloo Thambi 2", + "version": "Version 1.700" + }, + "Balsamiq Sans": { + "name": "Balsamiq Sans", + "version": "Version 1.020; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.26]" + }, + "Balthazar": { + "name": "Balthazar", + "version": "Version 1.000" + }, + "Bangers": { + "name": "Bangers", + "version": "Version 2.100; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.31]" + }, + "Barlow": { + "name": "Barlow", + "version": "Version 1.408" + }, + "Barlow Condensed": { + "name": "Barlow Condensed", + "version": "Version 1.408" + }, + "Barlow Semi Condensed": { + "name": "Barlow Semi Condensed", + "version": "Version 1.408" + }, + "Barriecito": { + "name": "Barriecito", + "version": "Version 1.001" + }, + "Barrio": { + "name": "Barrio", + "version": "Version 1.005" + }, + "Basic": { + "name": "Basic", + "version": "Version 1.003; ttfautohint (v1.1) -l 6 -r 16 -G 0 -x 16 -D latn -f none -w \"\"" + }, + "Baskervville": { + "name": "Baskervville", + "version": "Version 1.100" + }, + "Baskervville SC": { + "name": "Baskervville SC", + "version": "Version 1.100" + }, + "Battambang": { + "name": "Battambang", + "version": "Version 8.002; ttfautohint (v1.8.3)" + }, + "Baumans": { + "name": "Baumans", + "version": "Version 001.002" + }, + "Bayon": { + "name": "Bayon", + "version": "Version 8.001; ttfautohint (v1.8.3)" + }, + "Be Vietnam Pro": { + "name": "Be Vietnam Pro", + "version": "Version 1.002; ttfautohint (v1.8.3)" + }, + "Beau Rivage": { + "name": "Beau Rivage", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Bebas Neue": { + "name": "Bebas Neue", + "version": "Version 2.000" + }, + "Beiruti": { + "name": "Beiruti", + "version": "Version 1.41" + }, + "Belanosima": { + "name": "Belanosima", + "version": "Version 2.000" + }, + "Belgrano": { + "name": "Belgrano", + "version": "Version 1.003" + }, + "Bellefair": { + "name": "Bellefair", + "version": "Version 1.003" + }, + "Belleza": { + "name": "Belleza", + "version": "Version 1.003; ttfautohint (v1.8.4.7-5d5b)" + }, + "Bellota": { + "name": "Bellota", + "version": "Version 4.001" + }, + "Bellota Text": { + "name": "Bellota Text", + "version": "Version 4.001" + }, + "BenchNine": { + "name": "BenchNine", + "version": "Version 1 ; ttfautohint (v0.92.18-e454-dirty) -l 8 -r 50 -G 200 -x 0 -w \"g\"" + }, + "Benne": { + "name": "Benne", + "version": "Version 1.001" + }, + "Bentham": { + "name": "Bentham", + "version": "Version 002.002 " + }, + "Berkshire Swash": { + "name": "Berkshire Swash", + "version": "Version 1.001" + }, + "Besley": { + "name": "Besley", + "version": "Version 2.001" + }, + "Beth Ellen": { + "name": "Beth Ellen", + "version": "Version 2.000" + }, + "Bevan": { + "name": "Bevan", + "version": "Version 2.100; ttfautohint (v1.8.3)" + }, + "BhuTuka Expanded One": { + "name": "BhuTuka Expanded One", + "version": "Version 1.000; ttfautohint (v1.8.3)" + }, + "Big Shoulders": { + "name": "Big Shoulders", + "version": "Version 2.002" + }, + "Big Shoulders Inline": { + "name": "Big Shoulders Inline", + "version": "Version 2.002" + }, + "Big Shoulders Stencil": { + "name": "Big Shoulders Stencil", + "version": "Version 2.001" + }, + "Bigelow Rules": { + "name": "Bigelow Rules", + "version": "Version 1.001" + }, + "Bigshot One": { + "name": "Bigshot One", + "version": "Version 1.001" + }, + "Bilbo": { + "name": "Bilbo", + "version": "Version 1.100" + }, + "Bilbo Swash Caps": { + "name": "Bilbo Swash Caps", + "version": "Version 1.003" + }, + "BioRhyme": { + "name": "BioRhyme", + "version": "Version 1.600;gftools[0.9.33]" + }, + "BioRhyme Expanded": { + "name": "BioRhyme Expanded", + "version": "Version 1.000" + }, + "Birthstone": { + "name": "Birthstone", + "version": "Version 1.013; ttfautohint (v1.8.3)" + }, + "Birthstone Bounce": { + "name": "Birthstone Bounce", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Biryani": { + "name": "Biryani", + "version": "Version 1.004; ttfautohint (v1.1) -l 5 -r 5 -G 72 -x 0 -D latn -f none -w gGD -W -c" + }, + "Bitter": { + "name": "Bitter", + "version": "Version 3.021" + }, + "Black And White Picture": { + "name": "Black And White Picture", + "version": "Version 1.64" + }, + "Black Han Sans": { + "name": "Black Han Sans", + "version": "Version 1.001" + }, + "Black Ops One": { + "name": "Black Ops One", + "version": "Version 1.004; ttfautohint (v1.8.4.7-5d5b)" + }, + "Blaka": { + "name": "Blaka", + "version": "Version 1.003; ttfautohint (v1.8.4.7-5d5b)" + }, + "Blaka Hollow": { + "name": "Blaka Hollow", + "version": "Version 1.003; ttfautohint (v1.8.4.7-5d5b)" + }, + "Blaka Ink": { + "name": "Blaka Ink", + "version": "Version 1.003; ttfautohint (v1.8.4.7-5d5b)" + }, + "Blinker": { + "name": "Blinker", + "version": "Version 1.015;PS 1.15;hotconv 1.0.88;makeotf.lib2.5.647800" + }, + "Bodoni Moda": { + "name": "Bodoni Moda", + "version": "Version 2.005" + }, + "Bodoni Moda SC": { + "name": "Bodoni Moda SC", + "version": "Version 2.005" + }, + "Bokor": { + "name": "Bokor", + "version": "Version 8.002; ttfautohint (v1.8.3)" + }, + "Boldonse": { + "name": "Boldonse", + "version": "Version 1.000; ttfautohint (v1.8.4.7-5d5b)" + }, + "Bona Nova": { + "name": "Bona Nova", + "version": "Version 4.001; ttfautohint (v1.8.3)" + }, + "Bona Nova SC": { + "name": "Bona Nova SC", + "version": "Version 4.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Bonbon": { + "name": "Bonbon", + "version": "Version 1.001" + }, + "Bonheur Royale": { + "name": "Bonheur Royale", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Boogaloo": { + "name": "Boogaloo", + "version": "Version 1.002" + }, + "Borel": { + "name": "Borel", + "version": "Version 1.005; ttfautohint (v1.8.4.7-5d5b)" + }, + "Bowlby One": { + "name": "Bowlby One", + "version": "Version 1.001" + }, + "Bowlby One SC": { + "name": "Bowlby One SC", + "version": "Version 1.2" + }, + "Braah One": { + "name": "Braah One", + "version": "Version 1.001; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.29]" + }, + "Brawler": { + "name": "Brawler", + "version": "Version 1.101; ttfautohint (v1.8.3)" + }, + "Bree Serif": { + "name": "Bree Serif", + "version": "Version 1.002" + }, + "Bricolage Grotesque": { + "name": "Bricolage Grotesque", + "version": "Version 1.001;gftools[0.9.33.dev8+g029e19f]" + }, + "Bruno Ace": { + "name": "Bruno Ace", + "version": "Version 1.100; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.27]" + }, + "Bruno Ace SC": { + "name": "Bruno Ace SC", + "version": "Version 1.100; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.27]" + }, + "Brygada 1918": { + "name": "Brygada 1918", + "version": "Version 3.006" + }, + "Bubblegum Sans": { + "name": "Bubblegum Sans", + "version": "Version 1.001" + }, + "Bubbler One": { + "name": "Bubbler One", + "version": "Version 1.003" + }, + "Buda": { + "name": "Buda", + "version": "Version 1.003 " + }, + "Buenard": { + "name": "Buenard", + "version": "Version 2.000" + }, + "Bungee": { + "name": "Bungee", + "version": "Version 2.000" + }, + "Bungee Hairline": { + "name": "Bungee Hairline", + "version": "Version 2.000" + }, + "Bungee Inline": { + "name": "Bungee Inline", + "version": "Version 2.000" + }, + "Bungee Outline": { + "name": "Bungee Outline", + "version": "Version 2.000" + }, + "Bungee Shade": { + "name": "Bungee Shade", + "version": "Version 2.000" + }, + "Bungee Spice": { + "name": "Bungee Spice", + "version": "Version 2.000" + }, + "Bungee Tint": { + "name": "Bungee Tint", + "version": "Version 2.001" + }, + "Butcherman": { + "name": "Butcherman", + "version": "Version 001.004 " + }, + "Butterfly Kids": { + "name": "Butterfly Kids", + "version": "Version 1.001" + }, + "Bytesized": { + "name": "Bytesized", + "version": "Version 1.000" + }, + "Cabin": { + "name": "Cabin", + "version": "Version 3.001" + }, + "Cabin Condensed": { + "name": "Cabin Condensed", + "version": "Version 2.200" + }, + "Cabin Sketch": { + "name": "Cabin Sketch", + "version": "Version 1.100" + }, + "Cactus Classical Serif": { + "name": "Cactus Classical Serif", + "version": "Version 1.001" + }, + "Caesar Dressing": { + "name": "Caesar Dressing", + "version": "Version 1.000" + }, + "Cagliostro": { + "name": "Cagliostro", + "version": "Version " + }, + "Cairo": { + "name": "Cairo", + "version": "Version 3.130;gftools[0.9.24]" + }, + "Cairo Play": { + "name": "Cairo Play", + "version": "Version 3.130;gftools[0.9.24]" + }, + "Cal Sans": { + "name": "Cal Sans", + "version": "Version 1.000; ttfautohint (v1.8.4.7-5d5b)" + }, + "Caladea": { + "name": "Caladea", + "version": "Version 1.001" + }, + "Calistoga": { + "name": "Calistoga", + "version": "Version 1.010; ttfautohint (v1.8.4.7-5d5b)" + }, + "Calligraffitti": { + "name": "Calligraffitti", + "version": "Version 1.002" + }, + "Cambay": { + "name": "Cambay", + "version": "Version 1.181;PS 001.181;hotconv 1.0.70;makeotf.lib2.5.58329" + }, + "Cambo": { + "name": "Cambo", + "version": "Version 2.001" + }, + "Candal": { + "name": "Candal", + "version": "Version 1.000" + }, + "Cantarell": { + "name": "Cantarell", + "version": "Version 1.004" + }, + "Cantata One": { + "name": "Cantata One", + "version": "Version 1.002" + }, + "Cantora One": { + "name": "Cantora One", + "version": "Version 1.002; ttfautohint (v0.8) -G 200 -r 50" + }, + "Caprasimo": { + "name": "Caprasimo", + "version": "Version 1.001" + }, + "Capriola": { + "name": "Capriola", + "version": "Version 1.007" + }, + "Caramel": { + "name": "Caramel", + "version": "Version 1.010" + }, + "Carattere": { + "name": "Carattere", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Cardo": { + "name": "Cardo", + "version": "Version 1.0451" + }, + "Carlito": { + "name": "Carlito", + "version": "Version 1.104" + }, + "Carme": { + "name": "Carme", + "version": "1.000" + }, + "Carrois Gothic": { + "name": "Carrois Gothic", + "version": "Version 1.002" + }, + "Carrois Gothic SC": { + "name": "Carrois Gothic SC", + "version": "Version 1.002" + }, + "Carter One": { + "name": "Carter One", + "version": "Version 1.000" + }, + "Cascadia Code": { + "name": "Cascadia Code", + "version": "Version 2407.024" + }, + "Cascadia Mono": { + "name": "Cascadia Mono", + "version": "Version 2407.024" + }, + "Castoro": { + "name": "Castoro", + "version": "Version 2.04" + }, + "Castoro Titling": { + "name": "Castoro Titling", + "version": "Version 2.04" + }, + "Catamaran": { + "name": "Catamaran", + "version": "Version 2.000" + }, + "Caudex": { + "name": "Caudex", + "version": "Version 1.01 " + }, + "Caveat": { + "name": "Caveat", + "version": "Version 2.000" + }, + "Caveat Brush": { + "name": "Caveat Brush", + "version": "Version 1.096; ttfautohint (v1.3)" + }, + "Cedarville Cursive": { + "name": "Cedarville Cursive", + "version": "Version 1.001 2010" + }, + "Ceviche One": { + "name": "Ceviche One", + "version": "Version 1.002" + }, + "Chakra Petch": { + "name": "Chakra Petch", + "version": "Version 1.000; ttfautohint (v1.6)" + }, + "Changa": { + "name": "Changa", + "version": "Version 3.003" + }, + "Changa One": { + "name": "Changa One", + "version": "Version 1.003" + }, + "Chango": { + "name": "Chango", + "version": "Version 1.001" + }, + "Charis SIL": { + "name": "Charis SIL", + "version": "Version 6.101" + }, + "Charm": { + "name": "Charm", + "version": "Version 1.001" + }, + "Charmonman": { + "name": "Charmonman", + "version": "Version 1.000; ttfautohint (v1.6)" + }, + "Chathura": { + "name": "Chathura", + "version": "Version 1.002 2016" + }, + "Chau Philomene One": { + "name": "Chau Philomene One", + "version": "Version 1.002" + }, + "Chela One": { + "name": "Chela One", + "version": "Version 1.001" + }, + "Chelsea Market": { + "name": "Chelsea Market", + "version": "Version 1.001" + }, + "Chenla": { + "name": "Chenla", + "version": "Version 6.00 December 28, 2010" + }, + "Cherish": { + "name": "Cherish", + "version": "Version 1.005" + }, + "Cherry Bomb One": { + "name": "Cherry Bomb One", + "version": "Version 4.100; ttfautohint (v1.8.3)" + }, + "Cherry Cream Soda": { + "name": "Cherry Cream Soda", + "version": "Version 1.001" + }, + "Cherry Swash": { + "name": "Cherry Swash", + "version": "Version 1.001" + }, + "Chewy": { + "name": "Chewy", + "version": "Version 1.001" + }, + "Chicle": { + "name": "Chicle", + "version": "Version 1.000" + }, + "Chilanka": { + "name": "Chilanka", + "version": "Version 1.600" + }, + "Chiron Sung HK": { + "name": "Chiron Sung HK", + "version": "Version 1.019" + }, + "Chivo": { + "name": "Chivo", + "version": "Version 2.002" + }, + "Chivo Mono": { + "name": "Chivo Mono", + "version": "Version 1.008" + }, + "Chocolate Classical Sans": { + "name": "Chocolate Classical Sans", + "version": "Version 1.002" + }, + "Chokokutai": { + "name": "Chokokutai", + "version": "Version 1.000; ttfautohint (v1.8.3)" + }, + "Chonburi": { + "name": "Chonburi", + "version": "Version 1.000g" + }, + "Cinzel": { + "name": "Cinzel", + "version": "Version 2.000" + }, + "Cinzel Decorative": { + "name": "Cinzel Decorative", + "version": "Version 1.002;PS 001.002;hotconv 1.0.56;makeotf.lib2.0.21325" + }, + "Clicker Script": { + "name": "Clicker Script", + "version": "Version 1.000" + }, + "Climate Crisis": { + "name": "Climate Crisis", + "version": "Version 1.003" + }, + "Coda": { + "name": "Coda", + "version": "Version 2.001; ttfautohint (v0.8) -r 50 -G 200 -x" + }, + "Codystar": { + "name": "Codystar", + "version": "Version 1.000" + }, + "Coiny": { + "name": "Coiny", + "version": "Version 001.001" + }, + "Combo": { + "name": "Combo", + "version": "Version 1.001" + }, + "Comfortaa": { + "name": "Comfortaa", + "version": "Version 3.105" + }, + "Comforter": { + "name": "Comforter", + "version": "Version 1.013; ttfautohint (v1.8.3)" + }, + "Comforter Brush": { + "name": "Comforter Brush", + "version": "Version 1.013" + }, + "Comic Neue": { + "name": "Comic Neue", + "version": "Version 2.003" + }, + "Comic Relief": { + "name": "Comic Relief", + "version": "Version 1.200; ttfautohint (v1.8.4.7-5d5b)" + }, + "Coming Soon": { + "name": "Coming Soon", + "version": "Version 1.002" + }, + "Comme": { + "name": "Comme", + "version": "Version 1.000;gftools[0.9.27]" + }, + "Commissioner": { + "name": "Commissioner", + "version": "Version 1.001;gftools[0.9.23]" + }, + "Concert One": { + "name": "Concert One", + "version": "Version 1.004" + }, + "Condiment": { + "name": "Condiment", + "version": "Version 1.001" + }, + "Content": { + "name": "Content", + "version": "Version 6.00 December 28, 2010" + }, + "Contrail One": { + "name": "Contrail One", + "version": "Version 1.003" + }, + "Convergence": { + "name": "Convergence", + "version": "Version 1.002" + }, + "Cookie": { + "name": "Cookie", + "version": "Version 1.004" + }, + "Copse": { + "name": "Copse", + "version": "Version 1.000" + }, + "Coral Pixels": { + "name": "Coral Pixels", + "version": "Version 1.000; ttfautohint (v1.8.4.7-5d5b)" + }, + "Corben": { + "name": "Corben", + "version": "Version 1.101" + }, + "Corinthia": { + "name": "Corinthia", + "version": "Version 1.013; ttfautohint (v1.8.3)" + }, + "Cormorant": { + "name": "Cormorant", + "version": "Version 4.000" + }, + "Cormorant Garamond": { + "name": "Cormorant Garamond", + "version": "Version 4.001" + }, + "Cormorant Infant": { + "name": "Cormorant Infant", + "version": "Version 4.001" + }, + "Cormorant SC": { + "name": "Cormorant SC", + "version": "Version 4.000" + }, + "Cormorant Unicase": { + "name": "Cormorant Unicase", + "version": "Version 4.000" + }, + "Cormorant Upright": { + "name": "Cormorant Upright", + "version": "Version 3.302" + }, + "Courgette": { + "name": "Courgette", + "version": "Version 1.002" + }, + "Courier Prime": { + "name": "Courier Prime", + "version": "Version 3.018" + }, + "Cousine": { + "name": "Cousine", + "version": "Version 1.21" + }, + "Coustard": { + "name": "Coustard", + "version": "Version 1.001" + }, + "Covered By Your Grace": { + "name": "Covered By Your Grace", + "version": "1.0" + }, + "Crafty Girls": { + "name": "Crafty Girls", + "version": "Version 1.001" + }, + "Creepster": { + "name": "Creepster", + "version": "Version 1.002" + }, + "Crete Round": { + "name": "Crete Round", + "version": "Version 1.001" + }, + "Crimson Pro": { + "name": "Crimson Pro", + "version": "Version 1.003" + }, + "Crimson Text": { + "name": "Crimson Text", + "version": "Version 1.100; ttfautohint (v1.8.4)" + }, + "Croissant One": { + "name": "Croissant One", + "version": "Version 1.001" + }, + "Crushed": { + "name": "Crushed", + "version": "Version 001.001" + }, + "Cuprum": { + "name": "Cuprum", + "version": "Version 3.000" + }, + "Cute Font": { + "name": "Cute Font", + "version": "Version 1.00" + }, + "Cutive": { + "name": "Cutive", + "version": "Version 1.100; ttfautohint (v1.8.4.7-5d5b)" + }, + "Cutive Mono": { + "name": "Cutive Mono", + "version": "Version 1.110; ttfautohint (v1.8.4.7-5d5b)" + }, + "DM Mono": { + "name": "DM Mono", + "version": "Version 1.000; ttfautohint (v1.8.2.53-6de2)" + }, + "DM Sans": { + "name": "DM Sans", + "version": "Version 4.004;gftools[0.9.30]" + }, + "DM Serif Display": { + "name": "DM Serif Display", + "version": "Version 5.200; ttfautohint (v1.8.3)" + }, + "DM Serif Text": { + "name": "DM Serif Text", + "version": "Version 5.200; ttfautohint (v1.8.3)" + }, + "Dai Banna SIL": { + "name": "Dai Banna SIL", + "version": "Version 4.000" + }, + "Damion": { + "name": "Damion", + "version": "Version 1.100; ttfautohint (v1.8.4.7-5d5b)" + }, + "Dancing Script": { + "name": "Dancing Script", + "version": "Version 2.001" + }, + "Danfo": { + "name": "Danfo", + "version": "Version 1.000" + }, + "Dangrek": { + "name": "Dangrek", + "version": "Version 8.001; ttfautohint (v1.8.3)" + }, + "Darker Grotesque": { + "name": "Darker Grotesque", + "version": "Version 1.000;gftools[0.9.28]" + }, + "Darumadrop One": { + "name": "Darumadrop One", + "version": "Version 1.000" + }, + "David Libre": { + "name": "David Libre", + "version": "Version 1.100; ttfautohint (v1.8.4.7-5d5b)" + }, + "Dawning of a New Day": { + "name": "Dawning of a New Day", + "version": "Version 1.002 2010" + }, + "Days One": { + "name": "Days One", + "version": "Version 1.002" + }, + "Dekko": { + "name": "Dekko", + "version": "Version 1.001; ttfautohint (v1.1) -l 8 -r 50 -G 0 -x 0 -D deva -f latn -w gG -W" + }, + "Dela Gothic One": { + "name": "Dela Gothic One", + "version": "Version 1.005" + }, + "Delicious Handrawn": { + "name": "Delicious Handrawn", + "version": "Version 1.002; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.27]" + }, + "Delius": { + "name": "Delius", + "version": "Version 1.001" + }, + "Delius Swash Caps": { + "name": "Delius Swash Caps", + "version": "Version 1.002" + }, + "Delius Unicase": { + "name": "Delius Unicase", + "version": "Version 1.002" + }, + "Della Respira": { + "name": "Della Respira", + "version": "Version 0.201" + }, + "Denk One": { + "name": "Denk One", + "version": "Version 1.004; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.23]" + }, + "Devonshire": { + "name": "Devonshire", + "version": "Version 1.001" + }, + "Dhurjati": { + "name": "Dhurjati", + "version": "Version 1.0.5; ttfautohint (v1.2.25-373a) -l 7 -r 28 -G 50 -x 13 -D telu -f latn -w G -X \"\"" + }, + "Didact Gothic": { + "name": "Didact Gothic", + "version": "Version 2.101" + }, + "Diphylleia": { + "name": "Diphylleia", + "version": "Version 1.000; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.28]" + }, + "Diplomata": { + "name": "Diplomata", + "version": "Version 1.002; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.23]" + }, + "Diplomata SC": { + "name": "Diplomata SC", + "version": "Version 1.002; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.23]" + }, + "Do Hyeon": { + "name": "Do Hyeon", + "version": "Version 1.001" + }, + "Dokdo": { + "name": "Dokdo", + "version": "Version 2.00" + }, + "Domine": { + "name": "Domine", + "version": "Version 2.000" + }, + "Donegal One": { + "name": "Donegal One", + "version": "Version 1.004" + }, + "Dongle": { + "name": "Dongle", + "version": "Version 2.000" + }, + "Doppio One": { + "name": "Doppio One", + "version": "Version 1.002" + }, + "Dorsa": { + "name": "Dorsa", + "version": "Version 1.002 " + }, + "Dosis": { + "name": "Dosis", + "version": "Version 3.002" + }, + "DotGothic16": { + "name": "DotGothic16", + "version": "Version 1.100" + }, + "Doto": { + "name": "Doto", + "version": "Version 1.000" + }, + "Dr Sugiyama": { + "name": "Dr Sugiyama", + "version": "Version 1.000" + }, + "Duru Sans": { + "name": "Duru Sans", + "version": "Version 1.002" + }, + "DynaPuff": { + "name": "DynaPuff", + "version": "Version 2.000" + }, + "Dynalight": { + "name": "Dynalight", + "version": "Version 1.000" + }, + "EB Garamond": { + "name": "EB Garamond", + "version": "Version 1.001" + }, + "Eagle Lake": { + "name": "Eagle Lake", + "version": "Version 1.000" + }, + "East Sea Dokdo": { + "name": "East Sea Dokdo", + "version": "Version 1.00" + }, + "Eater": { + "name": "Eater", + "version": "Version 001.002 " + }, + "Economica": { + "name": "Economica", + "version": "Version 1.101" + }, + "Eczar": { + "name": "Eczar", + "version": "Version 2.000" + }, + "Edu AU VIC WA NT Arrows": { + "name": "Edu AU VIC WA NT Arrows", + "version": "Version 1.001" + }, + "Edu AU VIC WA NT Dots": { + "name": "Edu AU VIC WA NT Dots", + "version": "Version 1.001" + }, + "Edu AU VIC WA NT Guides": { + "name": "Edu AU VIC WA NT Guides", + "version": "Version 1.001" + }, + "Edu AU VIC WA NT Hand": { + "name": "Edu AU VIC WA NT Hand", + "version": "Version 1.001" + }, + "Edu AU VIC WA NT Pre": { + "name": "Edu AU VIC WA NT Pre", + "version": "Version 1.001" + }, + "Edu NSW ACT Cursive": { + "name": "Edu NSW ACT Cursive", + "version": "Version 2.000" + }, + "Edu NSW ACT Foundation": { + "name": "Edu NSW ACT Foundation", + "version": "Version 1.003" + }, + "Edu NSW ACT Hand Pre": { + "name": "Edu NSW ACT Hand Pre", + "version": "Version 2.000" + }, + "Edu QLD Beginner": { + "name": "Edu QLD Beginner", + "version": "Version 1.003" + }, + "Edu QLD Hand": { + "name": "Edu QLD Hand", + "version": "Version 2.000" + }, + "Edu SA Beginner": { + "name": "Edu SA Beginner", + "version": "Version 1.003" + }, + "Edu SA Hand": { + "name": "Edu SA Hand", + "version": "Version 2.000" + }, + "Edu TAS Beginner": { + "name": "Edu TAS Beginner", + "version": "Version 1.003" + }, + "Edu VIC WA NT Beginner": { + "name": "Edu VIC WA NT Beginner", + "version": "Version 1.003" + }, + "Edu VIC WA NT Hand": { + "name": "Edu VIC WA NT Hand", + "version": "Version 1.000" + }, + "Edu VIC WA NT Hand Pre": { + "name": "Edu VIC WA NT Hand Pre", + "version": "Version 1.000" + }, + "El Messiri": { + "name": "El Messiri", + "version": "Version 2.020" + }, + "Electrolize": { + "name": "Electrolize", + "version": "Version 1.002" + }, + "Elsie": { + "name": "Elsie", + "version": "1.003" + }, + "Elsie Swash Caps": { + "name": "Elsie Swash Caps", + "version": "1.003" + }, + "Emblema One": { + "name": "Emblema One", + "version": "Version 1.003" + }, + "Emilys Candy": { + "name": "Emilys Candy", + "version": "Version 1.000" + }, + "Encode Sans": { + "name": "Encode Sans", + "version": "Version 3.002" + }, + "Encode Sans Condensed": { + "name": "Encode Sans Condensed", + "version": "Version 2.000" + }, + "Encode Sans Expanded": { + "name": "Encode Sans Expanded", + "version": "Version 2.000" + }, + "Encode Sans SC": { + "name": "Encode Sans SC", + "version": "Version 3.002" + }, + "Encode Sans Semi Condensed": { + "name": "Encode Sans Semi Condensed", + "version": "Version 2.000" + }, + "Encode Sans Semi Expanded": { + "name": "Encode Sans Semi Expanded", + "version": "Version 2.000" + }, + "Engagement": { + "name": "Engagement", + "version": "Version 1.000" + }, + "Englebert": { + "name": "Englebert", + "version": "Version 1.010" + }, + "Enriqueta": { + "name": "Enriqueta", + "version": "Version 2.000" + }, + "Ephesis": { + "name": "Ephesis", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Epilogue": { + "name": "Epilogue", + "version": "Version 2.112" + }, + "Erica One": { + "name": "Erica One", + "version": "Version 1.003" + }, + "Esteban": { + "name": "Esteban", + "version": "Version 1.002" + }, + "Estonia": { + "name": "Estonia", + "version": "Version 1.014; ttfautohint (v1.8.3)" + }, + "Euphoria Script": { + "name": "Euphoria Script", + "version": "Version 1.002" + }, + "Ewert": { + "name": "Ewert", + "version": "Version 1.001" + }, + "Exile": { + "name": "Exile", + "version": "Version 1.000; ttfautohint (v1.8.4.7-5d5b)" + }, + "Exo": { + "name": "Exo", + "version": "Version 2.001" + }, + "Exo 2": { + "name": "Exo 2", + "version": "Version 2.010" + }, + "Expletus Sans": { + "name": "Expletus Sans", + "version": "Version 7.500" + }, + "Explora": { + "name": "Explora", + "version": "Version 1.010" + }, + "Faculty Glyphic": { + "name": "Faculty Glyphic", + "version": "Version 1.004; ttfautohint (v1.8.4.7-5d5b)" + }, + "Fahkwang": { + "name": "Fahkwang", + "version": "Version 1.000; ttfautohint (v1.6)" + }, + "Familjen Grotesk": { + "name": "Familjen Grotesk", + "version": "Version 2.002" + }, + "Fanwood Text": { + "name": "Fanwood Text", + "version": "Version 1.1001 " + }, + "Farro": { + "name": "Farro", + "version": "Version 1.101" + }, + "Farsan": { + "name": "Farsan", + "version": "Version 1.001g;PS 1.001;hotconv 1.0.86;makeotf.lib2.5.63406 DEVELOPMENT" + }, + "Fascinate": { + "name": "Fascinate", + "version": "Version 1.000" + }, + "Fascinate Inline": { + "name": "Fascinate Inline", + "version": "Version 1.000" + }, + "Faster One": { + "name": "Faster One", + "version": "Version 1.003; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.23]" + }, + "Fasthand": { + "name": "Fasthand", + "version": "Version 8.002; ttfautohint (v1.8.3)" + }, + "Fauna One": { + "name": "Fauna One", + "version": "Version 2.001; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.23]" + }, + "Faustina": { + "name": "Faustina", + "version": "Version 1.200" + }, + "Federant": { + "name": "Federant", + "version": "Version 1.011; ttfautohint (v1.4.1)" + }, + "Federo": { + "name": "Federo", + "version": "Version 1.000" + }, + "Felipa": { + "name": "Felipa", + "version": "Version 1.001" + }, + "Fenix": { + "name": "Fenix", + "version": "004.301" + }, + "Festive": { + "name": "Festive", + "version": "Version 1.101; ttfautohint (v1.8.3)" + }, + "Figtree": { + "name": "Figtree", + "version": "Version 2.002" + }, + "Finger Paint": { + "name": "Finger Paint", + "version": "Version 1.002" + }, + "Finlandica": { + "name": "Finlandica", + "version": "Version 1.064" + }, + "Fira Code": { + "name": "Fira Code", + "version": "Version 5.002" + }, + "Fira Mono": { + "name": "Fira Mono", + "version": "Version 3.206" + }, + "Fira Sans": { + "name": "Fira Sans", + "version": "Version 4.203" + }, + "Fira Sans Condensed": { + "name": "Fira Sans Condensed", + "version": "Version 4.203" + }, + "Fira Sans Extra Condensed": { + "name": "Fira Sans Extra Condensed", + "version": "Version 4.203" + }, + "Fjalla One": { + "name": "Fjalla One", + "version": "Version 1.002; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.25]" + }, + "Fjord One": { + "name": "Fjord", + "version": "Version 1.002" + }, + "Flamenco": { + "name": "Flamenco", + "version": "Version 1.003" + }, + "Flavors": { + "name": "Flavors", + "version": "Version 1.001" + }, + "Fleur De Leah": { + "name": "Fleur De Leah", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Flow Block": { + "name": "Flow Block", + "version": "Version 1.101; ttfautohint (v1.8.3)" + }, + "Flow Circular": { + "name": "Flow Circular", + "version": "Version 1.101; ttfautohint (v1.8.3)" + }, + "Flow Rounded": { + "name": "Flow Rounded", + "version": "Version 1.101; ttfautohint (v1.8.3)" + }, + "Foldit": { + "name": "Foldit", + "version": "Version 1.003" + }, + "Fondamento": { + "name": "Fondamento", + "version": "Version 1.000" + }, + "Fontdiner Swanky": { + "name": "Fontdiner Swanky", + "version": "Version 1.001" + }, + "Forum": { + "name": "Forum", + "version": "Version 1.000" + }, + "Fragment Mono": { + "name": "Fragment Mono", + "version": "Version 1.011; ttfautohint (v1.8.4.7-5d5b)" + }, + "Francois One": { + "name": "Francois One", + "version": "Version 2.000" + }, + "Frank Ruhl Libre": { + "name": "Frank Ruhl Libre", + "version": "Version 6.004" + }, + "Fraunces": { + "name": "Fraunces", + "version": "Version 1.000;[b76b70a41]" + }, + "Freckle Face": { + "name": "Freckle Face", + "version": "Version 1.000" + }, + "Fredericka the Great": { + "name": "Fredericka the Great", + "version": "Version 1.001" + }, + "Fredoka": { + "name": "Fredoka", + "version": "Version 2.001" + }, + "Freehand": { + "name": "Freehand", + "version": "Version 8.002; ttfautohint (v1.8.3)" + }, + "Freeman": { + "name": "Freeman", + "version": "Version 1.000; ttfautohint (v1.8.4.7-5d5b)" + }, + "Fresca": { + "name": "Fresca", + "version": "Version 1.001" + }, + "Frijole": { + "name": "Frijole", + "version": "Version 1.000" + }, + "Fruktur": { + "name": "Fruktur", + "version": "Version 1.008; ttfautohint (v1.8.4.7-5d5b)" + }, + "Fugaz One": { + "name": "Fugaz One", + "version": "Version 1.002" + }, + "Fuggles": { + "name": "Fuggles", + "version": "Version 1.100; ttfautohint (v1.8.3)" + }, + "Funnel Display": { + "name": "Funnel Display", + "version": "Version 1.000" + }, + "Funnel Sans": { + "name": "Funnel Sans", + "version": "Version 1.000" + }, + "Fustat": { + "name": "Fustat", + "version": "Version 1.010" + }, + "Fuzzy Bubbles": { + "name": "Fuzzy Bubbles", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "GFS Didot": { + "name": "GFS Didot", + "version": "Version 1.0 " + }, + "GFS Neohellenic": { + "name": "GFS Neohellenic", + "version": "Version 1.0 " + }, + "Ga Maamli": { + "name": "Ga Maamli", + "version": "Version 1.000; ttfautohint (v1.8.4.7-5d5b)" + }, + "Gabarito": { + "name": "Gabarito", + "version": "Version 1.000" + }, + "Gabriela": { + "name": "Gabriela", + "version": "Version 2.001;gftools[0.9.26]" + }, + "Gaegu": { + "name": "Gaegu", + "version": "Version 1.00" + }, + "Gafata": { + "name": "Gafata", + "version": "Version 4.002" + }, + "Gajraj One": { + "name": "Gajraj One", + "version": "Version 1.000" + }, + "Galada": { + "name": "Galada", + "version": "Version 1.261;PS 1.261;hotconv 1.0.86;makeotf.lib2.5.63406" + }, + "Galdeano": { + "name": "Galdeano", + "version": "Version 1.001" + }, + "Galindo": { + "name": "Galindo", + "version": "Version 1.000" + }, + "Gamja Flower": { + "name": "Gamja Flower", + "version": "Version 3.00;build 20171102" + }, + "Gantari": { + "name": "Gantari", + "version": "Version 1.000" + }, + "Gasoek One": { + "name": "Gasoek One", + "version": "Version 1.000; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.29]" + }, + "Gayathri": { + "name": "Gayathri", + "version": "Version 1.000" + }, + "Geist": { + "name": "Geist", + "version": "Version 1.401" + }, + "Geist Mono": { + "name": "Geist Mono", + "version": "Version 1.401" + }, + "Gelasio": { + "name": "Gelasio", + "version": "Version 1.008" + }, + "Gemunu Libre": { + "name": "Gemunu Libre", + "version": "Version 1.100" + }, + "Genos": { + "name": "Genos", + "version": "Version 1.010" + }, + "Gentium Book Plus": { + "name": "Gentium Book Plus", + "version": "Version 6.101" + }, + "Gentium Plus": { + "name": "Gentium Plus", + "version": "Version 6.101" + }, + "Geo": { + "name": "Geo", + "version": "Version 001.2 " + }, + "Geologica": { + "name": "Geologica", + "version": "Version 1.010;gftools[0.9.28]" + }, + "Georama": { + "name": "Georama", + "version": "Version 1.001" + }, + "Geostar": { + "name": "Geostar", + "version": "Version 1.002" + }, + "Geostar Fill": { + "name": "Geostar Fill", + "version": "Version 1.002" + }, + "Germania One": { + "name": "Germania One", + "version": "Version 1.001" + }, + "Gideon Roman": { + "name": "Gideon Roman", + "version": "Version 2.010" + }, + "Gidole": { + "name": "Gidole", + "version": "Version 2.100; ttfautohint (v1.8.4.7-5d5b)" + }, + "Gidugu": { + "name": "Gidugu", + "version": "Version 2.000; ttfautohint (v1.8.4.7-5d5b)" + }, + "Gilda Display": { + "name": "Gilda Display", + "version": "Version 1.002; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.22]" + }, + "Girassol": { + "name": "Girassol", + "version": "Version 1.004" + }, + "Give You Glory": { + "name": "Give You Glory", + "version": "Version 1.002" + }, + "Glass Antiqua": { + "name": "Glass Antiqua", + "version": "1.001" + }, + "Glegoo": { + "name": "Glegoo", + "version": "Version 2.0.1; ttfautohint (v0.9) -r 48 -G 60" + }, + "Gloock": { + "name": "Gloock", + "version": "Version 1.000; ttfautohint (v1.8.4.7-5d5b)" + }, + "Gloria Hallelujah": { + "name": "Gloria Hallelujah", + "version": "Version 1.004 2010" + }, + "Glory": { + "name": "Glory", + "version": "Version 1.011" + }, + "Gluten": { + "name": "Gluten", + "version": "Version 1.300" + }, + "Goblin One": { + "name": "Goblin One", + "version": "Version 1.001" + }, + "Gochi Hand": { + "name": "Gochi Hand", + "version": "Version 1.001" + }, + "Goldman": { + "name": "Goldman", + "version": "Version 1.000; ttfautohint (v1.8.3)" + }, + "Golos Text": { + "name": "Golos Text", + "version": "Version 2.004" + }, + "Gorditas": { + "name": "Gorditas", + "version": "Version 1.001" + }, + "Gothic A1": { + "name": "Gothic A1", + "version": "Version 2.50" + }, + "Gotu": { + "name": "Gotu", + "version": "Version 2.320;hotconv 1.0.109;makeotfexe 2.5.65596; ttfautohint (v1.8.1)" + }, + "Goudy Bookletter 1911": { + "name": "Goudy Bookletter 1911", + "version": "Version 2010.07.03 " + }, + "Gowun Batang": { + "name": "Gowun Batang", + "version": "Version 2.000" + }, + "Gowun Dodum": { + "name": "Gowun Dodum", + "version": "Version 2.000" + }, + "Graduate": { + "name": "Graduate", + "version": "Version 1.001" + }, + "Grand Hotel": { + "name": "Grand Hotel", + "version": "Version 001.000" + }, + "Grandiflora One": { + "name": "Grandiflora One", + "version": "Version 1.000; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.28]" + }, + "Grandstander": { + "name": "Grandstander", + "version": "Version 1.200" + }, + "Grape Nuts": { + "name": "Grape Nuts", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Gravitas One": { + "name": "Gravitas One", + "version": "Version 1.001" + }, + "Great Vibes": { + "name": "Great Vibes", + "version": "Version 1.103; ttfautohint (v1.8.4.7-5d5b)" + }, + "Grechen Fuemen": { + "name": "Grechen Fuemen", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Grenze": { + "name": "Grenze", + "version": "Version 1.002; ttfautohint (v1.8)" + }, + "Grenze Gotisch": { + "name": "Grenze Gotisch", + "version": "Version 1.002" + }, + "Grey Qo": { + "name": "Grey Qo", + "version": "Version 2.010" + }, + "Griffy": { + "name": "Griffy", + "version": "Version 1.000" + }, + "Gruppo": { + "name": "Gruppo", + "version": "Version 1.001; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.28]" + }, + "Gudea": { + "name": "Gudea", + "version": "Version 1.003" + }, + "Gugi": { + "name": "Gugi", + "version": "Version 3.00" + }, + "Gulzar": { + "name": "Gulzar", + "version": "Version 1.000;[7b34f74]; ttfautohint (v1.8.4)" + }, + "Gupter": { + "name": "Gupter", + "version": "Version 1.000" + }, + "Gurajada": { + "name": "Gurajada", + "version": "Version 1.0.3; ttfautohint (v1.2.42-39fb)" + }, + "Gwendolyn": { + "name": "Gwendolyn", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Habibi": { + "name": "Habibi", + "version": "Version 1.001" + }, + "Hachi Maru Pop": { + "name": "Hachi Maru Pop", + "version": "Version 1.300" + }, + "Hahmlet": { + "name": "Hahmlet", + "version": "Version 1.002" + }, + "Halant": { + "name": "Halant", + "version": "Version 1.101;PS 1.0;hotconv 1.0.78;makeotf.lib2.5.61930; ttfautohint (v1.1) -l 8 -r 50 -G 200 -x 14 -D latn -f deva -w gGD -W -c" + }, + "Hammersmith One": { + "name": "Hammersmith One", + "version": "Version 1.003" + }, + "Hanalei": { + "name": "Hanalei", + "version": "Version 1.000" + }, + "Hanalei Fill": { + "name": "Hanalei Fill", + "version": "Version 1.000" + }, + "Handjet": { + "name": "Handjet", + "version": "Version 2.003" + }, + "Handlee": { + "name": "Handlee", + "version": "Version 1.001" + }, + "Hanken Grotesk": { + "name": "Hanken Grotesk", + "version": "Version 3.013" + }, + "Hanuman": { + "name": "Hanuman", + "version": "Version 9.000" + }, + "Happy Monkey": { + "name": "Happy Monkey", + "version": "Version 1.001" + }, + "Harmattan": { + "name": "Harmattan", + "version": "Version 4.300" + }, + "Headland One": { + "name": "HeadlandOne", + "version": "Version 1.002" + }, + "Hedvig Letters Sans": { + "name": "Hedvig Letters Sans", + "version": "Version 1.000; ttfautohint (v1.8.4.7-5d5b)" + }, + "Hedvig Letters Serif": { + "name": "Hedvig Letters Serif", + "version": "Version 1.000" + }, + "Heebo": { + "name": "Heebo", + "version": "Version 3.100" + }, + "Henny Penny": { + "name": "Henny Penny", + "version": "Version 1.001" + }, + "Hepta Slab": { + "name": "Hepta Slab", + "version": "Version 1.102" + }, + "Herr Von Muellerhoff": { + "name": "Herr Von Muellerhoff", + "version": "Version 1.000" + }, + "Hi Melody": { + "name": "Hi Melody", + "version": "Version 3.00" + }, + "Hina Mincho": { + "name": "Hina Mincho", + "version": "Version 1.100" + }, + "Hind": { + "name": "Hind", + "version": "Version 2.001;PS 1.0;hotconv 1.0.79;makeotf.lib2.5.61930; ttfautohint (v1.5.33-1714) -l 8 -r 50 -G 200 -x 13 -D latn -f deva -w G -W -c -X \"\"" + }, + "Hind Guntur": { + "name": "Hind Guntur", + "version": "Version 1.002;PS 1.0;hotconv 1.0.86;makeotf.lib2.5.63406; ttfautohint (v1.8.2) -l 8 -r 50 -G 200 -x 13 -D telu -f latn -a qsq -W -X \"\"" + }, + "Hind Madurai": { + "name": "Hind Madurai", + "version": "Version 1.001;PS 1.0;hotconv 1.0.86;makeotf.lib2.5.63406; ttfautohint (v1.5.33-1714) -l 8 -r 50 -G 200 -x 13 -D latn -f taml -w G -W -c -X \"\"" + }, + "Hind Mysuru": { + "name": "Hind Mysuru", + "version": "Version 0.703;PS 1.0;hotconv 1.0.86;makeotf.lib2.5.63406" + }, + "Hind Siliguri": { + "name": "Hind Siliguri", + "version": "Version 1.001;PS 1.0;hotconv 1.0.86;makeotf.lib2.5.63406; ttfautohint (v1.5.33-1714) -l 8 -r 50 -G 200 -x 13 -D latn -f beng -w G -W -c -X \"\"" + }, + "Hind Vadodara": { + "name": "Hind Vadodara", + "version": "Version 1.001;PS 1.0;hotconv 1.0.86;makeotf.lib2.5.63406; ttfautohint (v1.5.33-1714) -l 8 -r 50 -G 200 -x 13 -D latn -f gujr -w G -W -c -X \"\"" + }, + "Holtwood One SC": { + "name": "Holtwood One SC", + "version": "Version 1.100; ttfautohint (v1.8.4.7-5d5b)" + }, + "Homemade Apple": { + "name": "Homemade Apple", + "version": "Version 1.001" + }, + "Homenaje": { + "name": "Homenaje", + "version": "Version 1.100" + }, + "Honk": { + "name": "Honk", + "version": "Version 1.000" + }, + "Host Grotesk": { + "name": "Host Grotesk", + "version": "Version 1.003" + }, + "Hubballi": { + "name": "Hubballi", + "version": "Version 1.000; ttfautohint (v1.8.3)" + }, + "Hubot Sans": { + "name": "Hubot Sans", + "version": "Version 2.000" + }, + "Huninn": { + "name": "Huninn", + "version": "Version 1.003" + }, + "Hurricane": { + "name": "Hurricane", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "IBM Plex Mono": { + "name": "IBM Plex Mono", + "version": "Version 2.3" + }, + "IBM Plex Sans": { + "name": "IBM Plex Sans", + "version": "Version 3.201" + }, + "IBM Plex Sans Arabic": { + "name": "IBM Plex Sans Arabic", + "version": "Version 1.101" + }, + "IBM Plex Sans Condensed": { + "name": "IBM Plex Sans Condensed", + "version": "Version 1.3" + }, + "IBM Plex Sans Devanagari": { + "name": "IBM Plex Sans Devanagari", + "version": "Version 1.1" + }, + "IBM Plex Sans Hebrew": { + "name": "IBM Plex Sans Hebrew", + "version": "Version 1.2" + }, + "IBM Plex Sans JP": { + "name": "IBM Plex Sans JP", + "version": "Version 1.001" + }, + "IBM Plex Sans KR": { + "name": "IBM Plex Sans KR", + "version": "Version 1.001" + }, + "IBM Plex Sans Thai": { + "name": "IBM Plex Sans Thai", + "version": "Version 1.1" + }, + "IBM Plex Sans Thai Looped": { + "name": "IBM Plex Sans Thai Looped", + "version": "Version 1.1" + }, + "IBM Plex Serif": { + "name": "IBM Plex Serif", + "version": "Version 2.6" + }, + "IM Fell DW Pica": { + "name": "IM FELL DW Pica", + "version": "3.00" + }, + "IM Fell DW Pica SC": { + "name": "IM FELL DW Pica SC", + "version": "3.00" + }, + "IM Fell Double Pica": { + "name": "IM FELL Double Pica", + "version": "3.00" + }, + "IM Fell Double Pica SC": { + "name": "IM FELL Double Pica SC", + "version": "3.00" + }, + "IM Fell English": { + "name": "IM FELL English", + "version": "3.00" + }, + "IM Fell English SC": { + "name": "IM FELL English SC", + "version": "3.00" + }, + "IM Fell French Canon": { + "name": "IM FELL French Canon", + "version": "3.00" + }, + "IM Fell French Canon SC": { + "name": "IM FELL French Canon SC", + "version": "3.00" + }, + "IM Fell Great Primer": { + "name": "IM FELL Great Primer", + "version": "3.00" + }, + "IM Fell Great Primer SC": { + "name": "IM FELL Great Primer SC", + "version": "3.00" + }, + "Iansui": { + "name": "Iansui", + "version": "Version 1.012" + }, + "Ibarra Real Nova": { + "name": "Ibarra Real Nova", + "version": "Version 2.000" + }, + "Iceberg": { + "name": "Iceberg", + "version": "Version 1.002" + }, + "Iceland": { + "name": "Iceland", + "version": "Version 1.001" + }, + "Imbue": { + "name": "Imbue", + "version": "Version 1.102" + }, + "Imperial Script": { + "name": "Imperial Script", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Imprima": { + "name": "Imprima", + "version": "Version 1.002; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.23]" + }, + "Inclusive Sans": { + "name": "Inclusive Sans", + "version": "Version 2.004" + }, + "Inconsolata": { + "name": "Inconsolata", + "version": "Version 3.001" + }, + "Inder": { + "name": "Inder", + "version": "Version 1.001" + }, + "Indie Flower": { + "name": "Indie Flower", + "version": "Version 1.001 2010" + }, + "Ingrid Darling": { + "name": "Ingrid Darling", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Inika": { + "name": "Inika", + "version": "Version 1.001" + }, + "Inknut Antiqua": { + "name": "Inknut Antiqua", + "version": "Version 1.003; ttfautohint (v1.8.2) -l 8 -r 50 -G 200 -x 14 -D latn -f none -a qsq -W -X \"\"" + }, + "Inria Sans": { + "name": "Inria Sans", + "version": "Version 1.2; ttfautohint (v1.8.3)" + }, + "Inria Serif": { + "name": "Inria Serif", + "version": "Version 1.000; ttfautohint (v1.8.3)" + }, + "Inspiration": { + "name": "Inspiration", + "version": "Version 2.010; ttfautohint (v1.8.3)" + }, + "Instrument Sans": { + "name": "Instrument Sans", + "version": "Version 1.000;gftools[0.9.28]" + }, + "Instrument Serif": { + "name": "Instrument Serif", + "version": "Version 1.000; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.27]" + }, + "Inter": { + "name": "Inter", + "version": "Version 4.001;git-66647c0bb" + }, + "Inter Tight": { + "name": "Inter Tight", + "version": "Version 3.004" + }, + "Irish Grover": { + "name": "Irish Grover", + "version": "Version 1.001" + }, + "Island Moments": { + "name": "Island Moments", + "version": "Version 1.010" + }, + "Istok Web": { + "name": "Istok Web", + "version": "Version 1.0.2g" + }, + "Italiana": { + "name": "Italiana", + "version": "Version 001.001 " + }, + "Italianno": { + "name": "Italianno", + "version": "Version 1.100; ttfautohint (v1.8.3)" + }, + "Itim": { + "name": "Itim", + "version": "Version 1.002g" + }, + "Jacquard 12": { + "name": "Jacquard 12", + "version": "Version 1.002; ttfautohint (v1.8.4.7-5d5b)" + }, + "Jacquard 12 Charted": { + "name": "Jacquard 12 Charted", + "version": "Version 1.002" + }, + "Jacquard 24": { + "name": "Jacquard 24", + "version": "Version 1.002; ttfautohint (v1.8.4.7-5d5b)" + }, + "Jacquard 24 Charted": { + "name": "Jacquard 24 Charted", + "version": "Version 1.002" + }, + "Jacquarda Bastarda 9": { + "name": "Jacquarda Bastarda 9", + "version": "Version 1.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Jacquarda Bastarda 9 Charted": { + "name": "Jacquarda Bastarda 9 Charted", + "version": "Version 1.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Jacques Francois": { + "name": "Jacques Francois", + "version": "Version 1.003" + }, + "Jacques Francois Shadow": { + "name": "Jacques Francois Shadow", + "version": "Version 1.003" + }, + "Jaini": { + "name": "Jaini", + "version": "Version 2.000; ttfautohint (v1.8.4.7-5d5b)" + }, + "Jaini Purva": { + "name": "Jaini Purva", + "version": "Version 2.000; ttfautohint (v1.8.4.7-5d5b)" + }, + "Jaldi": { + "name": "Jaldi", + "version": "Version 1.007" + }, + "Jaro": { + "name": "Jaro", + "version": "Version 1.000" + }, + "Jersey 10": { + "name": "Jersey 10", + "version": "Version 1.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Jersey 10 Charted": { + "name": "Jersey 10 Charted", + "version": "Version 1.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Jersey 15": { + "name": "Jersey 15", + "version": "Version 1.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Jersey 15 Charted": { + "name": "Jersey 15 Charted", + "version": "Version 1.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Jersey 20": { + "name": "Jersey 20", + "version": "Version 1.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Jersey 20 Charted": { + "name": "Jersey 20 Charted", + "version": "Version 1.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Jersey 25": { + "name": "Jersey 25", + "version": "Version 1.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Jersey 25 Charted": { + "name": "Jersey 25 Charted", + "version": "Version 1.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "JetBrains Mono": { + "name": "JetBrains Mono", + "version": "Version 2.211" + }, + "Jim Nightshade": { + "name": "Jim Nightshade", + "version": "Version 1.000" + }, + "Joan": { + "name": "Joan", + "version": "Version 1.001; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.30]" + }, + "Jockey One": { + "name": "Jockey One", + "version": "Version 1.002" + }, + "Jolly Lodger": { + "name": "Jolly Lodger", + "version": "Version 1.000" + }, + "Jomhuria": { + "name": "Jomhuria", + "version": "Version 1.0010 " + }, + "Jomolhari": { + "name": "Jomolhari", + "version": "Version 1.000" + }, + "Josefin Sans": { + "name": "Josefin Sans", + "version": "Version 2.001" + }, + "Josefin Slab": { + "name": "Josefin Slab", + "version": "Version 2.100" + }, + "Jost": { + "name": "Jost", + "version": "Version 3.710" + }, + "Joti One": { + "name": "Joti One", + "version": "Version 1.002; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.24]" + }, + "Jua": { + "name": "Jua", + "version": "Version 1.001" + }, + "Judson": { + "name": "Judson", + "version": "Version 20110429 " + }, + "Julee": { + "name": "Julee", + "version": "Version 1.002; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.23]" + }, + "Julius Sans One": { + "name": "Julius Sans One", + "version": "Version 1.002; ttfautohint (v1.3)" + }, + "Junge": { + "name": "Junge", + "version": "Version 1.002" + }, + "Jura": { + "name": "Jura", + "version": "Version 5.106" + }, + "Just Another Hand": { + "name": "Just Another Hand", + "version": "Version 1.001" + }, + "Just Me Again Down Here": { + "name": "Just Me Again Down Here", + "version": "Version 1.002 2007" + }, + "K2D": { + "name": "K2D", + "version": "Version 1.000; ttfautohint (v1.6)" + }, + "Kablammo": { + "name": "Kablammo", + "version": "Version 1.002" + }, + "Kadwa": { + "name": "Kadwa", + "version": "Version 1.001;PS 001.000;hotconv 1.0.70;makeotf.lib2.5.58329 DEVELOPMENT; ttfautohint (v1.00) -l 8 -r 50 -G 200 -x 14 -D latn -f none -w G" + }, + "Kaisei Decol": { + "name": "Kaisei Decol", + "version": "Version 5.003" + }, + "Kaisei HarunoUmi": { + "name": "Kaisei HarunoUmi", + "version": "Version 5.003" + }, + "Kaisei Opti": { + "name": "Kaisei Opti", + "version": "Version 5.003" + }, + "Kaisei Tokumin": { + "name": "Kaisei Tokumin", + "version": "Version 5.003" + }, + "Kalam": { + "name": "Kalam", + "version": "Version 2.001;PS 1.0;hotconv 1.0.79;makeotf.lib2.5.61930; ttfautohint (v1.3)" + }, + "Kalnia": { + "name": "Kalnia", + "version": "Version 1.105" + }, + "Kalnia Glaze": { + "name": "Kalnia Glaze", + "version": "Version 1.110" + }, + "Kameron": { + "name": "Kameron", + "version": "Version 1.100" + }, + "Kanchenjunga": { + "name": "Kanchenjunga", + "version": "Version 2.001" + }, + "Kanit": { + "name": "Kanit", + "version": "Version 2.000; ttfautohint (v1.8.3)" + }, + "Kantumruy Pro": { + "name": "Kantumruy Pro", + "version": "Version 1.002" + }, + "Kapakana": { + "name": "Kapakana", + "version": "Version 1.002" + }, + "Karantina": { + "name": "Karantina", + "version": "Version 1.000; ttfautohint (v1.8.3)" + }, + "Karla": { + "name": "Karla", + "version": "Version 2.004;gftools[0.9.33]" + }, + "Karla Tamil Inclined": { + "name": "Karla Tamil Inclined", + "version": "Version 1.001" + }, + "Karla Tamil Upright": { + "name": "Karla Tamil Upright", + "version": "Version 1.001" + }, + "Karma": { + "name": "Karma", + "version": "Version 1.202;PS 1.0;hotconv 1.0.78;makeotf.lib2.5.61930; ttfautohint (v1.1) -l 7 -r 28 -G 50 -x 13 -D latn -f deva -w G" + }, + "Katibeh": { + "name": "Katibeh", + "version": "Version 1.0010g" + }, + "Kaushan Script": { + "name": "Kaushan Script", + "version": "Version 1.002" + }, + "Kavivanar": { + "name": "Kavivanar", + "version": "Version 1.88" + }, + "Kavoon": { + "name": "Kavoon", + "version": "Version 1.004; ttfautohint (v1.4.1)" + }, + "Kay Pho Du": { + "name": "Kay Pho Du", + "version": "Version 3.000" + }, + "Kdam Thmor Pro": { + "name": "Kdam Thmor Pro", + "version": "Version 1.003; ttfautohint (v1.8.4.7-5d5b)" + }, + "Keania One": { + "name": "Keania One", + "version": "Version 1.003" + }, + "Kelly Slab": { + "name": "Kelly Slab", + "version": "Version 1.001" + }, + "Kenia": { + "name": "Kenia", + "version": "Version 1.001" + }, + "Khand": { + "name": "Khand", + "version": "Version 1.102;PS 1.0;hotconv 1.0.78;makeotf.lib2.5.61930; ttfautohint (v1.8.3)" + }, + "Khmer": { + "name": "Khmer", + "version": "Version 2.00 February 8, 2013" + }, + "Khula": { + "name": "Khula", + "version": "Version 1.002;PS 1.0;hotconv 1.0.72;makeotf.lib2.5.5900; ttfautohint (v1.8.2) -l 8 -r 50 -G 200 -x 14 -D deva -f latn -a qsq -W -X \"\"" + }, + "Kings": { + "name": "Kings", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Kirang Haerang": { + "name": "Kirang Haerang", + "version": "Version 1.001" + }, + "Kite One": { + "name": "Kite One", + "version": "Version 1.002; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.23]" + }, + "Kiwi Maru": { + "name": "Kiwi Maru", + "version": "Version 1.100" + }, + "Klee One": { + "name": "Klee One", + "version": "Version 1.100" + }, + "Knewave": { + "name": "Knewave", + "version": "Version 1.001" + }, + "KoHo": { + "name": "KoHo", + "version": "Version 1.000; ttfautohint (v1.6)" + }, + "Kodchasan": { + "name": "Kodchasan", + "version": "Version 1.000; ttfautohint (v1.6)" + }, + "Kode Mono": { + "name": "Kode Mono", + "version": "Version 1.206;gftools[0.9.28]" + }, + "Koh Santepheap": { + "name": "Koh Santepheap", + "version": "Version 2.002; ttfautohint (v1.8.3)" + }, + "Kolker Brush": { + "name": "Kolker Brush", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Konkhmer Sleokchher": { + "name": "Konkhmer Sleokchher", + "version": "Version 1.000; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.23]" + }, + "Kosugi": { + "name": "Kosugi", + "version": "Version 4.002" + }, + "Kosugi Maru": { + "name": "Kosugi Maru", + "version": "Version 4.002" + }, + "Kotta One": { + "name": "Kotta One", + "version": "Version 1.001" + }, + "Koulen": { + "name": "Koulen", + "version": "Version 8.000; ttfautohint (v1.8.3)" + }, + "Kranky": { + "name": "Kranky", + "version": "Version 1.001" + }, + "Kreon": { + "name": "Kreon", + "version": "Version 2.002" + }, + "Kristi": { + "name": "Kristi", + "version": "Version 1.004 " + }, + "Krona One": { + "name": "Krona One", + "version": "Version 1.003" + }, + "Krub": { + "name": "Krub", + "version": "Version 1.000; ttfautohint (v1.6)" + }, + "Kufam": { + "name": "Kufam", + "version": "Version 1.301; ttfautohint (v1.8.3)" + }, + "Kulim Park": { + "name": "Kulim Park", + "version": "Version 1.000; ttfautohint (v1.8.3)" + }, + "Kumar One": { + "name": "Kumar One", + "version": "Version 1.001;PS 1.001;hotconv 1.0.88;makeotf.lib2.5.647800" + }, + "Kumar One Outline": { + "name": "Kumar One Outline", + "version": "Version 1.000;PS 1.000;hotconv 1.0.88;makeotf.lib2.5.647800" + }, + "Kumbh Sans": { + "name": "Kumbh Sans", + "version": "Version 1.005" + }, + "Kurale": { + "name": "Kurale", + "version": "Version 2.000" + }, + "LXGW Marker Gothic": { + "name": "LXGW Marker Gothic", + "version": "Version 1.001" + }, + "LXGW WenKai Mono TC": { + "name": "LXGW WenKai Mono TC", + "version": "Version 1.330" + }, + "LXGW WenKai TC": { + "name": "LXGW WenKai TC", + "version": "Version 1.330" + }, + "La Belle Aurore": { + "name": "La Belle Aurore", + "version": "Version 1.001 2001" + }, + "Labrada": { + "name": "Labrada", + "version": "Version 1.000" + }, + "Lacquer": { + "name": "Lacquer", + "version": "Version 1.100" + }, + "Laila": { + "name": "Laila", + "version": "Version 1.302;PS 1.0;hotconv 1.0.78;makeotf.lib2.5.61930; ttfautohint (v1.1) -l 8 -r 50 -G 200 -x 14 -D latn -f deva -w gGD -W -c" + }, + "Lakki Reddy": { + "name": "Lakki Reddy", + "version": "Version 1.0.4; ttfautohint (v1.2.42-39fb)" + }, + "Lalezar": { + "name": "Lalezar", + "version": "Version 1.004" + }, + "Lancelot": { + "name": "Lancelot", + "version": "1.004" + }, + "Langar": { + "name": "Langar", + "version": "Version 1.001; ttfautohint (v1.8.3)" + }, + "Lateef": { + "name": "Lateef", + "version": "Version 4.300" + }, + "Lato": { + "name": "Lato", + "version": "Version 1.104; Western+Polish opensource" + }, + "Lavishly Yours": { + "name": "Lavishly Yours", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "League Gothic": { + "name": "League Gothic", + "version": "Version 2.001" + }, + "League Script": { + "name": "League Script", + "version": "Version 1.001 " + }, + "League Spartan": { + "name": "League Spartan", + "version": "Version 2.002" + }, + "Leckerli One": { + "name": "Leckerli One", + "version": "Version 1.001" + }, + "Ledger": { + "name": "Ledger", + "version": "1.003" + }, + "Lekton": { + "name": "Lekton", + "version": "Version 34.000" + }, + "Lemon": { + "name": "Lemon", + "version": "Version 1.003; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.24]" + }, + "Lemonada": { + "name": "Lemonada", + "version": "Version 4.005" + }, + "Lexend": { + "name": "Lexend", + "version": "Version 1.007" + }, + "Lexend Deca": { + "name": "Lexend Deca", + "version": "Version 1.007" + }, + "Lexend Exa": { + "name": "Lexend Exa", + "version": "Version 1.007" + }, + "Lexend Giga": { + "name": "Lexend Giga", + "version": "Version 1.007" + }, + "Lexend Mega": { + "name": "Lexend Mega", + "version": "Version 1.007" + }, + "Lexend Peta": { + "name": "Lexend Peta", + "version": "Version 1.007" + }, + "Lexend Tera": { + "name": "Lexend Tera", + "version": "Version 1.007" + }, + "Lexend Zetta": { + "name": "Lexend Zetta", + "version": "Version 1.007" + }, + "Libre Barcode 128": { + "name": "Libre Barcode 128", + "version": "Version 1.005; ttfautohint (v1.8.3)" + }, + "Libre Barcode 128 Text": { + "name": "Libre Barcode 128 Text", + "version": "Version 1.005; ttfautohint (v1.8.3)" + }, + "Libre Barcode 39": { + "name": "Libre Barcode 39", + "version": "Version 1.005; ttfautohint (v1.8.3)" + }, + "Libre Barcode 39 Extended": { + "name": "Libre Barcode 39 Extended", + "version": "Version 1.005; ttfautohint (v1.8.3)" + }, + "Libre Barcode 39 Extended Text": { + "name": "Libre Barcode 39 Extended Text", + "version": "Version 1.005; ttfautohint (v1.8.3)" + }, + "Libre Barcode 39 Text": { + "name": "Libre Barcode 39 Text", + "version": "Version 1.005; ttfautohint (v1.8.3)" + }, + "Libre Barcode EAN13 Text": { + "name": "Libre Barcode EAN13 Text", + "version": "Version 1.008; ttfautohint (v1.8.3)" + }, + "Libre Baskerville": { + "name": "Libre Baskerville", + "version": "Version 1.051; ttfautohint (v1.8.4.7-5d5b)" + }, + "Libre Bodoni": { + "name": "Libre Bodoni", + "version": "Version 2.005;gftools[0.9.23]" + }, + "Libre Caslon Display": { + "name": "Libre Caslon Display", + "version": "Version 1.100; ttfautohint (v1.6) -l 8 -r 50 -G 200 -x 14 -D latn -f none -w G -X \"\"" + }, + "Libre Caslon Text": { + "name": "Libre Caslon Text", + "version": "Version 1.100; ttfautohint (v1.6) -l 8 -r 50 -G 200 -x 14 -D latn -f none -w G -X \"\"" + }, + "Libre Franklin": { + "name": "Libre Franklin", + "version": "Version 3.000" + }, + "Licorice": { + "name": "Licorice", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Life Savers": { + "name": "Life Savers", + "version": "Version 3.100; ttfautohint (v1.8.4.7-5d5b)" + }, + "Lilita One": { + "name": "Lilita One", + "version": "Version 1.002" + }, + "Lily Script One": { + "name": "Lily Script One", + "version": "Version 1.002;PS 001.001;hotconv 1.0.70;makeotf.lib2.5.58329" + }, + "Limelight": { + "name": "Limelight", + "version": "Version 1.002" + }, + "Linden Hill": { + "name": "Linden Hill", + "version": "Version 1.202 " + }, + "Linefont": { + "name": "Linefont", + "version": "Version 3.002;gftools[0.9.33]" + }, + "Lisu Bosa": { + "name": "Lisu Bosa", + "version": "Version 2.000" + }, + "Liter": { + "name": "Liter", + "version": "Version 1.004; ttfautohint (v1.8.4.7-5d5b)" + }, + "Literata": { + "name": "Literata", + "version": "Version 3.103;gftools[0.9.29]" + }, + "Liu Jian Mao Cao": { + "name": "Liu Jian Mao Cao", + "version": "Version 1.003" + }, + "Livvic": { + "name": "Livvic", + "version": "Version 1.001; ttfautohint (v1.8.2)" + }, + "Lobster": { + "name": "Lobster", + "version": "Version 2.100" + }, + "Lobster Two": { + "name": "Lobster Two", + "version": "Version 1.006" + }, + "Londrina Outline": { + "name": "Londrina Outline", + "version": "Version 1.002" + }, + "Londrina Shadow": { + "name": "Londrina Shadow", + "version": "Version 1.002" + }, + "Londrina Sketch": { + "name": "Londrina Sketch", + "version": "Version 1.002" + }, + "Londrina Solid": { + "name": "Londrina Solid", + "version": "Version 1.002" + }, + "Long Cang": { + "name": "Long Cang", + "version": "Version 2.001" + }, + "Lora": { + "name": "Lora", + "version": "Version 3.008" + }, + "Love Light": { + "name": "Love Light", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Love Ya Like A Sister": { + "name": "Love Ya Like A Sister", + "version": "Version 1.002 2007" + }, + "Loved by the King": { + "name": "Loved by the King", + "version": "Version 1.002 2006" + }, + "Lovers Quarrel": { + "name": "Lovers Quarrel", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Luckiest Guy": { + "name": "Luckiest Guy", + "version": "Version 1.001" + }, + "Lugrasimo": { + "name": "Lugrasimo", + "version": "Version 1.001" + }, + "Lumanosimo": { + "name": "Lumanosimo", + "version": "Version 1.010" + }, + "Lunasima": { + "name": "Lunasima", + "version": "Version 2.009" + }, + "Lusitana": { + "name": "Lusitana", + "version": "Version 1.001" + }, + "Lustria": { + "name": "Lustria", + "version": "Version 001.001" + }, + "Luxurious Roman": { + "name": "Luxurious Roman", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Luxurious Script": { + "name": "Luxurious Script", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "M PLUS 1": { + "name": "M PLUS 1", + "version": "Version 1.001" + }, + "M PLUS 1 Code": { + "name": "M PLUS 1 Code", + "version": "Version 1.005" + }, + "M PLUS 1p": { + "name": "M PLUS 1p", + "version": "Version 1.062" + }, + "M PLUS 2": { + "name": "M PLUS 2", + "version": "Version 1.001" + }, + "M PLUS Code Latin": { + "name": "M PLUS Code Latin", + "version": "Version 1.005; ttfautohint (v1.8.3)" + }, + "M PLUS Rounded 1c": { + "name": "M PLUS Rounded 1c", + "version": "Version 1.059.20150529" + }, + "Ma Shan Zheng": { + "name": "Ma Shan Zheng", + "version": "Version 2.001" + }, + "Macondo": { + "name": "Macondo", + "version": "Version 2.001" + }, + "Macondo Swash Caps": { + "name": "Macondo Swash Caps", + "version": "Version 2.001" + }, + "Mada": { + "name": "Mada", + "version": "Version 1.5" + }, + "Madimi One": { + "name": "Madimi One", + "version": "Version 1.000; ttfautohint (v1.8.4.7-5d5b)" + }, + "Magra": { + "name": "Magra", + "version": "Version 1.001" + }, + "Maiden Orange": { + "name": "Maiden Orange", + "version": "Version 1.001" + }, + "Maitree": { + "name": "Maitree", + "version": "Version 1.002" + }, + "Major Mono Display": { + "name": "Major Mono Display", + "version": "Version 2.000; ttfautohint (v1.8) -l 8 -r 50 -G 200 -x 14 -D latn -f none -a qsq -X \"\"" + }, + "Mako": { + "name": "Mako", + "version": "Version 1.100; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.33]" + }, + "Mali": { + "name": "Mali", + "version": "Version 1.000; ttfautohint (v1.6)" + }, + "Mallanna": { + "name": "Mallanna", + "version": "Version 1.0.4; ttfautohint (vUNKNOWN) -l 7 -r 28 -G 50 -x 13 -D " + }, + "Maname": { + "name": "Maname", + "version": "Version 1.002; ttfautohint (v1.8.4.7-5d5b)" + }, + "Mandali": { + "name": "Mandali", + "version": "Version 1.0.5; ttfautohint (v1.2.25-373a) -l 7 -r 28 -G 50 -x 13" + }, + "Manjari": { + "name": "Manjari", + "version": "Version 2.000" + }, + "Manrope": { + "name": "Manrope", + "version": "Version 4.504" + }, + "Mansalva": { + "name": "Mansalva", + "version": "Version 2.112; ttfautohint (v1.8.4.7-5d5b)" + }, + "Manuale": { + "name": "Manuale", + "version": "Version 1.002" + }, + "Marcellus": { + "name": "Marcellus", + "version": "Version 1.000" + }, + "Marcellus SC": { + "name": "Marcellus SC", + "version": "Version 1.001" + }, + "Marck Script": { + "name": "Marck Script", + "version": "Version 1.002" + }, + "Margarine": { + "name": "Margarine", + "version": "Version 1.000" + }, + "Marhey": { + "name": "Marhey", + "version": "Version 1.000" + }, + "Markazi Text": { + "name": "Markazi Text", + "version": "Version 1.001" + }, + "Marko One": { + "name": "Marko One", + "version": "Version 1.003" + }, + "Marmelad": { + "name": "Marmelad", + "version": "Version 1.110; ttfautohint (v1.8.4.7-5d5b)" + }, + "Martel": { + "name": "Martel", + "version": "Version 1.001; ttfautohint (v1.1) -l 5 -r 5 -G 72 -x 0 -D latn -" + }, + "Martel Sans": { + "name": "Martel Sans", + "version": "Version 1.002; ttfautohint (v1.1) -l 5 -r 5 -G 72 -x 0 -D latn -" + }, + "Martian Mono": { + "name": "Martian Mono", + "version": "Version 1.000" + }, + "Marvel": { + "name": "Marvel", + "version": "Version 1.001" + }, + "Matangi": { + "name": "Matangi", + "version": "Version 3.002" + }, + "Mate": { + "name": "Mate", + "version": "Version 1.003; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.24]" + }, + "Mate SC": { + "name": "Mate SC", + "version": "Version 1.003; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.24]" + }, + "Matemasie": { + "name": "Matemasie", + "version": "Version 1.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Maven Pro": { + "name": "Maven Pro", + "version": "Version 2.103" + }, + "McLaren": { + "name": "McLaren", + "version": "Version 1.000" + }, + "Mea Culpa": { + "name": "Mea Culpa", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Meddon": { + "name": "Meddon", + "version": "Version 1.000" + }, + "MedievalSharp": { + "name": "MedievalSharp", + "version": "Version 1.0" + }, + "Medula One": { + "name": "Medula One", + "version": "Version 1.002" + }, + "Meera Inimai": { + "name": "Meera Inimai", + "version": "2.0.0+20160526" + }, + "Megrim": { + "name": "Megrim", + "version": "Version 20110427 " + }, + "Meie Script": { + "name": "Meie Script", + "version": "Version 1.001" + }, + "Meow Script": { + "name": "Meow Script", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Merienda": { + "name": "Merienda", + "version": "Version 2.001" + }, + "Merriweather": { + "name": "Merriweather", + "version": "Version 2.100" + }, + "Merriweather Sans": { + "name": "Merriweather Sans", + "version": "Version 2.001" + }, + "Metal": { + "name": "Metal", + "version": "Version 8.002; ttfautohint (v1.8.3)" + }, + "Metal Mania": { + "name": "Metal Mania", + "version": "Version 1.002" + }, + "Metamorphous": { + "name": "Metamorphous", + "version": "Version 1.001" + }, + "Metrophobic": { + "name": "Metrophobic", + "version": "Version 3.200; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.23]" + }, + "Michroma": { + "name": "Michroma", + "version": "Version 1.100; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.29]" + }, + "Micro 5": { + "name": "Micro 5", + "version": "Version 1.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Micro 5 Charted": { + "name": "Micro 5 Charted", + "version": "Version 1.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Milonga": { + "name": "Milonga", + "version": "Version 1.000; ttfautohint (v0.93) -l 8 -r 50 -G 200 -x 14 -w \"G\"" + }, + "Miltonian": { + "name": "Miltonian", + "version": "Version 1.008" + }, + "Miltonian Tattoo": { + "name": "Miltonian Tattoo", + "version": "Version 1.008" + }, + "Mina": { + "name": "Mina", + "version": "Version 1.000" + }, + "Mingzat": { + "name": "Mingzat", + "version": "Version 1.100" + }, + "Miniver": { + "name": "Miniver", + "version": "Version 1.000" + }, + "Miriam Libre": { + "name": "Miriam Libre", + "version": "Version 2.000" + }, + "Mirza": { + "name": "Mirza", + "version": "Version 1.0010g" + }, + "Miss Fajardose": { + "name": "Miss Fajardose", + "version": "Version 1.000" + }, + "Mitr": { + "name": "Mitr", + "version": "Version 1.001" + }, + "Mochiy Pop One": { + "name": "Mochiy Pop One", + "version": "Version 2.000" + }, + "Mochiy Pop P One": { + "name": "Mochiy Pop P One", + "version": "Version 2.000" + }, + "Modak": { + "name": "Modak", + "version": "Version 1.036;PS Version 1.000;hotconv 1.0.79;makeotf.lib2.5.61930; ttfautohint (v1.2.42-39fb)" + }, + "Modern Antiqua": { + "name": "Modern Antiqua", + "version": "Version 1.0" + }, + "Moderustic": { + "name": "Moderustic", + "version": "Version 2.120" + }, + "Mogra": { + "name": "Mogra", + "version": "Version 1.002" + }, + "Mohave": { + "name": "Mohave", + "version": "Version 2.003" + }, + "Moirai One": { + "name": "Moirai One", + "version": "Version 1.000; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.29]" + }, + "Molengo": { + "name": "Molengo", + "version": "Version 0.11; ttfautohint (v0.8) -G 32 -r 16 -x" + }, + "Molle": { + "name": "Molle", + "version": "Version 1.001; ttfautohint (v0.92) -l 12 -r 12 -G 200 -x 10 -w \"g\"" + }, + "Mona Sans": { + "name": "Mona Sans", + "version": "Version 2.000" + }, + "Monda": { + "name": "Monda", + "version": "Version 2.200" + }, + "Monofett": { + "name": "Monofett", + "version": "Version 1.100; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.28]" + }, + "Monomakh": { + "name": "Monomakh", + "version": "Version 1.200; ttfautohint (v1.8.4.7-5d5b)" + }, + "Monomaniac One": { + "name": "Monomaniac One", + "version": "Version 1.000; ttfautohint (v1.8.3)" + }, + "Monoton": { + "name": "Monoton", + "version": "Version 1.000" + }, + "Monsieur La Doulaise": { + "name": "Monsieur La Doulaise", + "version": "Version 1.000" + }, + "Montaga": { + "name": "Montaga", + "version": "Version 1.001" + }, + "Montagu Slab": { + "name": "Montagu Slab", + "version": "Version 1.000" + }, + "MonteCarlo": { + "name": "MonteCarlo", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Montez": { + "name": "Montez", + "version": "Version 1.001" + }, + "Montserrat": { + "name": "Montserrat", + "version": "Version 9.000" + }, + "Montserrat Alternates": { + "name": "Montserrat Alternates", + "version": "Version 7.200" + }, + "Montserrat Underline": { + "name": "Montserrat Underline", + "version": "Version 9.000" + }, + "Moo Lah Lah": { + "name": "Moo Lah Lah", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Mooli": { + "name": "Mooli", + "version": "Version 1.000; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.33]" + }, + "Moon Dance": { + "name": "Moon Dance", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Moul": { + "name": "Moul", + "version": "Version 8.002; ttfautohint (v1.8.3)" + }, + "Moulpali": { + "name": "Moulpali", + "version": "Version 8.002; ttfautohint (v1.8.3)" + }, + "Mountains of Christmas": { + "name": "Mountains of Christmas", + "version": "Version 1.003" + }, + "Mouse Memoirs": { + "name": "Mouse Memoirs", + "version": "Version 1.000" + }, + "Mr Bedfort": { + "name": "Mr Bedfort", + "version": "Version 1.000" + }, + "Mr Dafoe": { + "name": "Mr Dafoe", + "version": "Version 1.000" + }, + "Mr De Haviland": { + "name": "Mr De Haviland", + "version": "Version 1.000" + }, + "Mrs Saint Delafield": { + "name": "Mrs Saint Delafield", + "version": "Version 1.001" + }, + "Mrs Sheppards": { + "name": "Mrs Sheppards", + "version": "Version 1.000" + }, + "Ms Madi": { + "name": "Ms Madi", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Mukta": { + "name": "Mukta", + "version": "Version 2.538;PS 1.002;hotconv 16.6.51;makeotf.lib2.5.65220; ttfautohint (v1.6)" + }, + "Mukta Mahee": { + "name": "Mukta Mahee", + "version": "Version 2.538;PS 1.000;hotconv 16.6.51;makeotf.lib2.5.65220; ttfautohint (v1.6)" + }, + "Mukta Malar": { + "name": "Mukta Malar", + "version": "Version 2.538;PS 1.000;hotconv 16.6.51;makeotf.lib2.5.65220; ttfautohint (v1.6)" + }, + "Mukta Vaani": { + "name": "Mukta Vaani", + "version": "Version 2.538;PS 1.000;hotconv 16.6.51;makeotf.lib2.5.65220; ttfautohint (v1.6)" + }, + "Mulish": { + "name": "Mulish", + "version": "Version 3.603" + }, + "Murecho": { + "name": "Murecho", + "version": "Version 1.010" + }, + "MuseoModerno": { + "name": "MuseoModerno", + "version": "Version 1.003" + }, + "My Soul": { + "name": "My Soul", + "version": "Version 1.010; ttfautohint (v1.8.4.7-5d5b)" + }, + "Mynerve": { + "name": "Mynerve", + "version": "Version 1.000; ttfautohint (v1.8.4.7-5d5b)" + }, + "Mystery Quest": { + "name": "Mystery Quest", + "version": "Version 1.000" + }, + "NTR": { + "name": "NTR", + "version": "Version 1.0.5; ttfautohint (v1.2.25-373a) -l 7 -r 28 -G 50 -x 13 -D telu -f latn -w G -X \"\"" + }, + "Nabla": { + "name": "Nabla", + "version": "Version 1.003" + }, + "Namdhinggo": { + "name": "Namdhinggo", + "version": "Version 3.001" + }, + "Nanum Brush Script": { + "name": "Nanum Brush Script", + "version": "Version 1.100;PS 1;hotconv 1.0.57;makeotf.lib2.0.21895" + }, + "Nanum Gothic": { + "name": "Nanum Gothic", + "version": "Version 3.020;PS 1;hotconv 1.0.57;makeotf.lib2.0.21895" + }, + "Nanum Gothic Coding": { + "name": "Nanum Gothic Coding", + "version": "Version 2.000;PS 1;hotconv 1.0.49;makeotf.lib2.0.14853" + }, + "Nanum Myeongjo": { + "name": "Nanum Myeongjo", + "version": "Version 2.032;PS 1;hotconv 1.0.56;makeotf.lib2.0.21325" + }, + "Nanum Pen Script": { + "name": "Nanum Pen Script", + "version": "Version 1.10" + }, + "Narnoor": { + "name": "Narnoor", + "version": "Version 3.000" + }, + "National Park": { + "name": "National Park", + "version": "Version 1.009" + }, + "Neonderthaw": { + "name": "Neonderthaw", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Nerko One": { + "name": "Nerko One", + "version": "Version 1.101" + }, + "Neucha": { + "name": "Neucha", + "version": "Version 001.001" + }, + "Neuton": { + "name": "Neuton", + "version": "Version 1.560" + }, + "New Amsterdam": { + "name": "New Amsterdam", + "version": "Version 1.000; ttfautohint (v1.8.4.7-5d5b)" + }, + "New Rocker": { + "name": "New Rocker", + "version": "Version 1.000; ttfautohint (v0.93) -l 8 -r 50 -G 200 -x 14 -w \"G\"" + }, + "New Tegomin": { + "name": "New Tegomin", + "version": "Version 1.000" + }, + "News Cycle": { + "name": "News Cycle", + "version": "Version 0.5.1" + }, + "Newsreader": { + "name": "Newsreader", + "version": "Version 1.003" + }, + "Niconne": { + "name": "Niconne", + "version": "Version 1.002" + }, + "Niramit": { + "name": "Niramit", + "version": "Version 1.001; ttfautohint (v1.6)" + }, + "Nixie One": { + "name": "Nixie One", + "version": "Version 1.004" + }, + "Nobile": { + "name": "Nobile", + "version": "Version 001.001" + }, + "Nokora": { + "name": "Nokora", + "version": "Version 9.000" + }, + "Norican": { + "name": "Norican", + "version": "Version 1.100; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.33]" + }, + "Nosifer": { + "name": "Nosifer", + "version": "Version 001.002 " + }, + "Notable": { + "name": "Notable", + "version": "Version 1.100" + }, + "Nothing You Could Do": { + "name": "Nothing You Could Do", + "version": "Version 1.005" + }, + "Noticia Text": { + "name": "Noticia Text", + "version": "Version 1.003" + }, + "Noto Color Emoji": { + "name": "Noto Color Emoji", + "version": "Version 2.048;GOOG;noto-emoji:20250612:c7a259fc809502bcb45d983f6a78f94dfceb1fbe" + }, + "Noto Emoji": { + "name": "Noto Emoji", + "version": "Version 3.003" + }, + "Noto Kufi Arabic": { + "name": "Noto Kufi Arabic", + "version": "Version 2.109" + }, + "Noto Music": { + "name": "Noto Music", + "version": "Version 2.003; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Naskh Arabic": { + "name": "Noto Naskh Arabic", + "version": "Version 2.018" + }, + "Noto Nastaliq Urdu": { + "name": "Noto Nastaliq Urdu", + "version": "Version 3.007" + }, + "Noto Rashi Hebrew": { + "name": "Noto Rashi Hebrew", + "version": "Version 1.007" + }, + "Noto Sans": { + "name": "Noto Sans", + "version": "Version 2.015" + }, + "Noto Sans Adlam": { + "name": "Noto Sans Adlam", + "version": "Version 3.001" + }, + "Noto Sans Adlam Unjoined": { + "name": "Noto Sans Adlam Unjoined", + "version": "Version 3.003" + }, + "Noto Sans Anatolian Hieroglyphs": { + "name": "Noto Sans Anatolian Hieroglyphs", + "version": "Version 2.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Arabic": { + "name": "Noto Sans Arabic", + "version": "Version 2.012" + }, + "Noto Sans Armenian": { + "name": "Noto Sans Armenian", + "version": "Version 2.008" + }, + "Noto Sans Avestan": { + "name": "Noto Sans Avestan", + "version": "Version 2.003; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Balinese": { + "name": "Noto Sans Balinese", + "version": "Version 2.003" + }, + "Noto Sans Bamum": { + "name": "Noto Sans Bamum", + "version": "Version 2.002" + }, + "Noto Sans Bassa Vah": { + "name": "Noto Sans Bassa Vah", + "version": "Version 2.002" + }, + "Noto Sans Batak": { + "name": "Noto Sans Batak", + "version": "Version 2.003; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Bengali": { + "name": "Noto Sans Bengali", + "version": "Version 2.003" + }, + "Noto Sans Bhaiksuki": { + "name": "Noto Sans Bhaiksuki", + "version": "Version 2.002; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Brahmi": { + "name": "Noto Sans Brahmi", + "version": "Version 2.004; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Buginese": { + "name": "Noto Sans Buginese", + "version": "Version 2.002; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Buhid": { + "name": "Noto Sans Buhid", + "version": "Version 2.001" + }, + "Noto Sans Canadian Aboriginal": { + "name": "Noto Sans Canadian Aboriginal", + "version": "Version 2.004" + }, + "Noto Sans Carian": { + "name": "Noto Sans Carian", + "version": "Version 2.002; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Caucasian Albanian": { + "name": "Noto Sans Caucasian Albanian", + "version": "Version 2.005; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Chakma": { + "name": "Noto Sans Chakma", + "version": "Version 2.003; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Cham": { + "name": "Noto Sans Cham", + "version": "Version 2.005" + }, + "Noto Sans Cherokee": { + "name": "Noto Sans Cherokee", + "version": "Version 2.001" + }, + "Noto Sans Chorasmian": { + "name": "Noto Sans Chorasmian", + "version": "Version 1.004; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Coptic": { + "name": "Noto Sans Coptic", + "version": "Version 2.004; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Cuneiform": { + "name": "Noto Sans Cuneiform", + "version": "Version 2.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Cypriot": { + "name": "Noto Sans Cypriot", + "version": "Version 2.003; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Cypro Minoan": { + "name": "Noto Sans Cypro Minoan", + "version": "Version 1.503; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Deseret": { + "name": "Noto Sans Deseret", + "version": "Version 2.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Devanagari": { + "name": "Noto Sans Devanagari", + "version": "Version 2.006" + }, + "Noto Sans Display": { + "name": "Noto Sans Display", + "version": "Version 2.003" + }, + "Noto Sans Duployan": { + "name": "Noto Sans Duployan", + "version": "Version 3.002" + }, + "Noto Sans Egyptian Hieroglyphs": { + "name": "Noto Sans Egyptian Hieroglyphs", + "version": "Version 2.002; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Elbasan": { + "name": "Noto Sans Elbasan", + "version": "Version 2.004; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Elymaic": { + "name": "Noto Sans Elymaic", + "version": "Version 1.002; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Ethiopic": { + "name": "Noto Sans Ethiopic", + "version": "Version 2.102" + }, + "Noto Sans Georgian": { + "name": "Noto Sans Georgian", + "version": "Version 2.005" + }, + "Noto Sans Glagolitic": { + "name": "Noto Sans Glagolitic", + "version": "Version 2.004; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Gothic": { + "name": "Noto Sans Gothic", + "version": "Version 2.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Grantha": { + "name": "Noto Sans Grantha", + "version": "Version 2.005; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Gujarati": { + "name": "Noto Sans Gujarati", + "version": "Version 2.106" + }, + "Noto Sans Gunjala Gondi": { + "name": "Noto Sans Gunjala Gondi", + "version": "Version 1.004" + }, + "Noto Sans Gurmukhi": { + "name": "Noto Sans Gurmukhi", + "version": "Version 2.004" + }, + "Noto Sans HK": { + "name": "Noto Sans HK", + "version": "Version 2.004-H2;hotconv 1.0.118;makeotfexe 2.5.65603" + }, + "Noto Sans Hanifi Rohingya": { + "name": "Noto Sans Hanifi Rohingya", + "version": "Version 2.102" + }, + "Noto Sans Hanunoo": { + "name": "Noto Sans Hanunoo", + "version": "Version 2.004; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Hatran": { + "name": "Noto Sans Hatran", + "version": "Version 2.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Hebrew": { + "name": "Noto Sans Hebrew", + "version": "Version 3.001" + }, + "Noto Sans Imperial Aramaic": { + "name": "Noto Sans Imperial Aramaic", + "version": "Version 2.002; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Indic Siyaq Numbers": { + "name": "Noto Sans Indic Siyaq Numbers", + "version": "Version 2.002; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Inscriptional Pahlavi": { + "name": "Noto Sans Inscriptional Pahlavi", + "version": "Version 2.004; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Inscriptional Parthian": { + "name": "Noto Sans Inscriptional Parthian", + "version": "Version 2.004; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans JP": { + "name": "Noto Sans JP", + "version": "Version 2.004-H2;hotconv 1.0.118;makeotfexe 2.5.65603" + }, + "Noto Sans Javanese": { + "name": "Noto Sans Javanese", + "version": "Version 2.005" + }, + "Noto Sans KR": { + "name": "Noto Sans KR", + "version": "Version 2.004-H2;hotconv 1.0.118;makeotfexe 2.5.65603" + }, + "Noto Sans Kaithi": { + "name": "Noto Sans Kaithi", + "version": "Version 2.006; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Kannada": { + "name": "Noto Sans Kannada", + "version": "Version 2.005" + }, + "Noto Sans Kawi": { + "name": "Noto Sans Kawi", + "version": "Version 1.000" + }, + "Noto Sans Kayah Li": { + "name": "Noto Sans Kayah Li", + "version": "Version 2.002" + }, + "Noto Sans Kharoshthi": { + "name": "Noto Sans Kharoshthi", + "version": "Version 2.004; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Khmer": { + "name": "Noto Sans Khmer", + "version": "Version 2.004" + }, + "Noto Sans Khojki": { + "name": "Noto Sans Khojki", + "version": "Version 2.005; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Khudawadi": { + "name": "Noto Sans Khudawadi", + "version": "Version 2.004; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Lao": { + "name": "Noto Sans Lao", + "version": "Version 2.003" + }, + "Noto Sans Lao Looped": { + "name": "Noto Sans Lao Looped", + "version": "Version 1.002" + }, + "Noto Sans Lepcha": { + "name": "Noto Sans Lepcha", + "version": "Version 2.006; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Limbu": { + "name": "Noto Sans Limbu", + "version": "Version 2.005; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Linear A": { + "name": "Noto Sans Linear A", + "version": "Version 2.002; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Linear B": { + "name": "Noto Sans Linear B", + "version": "Version 2.002; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Lisu": { + "name": "Noto Sans Lisu", + "version": "Version 2.102" + }, + "Noto Sans Lycian": { + "name": "Noto Sans Lycian", + "version": "Version 2.000" + }, + "Noto Sans Lydian": { + "name": "Noto Sans Lydian", + "version": "Version 2.002; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Mahajani": { + "name": "Noto Sans Mahajani", + "version": "Version 2.003; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Malayalam": { + "name": "Noto Sans Malayalam", + "version": "Version 2.104" + }, + "Noto Sans Mandaic": { + "name": "Noto Sans Mandaic", + "version": "Version 2.003; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Manichaean": { + "name": "Noto Sans Manichaean", + "version": "Version 2.005; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Marchen": { + "name": "Noto Sans Marchen", + "version": "Version 2.004; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Masaram Gondi": { + "name": "Noto Sans Masaram Gondi", + "version": "Version 1.004; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Math": { + "name": "Noto Sans Math", + "version": "Version 3.000; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Mayan Numerals": { + "name": "Noto Sans Mayan Numerals", + "version": "Version 2.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Medefaidrin": { + "name": "Noto Sans Medefaidrin", + "version": "Version 1.002" + }, + "Noto Sans Meetei Mayek": { + "name": "Noto Sans Meetei Mayek", + "version": "Version 2.002" + }, + "Noto Sans Mende Kikakui": { + "name": "Noto Sans Mende Kikakui", + "version": "Version 2.003; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Meroitic": { + "name": "Noto Sans Meroitic", + "version": "Version 2.002; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Miao": { + "name": "Noto Sans Miao", + "version": "Version 2.003; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Modi": { + "name": "Noto Sans Modi", + "version": "Version 2.004; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Mongolian": { + "name": "Noto Sans Mongolian", + "version": "Version 3.002; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Mono": { + "name": "Noto Sans Mono", + "version": "Version 2.014" + }, + "Noto Sans Mro": { + "name": "Noto Sans Mro", + "version": "Version 2.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Multani": { + "name": "Noto Sans Multani", + "version": "Version 2.002; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Myanmar": { + "name": "Noto Sans Myanmar", + "version": "Version 2.001; ttfautohint (v1.8.3) -l 8 -r 50 -G 200 -x 14 -D mymr -f none -a qsq -X \"\"" + }, + "Noto Sans NKo": { + "name": "Noto Sans NKo", + "version": "Version 2.004; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans NKo Unjoined": { + "name": "Noto Sans NKo Unjoined", + "version": "Version 2.004" + }, + "Noto Sans Nabataean": { + "name": "Noto Sans Nabataean", + "version": "Version 2.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Nag Mundari": { + "name": "Noto Sans Nag Mundari", + "version": "Version 1.001" + }, + "Noto Sans Nandinagari": { + "name": "Noto Sans Nandinagari", + "version": "Version 1.002; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans New Tai Lue": { + "name": "Noto Sans New Tai Lue", + "version": "Version 2.004" + }, + "Noto Sans Newa": { + "name": "Noto Sans Newa", + "version": "Version 2.007; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Nushu": { + "name": "Noto Sans Nushu", + "version": "Version 1.003; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Ogham": { + "name": "Noto Sans Ogham", + "version": "Version 2.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Ol Chiki": { + "name": "Noto Sans Ol Chiki", + "version": "Version 2.003" + }, + "Noto Sans Old Hungarian": { + "name": "Noto Sans Old Hungarian", + "version": "Version 2.005; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Old Italic": { + "name": "Noto Sans Old Italic", + "version": "Version 2.004; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Old North Arabian": { + "name": "Noto Sans Old North Arabian", + "version": "Version 2.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Old Permic": { + "name": "Noto Sans Old Permic", + "version": "Version 2.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Old Persian": { + "name": "Noto Sans Old Persian", + "version": "Version 2.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Old Sogdian": { + "name": "Noto Sans Old Sogdian", + "version": "Version 2.003; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Old South Arabian": { + "name": "Noto Sans Old South Arabian", + "version": "Version 2.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Old Turkic": { + "name": "Noto Sans Old Turkic", + "version": "Version 2.004; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Oriya": { + "name": "Noto Sans Oriya", + "version": "Version 2.006" + }, + "Noto Sans Osage": { + "name": "Noto Sans Osage", + "version": "Version 2.002; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Osmanya": { + "name": "Noto Sans Osmanya", + "version": "Version 2.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Pahawh Hmong": { + "name": "Noto Sans Pahawh Hmong", + "version": "Version 2.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Palmyrene": { + "name": "Noto Sans Palmyrene", + "version": "Version 2.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Pau Cin Hau": { + "name": "Noto Sans Pau Cin Hau", + "version": "Version 2.002; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans PhagsPa": { + "name": "Noto Sans PhagsPa", + "version": "Version 2.004; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Phoenician": { + "name": "Noto Sans Phoenician", + "version": "Version 2.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Psalter Pahlavi": { + "name": "Noto Sans Psalter Pahlavi", + "version": "Version 2.003; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Rejang": { + "name": "Noto Sans Rejang", + "version": "Version 2.002; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Runic": { + "name": "Noto Sans Runic", + "version": "Version 2.002; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans SC": { + "name": "Noto Sans SC", + "version": "Version 2.004-H2;hotconv 1.0.118;makeotfexe 2.5.65603" + }, + "Noto Sans Samaritan": { + "name": "Noto Sans Samaritan", + "version": "Version 2.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Saurashtra": { + "name": "Noto Sans Saurashtra", + "version": "Version 2.002; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Sharada": { + "name": "Noto Sans Sharada", + "version": "Version 2.006; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Shavian": { + "name": "Noto Sans Shavian", + "version": "Version 2.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Siddham": { + "name": "Noto Sans Siddham", + "version": "Version 2.005; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans SignWriting": { + "name": "Noto Sans SignWriting", + "version": "Version 2.005; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Sinhala": { + "name": "Noto Sans Sinhala", + "version": "Version 2.006" + }, + "Noto Sans Sogdian": { + "name": "Noto Sans Sogdian", + "version": "Version 2.002; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Sora Sompeng": { + "name": "Noto Sans Sora Sompeng", + "version": "Version 2.101" + }, + "Noto Sans Soyombo": { + "name": "Noto Sans Soyombo", + "version": "Version 2.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Sundanese": { + "name": "Noto Sans Sundanese", + "version": "Version 2.005" + }, + "Noto Sans Syloti Nagri": { + "name": "Noto Sans Syloti Nagri", + "version": "Version 2.004; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Symbols": { + "name": "Noto Sans Symbols", + "version": "Version 2.003" + }, + "Noto Sans Symbols 2": { + "name": "Noto Sans Symbols 2", + "version": "Version 2.008; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Syriac": { + "name": "Noto Sans Syriac", + "version": "Version 3.000" + }, + "Noto Sans Syriac Eastern": { + "name": "Noto Sans Syriac Eastern", + "version": "Version 3.001" + }, + "Noto Sans TC": { + "name": "Noto Sans TC", + "version": "Version 2.004-H2;hotconv 1.0.118;makeotfexe 2.5.65603" + }, + "Noto Sans Tagalog": { + "name": "Noto Sans Tagalog", + "version": "Version 2.002; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Tagbanwa": { + "name": "Noto Sans Tagbanwa", + "version": "Version 2.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Tai Le": { + "name": "Noto Sans Tai Le", + "version": "Version 2.002; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Tai Tham": { + "name": "Noto Sans Tai Tham", + "version": "Version 2.002" + }, + "Noto Sans Tai Viet": { + "name": "Noto Sans Tai Viet", + "version": "Version 2.004; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Takri": { + "name": "Noto Sans Takri", + "version": "Version 2.005; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Tamil": { + "name": "Noto Sans Tamil", + "version": "Version 2.004" + }, + "Noto Sans Tamil Supplement": { + "name": "Noto Sans Tamil Supplement", + "version": "Version 2.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Tangsa": { + "name": "Noto Sans Tangsa", + "version": "Version 1.506" + }, + "Noto Sans Telugu": { + "name": "Noto Sans Telugu", + "version": "Version 2.005" + }, + "Noto Sans Thaana": { + "name": "Noto Sans Thaana", + "version": "Version 3.001" + }, + "Noto Sans Thai": { + "name": "Noto Sans Thai", + "version": "Version 2.002" + }, + "Noto Sans Thai Looped": { + "name": "Noto Sans Thai Looped", + "version": "Version 2.000" + }, + "Noto Sans Tifinagh": { + "name": "Noto Sans Tifinagh", + "version": "Version 2.006; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Tirhuta": { + "name": "Noto Sans Tirhuta", + "version": "Version 2.003; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Ugaritic": { + "name": "Noto Sans Ugaritic", + "version": "Version 2.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Vai": { + "name": "Noto Sans Vai", + "version": "Version 2.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Vithkuqi": { + "name": "Noto Sans Vithkuqi", + "version": "Version 1.001" + }, + "Noto Sans Wancho": { + "name": "Noto Sans Wancho", + "version": "Version 2.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Warang Citi": { + "name": "Noto Sans Warang Citi", + "version": "Version 3.002; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Yi": { + "name": "Noto Sans Yi", + "version": "Version 2.002; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Sans Zanabazar Square": { + "name": "Noto Sans Zanabazar Square", + "version": "Version 2.006; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Serif": { + "name": "Noto Serif", + "version": "Version 2.015" + }, + "Noto Serif Ahom": { + "name": "Noto Serif Ahom", + "version": "Version 2.007; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Serif Armenian": { + "name": "Noto Serif Armenian", + "version": "Version 2.008" + }, + "Noto Serif Balinese": { + "name": "Noto Serif Balinese", + "version": "Version 2.007; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Serif Bengali": { + "name": "Noto Serif Bengali", + "version": "Version 2.003" + }, + "Noto Serif Devanagari": { + "name": "Noto Serif Devanagari", + "version": "Version 2.006" + }, + "Noto Serif Display": { + "name": "Noto Serif Display", + "version": "Version 2.003" + }, + "Noto Serif Dives Akuru": { + "name": "Noto Serif Dives Akuru", + "version": "Version 2.000; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Serif Dogra": { + "name": "Noto Serif Dogra", + "version": "Version 1.007; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Serif Ethiopic": { + "name": "Noto Serif Ethiopic", + "version": "Version 2.102" + }, + "Noto Serif Georgian": { + "name": "Noto Serif Georgian", + "version": "Version 2.003" + }, + "Noto Serif Grantha": { + "name": "Noto Serif Grantha", + "version": "Version 2.005; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Serif Gujarati": { + "name": "Noto Serif Gujarati", + "version": "Version 2.106" + }, + "Noto Serif Gurmukhi": { + "name": "Noto Serif Gurmukhi", + "version": "Version 2.004" + }, + "Noto Serif HK": { + "name": "Noto Serif HK", + "version": "Version 2.003-H1;hotconv 1.1.1;makeotfexe 2.6.0" + }, + "Noto Serif Hebrew": { + "name": "Noto Serif Hebrew", + "version": "Version 2.004" + }, + "Noto Serif Hentaigana": { + "name": "Noto Serif Hentaigana", + "version": "Version 1.000" + }, + "Noto Serif JP": { + "name": "Noto Serif JP", + "version": "Version 2.003-H1;hotconv 1.1.1;makeotfexe 2.6.0" + }, + "Noto Serif KR": { + "name": "Noto Serif KR", + "version": "Version 2.003-H1;hotconv 1.1.1;makeotfexe 2.6.0" + }, + "Noto Serif Kannada": { + "name": "Noto Serif Kannada", + "version": "Version 2.005" + }, + "Noto Serif Khitan Small Script": { + "name": "Noto Serif Khitan Small Script", + "version": "Version 1.000; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Serif Khmer": { + "name": "Noto Serif Khmer", + "version": "Version 2.004" + }, + "Noto Serif Khojki": { + "name": "Noto Serif Khojki", + "version": "Version 2.005" + }, + "Noto Serif Lao": { + "name": "Noto Serif Lao", + "version": "Version 2.003" + }, + "Noto Serif Makasar": { + "name": "Noto Serif Makasar", + "version": "Version 1.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Serif Malayalam": { + "name": "Noto Serif Malayalam", + "version": "Version 2.104" + }, + "Noto Serif Myanmar": { + "name": "Noto Serif Myanmar", + "version": "Version 2.001; ttfautohint (v1.8.3) -l 8 -r 50 -G 200 -x 14 -D mymr -f none -a qsq -X \"\"" + }, + "Noto Serif NP Hmong": { + "name": "Noto Serif NP Hmong", + "version": "Version 1.001" + }, + "Noto Serif Old Uyghur": { + "name": "Noto Serif Old Uyghur", + "version": "Version 1.004; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Serif Oriya": { + "name": "Noto Serif Oriya", + "version": "Version 1.051" + }, + "Noto Serif Ottoman Siyaq": { + "name": "Noto Serif Ottoman Siyaq", + "version": "Version 1.006; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Serif SC": { + "name": "Noto Serif SC", + "version": "Version 2.003-H1;hotconv 1.1.1;makeotfexe 2.6.0" + }, + "Noto Serif Sinhala": { + "name": "Noto Serif Sinhala", + "version": "Version 2.007" + }, + "Noto Serif TC": { + "name": "Noto Serif TC", + "version": "Version 2.003-H1;hotconv 1.1.1;makeotfexe 2.6.0" + }, + "Noto Serif Tamil": { + "name": "Noto Serif Tamil", + "version": "Version 2.004" + }, + "Noto Serif Tangut": { + "name": "Noto Serif Tangut", + "version": "Version 2.169; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Serif Telugu": { + "name": "Noto Serif Telugu", + "version": "Version 2.005" + }, + "Noto Serif Thai": { + "name": "Noto Serif Thai", + "version": "Version 2.002" + }, + "Noto Serif Tibetan": { + "name": "Noto Serif Tibetan", + "version": "Version 2.103" + }, + "Noto Serif Todhri": { + "name": "Noto Serif Todhri", + "version": "Version 1.000; ttfautohint (v1.8.4.7-5d5b)" + }, + "Noto Serif Toto": { + "name": "Noto Serif Toto", + "version": "Version 2.002" + }, + "Noto Serif Vithkuqi": { + "name": "Noto Serif Vithkuqi", + "version": "Version 1.005" + }, + "Noto Serif Yezidi": { + "name": "Noto Serif Yezidi", + "version": "Version 1.001" + }, + "Noto Traditional Nushu": { + "name": "Noto Traditional Nushu", + "version": "Version 2.003" + }, + "Noto Znamenny Musical Notation": { + "name": "Noto Znamenny Musical Notation", + "version": "Version 1.003; ttfautohint (v1.8.4.7-5d5b)" + }, + "Nova Cut": { + "name": "Nova Cut", + "version": "Version 2.000" + }, + "Nova Flat": { + "name": "Nova Flat", + "version": "Version 2.000" + }, + "Nova Mono": { + "name": "Nova Mono", + "version": "Version 1.2" + }, + "Nova Oval": { + "name": "Nova Oval", + "version": "Version 2.000" + }, + "Nova Round": { + "name": "Nova Round", + "version": "Version 2.000" + }, + "Nova Script": { + "name": "Nova Script", + "version": "Version 2.001" + }, + "Nova Slim": { + "name": "Nova Slim", + "version": "Version 2.000" + }, + "Nova Square": { + "name": "Nova Square", + "version": "Version 2.000" + }, + "Numans": { + "name": "Numans", + "version": "Version 001.001" + }, + "Nunito": { + "name": "Nunito", + "version": "Version 3.602" + }, + "Nunito Sans": { + "name": "Nunito Sans", + "version": "Version 3.101;gftools[0.9.27]" + }, + "Nuosu SIL": { + "name": "Nuosu SIL", + "version": "Version 2.300" + }, + "Odibee Sans": { + "name": "Odibee Sans", + "version": "Version 2.001; ttfautohint (v1.8.3)" + }, + "Odor Mean Chey": { + "name": "Odor Mean Chey", + "version": "Version 8.002; ttfautohint (v1.8.3)" + }, + "Offside": { + "name": "Offside", + "version": "Version 1.002; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.23]" + }, + "Oi": { + "name": "Oi", + "version": "Version 4.000" + }, + "Ojuju": { + "name": "Ojuju", + "version": "Version 1.000" + }, + "Old Standard TT": { + "name": "Old Standard TT", + "version": "Version 3.000" + }, + "Oldenburg": { + "name": "Oldenburg", + "version": "Version 1.001" + }, + "Ole": { + "name": "Ole", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Oleo Script": { + "name": "Oleo Script", + "version": "Version 1.002" + }, + "Oleo Script Swash Caps": { + "name": "Oleo Script Swash Caps", + "version": "Version 1.002" + }, + "Onest": { + "name": "Onest", + "version": "Version 1.000;gftools[0.9.33]" + }, + "Oooh Baby": { + "name": "Oooh Baby", + "version": "Version 1.011; ttfautohint (v1.8.3)" + }, + "Open Sans": { + "name": "Open Sans", + "version": "Version 3.003" + }, + "Oranienbaum": { + "name": "Oranienbaum", + "version": "Version 1.001; ttfautohint (v0.91) -l 8 -r 50 -G 200 -x 0 -w \"gGD\"" + }, + "Orbit": { + "name": "Orbit", + "version": "Version 1.000; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.29]" + }, + "Orbitron": { + "name": "Orbitron", + "version": "Version 2.001" + }, + "Oregano": { + "name": "Oregano", + "version": "Version 1.000" + }, + "Orelega One": { + "name": "Orelega One", + "version": "Version 1.1 ; ttfautohint (v1.8.3)" + }, + "Orienta": { + "name": "Orienta", + "version": "Version 1.002; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.23]" + }, + "Original Surfer": { + "name": "Original Surfer", + "version": "Version 1.001" + }, + "Oswald": { + "name": "Oswald", + "version": "Version 4.103;gftools[0.9.33.dev8+g029e19f]" + }, + "Outfit": { + "name": "Outfit", + "version": "Version 1.100;gftools[0.9.27]" + }, + "Over the Rainbow": { + "name": "Over the Rainbow", + "version": "Version 1.002 2010" + }, + "Overlock": { + "name": "Overlock", + "version": "Version 1.002" + }, + "Overlock SC": { + "name": "Overlock SC", + "version": "Version 1.001" + }, + "Overpass": { + "name": "Overpass", + "version": "Version 4.000" + }, + "Overpass Mono": { + "name": "Overpass Mono", + "version": "Version 4.000" + }, + "Ovo": { + "name": "Ovo", + "version": "Version 1.001" + }, + "Oxanium": { + "name": "Oxanium", + "version": "Version 2.000" + }, + "Oxygen": { + "name": "Oxygen", + "version": "Version Release 0.2.3 webfont; ttfautohint (v0.93.3-1d66) -l 8 -r 50 -G 200 -x 0 -w \"gGD\" -c" + }, + "Oxygen Mono": { + "name": "Oxygen Mono", + "version": "Version 0.201; ttfautohint (v0.8) -r 50 -G 200 -x" + }, + "PT Mono": { + "name": "PT Mono", + "version": "Version 1.001W OFL" + }, + "PT Sans": { + "name": "PT Sans", + "version": "Version 2.003W OFL" + }, + "PT Sans Caption": { + "name": "PT Sans Caption", + "version": "Version 2.004W OFL" + }, + "PT Sans Narrow": { + "name": "PT Sans Narrow", + "version": "Version 2.003W OFL" + }, + "PT Serif": { + "name": "PT Serif", + "version": "Version 1.000W OFL" + }, + "PT Serif Caption": { + "name": "PT Serif Caption", + "version": "Version 1.000W OFL" + }, + "Pacifico": { + "name": "Pacifico", + "version": "Version 3.001" + }, + "Padauk": { + "name": "Padauk", + "version": "Version 5.001" + }, + "Padyakke Expanded One": { + "name": "Padyakke Expanded One", + "version": "Version 1.500; ttfautohint (v1.8.4.7-5d5b)" + }, + "Palanquin": { + "name": "Palanquin", + "version": "Version 1.001" + }, + "Palanquin Dark": { + "name": "Palanquin Dark", + "version": "Version 1.001" + }, + "Palette Mosaic": { + "name": "Palette Mosaic", + "version": "Version 1.001" + }, + "Pangolin": { + "name": "Pangolin", + "version": "Version 1.100" + }, + "Paprika": { + "name": "Paprika", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Parisienne": { + "name": "Parisienne", + "version": "Version 1.000" + }, + "Parkinsans": { + "name": "Parkinsans", + "version": "Version 1.000" + }, + "Passero One": { + "name": "Passero One", + "version": "Version 1.003" + }, + "Passion One": { + "name": "Passion One", + "version": "Version 1.002" + }, + "Passions Conflict": { + "name": "Passions Conflict", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Pathway Extreme": { + "name": "Pathway Extreme", + "version": "Version 1.001;gftools[0.9.26]" + }, + "Pathway Gothic One": { + "name": "Pathway Gothic One", + "version": "Version 1.003; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.26]" + }, + "Patrick Hand": { + "name": "Patrick Hand", + "version": "Version 1.003;PS 001.003;hotconv 1.0.70;makeotf.lib2.5.58329; ttfautohint (v0.94.20-1c74) -l 8 -r 50 -G 200 -x 14 -w \"gGD\" -c -f" + }, + "Patrick Hand SC": { + "name": "Patrick Hand SC", + "version": "Version 1.003;PS 001.003;hotconv 1.0.70;makeotf.lib2.5.58329; ttfautohint (v0.94.20-1c74) -l 8 -r 50 -G 200 -x 14 -w \"gGD\" -c -f" + }, + "Pattaya": { + "name": "Pattaya", + "version": "Version 2.001" + }, + "Patua One": { + "name": "Patua One", + "version": "Version 1.002" + }, + "Pavanam": { + "name": "Pavanam", + "version": "Version 1.86; ttfautohint (v1.3) -l 8 -r 50 -G 200 -x 14 -D latn -f none -m \"\" -w G -t -X \"\"" + }, + "Paytone One": { + "name": "Paytone One", + "version": "Version 1.002; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.23]" + }, + "Peddana": { + "name": "Peddana", + "version": "Version 1.0.4; ttfautohint (v1.2.25-373a) -l 7 -r 28 -G 50 -x 13 -D telu -f latn -w G -X \"\"" + }, + "Peralta": { + "name": "Peralta", + "version": "Version 1.000" + }, + "Permanent Marker": { + "name": "Permanent Marker", + "version": "Version 1.001" + }, + "Petemoss": { + "name": "Petemoss", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Petit Formal Script": { + "name": "Petit Formal Script", + "version": "Version 1.001; ttfautohint (v0.8) -G 200 -r 50" + }, + "Petrona": { + "name": "Petrona", + "version": "Version 2.001; ttfautohint (v1.8.3)" + }, + "Phetsarath": { + "name": "Phetsarath", + "version": "Version 1.01" + }, + "Philosopher": { + "name": "Philosopher", + "version": "Version 2.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Phudu": { + "name": "Phudu", + "version": "Version 1.005;gftools[0.9.23]" + }, + "Piazzolla": { + "name": "Piazzolla", + "version": "Version 2.005" + }, + "Piedra": { + "name": "Piedra", + "version": "Version 1.000" + }, + "Pinyon Script": { + "name": "Pinyon Script", + "version": "Version 1.008; ttfautohint (v1.8.4.7-5d5b)" + }, + "Pirata One": { + "name": "Pirata One", + "version": "Version 1.001" + }, + "Pixelify Sans": { + "name": "Pixelify Sans", + "version": "Version 1.000" + }, + "Plaster": { + "name": "Plaster", + "version": "Version 1.007" + }, + "Platypi": { + "name": "Platypi", + "version": "Version 1.200" + }, + "Play": { + "name": "Play", + "version": "Version 2.101; ttfautohint (v1.6)" + }, + "Playball": { + "name": "Playball", + "version": "Version 1.010" + }, + "Playfair": { + "name": "Playfair", + "version": "Version 2.203" + }, + "Playfair Display": { + "name": "Playfair Display", + "version": "Version 1.203" + }, + "Playfair Display SC": { + "name": "Playfair Display SC", + "version": "Version 1.200; ttfautohint (v1.6)" + }, + "Playpen Sans": { + "name": "Playpen Sans", + "version": "Version 2.000" + }, + "Playpen Sans Arabic": { + "name": "Playpen Sans Arabic", + "version": "Version 2.000" + }, + "Playpen Sans Deva": { + "name": "Playpen Sans Deva", + "version": "Version 2.000" + }, + "Playpen Sans Hebrew": { + "name": "Playpen Sans Hebrew", + "version": "Version 2.000" + }, + "Playpen Sans Thai": { + "name": "Playpen Sans Thai", + "version": "Version 2.000" + }, + "Playwrite AR": { + "name": "Playwrite AR", + "version": "Version 1.003" + }, + "Playwrite AR Guides": { + "name": "Playwrite AR Guides", + "version": "Version 1.003" + }, + "Playwrite AT": { + "name": "Playwrite AT", + "version": "Version 1.003" + }, + "Playwrite AT Guides": { + "name": "Playwrite AT Guides", + "version": "Version 1.003" + }, + "Playwrite AU NSW": { + "name": "Playwrite AU NSW", + "version": "Version 1.003" + }, + "Playwrite AU NSW Guides": { + "name": "Playwrite AU NSW Guides", + "version": "Version 1.003" + }, + "Playwrite AU QLD": { + "name": "Playwrite AU QLD", + "version": "Version 1.003" + }, + "Playwrite AU QLD Guides": { + "name": "Playwrite AU QLD Guides", + "version": "Version 1.003" + }, + "Playwrite AU SA": { + "name": "Playwrite AU SA", + "version": "Version 1.003" + }, + "Playwrite AU SA Guides": { + "name": "Playwrite AU SA Guides", + "version": "Version 1.003" + }, + "Playwrite AU TAS": { + "name": "Playwrite AU TAS", + "version": "Version 1.003" + }, + "Playwrite AU TAS Guides": { + "name": "Playwrite AU TAS Guides", + "version": "Version 1.003" + }, + "Playwrite AU VIC": { + "name": "Playwrite AU VIC", + "version": "Version 1.003" + }, + "Playwrite AU VIC Guides": { + "name": "Playwrite AU VIC Guides", + "version": "Version 1.003" + }, + "Playwrite BE VLG": { + "name": "Playwrite BE VLG", + "version": "Version 1.003" + }, + "Playwrite BE VLG Guides": { + "name": "Playwrite BE VLG Guides", + "version": "Version 1.003" + }, + "Playwrite BE WAL": { + "name": "Playwrite BE WAL", + "version": "Version 1.003" + }, + "Playwrite BE WAL Guides": { + "name": "Playwrite BE WAL Guides", + "version": "Version 1.003" + }, + "Playwrite BR": { + "name": "Playwrite BR", + "version": "Version 1.003" + }, + "Playwrite BR Guides": { + "name": "Playwrite BR Guides", + "version": "Version 1.003" + }, + "Playwrite CA": { + "name": "Playwrite CA", + "version": "Version 1.003" + }, + "Playwrite CA Guides": { + "name": "Playwrite CA Guides", + "version": "Version 1.003" + }, + "Playwrite CL": { + "name": "Playwrite CL", + "version": "Version 1.003" + }, + "Playwrite CL Guides": { + "name": "Playwrite CL Guides", + "version": "Version 1.003" + }, + "Playwrite CO": { + "name": "Playwrite CO", + "version": "Version 1.003" + }, + "Playwrite CO Guides": { + "name": "Playwrite CO Guides", + "version": "Version 1.003" + }, + "Playwrite CU": { + "name": "Playwrite CU", + "version": "Version 1.003" + }, + "Playwrite CU Guides": { + "name": "Playwrite CU Guides", + "version": "Version 1.003" + }, + "Playwrite CZ": { + "name": "Playwrite CZ", + "version": "Version 1.003" + }, + "Playwrite CZ Guides": { + "name": "Playwrite CZ Guides", + "version": "Version 1.003" + }, + "Playwrite DE Grund": { + "name": "Playwrite DE Grund", + "version": "Version 1.003" + }, + "Playwrite DE Grund Guides": { + "name": "Playwrite DE Grund Guides", + "version": "Version 1.003" + }, + "Playwrite DE LA": { + "name": "Playwrite DE LA", + "version": "Version 1.003" + }, + "Playwrite DE LA Guides": { + "name": "Playwrite DE LA Guides", + "version": "Version 1.003" + }, + "Playwrite DE SAS": { + "name": "Playwrite DE SAS", + "version": "Version 1.003" + }, + "Playwrite DE SAS Guides": { + "name": "Playwrite DE SAS Guides", + "version": "Version 1.003" + }, + "Playwrite DE VA": { + "name": "Playwrite DE VA", + "version": "Version 1.003" + }, + "Playwrite DE VA Guides": { + "name": "Playwrite DE VA Guides", + "version": "Version 1.003" + }, + "Playwrite DK Loopet": { + "name": "Playwrite DK Loopet", + "version": "Version 1.003" + }, + "Playwrite DK Loopet Guides": { + "name": "Playwrite DK Loopet Guides", + "version": "Version 1.003" + }, + "Playwrite DK Uloopet": { + "name": "Playwrite DK Uloopet", + "version": "Version 1.003" + }, + "Playwrite DK Uloopet Guides": { + "name": "Playwrite DK Uloopet Guides", + "version": "Version 1.003" + }, + "Playwrite ES": { + "name": "Playwrite ES", + "version": "Version 1.003" + }, + "Playwrite ES Deco": { + "name": "Playwrite ES Deco", + "version": "Version 1.003" + }, + "Playwrite ES Deco Guides": { + "name": "Playwrite ES Deco Guides", + "version": "Version 1.003" + }, + "Playwrite ES Guides": { + "name": "Playwrite ES Guides", + "version": "Version 1.003" + }, + "Playwrite FR Moderne": { + "name": "Playwrite FR Moderne", + "version": "Version 1.003" + }, + "Playwrite FR Moderne Guides": { + "name": "Playwrite FR Moderne Guides", + "version": "Version 1.003" + }, + "Playwrite FR Trad": { + "name": "Playwrite FR Trad", + "version": "Version 1.003" + }, + "Playwrite FR Trad Guides": { + "name": "Playwrite FR Trad Guides", + "version": "Version 1.003" + }, + "Playwrite GB J": { + "name": "Playwrite GB J", + "version": "Version 1.003" + }, + "Playwrite GB J Guides": { + "name": "Playwrite GB J Guides", + "version": "Version 1.003" + }, + "Playwrite GB S": { + "name": "Playwrite GB S", + "version": "Version 1.003" + }, + "Playwrite GB S Guides": { + "name": "Playwrite GB S Guides", + "version": "Version 1.003" + }, + "Playwrite HR": { + "name": "Playwrite HR", + "version": "Version 1.003" + }, + "Playwrite HR Guides": { + "name": "Playwrite HR Guides", + "version": "Version 1.003" + }, + "Playwrite HR Lijeva": { + "name": "Playwrite HR Lijeva", + "version": "Version 1.003" + }, + "Playwrite HR Lijeva Guides": { + "name": "Playwrite HR Lijeva Guides", + "version": "Version 1.003" + }, + "Playwrite HU": { + "name": "Playwrite HU", + "version": "Version 1.003" + }, + "Playwrite HU Guides": { + "name": "Playwrite HU Guides", + "version": "Version 1.003" + }, + "Playwrite ID": { + "name": "Playwrite ID", + "version": "Version 1.003" + }, + "Playwrite ID Guides": { + "name": "Playwrite ID Guides", + "version": "Version 1.003" + }, + "Playwrite IE": { + "name": "Playwrite IE", + "version": "Version 1.003" + }, + "Playwrite IE Guides": { + "name": "Playwrite IE Guides", + "version": "Version 1.003" + }, + "Playwrite IN": { + "name": "Playwrite IN", + "version": "Version 1.003" + }, + "Playwrite IN Guides": { + "name": "Playwrite IN Guides", + "version": "Version 1.003" + }, + "Playwrite IS": { + "name": "Playwrite IS", + "version": "Version 1.003" + }, + "Playwrite IS Guides": { + "name": "Playwrite IS Guides", + "version": "Version 1.003" + }, + "Playwrite IT Moderna": { + "name": "Playwrite IT Moderna", + "version": "Version 1.003" + }, + "Playwrite IT Moderna Guides": { + "name": "Playwrite IT Moderna Guides", + "version": "Version 1.003" + }, + "Playwrite IT Trad": { + "name": "Playwrite IT Trad", + "version": "Version 1.003" + }, + "Playwrite IT Trad Guides": { + "name": "Playwrite IT Trad Guides", + "version": "Version 1.003" + }, + "Playwrite MX": { + "name": "Playwrite MX", + "version": "Version 1.003" + }, + "Playwrite MX Guides": { + "name": "Playwrite MX Guides", + "version": "Version 1.003" + }, + "Playwrite NG Modern": { + "name": "Playwrite NG Modern", + "version": "Version 1.003" + }, + "Playwrite NG Modern Guides": { + "name": "Playwrite NG Modern Guides", + "version": "Version 1.003" + }, + "Playwrite NL": { + "name": "Playwrite NL", + "version": "Version 1.003" + }, + "Playwrite NL Guides": { + "name": "Playwrite NL Guides", + "version": "Version 1.003" + }, + "Playwrite NO": { + "name": "Playwrite NO", + "version": "Version 1.003" + }, + "Playwrite NO Guides": { + "name": "Playwrite NO Guides", + "version": "Version 1.003" + }, + "Playwrite NZ": { + "name": "Playwrite NZ", + "version": "Version 1.003" + }, + "Playwrite NZ Guides": { + "name": "Playwrite NZ Guides", + "version": "Version 1.003" + }, + "Playwrite PE": { + "name": "Playwrite PE", + "version": "Version 1.003" + }, + "Playwrite PE Guides": { + "name": "Playwrite PE Guides", + "version": "Version 1.003" + }, + "Playwrite PL": { + "name": "Playwrite PL", + "version": "Version 1.003" + }, + "Playwrite PL Guides": { + "name": "Playwrite PL Guides", + "version": "Version 1.003" + }, + "Playwrite PT": { + "name": "Playwrite PT", + "version": "Version 1.003" + }, + "Playwrite PT Guides": { + "name": "Playwrite PT Guides", + "version": "Version 1.003" + }, + "Playwrite RO": { + "name": "Playwrite RO", + "version": "Version 1.003" + }, + "Playwrite RO Guides": { + "name": "Playwrite RO Guides", + "version": "Version 1.003" + }, + "Playwrite SK": { + "name": "Playwrite SK", + "version": "Version 1.003" + }, + "Playwrite SK Guides": { + "name": "Playwrite SK Guides", + "version": "Version 1.003" + }, + "Playwrite TZ": { + "name": "Playwrite TZ", + "version": "Version 1.003" + }, + "Playwrite TZ Guides": { + "name": "Playwrite TZ Guides", + "version": "Version 1.003" + }, + "Playwrite US Modern": { + "name": "Playwrite US Modern", + "version": "Version 1.003" + }, + "Playwrite US Modern Guides": { + "name": "Playwrite US Modern Guides", + "version": "Version 1.003" + }, + "Playwrite US Trad": { + "name": "Playwrite US Trad", + "version": "Version 1.003" + }, + "Playwrite US Trad Guides": { + "name": "Playwrite US Trad Guides", + "version": "Version 1.003" + }, + "Playwrite VN": { + "name": "Playwrite VN", + "version": "Version 1.003" + }, + "Playwrite VN Guides": { + "name": "Playwrite VN Guides", + "version": "Version 1.003" + }, + "Playwrite ZA": { + "name": "Playwrite ZA", + "version": "Version 1.003" + }, + "Playwrite ZA Guides": { + "name": "Playwrite ZA Guides", + "version": "Version 1.003" + }, + "Plus Jakarta Sans": { + "name": "Plus Jakarta Sans", + "version": "Version 2.071;gftools[0.9.30]" + }, + "Pochaevsk": { + "name": "Pochaevsk", + "version": "Version 1.210; ttfautohint (v1.8.4.7-5d5b)" + }, + "Podkova": { + "name": "Podkova", + "version": "Version 2.103" + }, + "Poetsen One": { + "name": "Poetsen One", + "version": "Version 1.000; ttfautohint (v0.8) -G 200 -r 50" + }, + "Poiret One": { + "name": "Poiret One", + "version": "Version 1.001" + }, + "Poller One": { + "name": "Poller One", + "version": "Version 1.002" + }, + "Poltawski Nowy": { + "name": "Poltawski Nowy", + "version": "Version 1.001;gftools[0.9.25]" + }, + "Poly": { + "name": "Poly", + "version": "Version 1.001" + }, + "Pompiere": { + "name": "Pompiere", + "version": "Version 1.002" + }, + "Ponnala": { + "name": "Ponnala", + "version": "Version 1.0.3" + }, + "Ponomar": { + "name": "Ponomar", + "version": "Version 1.302; ttfautohint (v1.8.4.7-5d5b)" + }, + "Pontano Sans": { + "name": "Pontano Sans", + "version": "Version 2.001" + }, + "Poor Story": { + "name": "Poor Story", + "version": "Version 3.00" + }, + "Poppins": { + "name": "Poppins", + "version": "4.004" + }, + "Port Lligat Sans": { + "name": "Port Lligat Sans", + "version": "Version 1.002" + }, + "Port Lligat Slab": { + "name": "Port Lligat Slab", + "version": "Version 1.002" + }, + "Potta One": { + "name": "Potta One", + "version": "Version 1.000" + }, + "Pragati Narrow": { + "name": "Pragati Narrow", + "version": "Version 1.010; ttfautohint (v1.3)" + }, + "Praise": { + "name": "Praise", + "version": "Version 1.100; ttfautohint (v1.8.3)" + }, + "Prata": { + "name": "Prata", + "version": "Version 2.000" + }, + "Preahvihear": { + "name": "Preahvihear", + "version": "Version 8.002; ttfautohint (v1.8.3)" + }, + "Press Start 2P": { + "name": "Press Start 2P", + "version": "Version 3.000" + }, + "Pridi": { + "name": "Pridi", + "version": "Version 1.001" + }, + "Princess Sofia": { + "name": "Princess Sofia", + "version": "Version 1.000" + }, + "Prociono": { + "name": "Prociono", + "version": "Version 2.301 " + }, + "Prompt": { + "name": "Prompt", + "version": "Version 1.001" + }, + "Prosto One": { + "name": "Prosto One", + "version": "Version 1.001" + }, + "Protest Guerrilla": { + "name": "Protest Guerrilla", + "version": "Version 2.005; ttfautohint (v1.8.4.7-5d5b)" + }, + "Protest Revolution": { + "name": "Protest Revolution", + "version": "Version 2.005; ttfautohint (v1.8.4.7-5d5b)" + }, + "Protest Riot": { + "name": "Protest Riot", + "version": "Version 2.005; ttfautohint (v1.8.4.7-5d5b)" + }, + "Protest Strike": { + "name": "Protest Strike", + "version": "Version 2.005; ttfautohint (v1.8.4.7-5d5b)" + }, + "Proza Libre": { + "name": "Proza Libre", + "version": "Version 1.000; ttfautohint (v1.4.1.8-43bc)" + }, + "Public Sans": { + "name": "Public Sans", + "version": "Version 2.001" + }, + "Puppies Play": { + "name": "Puppies Play", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Puritan": { + "name": "Puritan", + "version": "2.0a" + }, + "Purple Purse": { + "name": "Purple Purse", + "version": "Version 1.000" + }, + "Qahiri": { + "name": "Qahiri", + "version": "Version 3.00" + }, + "Quando": { + "name": "Quando", + "version": "Version 1.002" + }, + "Quantico": { + "name": "Quantico", + "version": "Version 2.002" + }, + "Quattrocento": { + "name": "Quattrocento", + "version": "Version 2.000" + }, + "Quattrocento Sans": { + "name": "Quattrocento Sans", + "version": "Version 2.000" + }, + "Questrial": { + "name": "Questrial", + "version": "Version 2.000; ttfautohint (v1.8.3)" + }, + "Quicksand": { + "name": "Quicksand", + "version": "Version 3.006" + }, + "Quintessential": { + "name": "Quintessential", + "version": "Version 1.000" + }, + "Qwigley": { + "name": "Qwigley", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Qwitcher Grypen": { + "name": "Qwitcher Grypen", + "version": "Version 1.100; ttfautohint (v1.8.3)" + }, + "REM": { + "name": "REM", + "version": "Version 1.005;gftools[0.9.28]" + }, + "Racing Sans One": { + "name": "Racing Sans One", + "version": "Version 1.001; ttfautohint (v0.8) -G 200 -r 50" + }, + "Radio Canada": { + "name": "Radio Canada", + "version": "Version 2.104;gftools[0.9.28.dev5+ged2979d]" + }, + "Radio Canada Big": { + "name": "Radio Canada Big", + "version": "Version 1.001" + }, + "Radley": { + "name": "Radley", + "version": "Version 1.003; ttfautohint (v1.6)" + }, + "Rajdhani": { + "name": "Rajdhani", + "version": "Version 1.201;PS 1.0;hotconv 1.0.78;makeotf.lib2.5.61930; ttfautohint (v1.1) -l 7 -r 28 -G 50 -x 13 -D latn -f deva -w G" + }, + "Rakkas": { + "name": "Rakkas", + "version": "Version 2.000" + }, + "Raleway": { + "name": "Raleway", + "version": "Version 4.026" + }, + "Raleway Dots": { + "name": "Raleway Dots", + "version": "Version 1.000" + }, + "Ramabhadra": { + "name": "Ramabhadra", + "version": "Version 1.0.5; ttfautohint (vUNKNOWN) -l 7 -r 28 -G 50 -x 13 -D telu -f telu -w G -X \"\"" + }, + "Ramaraja": { + "name": "Ramaraja", + "version": "Version 1.0.4; ttfautohint (v1.2.25-373a) -l 7 -r 28 -G 50 -x 13 -D telu -f latn -w G -X \"\"" + }, + "Rambla": { + "name": "Rambla", + "version": "Version 1.001" + }, + "Rammetto One": { + "name": "Rammetto One", + "version": "Version 1.100; ttfautohint (v1.8.4.7-5d5b)" + }, + "Rampart One": { + "name": "Rampart One", + "version": "Version 1.100" + }, + "Ranchers": { + "name": "Ranchers", + "version": "Version 1.000; ttfautohint (v0.8) -G 200 -r 50" + }, + "Rancho": { + "name": "Rancho", + "version": "Version 1.001" + }, + "Ranga": { + "name": "Ranga", + "version": "Version 1.0.2" + }, + "Rasa": { + "name": "Rasa", + "version": "Version 2.004" + }, + "Rationale": { + "name": "Rationale", + "version": "Version 1.011" + }, + "Ravi Prakash": { + "name": "Ravi Prakash", + "version": "Version 1.0.4; ttfautohint (v1.2.42-39fb)" + }, + "Readex Pro": { + "name": "Readex Pro", + "version": "Version 1.205" + }, + "Recursive": { + "name": "Recursive", + "version": "Version 1.085" + }, + "Red Hat Display": { + "name": "Red Hat Display", + "version": "Version 1.030" + }, + "Red Hat Mono": { + "name": "Red Hat Mono", + "version": "Version 1.030" + }, + "Red Hat Text": { + "name": "Red Hat Text", + "version": "Version 1.030" + }, + "Red Rose": { + "name": "Red Rose", + "version": "Version 2.000" + }, + "Redacted": { + "name": "Redacted", + "version": "Version 1.002; ttfautohint (v1.8.3)" + }, + "Redacted Script": { + "name": "Redacted Script", + "version": "Version 1.001; ttfautohint (v1.8.3)" + }, + "Reddit Mono": { + "name": "Reddit Mono", + "version": "Version 1.014" + }, + "Reddit Sans": { + "name": "Reddit Sans", + "version": "Version 1.014" + }, + "Reddit Sans Condensed": { + "name": "Reddit Sans Condensed", + "version": "Version 1.014" + }, + "Redressed": { + "name": "Redressed", + "version": "Version 1.001" + }, + "Reem Kufi": { + "name": "Reem Kufi", + "version": "Version 1.6" + }, + "Reem Kufi Fun": { + "name": "Reem Kufi Fun", + "version": "Version 1.005" + }, + "Reem Kufi Ink": { + "name": "Reem Kufi Ink", + "version": "Version 1.7" + }, + "Reenie Beanie": { + "name": "Reenie Beanie", + "version": "Version 1.000" + }, + "Reggae One": { + "name": "Reggae One", + "version": "Version 1.100" + }, + "Rethink Sans": { + "name": "Rethink Sans", + "version": "Version 1.001" + }, + "Revalia": { + "name": "Revalia", + "version": "Version 1.001" + }, + "Rhodium Libre": { + "name": "Rhodium Libre", + "version": "Version 1.001; ttfautohint (v1.3)" + }, + "Ribeye": { + "name": "Ribeye", + "version": "Version 1.000" + }, + "Ribeye Marrow": { + "name": "Ribeye Marrow", + "version": "Version 1.000" + }, + "Righteous": { + "name": "Righteous", + "version": "Version 1.000" + }, + "Risque": { + "name": "Risque", + "version": "Version 1.000" + }, + "Road Rage": { + "name": "Road Rage", + "version": "Version 1.010" + }, + "Roboto": { + "name": "Roboto", + "version": "Version 3.009; 2024" + }, + "Roboto Condensed": { + "name": "Roboto Condensed", + "version": "Version 3.008; 2023" + }, + "Roboto Flex": { + "name": "Roboto Flex", + "version": "Version 3.200;gftools[0.9.32]" + }, + "Roboto Mono": { + "name": "Roboto Mono", + "version": "Version 3.001" + }, + "Roboto Serif": { + "name": "Roboto Serif", + "version": "Version 1.008" + }, + "Roboto Slab": { + "name": "Roboto Slab", + "version": "Version 2.002" + }, + "Rochester": { + "name": "Rochester", + "version": "Version 1.006" + }, + "Rock 3D": { + "name": "Rock 3D", + "version": "Version 1.000" + }, + "Rock Salt": { + "name": "Rock Salt", + "version": "Version 1.001" + }, + "RocknRoll One": { + "name": "RocknRoll One", + "version": "Version 1.100" + }, + "Rokkitt": { + "name": "Rokkitt", + "version": "Version 3.103" + }, + "Romanesco": { + "name": "Romanesco", + "version": "Version 1.000" + }, + "Ropa Sans": { + "name": "Ropa Sans", + "version": "Version 1.100" + }, + "Rosario": { + "name": "Rosario", + "version": "Version 1.201" + }, + "Rosarivo": { + "name": "Rosarivo", + "version": "Version 1.003" + }, + "Rouge Script": { + "name": "Rouge Script", + "version": "Version 1.003" + }, + "Rowdies": { + "name": "Rowdies", + "version": "Version 1.000; ttfautohint (v1.8.3)" + }, + "Rozha One": { + "name": "Rozha One", + "version": "Version 1.301;PS 1.0;hotconv 1.0.78;makeotf.lib2.5.61930; ttfautohint (v1.1) -l 7 -r 28 -G 50 -x 13 -D latn -f deva -w G" + }, + "Rubik": { + "name": "Rubik", + "version": "Version 2.300;gftools[0.9.30]" + }, + "Rubik 80s Fade": { + "name": "Rubik 80s Fade", + "version": "Version 2.201" + }, + "Rubik Beastly": { + "name": "Rubik Beastly", + "version": "Version 2.200" + }, + "Rubik Broken Fax": { + "name": "Rubik Broken Fax", + "version": "Version 2.201" + }, + "Rubik Bubbles": { + "name": "Rubik Bubbles", + "version": "Version 2.200" + }, + "Rubik Burned": { + "name": "Rubik Burned", + "version": "Version 2.200" + }, + "Rubik Dirt": { + "name": "Rubik Dirt", + "version": "Version 2.200" + }, + "Rubik Distressed": { + "name": "Rubik Distressed", + "version": "Version 2.200" + }, + "Rubik Doodle Shadow": { + "name": "Rubik Doodle Shadow", + "version": "Version 2.201" + }, + "Rubik Doodle Triangles": { + "name": "Rubik Doodle Triangles", + "version": "Version 2.201" + }, + "Rubik Gemstones": { + "name": "Rubik Gemstones", + "version": "Version 2.200" + }, + "Rubik Glitch": { + "name": "Rubik Glitch", + "version": "Version 2.200" + }, + "Rubik Glitch Pop": { + "name": "Rubik Glitch Pop", + "version": "Version 2.201" + }, + "Rubik Iso": { + "name": "Rubik Iso", + "version": "Version 2.200" + }, + "Rubik Lines": { + "name": "Rubik Lines", + "version": "Version 2.201" + }, + "Rubik Maps": { + "name": "Rubik Maps", + "version": "Version 2.201" + }, + "Rubik Marker Hatch": { + "name": "Rubik Marker Hatch", + "version": "Version 2.200" + }, + "Rubik Maze": { + "name": "Rubik Maze", + "version": "Version 2.200" + }, + "Rubik Microbe": { + "name": "Rubik Microbe", + "version": "Version 2.200" + }, + "Rubik Mono One": { + "name": "Rubik Mono One", + "version": "Version 1.001" + }, + "Rubik Moonrocks": { + "name": "Rubik Moonrocks", + "version": "Version 2.200" + }, + "Rubik Pixels": { + "name": "Rubik Pixels", + "version": "Version 2.200" + }, + "Rubik Puddles": { + "name": "Rubik Puddles", + "version": "Version 2.200" + }, + "Rubik Scribble": { + "name": "Rubik Scribble", + "version": "Version 2.201" + }, + "Rubik Spray Paint": { + "name": "Rubik Spray Paint", + "version": "Version 2.200" + }, + "Rubik Storm": { + "name": "Rubik Storm", + "version": "Version 2.201" + }, + "Rubik Vinyl": { + "name": "Rubik Vinyl", + "version": "Version 2.200" + }, + "Rubik Wet Paint": { + "name": "Rubik Wet Paint", + "version": "Version 2.200" + }, + "Ruda": { + "name": "Ruda", + "version": "Version 2.001" + }, + "Rufina": { + "name": "Rufina", + "version": "Version 1.001" + }, + "Ruge Boogie": { + "name": "Ruge Boogie", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Ruluko": { + "name": "Ruluko", + "version": "Version 1.001" + }, + "Rum Raisin": { + "name": "Rum Raisin", + "version": "Version 1.000" + }, + "Ruslan Display": { + "name": "Ruslan Display", + "version": "Version 1.001" + }, + "Russo One": { + "name": "Russo One", + "version": "Version 1.001" + }, + "Ruthie": { + "name": "Ruthie", + "version": "Version 1.012" + }, + "Ruwudu": { + "name": "Ruwudu", + "version": "Version 3.000" + }, + "Rye": { + "name": "Rye", + "version": "Version 1.001" + }, + "STIX Two Text": { + "name": "STIX Two Text", + "version": "Version 2.13 b171" + }, + "SUSE": { + "name": "SUSE", + "version": "Version 1.000" + }, + "Sacramento": { + "name": "Sacramento", + "version": "Version 1.000" + }, + "Sahitya": { + "name": "Sahitya", + "version": "Version 1.001;PS 001.000;hotconv 1.0.70;makeotf.lib2.5.58329 DEVELOPMENT; ttfautohint (v1.2) -l 8 -r 50 -G 200 -x 16 -D latn -f none -w G -W -X \"\"" + }, + "Sail": { + "name": "Sail", + "version": "Version 1.002" + }, + "Saira": { + "name": "Saira", + "version": "Version 1.101" + }, + "Saira Condensed": { + "name": "Saira Condensed", + "version": "Version 0.072" + }, + "Saira Extra Condensed": { + "name": "Saira Extra Condensed", + "version": "Version 0.072" + }, + "Saira Semi Condensed": { + "name": "Saira Semi Condensed", + "version": "Version 0.072" + }, + "Saira Stencil One": { + "name": "Saira Stencil One", + "version": "Version 1.004" + }, + "Salsa": { + "name": "Salsa", + "version": "Version 1.002" + }, + "Sanchez": { + "name": "Sanchez", + "version": "Version 1.001" + }, + "Sancreek": { + "name": "Sancreek", + "version": "Version 1.002" + }, + "Sankofa Display": { + "name": "Sankofa Display", + "version": "Version 1.000; ttfautohint (v1.8.4.7-5d5b)" + }, + "Sansation": { + "name": "Sansation", + "version": "Version 1.301" + }, + "Sansita": { + "name": "Sansita", + "version": "Version 1.006; ttfautohint (v1.5)" + }, + "Sansita Swashed": { + "name": "Sansita Swashed", + "version": "Version 1.003" + }, + "Sarabun": { + "name": "Sarabun", + "version": "Version 1.000; ttfautohint (v1.6)" + }, + "Sarala": { + "name": "Sarala", + "version": "Version 1.004;PS 001.003;hotconv 1.0.70;makeotf.lib2.5.58329 DEVELOPMENT; ttfautohint (v1.00) -l 8 -r 50 -G 200 -x 14 -D latn -f none -w G" + }, + "Sarina": { + "name": "Sarina", + "version": "Version 1.001" + }, + "Sarpanch": { + "name": "Sarpanch", + "version": "Version 2.004;PS 1.0;hotconv 1.0.78;makeotf.lib2.5.61930; ttfautohint (v1.1) -l 8 -r 50 -G 200 -x 14 -D latn -f deva -w gGD -W -c" + }, + "Sassy Frass": { + "name": "Sassy Frass", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Satisfy": { + "name": "Satisfy", + "version": "Version 1.001" + }, + "Savate": { + "name": "Savate", + "version": "Version 2.000" + }, + "Sawarabi Gothic": { + "name": "Sawarabi Gothic", + "version": "Version 20141215 " + }, + "Sawarabi Mincho": { + "name": "Sawarabi Mincho", + "version": "Version 1.082; ttfautohint (v1.8.4.7-5d5b)" + }, + "Scada": { + "name": "Scada", + "version": "Version 4.000" + }, + "Scheherazade New": { + "name": "Scheherazade New", + "version": "Version 4.300" + }, + "Schibsted Grotesk": { + "name": "Schibsted Grotesk", + "version": "Version 1.100;gftools[0.9.25]" + }, + "Schoolbell": { + "name": "Schoolbell", + "version": "Version 1.001" + }, + "Scope One": { + "name": "Scope One", + "version": "Version 1.001; ttfautohint (v1.4.1) -l 11 -r 50 -G 50 -x 14 -D latn -f latn -m \"ttfautohint.ctrl\" -w G -X \"\"" + }, + "Seaweed Script": { + "name": "Seaweed Script", + "version": "Version 1.000" + }, + "Secular One": { + "name": "Secular One", + "version": "Version 1.002; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.29]" + }, + "Sedan": { + "name": "Sedan", + "version": "Version 1.100; ttfautohint (v1.8.4.7-5d5b)" + }, + "Sedan SC": { + "name": "Sedan SC", + "version": "Version 1.100; ttfautohint (v1.8.4.7-5d5b)" + }, + "Sedgwick Ave": { + "name": "Sedgwick Ave", + "version": "Version 1.000" + }, + "Sedgwick Ave Display": { + "name": "Sedgwick Ave Display", + "version": "Version 1.000" + }, + "Sen": { + "name": "Sen", + "version": "Version 2.000;gftools[0.9.31]" + }, + "Send Flowers": { + "name": "Send Flowers", + "version": "Version 1.010; ttfautohint (v1.8.4.7-5d5b)" + }, + "Sevillana": { + "name": "Sevillana", + "version": "Version 1.001" + }, + "Seymour One": { + "name": "Seymour One", + "version": "Version 1.100; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.33]" + }, + "Shadows Into Light": { + "name": "Shadows Into Light", + "version": "Version 001.000" + }, + "Shadows Into Light Two": { + "name": "Shadows Into Light Two", + "version": "Version 1.003 2012" + }, + "Shafarik": { + "name": "Shafarik", + "version": "Version 1.002; ttfautohint (v1.8.4.7-5d5b)" + }, + "Shalimar": { + "name": "Shalimar", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Shantell Sans": { + "name": "Shantell Sans", + "version": "Version 1.011;[c5ecc13dd]" + }, + "Shanti": { + "name": "Shanti", + "version": "Version 1.100; ttfautohint (v1.8.4)" + }, + "Share": { + "name": "Share", + "version": "Version 1.002" + }, + "Share Tech": { + "name": "Share Tech", + "version": "Version 1.100" + }, + "Share Tech Mono": { + "name": "Share Tech Mono", + "version": "Version 1.003" + }, + "Shippori Antique": { + "name": "Shippori Antique", + "version": "Version 2.001" + }, + "Shippori Antique B1": { + "name": "Shippori Antique B1", + "version": "Version 2.001" + }, + "Shippori Mincho": { + "name": "Shippori Mincho", + "version": "Version 3.110; ttfautohint (v1.8.3)" + }, + "Shippori Mincho B1": { + "name": "Shippori Mincho B1", + "version": "Version 3.110; ttfautohint (v1.8.3)" + }, + "Shizuru": { + "name": "Shizuru", + "version": "Version 1.000" + }, + "Shojumaru": { + "name": "Shojumaru", + "version": "Version 1.001" + }, + "Short Stack": { + "name": "Short Stack", + "version": "Version 1.002" + }, + "Shrikhand": { + "name": "Shrikhand", + "version": "Version 1.001;PS 1.001;hotconv 1.0.88;makeotf.lib2.5.647800" + }, + "Siemreap": { + "name": "Siemreap", + "version": "Version 6.00 December 28, 2010" + }, + "Sigmar": { + "name": "Sigmar", + "version": "Version 1.000; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.24]" + }, + "Sigmar One": { + "name": "Sigmar One", + "version": "Version 2.000" + }, + "Signika": { + "name": "Signika", + "version": "Version 2.003;gftools[0.9.32]" + }, + "Signika Negative": { + "name": "Signika Negative", + "version": "Version 2.001" + }, + "Silkscreen": { + "name": "Silkscreen", + "version": "Version 1.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Simonetta": { + "name": "Simonetta", + "version": "Version 1.004" + }, + "Single Day": { + "name": "Single Day", + "version": "Version 1.00" + }, + "Sintony": { + "name": "Sintony", + "version": "Version 001.001" + }, + "Sirin Stencil": { + "name": "Sirin Stencil", + "version": "Version 1.002" + }, + "Six Caps": { + "name": "Six Caps", + "version": "Version 001.000" + }, + "Sixtyfour": { + "name": "Sixtyfour", + "version": "Version 2.001" + }, + "Sixtyfour Convergence": { + "name": "Sixtyfour Convergence", + "version": "Version 2.001" + }, + "Skranji": { + "name": "Skranji", + "version": "Version 1.001" + }, + "Slabo 13px": { + "name": "Slabo 13px", + "version": "Version 1.02 Build 005a" + }, + "Slabo 27px": { + "name": "Slabo 27px", + "version": "Version 1.02 Build 003a" + }, + "Slackey": { + "name": "Slackey", + "version": "Version 1.001" + }, + "Slackside One": { + "name": "Slackside One", + "version": "Version 1.000" + }, + "Smokum": { + "name": "Smokum", + "version": "Version 1.001" + }, + "Smooch": { + "name": "Smooch", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Smooch Sans": { + "name": "Smooch Sans", + "version": "Version 1.010" + }, + "Smythe": { + "name": "Smythe", + "version": "Version 1.000" + }, + "Sniglet": { + "name": "Sniglet", + "version": "Version 2.000; ttfautohint (v0.95) -l 8 -r 50 -G 200 -x 14 -w \"G\"" + }, + "Snippet": { + "name": "Snippet", + "version": "Version 1.000" + }, + "Snowburst One": { + "name": "Snowburst One", + "version": "Version 1.001" + }, + "Sofadi One": { + "name": "Sofadi One", + "version": "Version 1.002" + }, + "Sofia": { + "name": "Sofia", + "version": "Version 1.001" + }, + "Sofia Sans": { + "name": "Sofia Sans", + "version": "Version 4.101" + }, + "Sofia Sans Condensed": { + "name": "Sofia Sans Condensed", + "version": "Version 4.101" + }, + "Sofia Sans Extra Condensed": { + "name": "Sofia Sans Extra Condensed", + "version": "Version 4.101" + }, + "Sofia Sans Semi Condensed": { + "name": "Sofia Sans Semi Condensed", + "version": "Version 4.101" + }, + "Solitreo": { + "name": "Solitreo", + "version": "Version 1.100; ttfautohint (v1.8.4.7-5d5b)" + }, + "Solway": { + "name": "Solway", + "version": "Version 1.000" + }, + "Sometype Mono": { + "name": "Sometype Mono", + "version": "Version 1.001" + }, + "Song Myung": { + "name": "Song Myung", + "version": "Version 1.00" + }, + "Sono": { + "name": "Sono", + "version": "Version 2.112" + }, + "Sonsie One": { + "name": "Sonsie One", + "version": "Version 1.003" + }, + "Sora": { + "name": "Sora", + "version": "Version 2.000" + }, + "Sorts Mill Goudy": { + "name": "Sorts Mill Goudy", + "version": "Version 003.101 " + }, + "Sour Gummy": { + "name": "Sour Gummy", + "version": "Version 1.000" + }, + "Source Code Pro": { + "name": "Source Code Pro", + "version": "Version 1.026;hotconv 1.1.0;makeotfexe 2.6.0" + }, + "Source Sans 3": { + "name": "Source Sans 3", + "version": "Version 3.052;hotconv 1.1.0;makeotfexe 2.6.0" + }, + "Source Serif 4": { + "name": "Source Serif 4", + "version": "Version 4.004;hotconv 1.0.116;makeotfexe 2.5.65601" + }, + "Space Grotesk": { + "name": "Space Grotesk", + "version": "Version 2.000" + }, + "Space Mono": { + "name": "Space Mono", + "version": "Version 1.003; ttfautohint (v1.8.4.7-5d5b)" + }, + "Special Elite": { + "name": "Special Elite", + "version": "Version 1.001" + }, + "Special Gothic": { + "name": "Special Gothic", + "version": "Version 1.010; ttfautohint (v1.8.4.7-5d5b)" + }, + "Special Gothic Condensed One": { + "name": "Special Gothic Condensed One", + "version": "Version 1.010; ttfautohint (v1.8.4.7-5d5b)" + }, + "Special Gothic Expanded One": { + "name": "Special Gothic Expanded One", + "version": "Version 1.010; ttfautohint (v1.8.4.7-5d5b)" + }, + "Spectral": { + "name": "Spectral", + "version": "Version 2.005; ttfautohint (v1.8.4.7-5d5b)" + }, + "Spectral SC": { + "name": "Spectral SC", + "version": "Version 2.005; ttfautohint (v1.8.4.7-5d5b)" + }, + "Spicy Rice": { + "name": "Spicy Rice", + "version": "Version 1.000" + }, + "Spinnaker": { + "name": "Spinnaker", + "version": "Version 1.001" + }, + "Spirax": { + "name": "Spirax", + "version": "Version 1.002" + }, + "Splash": { + "name": "Splash", + "version": "Version 1.010; ttfautohint (v1.8.4.7-5d5b)" + }, + "Spline Sans": { + "name": "Spline Sans", + "version": "Version 1.001" + }, + "Spline Sans Mono": { + "name": "Spline Sans Mono", + "version": "Version 1.004" + }, + "Squada One": { + "name": "Squada One", + "version": "Version 1.001" + }, + "Square Peg": { + "name": "Square Peg", + "version": "Version 1.010; ttfautohint (v1.8.4.7-5d5b)" + }, + "Sree Krushnadevaraya": { + "name": "Sree Krushnadevaraya", + "version": "Version 1.0.5; ttfautohint (v1.2.42-39fb)" + }, + "Sriracha": { + "name": "Sriracha", + "version": "Version 1.002g" + }, + "Srisakdi": { + "name": "Srisakdi", + "version": "Version 1.000; ttfautohint (v1.6)" + }, + "Staatliches": { + "name": "Staatliches", + "version": "Version 1.000; ttfautohint (v1.8.2) -l 8 -r 50 -G 200 -x 14 -D latn -f none -a qsq -X \"\"" + }, + "Stalemate": { + "name": "Stalemate", + "version": "Version 001.000" + }, + "Stalinist One": { + "name": "Stalinist One", + "version": "Version 3.004" + }, + "Stardos Stencil": { + "name": "Stardos Stencil", + "version": "Version 1.001; ttfautohint (v1.8.2)" + }, + "Stick": { + "name": "Stick", + "version": "Version 1.100" + }, + "Stick No Bills": { + "name": "Stick No Bills", + "version": "Version 2.000" + }, + "Stint Ultra Condensed": { + "name": "Stint Ultra Condensed", + "version": "Version 1.000" + }, + "Stint Ultra Expanded": { + "name": "Stint Ultra Expanded", + "version": "Version 1.000" + }, + "Stoke": { + "name": "Stoke", + "version": "Version 1.001" + }, + "Strait": { + "name": "Strait", + "version": "Version 1.002; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.23]" + }, + "Style Script": { + "name": "Style Script", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Stylish": { + "name": "Stylish", + "version": "Version 1.64" + }, + "Sue Ellen Francisco": { + "name": "Sue Ellen Francisco", + "version": "Version 1.002 2007" + }, + "Suez One": { + "name": "Suez One", + "version": "Version 1.001" + }, + "Sulphur Point": { + "name": "Sulphur Point", + "version": "Version 1.000; ttfautohint (v1.8)" + }, + "Sumana": { + "name": "Sumana", + "version": "Version 1.015;PS 001.015;hotconv 1.0.70;makeotf.lib2.5.58329 DEVELOPMENT; ttfautohint (v0.94) -l 8 -r 50 -G 200 -x 14 -w \"G\"" + }, + "Sunflower": { + "name": "Sunflower", + "version": "Version 1.00" + }, + "Sunshiney": { + "name": "Sunshiney", + "version": "Version 1.001" + }, + "Supermercado One": { + "name": "Supermercado One", + "version": "Version 1.002" + }, + "Sura": { + "name": "Sura", + "version": "Version 1.003;PS 001.002;hotconv 1.0.70;makeotf.lib2.5.58329 DEVELOPMENT; ttfautohint (v1.00) -l 8 -r 50 -G 200 -x 14 -D latn -f none -w G" + }, + "Suranna": { + "name": "Suranna", + "version": "Version 1.0.5; ttfautohint (v1.2.42-39fb)" + }, + "Suravaram": { + "name": "Suravaram", + "version": "Version 1.0.4; ttfautohint (v1.2.42-39fb)" + }, + "Suwannaphum": { + "name": "Suwannaphum", + "version": "Version 8.002; ttfautohint (v1.8.3)" + }, + "Swanky and Moo Moo": { + "name": "Swanky and Moo Moo", + "version": "Version 1.002 2001" + }, + "Syncopate": { + "name": "Syncopate", + "version": "Version 001.001" + }, + "Syne": { + "name": "Syne", + "version": "Version 2.200" + }, + "Syne Mono": { + "name": "Syne Mono", + "version": "Version 2.000; ttfautohint (v1.8.3)" + }, + "Syne Tactile": { + "name": "Syne Tactile", + "version": "Version 2.100; ttfautohint (v1.8.3)" + }, + "Tac One": { + "name": "Tac One", + "version": "Version 1.003; ttfautohint (v1.8.4.7-5d5b)" + }, + "Tagesschrift": { + "name": "Tagesschrift", + "version": "Version 2.000; ttfautohint (v1.8.4.7-5d5b)" + }, + "Tai Heritage Pro": { + "name": "Tai Heritage Pro", + "version": "Version 2.600" + }, + "Tajawal": { + "name": "Tajawal", + "version": "Version 1.700" + }, + "Tangerine": { + "name": "Tangerine", + "version": "Version 1.3" + }, + "Tapestry": { + "name": "Tapestry", + "version": "Version 1.010; ttfautohint (v1.8.4.7-5d5b)" + }, + "Taprom": { + "name": "Taprom", + "version": "Version 8.002; ttfautohint (v1.8.3)" + }, + "Tauri": { + "name": "Tauri", + "version": "Version 1.003; ttfautohint (v0.93.8-669f) -l 13 -r 13 -G 200 -x 13 -w \"gG\" -W -c" + }, + "Taviraj": { + "name": "Taviraj", + "version": "Version 1.001" + }, + "Teachers": { + "name": "Teachers", + "version": "Version 1.001" + }, + "Teko": { + "name": "Teko", + "version": "Version 2.000;gftools[0.9.28.dev9+g7d2139d.d20230707]" + }, + "Tektur": { + "name": "Tektur", + "version": "Version 1.005;gftools[0.9.30]" + }, + "Telex": { + "name": "Telex", + "version": "Version 1.100" + }, + "Tenali Ramakrishna": { + "name": "Tenali Ramakrishna", + "version": "Version 1.0.5; ttfautohint (v1.2.25-373a) -l 7 -r 28 -G 50 -x 13 -D telu -f latn -w G -X \"\"" + }, + "Tenor Sans": { + "name": "Tenor Sans", + "version": "Version 1.1" + }, + "Text Me One": { + "name": "Text Me One", + "version": "Version 1.003" + }, + "Texturina": { + "name": "Texturina", + "version": "Version 1.002" + }, + "Thasadith": { + "name": "Thasadith", + "version": "Version 1.000; ttfautohint (v1.6)" + }, + "The Girl Next Door": { + "name": "The Girl Next Door", + "version": "Version 1.002 2010" + }, + "The Nautigal": { + "name": "The Nautigal", + "version": "Version 1.100; ttfautohint (v1.8.3)" + }, + "Tienne": { + "name": "Tienne", + "version": "Version 1.001" + }, + "Tillana": { + "name": "Tillana", + "version": "Version 2.003;PS 1.0;hotconv 1.0.79;makeotf.lib2.5.61930; ttfautohint (v1.2.42-39fb)" + }, + "Tilt Neon": { + "name": "Tilt Neon", + "version": "Version 1.000" + }, + "Tilt Prism": { + "name": "Tilt Prism", + "version": "Version 1.000" + }, + "Tilt Warp": { + "name": "Tilt Warp", + "version": "Version 1.000" + }, + "Timmana": { + "name": "Timmana", + "version": "Version 1.0.4; ttfautohint (v1.2.42-39fb)" + }, + "Tinos": { + "name": "Tinos", + "version": "Version 1.23" + }, + "Tiny5": { + "name": "Tiny5", + "version": "Version 1.002; ttfautohint (v1.8.4.7-5d5b)" + }, + "Tiro Bangla": { + "name": "Tiro Bangla", + "version": "Version 1.52" + }, + "Tiro Devanagari Hindi": { + "name": "Tiro Devanagari Hindi", + "version": "Version 1.52" + }, + "Tiro Devanagari Marathi": { + "name": "Tiro Devanagari Marathi", + "version": "Version 1.52" + }, + "Tiro Devanagari Sanskrit": { + "name": "Tiro Devanagari Sanskrit", + "version": "Version 1.52" + }, + "Tiro Gurmukhi": { + "name": "Tiro Gurmukhi", + "version": "Version 1.52" + }, + "Tiro Kannada": { + "name": "Tiro Kannada", + "version": "Version 1.52" + }, + "Tiro Tamil": { + "name": "Tiro Tamil", + "version": "Version 1.52" + }, + "Tiro Telugu": { + "name": "Tiro Telugu", + "version": "Version 1.53" + }, + "Titan One": { + "name": "Titan One", + "version": "Version 1.001" + }, + "Titillium Web": { + "name": "Titillium Web", + "version": "Version 1.002;PS 57.000;hotconv 1.0.70;makeotf.lib2.5.55311" + }, + "Tomorrow": { + "name": "Tomorrow", + "version": "Version 2.002" + }, + "Tourney": { + "name": "Tourney", + "version": "Version 1.015" + }, + "Trade Winds": { + "name": "Trade Winds", + "version": "Version 1.001" + }, + "Train One": { + "name": "Train One", + "version": "Version 1.100" + }, + "Triodion": { + "name": "Triodion", + "version": "Version 1.202; ttfautohint (v1.8.4.7-5d5b)" + }, + "Trirong": { + "name": "Trirong", + "version": "Version 1.001" + }, + "Trispace": { + "name": "Trispace", + "version": "Version 1.210" + }, + "Trocchi": { + "name": "Trocchi", + "version": "Version 1.101; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.27]" + }, + "Trochut": { + "name": "Trochut", + "version": "Version 1.001" + }, + "Truculenta": { + "name": "Truculenta", + "version": "Version 1.002" + }, + "Trykker": { + "name": "Trykker", + "version": "Version 1.001" + }, + "Tsukimi Rounded": { + "name": "Tsukimi Rounded", + "version": "Version 1.032; ttfautohint (v1.8.3)" + }, + "Tuffy": { + "name": "Tuffy", + "version": "Version 1.272; ttfautohint (v1.6)" + }, + "Tulpen One": { + "name": "Tulpen One", + "version": "Version 1.002" + }, + "Turret Road": { + "name": "Turret Road", + "version": "Version 1.001; ttfautohint (v1.8)" + }, + "Twinkle Star": { + "name": "Twinkle Star", + "version": "Version 2.010; ttfautohint (v1.8.3)" + }, + "Ubuntu": { + "name": "Ubuntu", + "version": "0.83" + }, + "Ubuntu Condensed": { + "name": "Ubuntu Condensed", + "version": "0.83" + }, + "Ubuntu Mono": { + "name": "Ubuntu Mono", + "version": "Version 0.80" + }, + "Ubuntu Sans": { + "name": "Ubuntu Sans", + "version": "Version 1.006" + }, + "Ubuntu Sans Mono": { + "name": "Ubuntu Sans Mono", + "version": "Version 1.006" + }, + "Uchen": { + "name": "Uchen", + "version": "Version 1.000 preliminary" + }, + "Ultra": { + "name": "Ultra", + "version": "Version 1.001" + }, + "Unbounded": { + "name": "Unbounded", + "version": "Version 1.701;gftools[0.9.28.dev5+ged2979d]" + }, + "Uncial Antiqua": { + "name": "Uncial Antiqua", + "version": "Version 1.000" + }, + "Underdog": { + "name": "Underdog", + "version": "Version 1.001; ttfautohint (v0.9)" + }, + "Unica One": { + "name": "Unica One", + "version": "Version 2.000; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.23]" + }, + "UnifrakturCook": { + "name": "UnifrakturCook", + "version": "Version 2011-09-01 " + }, + "UnifrakturMaguntia": { + "name": "UnifrakturMaguntia", + "version": "Version 2010-11-24 " + }, + "Unkempt": { + "name": "Unkempt", + "version": "Version 1.001" + }, + "Unlock": { + "name": "Unlock", + "version": "Version 1.003; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.23]" + }, + "Unna": { + "name": "Unna", + "version": "Version 2.007; ttfautohint (v1.5)" + }, + "Updock": { + "name": "Updock", + "version": "Version 1.010; ttfautohint (v1.8.4.7-5d5b)" + }, + "Urbanist": { + "name": "Urbanist", + "version": "Version 1.303" + }, + "VT323": { + "name": "VT323", + "version": "Version 2.000" + }, + "Vampiro One": { + "name": "Vampiro One", + "version": "Version 1.002" + }, + "Varela": { + "name": "Varela", + "version": "Version 1.000" + }, + "Varela Round": { + "name": "Varela Round", + "version": "Version 3.010; ttfautohint (v1.8.4.7-5d5b)" + }, + "Varta": { + "name": "Varta", + "version": "Version 1.004" + }, + "Vast Shadow": { + "name": "Vast Shadow", + "version": "Version 1.002" + }, + "Vazirmatn": { + "name": "Vazirmatn", + "version": "Version 33.003" + }, + "Vesper Libre": { + "name": "Vesper Libre", + "version": "Version 1.058" + }, + "Viaoda Libre": { + "name": "Viaoda Libre", + "version": "Version 2.000" + }, + "Vibes": { + "name": "Vibes", + "version": "Version 1.100" + }, + "Vibur": { + "name": "Vibur", + "version": "Version 1.004 " + }, + "Victor Mono": { + "name": "Victor Mono", + "version": "Version 1.561;gftools[0.9.30]" + }, + "Vidaloka": { + "name": "Vidaloka ", + "version": "Version 1.011" + }, + "Viga": { + "name": "Viga", + "version": "Version 1.001" + }, + "Vina Sans": { + "name": "Vina Sans", + "version": "Version 1.002; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.28]" + }, + "Voces": { + "name": "Voces", + "version": "Version 1.100" + }, + "Volkhov": { + "name": "Volkhov", + "version": "Version 1.010" + }, + "Vollkorn": { + "name": "Vollkorn", + "version": "Version 5.001" + }, + "Vollkorn SC": { + "name": "Vollkorn SC", + "version": "Version 4.015" + }, + "Voltaire": { + "name": "Voltaire", + "version": "Version 1.010; ttfautohint (v1.8.4.7-5d5b)" + }, + "Vujahday Script": { + "name": "Vujahday Script", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "WDXL Lubrifont JP N": { + "name": "WDXL Lubrifont JP N", + "version": "Version 2.001;hotconv 1.1.1;makeotfexe 2.6.0" + }, + "WDXL Lubrifont SC": { + "name": "WDXL Lubrifont SC", + "version": "Version 2.001;hotconv 1.1.1;makeotfexe 2.6.0" + }, + "WDXL Lubrifont TC": { + "name": "WDXL Lubrifont TC", + "version": "Version 2.001;hotconv 1.1.1;makeotfexe 2.6.0" + }, + "Waiting for the Sunrise": { + "name": "Waiting for the Sunrise", + "version": "Version 1.001 2001" + }, + "Wallpoet": { + "name": "Wallpoet", + "version": "Version 1.000" + }, + "Walter Turncoat": { + "name": "Walter Turncoat", + "version": "Version 1.001" + }, + "Warnes": { + "name": "Warnes", + "version": "Version 1.002; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.23]" + }, + "Water Brush": { + "name": "Water Brush", + "version": "Version 1.010; ttfautohint (v1.8.4.7-5d5b)" + }, + "Waterfall": { + "name": "Waterfall", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Wavefont": { + "name": "Wavefont", + "version": "Version 3.005;gftools[0.9.33]" + }, + "Wellfleet": { + "name": "Wellfleet", + "version": "Version 1.002" + }, + "Wendy One": { + "name": "Wendy One", + "version": "1.001" + }, + "Whisper": { + "name": "Whisper", + "version": "Version 1.010; ttfautohint (v1.8.4.7-5d5b)" + }, + "WindSong": { + "name": "WindSong", + "version": "Version 1.010; ttfautohint (v1.8.3)" + }, + "Winky Rough": { + "name": "Winky Rough", + "version": "Version 1.206" + }, + "Winky Sans": { + "name": "Winky Sans", + "version": "Version 1.205" + }, + "Wire One": { + "name": "Wire One", + "version": "Version 1.102; ttfautohint (v1.8.3)" + }, + "Wittgenstein": { + "name": "Wittgenstein", + "version": "Version 1.500" + }, + "Wix Madefor Display": { + "name": "Wix Madefor Display", + "version": "Version 3.100" + }, + "Wix Madefor Text": { + "name": "Wix Madefor Text", + "version": "Version 3.100" + }, + "Work Sans": { + "name": "Work Sans", + "version": "Version 2.012" + }, + "Workbench": { + "name": "Workbench", + "version": "Version 2.001" + }, + "Xanh Mono": { + "name": "Xanh Mono", + "version": "Version 3.101; ttfautohint (v1.8.3)" + }, + "Yaldevi": { + "name": "Yaldevi", + "version": "Version 1.100" + }, + "Yanone Kaffeesatz": { + "name": "Yanone Kaffeesatz", + "version": "Version 2.003" + }, + "Yantramanav": { + "name": "Yantramanav", + "version": "Version 1.001;PS 1.0;hotconv 1.0.72;makeotf.lib2.5.5900; ttfautohint (v1.3)" + }, + "Yarndings 12": { + "name": "Yarndings 12", + "version": "Version 1.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Yarndings 12 Charted": { + "name": "Yarndings 12 Charted", + "version": "Version 1.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Yarndings 20": { + "name": "Yarndings 20", + "version": "Version 1.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Yarndings 20 Charted": { + "name": "Yarndings 20 Charted", + "version": "Version 1.001; ttfautohint (v1.8.4.7-5d5b)" + }, + "Yatra One": { + "name": "Yatra One", + "version": "Version 1.002g;PS 1.0;hotconv 1.0.86;makeotf.lib2.5.63406; ttfautohint (v1.4.1)" + }, + "Yellowtail": { + "name": "Yellowtail", + "version": "Version 001.002 " + }, + "Yeon Sung": { + "name": "Yeon Sung", + "version": "Version 1.001" + }, + "Yeseva One": { + "name": "Yeseva One", + "version": "Version 2.000" + }, + "Yesteryear": { + "name": "Yesteryear", + "version": "Version 1.000" + }, + "Yomogi": { + "name": "Yomogi", + "version": "Version 3.100" + }, + "Young Serif": { + "name": "Young Serif", + "version": "Version 3.003; ttfautohint (v1.8.4.7-5d5b);gftools[0.9.33]" + }, + "Yrsa": { + "name": "Yrsa", + "version": "Version 2.004" + }, + "Ysabeau": { + "name": "Ysabeau", + "version": "Version 2.002" + }, + "Ysabeau Infant": { + "name": "Ysabeau Infant", + "version": "Version 2.002; featfreeze: ss01,ss02,lnum" + }, + "Ysabeau Office": { + "name": "Ysabeau Office", + "version": "Version 2.002; featfreeze: tnum,lnum,ss02" + }, + "Ysabeau SC": { + "name": "Ysabeau SC", + "version": "Version 2.002; featfreeze: smcp" + }, + "Yuji Boku": { + "name": "Yuji Boku", + "version": "Version 3.002" + }, + "Yuji Hentaigana Akari": { + "name": "Yuji Hentaigana Akari", + "version": "Version 3.002" + }, + "Yuji Hentaigana Akebono": { + "name": "Yuji Hentaigana Akebono", + "version": "Version 3.002" + }, + "Yuji Mai": { + "name": "Yuji Mai", + "version": "Version 3.002" + }, + "Yuji Syuku": { + "name": "Yuji Syuku", + "version": "Version 3.002" + }, + "Yusei Magic": { + "name": "Yusei Magic", + "version": "Version 1.200" + }, + "ZCOOL KuaiLe": { + "name": "ZCOOL KuaiLe", + "version": "Version 2.000" + }, + "ZCOOL QingKe HuangYou": { + "name": "ZCOOL QingKe HuangYou", + "version": "Version 1.000" + }, + "ZCOOL XiaoWei": { + "name": "ZCOOL XiaoWei", + "version": "Version 1.000" + }, + "Zain": { + "name": "Zain", + "version": "Version 1.51; ttfautohint (v1.8.4)" + }, + "Zen Antique": { + "name": "Zen Antique", + "version": "Version 1.001" + }, + "Zen Antique Soft": { + "name": "Zen Antique Soft", + "version": "Version 1.001" + }, + "Zen Dots": { + "name": "Zen Dots", + "version": "Version 1.000; ttfautohint (v1.8.3)" + }, + "Zen Kaku Gothic Antique": { + "name": "Zen Kaku Gothic Antique", + "version": "Version 1.002" + }, + "Zen Kaku Gothic New": { + "name": "Zen Kaku Gothic New", + "version": "Version 1.002" + }, + "Zen Kurenaido": { + "name": "Zen Kurenaido", + "version": "Version 1.001" + }, + "Zen Loop": { + "name": "Zen Loop", + "version": "Version 1.000; ttfautohint (v1.8.3)" + }, + "Zen Maru Gothic": { + "name": "Zen Maru Gothic", + "version": "Version 1.001" + }, + "Zen Old Mincho": { + "name": "Zen Old Mincho", + "version": "Version 1.500" + }, + "Zen Tokyo Zoo": { + "name": "Zen Tokyo Zoo", + "version": "Version 1.002; ttfautohint (v1.8.3)" + }, + "Zeyada": { + "name": "Zeyada", + "version": "Version 1.002 2010" + }, + "Zhi Mang Xing": { + "name": "Zhi Mang Xing", + "version": "Version 2.001" + }, + "Zilla Slab": { + "name": "Zilla Slab", + "version": "Version 1.1; 2017; ttfautohint (v1.6)" + }, + "Zilla Slab Highlight": { + "name": "Zilla Slab Highlight", + "version": "Version 1.1; 2017; ttfautohint (v1.6)" + } + }, + "designers": { + "Anja Meiners": { + "name": "Anja Meiners", + "bio": null + }, + "Mark Jamra": { + "name": "Mark Jamra", + "bio": null + }, + "Neil Patel": { + "name": "Neil Patel", + "bio": null + }, + "Andrew Footit": { + "name": "Andrew Footit", + "bio": null + }, + "Niteesh Yadav": { + "name": "Niteesh Yadav", + "bio": "Niteesh Yadav, is a multi-disciplinary designer and independent researcher from India currently based in London (UK). He initiated the AR One research project in 2017 during his Master's in Typeface Design at the University of Reading, with a focus on exploring the evolution of typography into spatial interfaces. Since then he has been actively sharing insights from his ongoing research with the community. niteeshyadav.com/ | Instagram" + }, + "MADType": { + "name": "MADType", + "bio": null + }, + "Mooniak": { + "name": "Mooniak", + "bio": "Mooniak is the global leader in Sinhala type and typography. Based in Sri Lanka, it is a small studio working on Sinhala, Tamil and Thanna script type design, typography and research related. Mooniak believes in free culture and releases almost all of their work under FLOSS licenses. mooniak.com/" + }, + "Dominik J\u00e1ger": { + "name": "Dominik J\u00e1ger", + "bio": "Dominik J\u00e1ger is a graphic and type designer based in Brno, Czech Republic. He is mainly interested in a transformation of overlooked and unnoticed inscription pieces into a working font file that satisfies contemporary needs." + }, + "TypeTogether": { + "name": "TypeTogether", + "bio": "TypeTogether is an independent type foundry committed to excellence in type design with a focus on editorial use. Known for the popular typefaces Adelle and Bree, TypeTogether also creates custom type designs for corporate use, including their work for Google Play Books, Clar\u00edn, and Apple. Twitter" + }, + "SIL International": { + "name": "SIL International", + "bio": "SIL International works with local communities to develop language solutions that expand possibilities for a better life. A small team specializes in developing fonts for world scripts including Arabic, Burmese, Cyrillic, Devanagari, Ethiopic, Greek, Gunjala Gondi, Hebrew, Latin, Lepcha, Miao, New Tai Lue, Tai Viet, Tifinagh, and Yi. Webpage" + }, + "Astigmatic": { + "name": "Astigmatic", + "bio": null + }, + "Juan Pablo del Peral": { + "name": "Juan Pablo del Peral", + "bio": null + }, + "Huerta Tipogr\u00e1fica": { + "name": "Huerta Tipogr\u00e1fica", + "bio": "Argentina Huerta Tipogr\u00e1fica is a collaborative Argentinian type foundry with a deep respect for design and typography. Founded in 2009, the company began as a place to meet, cooperate, and share experiences while collaborating on academic and commercial projects. Huerta Tipogr\u00e1fica develops custom and retail fonts with libre, proprietary, or exclusive licenses, and is strongly committed to creating innovative and functional type. Their award-winning work has been recognized by Letter.2, Tipos Latinos, and the Bienal Iberoamericana de Dise\u00f1o. GitHub | Twitter" + }, + "Thomas Junold": { + "name": "Thomas Junold", + "bio": null + }, + "Cyreal": { + "name": "Cyreal", + "bio": null + }, + "VivaRado": { + "name": "VivaRado", + "bio": null + }, + "Kristian M\u00f6ller": { + "name": "Kristian M\u00f6ller", + "bio": "Kristian M\u00f6ller, the Stockholm-based type designer, specializes in crafting custom typefaces for a diverse portfolio of clients, including Northvolt, SEB, Public Transport in Stockholm County (SL), Pensionsmyndigheten, JM Bygg, Zo\u00e9gas, Elkj\u00f8p, and many others. Kristian\u2019s type design for Vasakronan earned him the prestigious \u201cWinners of the 24th TDC Typeface Design Competition\u201d in 2021. In addition to his exceptional type design work, Kristian also undertakes traditional design projects, conducts engaging workshops, and delivers insightful lectures, showcasing a multifaceted approach to typography. LinkedIn | Github" + }, + "Dicotype": { + "name": "Dicotype", + "bio": "Dicotype is an independent type foundry in Stockholm. dicotype.com | Github" + }, + "Raphael Al\u1eb9\u0301gb\u1eb9\u0301l\u1eb9\u0301y\u1eb9\u0300": { + "name": "Raphael Al\u1eb9\u0301gb\u1eb9\u0301l\u1eb9\u0301y\u1eb9\u0300", + "bio": "Raphael Al\u1eb9\u0301gb\u1eb9\u0301l\u1eb9\u0301y\u1eb9\u0300 loves making typefaces. He is the founder of ColumnType where he creates beautiful functional typefaces with African language support. Instagram" + }, + "Sorkin Type": { + "name": "Sorkin Type", + "bio": "Sorkin Type makes typefaces that balance a concern for aesthetics, expression, and utility. It was founded in 2011. sorkintype.com | Twitter" + }, + "Eben Sorkin": { + "name": "Eben Sorkin", + "bio": "Eben Sorkin enjoys making type with definite personalities optimized for specific typographic purposes. He has been designing type since 2009. Twitter" + }, + "The DocRepair Project": { + "name": "The DocRepair Project", + "bio": null + }, + "Patric King": { + "name": "Patric King", + "bio": "Patric King is half of House of Pretty, Ltd. and XO Type Co. from Chicago, alongside his husband Su. Patric holds a BA from the design program at the University of Tennessee at Knoxville. He began designing professionally in 1994 as an assistant to Rick Valicenti at Thirst in 1994, then served as design director of Gawker Media until 2011. He has owned and operated House of Pretty, Ltd. since 2007. xotype.co | Twitter | Instagram" + }, + "Seun Badejo": { + "name": "Seun Badejo", + "bio": "Based in Lagos and Malta, Seun Badejo is an experienced Graphic and Type Designer with a professional career spanning over 7 years, driving impact> seun.design" + }, + "Sudtipos": { + "name": "Sudtipos", + "bio": null + }, + "Vaishnavi Murthy": { + "name": "Vaishnavi Murthy", + "bio": "Vaishnavi is a typeface designer specializing in Indic scripts. She works on the conservation and restoration of books, manuscripts, documents, and ephemera\u2014in order to study them. By combining these two practices, Vaishnavi is able to deconstruct and experiment with the structure of Indic letter shapes from an informed perspective." + }, + "Juan Luis Blanco": { + "name": "Juan Luis Blanco", + "bio": null + }, + "Grzegorz Klimczewski": { + "name": "Grzegorz Klimczewski", + "bio": null + }, + "Tall Chai": { + "name": "Tall Chai", + "bio": "Tall Chai is an indie type foundry dedicated to Indic and Latin font development. Fonts are made with heart, soul and spice. tallchai.com | Instagram" + }, + "Spyros Zevelakis": { + "name": "Spyros Zevelakis", + "bio": null + }, + "Andreas Rasmussen": { + "name": "Andreas Rasmussen", + "bio": "Andreas is a graphic and type designer based in Copenhagen, Denmark. a-foundry.com" + }, + "Hagilda": { + "name": "Hagilda", + "bio": null + }, + "Mushon Zer-Aviv": { + "name": "Mushon Zer-Aviv", + "bio": null + }, + "Alessio Laiso": { + "name": "Alessio Laiso", + "bio": null + }, + "Robert Leuschke": { + "name": "Robert Leuschke", + "bio": "Founder and CEO of TypeSETit, Rob Leuschke is a graphic designer, lettering artist and type designer based just outside of St. Louis, MO, USA. Spanning nearly four decades, Rob\u2019s work has consisted mostly of producing lettering and graphics for packaging, logos, and social expression products. typesetit.com" + }, + "Mohamed Gaber": { + "name": "Mohamed Gaber", + "bio": "Mohamed Gaber (Cairo, 1986) is a type designer and artist based in Amsterdam. His primary interest lies in the haptic nature of type production and its technological, philosophical, and historical aspects. He holds a Master in design from Sandberg Instituut (Amsterdam). He has founded Kief Type Foundry (a type foundry specialising in open-source Arabic fonts), TypePlatform (a research space for under-represented writing systems focusing on Arabic script), and co-founded TypeLab at Sandberg Instituut (an open platform to experiment with typography). He taught as a guest tutor at AUC (Egypt), VCU (Qatar), and Linnaeus University (Sweden). In addition, he often gives workshops and talks around the world. His type design work is featured on Google fonts, and his artworks were exhibited in DDW (UAE), CTM 2020 (Germany), Venice Biennale 2020 (Italy), MK&G-Hamburg (Germany), Mediamatic (Netherlands), and VCU (Qatar). His work was nominated for the Jameel Art Prize in 2013 and awarded Best Arabic Display font from Granshan in 2016. gaber.design | Instagram" + }, + "Julieta Ulanovsky": { + "name": "Julieta Ulanovsky", + "bio": "Julieta Ulanovsky lives and works in Buenos Aires. She is a graphic designer and typographer (UBA). In 1989 she founded the ZkySky design studio with Valeria Dulitzky. They specialize in identity design, editorial design, and consulting. She is the co-author of three design books and other typeface design projects linked to urban themes. Behance" + }, + "JM Sol\u00e9": { + "name": "JM Sol\u00e9", + "bio": null + }, + "Ksenya Erulevich": { + "name": "Ksenya Erulevich", + "bio": null + }, + "Sveta Sebyakina": { + "name": "Sveta Sebyakina", + "bio": null + }, + "Suman Bhandary": { + "name": "Suman Bhandary", + "bio": "Suman Bhandary is an independent type designer with keen interest on research based on typography and type design, primarily on Indian scripts. He is currently associated with the Indian Institute of Art and Design, New Delhi, as an assistant Professor." + }, + "Anton Koovit": { + "name": "Anton Koovit", + "bio": null + }, + "Matt McInerney": { + "name": "Matt McInerney", + "bio": null + }, + "Boutros Fonts": { + "name": "Boutros Fonts", + "bio": "The Boutros Group and its team of experts headed by Mourad and Arlette Boutros has led the field of Arabic creativity, typography, calligraphy and design for more than 40 years. Twitter | Homepage" + }, + "Mourad Boutros": { + "name": "Mourad Boutros", + "bio": null + }, + "Ana Sanfelippo": { + "name": "Ana Sanfelippo", + "bio": null + }, + "Karolina Lach": { + "name": "Karolina Lach", + "bio": null + }, + "Gesine Todt": { + "name": "Gesine Todt", + "bio": null + }, + "Vernon Adams": { + "name": "Vernon Adams", + "bio": "Vernon practiced typeface design from 2007 to 2014. A lifelong artist, during this time he eagerly explored designing type for the cloud-based era. His work spans all genres, from lively script faces to workhorse text families and operating system UI. Vernon graduated with an MA in Typeface Design from the University of Reading and lives in California. His designs are mostly published as open source Google Fonts and his favorite projects include Oxygen Mono, Monda, and Bowlby One. Follow his story at www.sansoxygen.com. Website | Instagram" + }, + "Ben Nathan": { + "name": "Ben Nathan", + "bio": null + }, + "Thomas Jockin": { + "name": "Thomas Jockin", + "bio": "Thomas Jockin is a typeface designer and founder of TypeThursday. Homepage | Type Thursday" + }, + "Impallari Type": { + "name": "Impallari Type", + "bio": "Pablo Impallari is Argentinian type designer based in Rosario. Twitter" + }, + "Khaled Hosny": { + "name": "Khaled Hosny", + "bio": "Khaled Hosny is an Egyptian type designer who specializes in Arabic type design, and a software developer whose areas of expertise include font engineering, text layout, localization, and internationalization. Khaled is also an amateur artist. Github | Twitter" + }, + "Sebastian Kosch": { + "name": "Sebastian Kosch", + "bio": null + }, + "Eduardo Tunni": { + "name": "Eduardo Tunni", + "bio": "Eduardo Tunni was born in Buenos Aires, Argentina, in 1963. He studied graphic design at the University of Buenos Aires (UBA) and later specialized in typographic design. He co-founded the type foundry \"Tipo\" and some of his published there fonts were exhibited, selected and awarded around the world. For 10 years he was a teacher of the Master Career of Type Design at the UBA where he continues as external consultant. He made multilingual custom fonts for magazines, newspapers, universities, companies and countries with the collaboration of other colleagues. He has developed design methods that have been incorporated into the main typography design software that collaborates with typographic production. Instagram" + }, + "Brian Bonislawsky": { + "name": "Brian Bonislawsky", + "bio": null + }, + "Universidad Nacional de Colombia (UNAL)": { + "name": "Universidad Nacional de Colombia (UNAL)", + "bio": "Universidad Nacional de Colombia (UNAL) is a national public research university with the following campuses: Amazonia, Bogot\u00e1, Caribe, De La Paz, Manizales, Medell\u00edn, Palmira, Orinoquia and Tumaco. It was established in 1867 by an act of the Congress of Colombia and is one of the largest universities in the country. Key institutional dependencies, such as UNIMEDIOS (the university\u2019s Communications & Media Unity), OMD (its Digital Media Office), LAB101 (its innovation laboratory), and the Faculty of Arts in Bogot\u00e1, have worked in close collaboration in order to make possible the UNAL Anc\u00edzar project." + }, + "C\u00e9sar Puertas": { + "name": "C\u00e9sar Puertas", + "bio": "C\u00e9sar Puertas is a graphic designer from the National University of Colombia and holds a Master\u2019s degree in Type and Media from the Royal Academy of Arts in The Hague (KABK), Netherlands. He is an associate professor at Universidad Nacional de Colombia and cofounder of Typograma, his own design studio, where he specializes in branding, type and editorial design for various clients." + }, + "Viviana Monsalve": { + "name": "Viviana Monsalve", + "bio": "Viviana Monsalve is a graphic designer specializing in typography. She holds degrees from the National University of Colombia and the University of Buenos Aires. Her interest in typography lies in its role as a technology in itself, that can make written culture more accessible and functional for a broader audience. She currently works independently, producing and engineering fonts for clients worldwide." + }, + "Juli\u00e1n Moncada": { + "name": "Juli\u00e1n Moncada", + "bio": "Juli\u00e1n Moncada is a Colombian type designer based in Bogot\u00e1. He earned his Master\u2019s degree in Typeface Design from the University of Reading and later studied at ANRT in Nancy, France. In collaboration with Jonathan Barnbrook and Ryuhei Nakadai, he designed Resolution and Resolution Blackletter, a family of display typefaces developed as a creative response to the political situation in Northern Ireland." + }, + "Carolina Giovagnoli": { + "name": "Carolina Giovagnoli", + "bio": "Carolina Giovagnoli is an Argentinian type designer based in Berlin. She combines her passion for both editorial design and letters in the type design. She is also co-founder and partner at Huerta Tipogr\u00e1fica. Her work and research approaches typography and linguistic diversity. www.huertatipografica.com | Instagram" + }, + "Ek Type": { + "name": "Ek Type", + "bio": "Ek Type is a collaborative type design studio based in Mumbai that specialises in developing multi-script typefaces across all Indian languages. The studio is long known for its meticulous design process which gives adequate importance to script grammar and script traditions, thereby producing high-quality fonts in multiple weights, supporting multiple software platforms for a wide range of applications. It consists of experienced type designers, researchers, and academicians spanning a wide age group whose varied skill sets complement each other. Apart from developing fonts, Ek Type also documents typographic artefacts, and creates awareness about Indian typography through workshops. In addition to this, the studio also mentors and collaborates with upcoming type designers by engaging them in the process of font development. Website | Github | Instagram | LetterBox | Twitter" + }, + "Danh Hong": { + "name": "Danh Hong", + "bio": "Danh Hong has many years of experience creating fonts for Khmer and other Southeast Asian languages, and is actively involved in the KhmerOS project, dedicated to a vision where Cambodians can learn and use computers in their own language. Khmer Type" + }, + "Kimberly Geswein": { + "name": "Kimberly Geswein", + "bio": null + }, + "Mark Simonson": { + "name": "Mark Simonson", + "bio": null + }, + "Sergej Lebedev": { + "name": "Sergej Lebedev", + "bio": "Sergej Lebedev is a German type designer. He studied at the Trier University of Applied Sciences, where he successfully graduated in communication design. The main focus of his creative work is corporate design and type design. His goal is to create high-quality fonts which will serve as an excellent base for any design projects whether it be advertising, corporate design, graphic design and web design. typedesigner.de" + }, + "Santiago Orozco": { + "name": "Santiago Orozco", + "bio": "Santiago Orozco is a type designer and engineer, based in Monterrey, Nuevo Le\u00f3n, M\u00e9xico. With a background in computer science at the University of Monterrey (UDEM), he found himself at the intersection between design and technology. In 2009, he Founded Typemade Foundry, and now specializes in type design, font production, and type technology. typemade.com" + }, + "Cadson Demak": { + "name": "Cadson Demak", + "bio": "Cadson Demak is the first Thai communication design firm to develop type design solutions. Founded in 2002, the studio came together through a shared love of typography and design, a wish to expand and modernize the font industry as a whole, and the desire to make everyday use of type more accessible. They expanded from a modest design firm with dozens of their own typefaces into a boutique type foundry under the name Cadson Demak in 2008. Github | Twitter" + }, + "Tyler Finck": { + "name": "Tyler Finck", + "bio": "Tyler Finck is a prolific and polyvalent designer/artist/musician based in Ithaca, New-York. Homepage" + }, + "Natsumi Matsuba": { + "name": "Natsumi Matsuba", + "bio": "Natsumi Matsuba was born in 1991 and is based in Chiba, Japan. Graduated from the Tokyo Zokei University, Natsumi Matsuba likes display fonts and mainly works on editorial designs. Twitter" + }, + "Omnibus-Type": { + "name": "Omnibus-Type", + "bio": "Omnibus-Type is a collective typefoundry based in Buenos Aires, Argentina. Homepage" + }, + "Abdullah Aref": { + "name": "Abdullah Aref", + "bio": "Abdullah Aref is an Egyptian art teacher, calligrapher, and Arabic type designer. Behance | Facebook" + }, + "Hermann Zapf": { + "name": "Hermann Zapf", + "bio": null + }, + "Natanael Gama": { + "name": "Natanael Gama", + "bio": "Inspired by his early typography classes, Natanael decided to start experimenting with fonts and hasn\u2019t stopped since. He is the designer of Exo and Cinzel, two very popular web font families. In 2011 he founded NDISCOVER, a Portuguese Digital Type Foundry. Even though play has become work for Natanael, he still enjoys designing fonts. ndiscover.com." + }, + "Joana Correia": { + "name": "Joana Correia", + "bio": "Joana is a type designer based in Porto, Portugal. She has degrees in architecture and graphic design, and an MA in Typeface Design from the University of Reading. With her strong interest in global linguistic culture, Joana designs typefaces for Indic writing systems, and has developed multilingual work for the Indian Type Foundry and Google Fonts. She teaches type design at ESAD College of Art and Design where she shares her love of letters with students. www.joanacorreiatype.com | Twitter" + }, + "Rosalie Wagner": { + "name": "Rosalie Wagner", + "bio": "Rosalie Wagner is a french type designer/font engineer based in Berlin, Germany. rosaliewagner.com | Instagram" + }, + "Steve Matteson": { + "name": "Steve Matteson", + "bio": "Steve Matteson is a typeface designer based in Louisville, CO. Owner of Matteson Typographics and formerly Type Director for Monotype and Ascender Corp. Steve is an avid cyclist, musician and letterpress printer. Homepage" + }, + "Viktoriya Grabowska": { + "name": "Viktoriya Grabowska", + "bio": null + }, + "Andrij Shevchenko": { + "name": "Andrij Shevchenko", + "bio": null + }, + "Riccardo De Franceschi": { + "name": "Riccardo De Franceschi", + "bio": null + }, + "Adobe Systems Inc.": { + "name": "Adobe Systems Inc.", + "bio": null + }, + "42dot": { + "name": "42dot", + "bio": "We Are A Mobility AI Company We envision a world where everything is connected and moves autonomously through a self-managing urban transportation operating system. To make this vision a reality, we develop software and AI technologies to reimagine the future of mobility. Website | LinkedIn" + }, + "Dan Rhatigan": { + "name": "Dan Rhatigan", + "bio": null + }, + "Mariela Monsalve": { + "name": "Mariela Monsalve", + "bio": null + }, + "Braille Institute": { + "name": "Braille Institute", + "bio": "Braille Institute is a nonprofit organization that has been positively transforming the lives of those with sight loss for more than 100 years. All programs and services are free of charge, and available through seven Southern California centers, as well as remotely by phone or computer. www.brailleinstitute.org" + }, + "Applied Design Works": { + "name": "Applied Design Works", + "bio": "Creating work that has an impact\u2014this is the singular mission of Applied Design Works. Founded in 2015, Applied Design Works is based in New York and specializes in all aspects of design, planning, strategy, and implementation. Applied&s clients include a broad range of mission-driven organizations. helloapplied.com" + }, + "Elliott Scott": { + "name": "Elliott Scott", + "bio": "Elliott Scott is a Creative Director at Applied Design Works and lives in Queens, New York." + }, + "Megan Eiswerth": { + "name": "Megan Eiswerth", + "bio": "Megan Eiswerth is a Designer at Applied Design Works, and lives in Brooklyn, New York. Instagram" + }, + "Linus Boman": { + "name": "Linus Boman", + "bio": "Linus Boman is a designer, lettering artist, and communicator based in Malm\u00f6, Sweden. timesnewboman.com/" + }, + "Theodore Petrosky": { + "name": "Theodore Petrosky", + "bio": "Theodore Petrosky studied computers while performing in Santiago, Chile. Today, he is a typographer and musician living in Bridgewater, New Jersey." + }, + "Letters From Sweden": { + "name": "Letters From Sweden", + "bio": "Letters from Sweden, founded in 2011, designs retail and custom typefaces for local and international clients. Our mission isn\u2019t just to churn out fonts, our purpose is higher. Printed or pixelated, what drives us is clear communication in the right voice. Our fonts are recognized worldwide by companies and organizations. Our letters come from Sweden, but they are for everyone. lettersfromsweden.se" + }, + "Black Foundry": { + "name": "Black Foundry", + "bio": null + }, + "James Grieshaber": { + "name": "James Grieshaber", + "bio": null + }, + "Dan Sayers": { + "name": "Dan Sayers", + "bio": null + }, + "Displaay": { + "name": "Displaay", + "bio": "Displaay is an independent type foundry established by Martin V\u00e1cha in 2016 and based in Prague, Czech Republic. The team has numerous collaborators around the world. The foundry focuses on retail and custom typefaces. The aim is to develop distinctive typefaces that are missing on the market. displaay.net" + }, + "Martin V\u00e1cha": { + "name": "Martin V\u00e1cha", + "bio": "Martin V\u00e1cha has focused on type design continually since 2008. His experience began during his time at the Academy of Arts, Architecture and Design in Prague where he studied at both the Graphic Design and Type Design studios. He established an independent type foundry Displaay in 2016 which is based in Prague, Czech Republic. Instagram" + }, + "PolarSys": { + "name": "PolarSys", + "bio": null + }, + "Nicolas Chauveau": { + "name": "Nicolas Chauveau", + "bio": null + }, + "Thomas Paillot": { + "name": "Thomas Paillot", + "bio": null + }, + "Jonathan Favre-Lamarine": { + "name": "Jonathan Favre-Lamarine", + "bio": null + }, + "Jean-Luc Vinot": { + "name": "Jean-Luc Vinot", + "bio": null + }, + "Type Bank Co.": { + "name": "Type Bank Co.", + "bio": null + }, + "Morisawa Inc.": { + "name": "Morisawa Inc.", + "bio": "Morisawa Inc. is Japan's leading font foundry that has never wavered from its commitment to undertaking research and development in typography since its invention of the first Japanese phototypesetting machine in 1924. The company provides font licenses for over 1,500 typefaces of Japanese and multi-script, web font services, embedded fonts, and multilingual e-magazine/book solution services. morisawa.co.jp" + }, + "Claus Eggers S\u00f8rensen": { + "name": "Claus Eggers S\u00f8rensen", + "bio": "Claus Eggers S\u00f8rensen received his BDes from The Gerrit Rietveld Academie in Amsterdam, The Netherlands, and a Master of Arts in Typeface Design at The Department of Typography & Graphic Communication, The University of Reading. He has a background in graphic design and commercial art direction. Though of Danish nationality, he is currently living and working in Amsterdam. forthehearts.net" + }, + "Gaslight": { + "name": "Gaslight", + "bio": null + }, + "Hani Alasadi": { + "name": "Hani Alasadi", + "bio": "Hani AbdulAmir, based in Dubai, UAE, is a creative director and multidisciplinary graphic designer with a profound focus on typography and type design. With a Master\u2019s degree in Computer Science from the University of Jordan, Hani blends technical rigor with a passion for expressive letterforms. He has developed award-winning brand identities, with each project showcasing his meticulous approach to type and its power to shape compelling brand narratives. Known for his strategic and detail-oriented creativity, Hani pushes the boundaries of typography to bring depth and clarity to every visual story he tells. haniadnan.com | Instagram" + }, + "Kyungwon Kim": { + "name": "Kyungwon Kim", + "bio": null + }, + "JAMO": { + "name": "JAMO", + "bio": "JAMO is a type design collective group based in Seoul, Korea. They provide professional education, information, and discussion to designers who are wishing to develop their own typefaces through their workshop. JAMO encourages more experimental and unconventional typeface design by getting inspirations from old types, finding an alternative usage from existing ones, and suggesting new letterforms for the future. They aim to escape from the passive practice and create more self-initiating active typefaces. JAMO offers high-quality typeface design based on the deep levels of research, planning, and study. By broadening the potential of Hangul, they propose a new type design methodology to co-live with other worldwide letters including the Latin Alphabet." + }, + "Saumya Kishore": { + "name": "Saumya Kishore", + "bio": null + }, + "Sanchit Sawaria": { + "name": "Sanchit Sawaria", + "bio": null + }, + "Maximiliano Sproviero": { + "name": "Maximiliano Sproviero", + "bio": null + }, + "Michael Angeles": { + "name": "Michael Angeles", + "bio": null + }, + "Dario Manuel Muhafara": { + "name": "Dario Manuel Muhafara", + "bio": null + }, + "Jeremy Tribby": { + "name": "Jeremy Tribby", + "bio": null + }, + "Magnus Gaarde": { + "name": "Magnus Gaarde", + "bio": null + }, + "ANRT": { + "name": "ANRT", + "bio": "The ANRT (Atelier national de recherche typographique) is a postgraduate research course in type design and typography based in Nancy, France anrt-nancy.fr | Instagram" + }, + "L\u00e2m B\u1ea3o": { + "name": "L\u00e2m B\u1ea3o", + "bio": "L\u00e2m B\u1ea3o co-founded Yellow Type Foundry with Duy \u0110\u00e0o in Vietnam in 2018, alongside being an independent designer focusing on product & visual design. During the years, they have worked with a couple of renown Vietnamese brands, including OPPO Vietnam, beGroup, mCredit by MBBank, and a few more to be named or in progress. The duo focus on delivering the best of their craftmanship in modern typefaces, especially made for Vietnamese and continue contributing to the next generation of type designers in Vietnam. Instagram" + }, + "Tony Le": { + "name": "Tony Le", + "bio": null + }, + "Vi\u1ec7tAnh Nguy\u1ec5n": { + "name": "Vi\u1ec7tAnh Nguy\u1ec5n", + "bio": "Vi\u1ec7tAnh Nguy\u1ec5n is a vietnamese type lover, design engineer and boardgame designer at naboardgames.com bettergui.com" + }, + "Ryoichi Tsunekawa": { + "name": "Ryoichi Tsunekawa", + "bio": null + }, + "Arlette Boutros": { + "name": "Arlette Boutros", + "bio": null + }, + "Volker Schnebel": { + "name": "Volker Schnebel", + "bio": null + }, + "LatinoType": { + "name": "LatinoType", + "bio": null + }, + "Nick Shinn": { + "name": "Nick Shinn", + "bio": null + }, + "Liron Lavi Turkenic": { + "name": "Liron Lavi Turkenic", + "bio": null + }, + "Kemie Guaida": { + "name": "Kemie Guaida", + "bio": null + }, + "John Harrington": { + "name": "John Harrington", + "bio": null + }, + "Ben Weiner": { + "name": "Ben Weiner", + "bio": null + }, + "Owen Earl": { + "name": "Owen Earl", + "bio": "Owen Earl is a type designer who thrives on high quality, versatile, modern typography that is accessible to everybody. He is running indestructible type*, a foundry focusing on recreating historical bestseller fonts, distributing them for free with a full range of widths and styles. Homepage" + }, + "Rob Jelinski": { + "name": "Rob Jelinski", + "bio": null + }, + "Alyson Fraser Diaz": { + "name": "Alyson Fraser Diaz", + "bio": null + }, + "Erin McLaughlin": { + "name": "Erin McLaughlin", + "bio": "Erin McLaughlin is a US-based multi-script font designer who has worked with independent foundries Frere-Jones Type, Universal Thirst, TypeTogether, as well as Adobe, IBM, Microsoft, and Google. Erinmclaughlin.com" + }, + "TypeSETit": { + "name": "TypeSETit", + "bio": null + }, + "Aoife Mooney": { + "name": "Aoife Mooney", + "bio": "Aoife is a typeface designer and teacher. She has a degree in Visual Communications from Dublin Institute of Technology and an MA in Typeface Design from the University of Reading. Alongside her freelance practice, Aoife is an Assistant Professor at Kent State University, where she teaches typography and typeface design. Before moving to Ohio, Aoife worked as part of Hoefler & Co.\u2019s design team in New York, developing Idlewild, Surveyor, and many other typefaces. Most recently she worked with Frere-Jones Type on Mallory. BioRhyme is her first original, published typeface design. www.aoifemooney.org | GitHub | Twitter" + }, + "Dan Reynolds": { + "name": "Dan Reynolds", + "bio": "Dan is an independent designer with a focus on letters: he draws typefaces, builds fonts, writes about typography, and teaches design and design history. He\u2019s working on a doctoral dissertation on German type from the Wilhelmine period. Originally from the United States, Dan has lived in England and now resides in Germany. He created the typeface Dasa, and together with Mathieu R\u00e9guer developed Biryani and Martel Sans. www.typeoff.de | GitHub | Twitter" + }, + "Mathieu R\u00e9guer": { + "name": "Mathieu R\u00e9guer", + "bio": null + }, + "Sol Matas": { + "name": "Sol Matas", + "bio": "Sol lives and breathes type design in her beloved adopted city of Berlin. From her sunny studio, she collaborates with an international type and design community. Type design found and claimed her during her formative years at Universidad de Buenos Aires. She mingled and shared classes with architects, and those technical ideas infused her design methodology with the functional precision of an engineer. After spending time at Saatchi & Saatchi, she set out on her own, and formed a new studio. Client projects have led her to research glyphs for Cyrillic, Greek, Oriya, and Devanagari, uncovering the history and meaning of the strokes. solmatas.com" + }, + "AsiaSoft Inc.": { + "name": "AsiaSoft Inc.", + "bio": null + }, + "Zess Type": { + "name": "Zess Type", + "bio": null + }, + "Juergen Huber": { + "name": "Juergen Huber", + "bio": null + }, + "Universitype": { + "name": "Universitype", + "bio": "Universitype is a font foundry based in Makassar, Indonesia. It was established in 2024. The team consists of four passionate experienced type designers, they are Muh. Aswar, Ahmad Muzayyin Syarkawi, Andi Syahdang and Novan Arisandi, who specialize in crafting unique typography. They draw inspiration from Indonesia's rich cultural heritage and diverse landscapes to create distinctive and expressive fonts. Website | Instagram" + }, + "Capitalics": { + "name": "Capitalics", + "bio": "Capitalics Warsaw Type Foundry is one of the first digital type foundries in Poland. It was started as a group collective of typeface designers, out of passion for good typography. Their designs are aimed for conscious customers who look for unique and high quality typefaces. The initiating founder was Micha\u0142 Jaroci\u0144ski. Homepage" + }, + "Mateusz Machalski": { + "name": "Mateusz Machalski", + "bio": "Mateusz Machalski, PhD, studied at the Academy of Fine Arts in Warsaw (PhD in Typeface Design 2020, MA in Graphic Design 2014). He works at the Faculty of Graphics in the Studio of Multimedia Artistic Creation at his alma mater. He is a member of the board of the Association of Applied Graphic Designers in Poland. Homepage" + }, + "Andrzej Heidrich": { + "name": "Andrzej Heidrich", + "bio": null + }, + "John Vargas Beltr\u00e1n": { + "name": "John Vargas Beltr\u00e1n", + "bio": null + }, + "Ashish Kumar": { + "name": "Ashish Kumar", + "bio": "Ashish Kumar is a multidisciplinary designer from India. He is a passionate font designer with a vision to create harmonious multi-script fonts for all Indian languages. He designed his first Devanagari typeface as a graduation project in 2017 for bilingual communication at IDC School of Design, IIT Bombay. Behance | LinkedIn" + }, + "Mathieu Triay": { + "name": "Mathieu Triay", + "bio": "Mathieu Triay is a French designer and software engineer based in London. He runs Atelier Triay, a small creative practice producing websites and fonts amongst other physical and digital artefacts. In 2017 he released Marvin Visions, a variable font specially created for Visions, a magazine he edited and designed. mathieutriay.com | readvisions.com" + }, + "Borys Kosmynka": { + "name": "Borys Kosmynka", + "bio": "Borys Kosmynka, PhD, is a Polish typeface designer and typographer based in London. He helps the coordination of the Association of Applied Graphic Designers in Poland. His work often combines design and typographic historical research." + }, + "Ania Wielu\u0144ska": { + "name": "Ania Wielu\u0144ska", + "bio": "Ania Wielu\u0144ska is a graphic and type designer. She is a PhD student and head of the typedesign studio at the Academy of Fine Arts in Warsaw. She is a laureate of the TDC Beatrice Warde scholarship, funded by Monotype (NYC). She is the author of \"Lazarus\" and co-author of \"Bona Nova\" and \"P\u00f3\u0142tawski Nowy\" typefaces. Homepage" + }, + "Przemys\u0142aw Hoffer": { + "name": "Przemys\u0142aw Hoffer", + "bio": "Przemys\u0142aw Hoffer graduated the Academy of Fine Arts in Katowice. He is a designer and initiator of graphic design and arts exhibitions and events. He co-founded the Distort Visual Collective, which focuses on the use of classical typography based on metal typesetting and printing art. He collaborates with the Book Arts Museum in Lodz since 2011. Homepage" + }, + "Brenda Gallo": { + "name": "Brenda Gallo", + "bio": null + }, + "Ad\u00e8le Antignac": { + "name": "Ad\u00e8le Antignac", + "bio": null + }, + "Gustavo Ibarra": { + "name": "Gustavo Ibarra", + "bio": "Book designer based in Buenos Aires. Professor of Design and Typography in the Diploma in Book Arts (UNA-Argentina). Designer at Ediciones Urania. He gives talks and courses on books, design and typesetting. Instagram" + }, + "David Jonathan Ross": { + "name": "David Jonathan Ross", + "bio": "David draws letters of all shapes and sizes for custom and retail typeface designs. He joined The Font Bureau in 2007, and his typeface designs include Manicotti, a Wild West slab; Turnip, a rugged book face; and Input, an extensive family designed for computer programming. David shares his love of letters through lectures and workshops, and co-curates a collection of cursive signage in Los Angeles. www.djr.com | GitHub | Twitter" + }, + "Typomondo": { + "name": "Typomondo", + "bio": null + }, + "Tart Workshop": { + "name": "Tart Workshop", + "bio": null + }, + "Baltdev": { + "name": "Baltdev", + "bio": null + }, + "Rodrigo Fuenzalida": { + "name": "Rodrigo Fuenzalida", + "bio": "Rodrigo Fuenzalida is a Venezuelan Type Designer based in Santiago de Chile. He likes to draw fonts that could be used in video games. He also likes to do revivals of old designs. His work has been featured in various publications. He currently runs his independent type foundry fragTYPE. Behance" + }, + "Henry Chan": { + "name": "Henry Chan", + "bio": null + }, + "Tian Haidong": { + "name": "Tian Haidong", + "bio": null + }, + "Moonlit Owen": { + "name": "Moonlit Owen", + "bio": null + }, + "Open Window": { + "name": "Open Window", + "bio": null + }, + "Accademia di Belle Arti di Urbino": { + "name": "Accademia di Belle Arti di Urbino", + "bio": null + }, + "Mark Davis": { + "name": "Mark Davis", + "bio": "Mark Davis is a Brooklyn-based type designer and art director, working with clients from local institutions to national brands. His fascination with typography began in high school after seeing Gary Hustwit\u2019s Helvetica (2007), sparking a lifelong obsession with type\u2019s role in shaping communication. A Taylor University graduate, Mark studied type design at The Cooper Union before interning at the legendary Font Bureau. He\u2019s since shaped brand and campaign identities at BuzzFeed News, NBCUniversal, SME Branding, Tronvig, and independently, contributing to projects for Ticketmaster, Cal.com, WWD, Type Network, The Font Bureau, NMWA, VNS Health, the Kentucky Derby, the Breeders\u2019 Cup, and Nike. designermarkdavis.com | x.com/MarkFonts" + }, + "Cal.com Inc.": { + "name": "Cal.com Inc.", + "bio": "Cal.com is building the best scheduling infrastructure for everyone. Open Source, on-premise and best-in-class. cal.com" + }, + "Andr\u00e9s Torresi": { + "name": "Andr\u00e9s Torresi", + "bio": null + }, + "Carolina Giovanolli": { + "name": "Carolina Giovanolli", + "bio": null + }, + "Yvonne Sch\u00fcttler": { + "name": "Yvonne Sch\u00fcttler", + "bio": null + }, + "Pooja Saxena": { + "name": "Pooja Saxena", + "bio": "Pooja Saxena is a type designer, typographer and researcher based in New Delhi. Her focus is on Indic scripts, notably Devanagari, and on typographic and visual languages emerging in India. She documents local street lettering and collects ephemera. matratype.com/" + }, + "Dave Crossland": { + "name": "Dave Crossland", + "bio": null + }, + "Phaedra Charles": { + "name": "Phaedra Charles", + "bio": "Phaedra Charles (she/they) is a Brooklyn-based typeface designer and lettering artist. Twitter" + }, + "Flavia Zimbardi": { + "name": "Flavia Zimbardi", + "bio": "Flavia Zimbardi is a typeface designer and visual artist from Rio de Janeiro, and currently based in Berlin. Twitter" + }, + "David Perry": { + "name": "David Perry", + "bio": null + }, + "\u0141ukasz Dziedzic": { + "name": "\u0141ukasz Dziedzic", + "bio": "\u0141ukasz is a Warsaw-based designer. During Poland's first free elections in 1989, he joined Gazeta Wyborcza, the first independent daily newspaper, and soon found a home in the design department co-creating page layouts and his first typeface. In 2007, he created a three-style Latin and Cyrillic corporate family for empik, one of Poland\u2019s largest retail networks. In 2010, he started the Lato project, to develop a high-quality open-source font family." + }, + "Rub\u00e9n Prol": { + "name": "Rub\u00e9n Prol", + "bio": null + }, + "Carrois Apostrophe": { + "name": "Carrois Apostrophe", + "bio": "Germany Carrois Apostrophe focuses on language extension and the development of corporate type. The studio was founded in 1975 by Ralph Carrois. The typeface for Suzuki was one of Ralph\u2019s early projects, and he has since designed typefaces for TYPO3, the Neue National Galerie, and the Museo de Art de Ponce, among many others. In cooperation with Erik Spiekermann, Carrois Apostrophe has realized projects for Cisco, the German television broadcaster ZDF, designed Fira for Mozilla, and FF Real which was released by Fontshop. The studio is currently working on new designs and smart plugins for the font editor Glyphs." + }, + "Aaron Bell": { + "name": "Aaron Bell", + "bio": null + }, + "Mohamad Dakak": { + "name": "Mohamad Dakak", + "bio": null + }, + "Liron Lavi Turkenich": { + "name": "Liron Lavi Turkenich", + "bio": null + }, + "Tiro Typeworks": { + "name": "Tiro Typeworks", + "bio": "Tiro Typeworks is a small type foundry specialising in custom fonts for multilingual publishing and computing. Tiro\u2019s clients include Adobe, Apple, Brill, Google, Harvard University Press, Microsoft, the STI Pub consortium, and other specialist publishers and scholarly organisations." + }, + "John Hudson": { + "name": "John Hudson", + "bio": "John Hudson is a Canadian type designer and font maker, and co-founder of Tiro Typeworks (1994)." + }, + "Paul Hanslow": { + "name": "Paul Hanslow", + "bio": "Paul Hanslow is an Australian born typeface designer, currently working for Tiro Typeworks in Vancouver, Canada." + }, + "Kaja S\u0142ojewska": { + "name": "Kaja S\u0142ojewska", + "bio": "Kaja Słojewska is a graphic-turned-typeface designer, currently based in Vancouver, Canada. As Nomad Fonts, Kaja is working with foundries to expand typeface families, produce typefaces, and create custom fonts." + }, + "Pria Ravichandran": { + "name": "Pria Ravichandran", + "bio": null + }, + "Nidud": { + "name": "Nidud", + "bio": null + }, + "Miguel Hernandez": { + "name": "Miguel Hernandez", + "bio": "Miguel is a self-taught typeface designer based in Santiago de Chile. After designing commercial and experimental fonts for many years, he is now at work on the Latin American modernist type foundry Alphabets By Chileans (A.B.C.)." + }, + "Fontstage": { + "name": "Fontstage", + "bio": null + }, + "Appaji Ambarisha Darbha": { + "name": "Appaji Ambarisha Darbha", + "bio": null + }, + "Vicente Lam\u00f3naca": { + "name": "Vicente Lam\u00f3naca", + "bio": null + }, + "Satsuyako": { + "name": "Satsuyako", + "bio": "A freelance designer based in Saitama, Japan. Started designing Japanese fonts in 2012, including Yomogi, Cherry Bomb One, and more. They have also worked on Latin fonts since 2019. website | twitter" + }, + "Font Diner": { + "name": "Font Diner", + "bio": null + }, + "Nataliya Kasatkina": { + "name": "Nataliya Kasatkina", + "bio": null + }, + "Sideshow": { + "name": "Sideshow", + "bio": null + }, + "SMC": { + "name": "SMC", + "bio": "Swathanthra Malayalam Computing (SMC) is a free software collective engaged in development, localization, standardization and popularization of various Free and Open Source Softwares in Malayalam language. smc.org.in/" + }, + "Santhosh Thottingal": { + "name": "Santhosh Thottingal", + "bio": "Santhosh Thottingal is a typeface designer and a software engineer from India. He is an active contributor of Swathanthra Malayalam Computing organization and has designed popular Malayalam typefaces like Manjari and Chilanka. thottingal.in/" + }, + "Tamcy": { + "name": "Tamcy", + "bio": null + }, + "Font Zone 108": { + "name": "Font Zone 108", + "bio": "\"Font Zone 108\" is the pseudonym of a typeface designer who mainly works on Japanese fonts. He think, who knows, Japanese letters might not exist after 100 years. That is why he finds it so meaningful to hold the beauty of them inside fonts, with the sincere wish that Japanese will remain far into the future, without being forgotten. That\u2019s why his fonts are open source. twitter" + }, + "Daniel Coull": { + "name": "Daniel Coull", + "bio": null + }, + "Eino Korkala": { + "name": "Eino Korkala", + "bio": null + }, + "Neapolitan": { + "name": "Neapolitan", + "bio": null + }, + "Marcelo Magalh\u00e3es": { + "name": "Marcelo Magalh\u00e3es", + "bio": null + }, + "Johan Aakerlund": { + "name": "Johan Aakerlund", + "bio": null + }, + "Craig Rozynski": { + "name": "Craig Rozynski", + "bio": null + }, + "Hrant Papazian": { + "name": "Hrant Papazian", + "bio": null + }, + "Jeff Davis": { + "name": "Jeff Davis", + "bio": "Jeff Davis is a full-time audio and electrical engineer, part-time tinkerer and freelancer, hobbyist photographer, and occasional artist and graphic designer based in Seattle, Washington. Website" + }, + "Kostas Bartsokas": { + "name": "Kostas Bartsokas", + "bio": "Kostas Bartsokas is a typeface designer and typographer based in Thessaloniki, Greece. He graduated with distinction in Typeface Design from the University of Reading in 2016. Kostas enjoys innovative explorations in Latin, Greek, Cyrillic, and Arabic type design. His typefaces have received several awards including a TDC Certificate in Typographic Excellence. He is one part Foundry5. Homepage | Twitter" + }, + "Johan Kallas": { + "name": "Johan Kallas", + "bio": null + }, + "Mihkel Virkus": { + "name": "Mihkel Virkus", + "bio": null + }, + "Nicol\u00e1s Silva": { + "name": "Nicol\u00e1s Silva", + "bio": null + }, + "Ania Kruk": { + "name": "Ania Kruk", + "bio": null + }, + "Tanukizamurai": { + "name": "Tanukizamurai", + "bio": "Tanukizamurai is a type designer based in Japan since 2011. Through the creation of playful typography, she aims to provide an enjoyable environment for everyone to create fonts. Website" + }, + "Christian Thalmann": { + "name": "Christian Thalmann", + "bio": "Christian Thalmann is a physicist who designs typefaces on a hobby basis in the infinitesimal gaps of free time between teaching and parenthood. His most popular design, the ultra-display Garamond \u00abCormorant\u00bb, is freely available on Google Fonts, whereas eleven more typefaces can be licensed from MyFonts or FontSpring under the label \u00abCatharsis Fonts\u00bb. Twitter | Fonts" + }, + "Alan Dague-Greene": { + "name": "Alan Dague-Greene", + "bio": null + }, + "Jacques Le Bailly": { + "name": "Jacques Le Bailly", + "bio": "\"Baron von Fonthausen, distinctive type design with a twist.\" Jacques Le Bailly has a broad international experience in the field of type design and a background in graphic design, corporate design, typography and teaching. He specialized in (large) type design projects. Beside developing personal type families, he works for and in cooperation with high profile clients. www.baronvonfonthausen.com | Twitter" + }, + "Jovanny Lemonad": { + "name": "Jovanny Lemonad", + "bio": null + }, + "TypoDesign Lab. Inc": { + "name": "TypoDesign Lab. Inc", + "bio": null + }, + "Colophon Foundry": { + "name": "Colophon Foundry", + "bio": "Colophon Foundry is a London and Los Angeles-based digital type foundry established in 2009. Its members comprise Benjamin Critton (US), Edd Harrington (UK), and Anthony Sheret (UK). The foundry's commissioned work in type design is complemented by independent and interdependent initiatives in editorial design, publishing, curation, and pedagogy. colophon-foundry.org" + }, + "Afrotype": { + "name": "Afrotype", + "bio": "Based in Lagos, Nigeria, Afrotype, founded by Seyi Olusanya, intends to subvert cliches around African graphic design and identity by creating typefaces that are grounded in African history and culture. Twitter | afrotype.com" + }, + "Seyi Olusanya": { + "name": "Seyi Olusanya", + "bio": "Seyi is a freelance art director and type designer from Lagos, Nigeria. He is the founder of Afrotype and is passionate about vernacular design. Seyi loves to explore projects that cut across African culture, history and identity. Twitter | ogbeniseyi.com" + }, + "Eyiyemi Adegbite": { + "name": "Eyiyemi Adegbite", + "bio": "Eyiyemi Adegbite is a multi-disciplinary designer and art director currently working from Lagos, Nigeria. With a diverse skill set and an eye for details, Eyiyemi excels at creating experiences using visual design in a way that leaves a lasting expression. Instagram" + }, + "David Udoh": { + "name": "David Udoh", + "bio": "Based in Lagos, Nigeria, David Udoh is an Art Director & Designer. He has worked across various design disciplines, focusing on branding and advertising. Driven by the admiration for the beauty of everyday letterforms, he now designs fonts. He also leads the creative effort at The Huddle, an event that spotlights creative work from African designers. In his free time, he enjoys sports, travel, music, and curating vernacular designs. Instagram" + }, + "Mirko Velimirovi\u0107": { + "name": "Mirko Velimirovi\u0107", + "bio": "Mirko Velimirovi\u0107 lives in Brooklyn where he designs typefaces, and lettering for book covers under the name Abyss Type Company. He teaches type design at Center for Book Arts occasionally, and wrangles variable fonts constantly. github.com/bghryct" + }, + "Gabriel Lam": { + "name": "Gabriel Lam", + "bio": null + }, + "Maniackers Design": { + "name": "Maniackers Design", + "bio": "Maniackers Design is a design studio works in various media. Established in 1995, it's based in Takasaki, Gunma in Japan. Representative is Masayuki Sato. Maniackers Design started creating & uploading open source fonts on its website in 1998. mksd.jp" + }, + "Monotype Imaging Inc.": { + "name": "Monotype Imaging Inc.", + "bio": null + }, + "Meir Sadan": { + "name": "Meir Sadan", + "bio": "Meir is a designer specializing in type design, typography, interactive digital design, and web development. He serves as Creative Director at feelternet, and teaches at Bezalel Academy of Arts and Design, and Minshar School for Art. meirsadan.com | GitHub | Twitter" + }, + "artakana": { + "name": "artakana", + "bio": "Artakana has been sharing his graphic and typographical works such as fonts and lettering on social media since 2016. He is now sharing his original fonts under open source license. Twitter" + }, + "Agung Rohmat": { + "name": "Agung Rohmat", + "bio": "Based in Pati, Central Java, alphArtype is a personal typefoundry that Agung Rohmat created when he started making fonts in 2018. He is a freelancer designer and got interested in making fonts with a handwritten style. His most popular fonts are \"Holiday\" and \"Collection\" and their users come from various countries in the world and from several large companies such as Vevo, Boots and Unilever. alphartype.com/ | hello@alphartype.com" + }, + "Natalia Raices": { + "name": "Natalia Raices", + "bio": null + }, + "Nathan Willis": { + "name": "Nathan Willis", + "bio": null + }, + "Purushoth Kumar Guttula": { + "name": "Purushoth Kumar Guttula", + "bio": null + }, + "Daniel Johnson": { + "name": "Daniel Johnson", + "bio": null + }, + "Minha Hyung": { + "name": "Minha Hyung", + "bio": null + }, + "Woowahan Brothers": { + "name": "Woowahan Brothers", + "bio": null + }, + "FONTRIX": { + "name": "FONTRIX", + "bio": null + }, + "Gary Lonergan": { + "name": "Gary Lonergan", + "bio": null + }, + "Yanghee Ryu": { + "name": "Yanghee Ryu", + "bio": "Yanghee Ryu is an independent type designer specializing in Hangul. She released her first typeface \u2018Gowun Hangul\u2019 in 2010, and has graduated from the MA Typeface Design course at the University of Reading 2017. Her interests include multi-script type design for development of Hangul typefaces harmonized with other scripts. ryufont.com | Twitter" + }, + "Szymon Celej": { + "name": "Szymon Celej", + "bio": null + }, + "Fontworks Inc.": { + "name": "Fontworks Inc.", + "bio": "Fontworks was established in 1993, under a corporate philosophy to create a new culture through letters. They are engaged in planning, developing, and selling digital fonts. They also provide software developments and technical services. website" + }, + "\u00d3liver Lalan": { + "name": "\u00d3liver Lalan", + "bio": "\u00d3liver Lalan is an industrial engineer who, after leaving the corporate world, has embraced a creative journey that merges photography, design, and industrialization. Doto is his first contact with the world of typography. Wandering around the world, follow him @oliverlalan to stay up to date of his latest projects and adventures. oliverlalan.com" + }, + "Onur Yaz\u0131c\u0131gil": { + "name": "Onur Yaz\u0131c\u0131gil", + "bio": null + }, + "Toshi Omagari": { + "name": "Toshi Omagari", + "bio": "Toshi is an independent typeface designer in London. He graduated from the Visual Communication Design course at Musashino Art University in Tokyo in 2008 and the MA Typeface Design program at the University of Reading in 2011. During his time at Monotype from 2012 to 2020, he has released a number of revival typefaces such as Metro Nova, Neue Plak, and Welthold Wolpe Collection, as well as custom typefaces for international brands such as H&M. He now runs his own studio. Writing systems of his interest and specialty are not only limited to Latin but others, including Cyrillic, Greek, Arabic, Tibetan, and Mongolian. Toshi is also an avid gamer, and has written Arcade Game Typography, a specimen book of pixelated typefaces from retro arcade games. His other hobbies include blades and knives, Rubik's cube, and shrimp keeping. tosche.net" + }, + "Jennifer Daniel": { + "name": "Jennifer Daniel", + "bio": null + }, + "Georg Duffner": { + "name": "Georg Duffner", + "bio": null + }, + "Octavio Pardo": { + "name": "Octavio Pardo", + "bio": "Graphic designer specialized in type design. He has collaborated with design studios and foundries like Tobias Frere-Jones, Porchez Typofonderie, Type-Together, Leftloft, and Sharp Type. ashler.design | Twitter |" + }, + "YoonDesign Inc": { + "name": "YoonDesign Inc", + "bio": null + }, + "Rosetta": { + "name": "Rosetta", + "bio": "Rosetta addresses the needs of global typography by working with collaborators to create original fonts for a polyphonic world. Their work has won numerous awards, but more importantly it has enabled people to read more easily in their native language. The Rosetta font library currently supports over 200 languages including Latin, Arabic, Armenian, Greek, Cyrillic, Inuktitut, and Indic scripts. Their fonts serve numerous clients including the BBC, RFE/RL, LG, and Harvard University Press. GitHub | Twitter" + }, + "Vaibhav Singh": { + "name": "Vaibhav Singh", + "bio": "Vaibhav Singh is an independent typographer and typeface designer. With an MA and PhD from the University of Reading, he specialises in designing typefaces for Indian scripts in addition to developing Latin typefaces. He is also the editor and publisher of the independent journal Contextual Alternate." + }, + "Tina Anderson": { + "name": "Tina Anderson", + "bio": "Tina Anderson is a software engineer and type designer based in Australia. She has primarily worked as a freelance programmer involved with various business applications and became interested in educational app development for Little Australian Schoolies as her grandchildren came of school age. auschoolhandwritingfonts.com" + }, + "Corey Anderson": { + "name": "Corey Anderson", + "bio": "Corza is a graphic artist and calligrapher based in Australia involved with many 3D projects in the drone industry and the author of a number of Blender addons including Auto Addon Installer, C-Scatter and Geonodes Panel Generator (among others). coreycorza.gumroad.com" + }, + "Alejandro Inler": { + "name": "Alejandro Inler", + "bio": null + }, + "Andres Torresi": { + "name": "Andres Torresi", + "bio": null + }, + "FontFuror": { + "name": "FontFuror", + "bio": null + }, + "ETC": { + "name": "ETC", + "bio": "Etcetera Type Company is a New-York based foundry founded in 2018 by Tyler Finck. It distributes opensource playful variable fonts. Homepage" + }, + "Ang\u00e9lica D\u00edaz": { + "name": "Ang\u00e9lica D\u00edaz", + "bio": null + }, + "Sabrina Mariela Lopez": { + "name": "Sabrina Mariela Lopez", + "bio": null + }, + "Bart\u0142omiej R\u00f3zga": { + "name": "Bart\u0142omiej R\u00f3zga", + "bio": null + }, + "Robin Mientjes": { + "name": "Robin Mientjes", + "bio": null + }, + "Designtown": { + "name": "Designtown", + "bio": null + }, + "Koto Studio": { + "name": "Koto Studio", + "bio": "Koto is a brand and digital agency with studios in Berlin, London, Los Angeles, New York, and Sydney. We bring optimism, craft and rigor to every brief; collaborating with today\u2019s most impactful companies and the founders defining a better tomorrow to unlock the true potential of their brands. Founded in 2015 by Caroline Matthews (COO), James Greenfield (CEO), and Jowey Roden (CCO), we have shaped some of the world's leading brands, including Airbnb, Amazon Music, Discord, Fiverr, Glassdoor, Pleo, Qonto, Skyscanner, Sonos, Uber Eats, Venmo, and WhatsApp. koto.studio" + }, + "Familjen STHLM AB": { + "name": "Familjen STHLM AB", + "bio": "Familjen is an advertising and design-bureau located in Stockholm, Sweden. familjen.se" + }, + "Barry Schwartz": { + "name": "Barry Schwartz", + "bio": null + }, + "Grayscale": { + "name": "Grayscale", + "bio": null + }, + "Fernando D\u00edaz": { + "name": "Fernando D\u00edaz", + "bio": null + }, + "Erik Kennedy": { + "name": "Erik Kennedy", + "bio": "Erik D. Kennedy is a UX/UI designer who has worked with clients ranging from Fortune 100 to Y-Combinator startups. He has also taught thousands of students around the world via his online school, Learn UI Design. He lives in Seattle, WA and spends his free time doing Brazilian jiu-jitsu and playing Flamenco guitar. erikdkennedy.com/ | learnui.design" + }, + "Helsinki Type Studio": { + "name": "Helsinki Type Studio", + "bio": "Helsinki Type Studio specialises in finding cultural resonances and designing uniquely recognisable fonts. It was founded in 2010 by Niklas Ekholm, Juho Hiilivirta, Jungmyung Lee and Jaakko Suomalainen. The web shop maintains an eclectic selection of fonts by associated designers. helsinkitypestudio.com" + }, + "Niklas Ekholm": { + "name": "Niklas Ekholm", + "bio": "Niklas Ekholm is a type designer and founding member of Helsinki Type Studio. His work explores the materiality of language by investigating the tension between intentionality and path dependence through scrutinising artefacts of lingual processes and remediation. niklasekholm.com" + }, + "Juho Hiilivirta": { + "name": "Juho Hiilivirta", + "bio": "Juho Hiilivirta is a type designer and founding member of Helsinki Type Studio. Uniting the disciplines of type design and environmental art, he explores typographic practices from a northern perspective. www.juhohiilivirta.com" + }, + "Jaakko Suomalainen": { + "name": "Jaakko Suomalainen", + "bio": "Jaakko Suomalainen is a type designer and founding member of Helsinki Type Studio. A constant search for new takes on still and moving architecture shapes his form and written language." + }, + "The Mozilla Foundation": { + "name": "The Mozilla Foundation", + "bio": null + }, + "Telefonica S.A.": { + "name": "Telefonica S.A.", + "bio": null + }, + "Nikita Prokopov": { + "name": "Nikita Prokopov", + "bio": null + }, + "Irina Smirnova": { + "name": "Irina Smirnova", + "bio": null + }, + "Dan Ross": { + "name": "Dan Ross", + "bio": "Dan Ross is a designer from the Gold Coast, Australia, currently living in Los Angeles, USA. His main focuses are design tooling, design systems, and design operations. danross.co | Twitter" + }, + "Sophia Tai": { + "name": "Sophia Tai", + "bio": "Sophia Tai is a typeface designer based in the UK. She completed a course in MA Typeface Design at University of Reading where she studied and designed a Latin and Tamil multiscript typeface family. In the same year she was listed under Malee's Women of Typographic Excellence. Soon after, she released her first font Streco, a reversed contrast superfat font on Future Fonts and worked on Foldit, a COLRv1 variable-gradient font for Google Fonts. sophiatai.com" + }, + "Denis Masharov": { + "name": "Denis Masharov", + "bio": "Denis Masharov was a designer, teacher, and an active member of the Russian typographic community. He passed away suddenly on September 1st, 2021. Behance | Facebook" + }, + "Wei Huang": { + "name": "Wei Huang", + "bio": "Wei is a Chinese-born Australian designer based in the Schengen Area. He makes and produces fonts including Work Sans, teaches, and exhibits his work. Wei believes drawing fonts is like meditation." + }, + "URW Design Studio": { + "name": "URW Design Studio", + "bio": null + }, + "Yanek Iontef": { + "name": "Yanek Iontef", + "bio": "Yanek is a typeface designer and typographer\u202d. \u202cBorn in the USSR\u202d, \u202che emigrated to Israel at the age of 16\u202d \u202cand studied graphic design at Bezalel Academy of Arts and Design. \u202cHe has worked in London and Tel Aviv\u202d, and taught typography\u202d \u202cand type design at the Bezalel Academy \u202cand at Shenkar College of Engineering and Design. \u202cAn award-winning type designer\u202d, Yanek runs Fontef, his own foundry specializing in Hebrew type design. He designed the FF Cartonnage\u202d, \u202cHadasah Friedlaender,\u202d \u202cand Mandatory type families\u202d. \u202cHis interest in found typography and bicycle culture\u202d is documented online\u202d. GitHub\u202d | Twitter" + }, + "Undercase Type": { + "name": "Undercase Type", + "bio": "Founded in 2020, Undercase Type is a type foundry headed by Phaedra Charles and Flavia Zimbardi with a particular interest in variable fonts. Twitter | Instagram | undercase.xyz" + }, + "Milena Brand\u00e3o": { + "name": "Milena Brand\u00e3o", + "bio": null + }, + "Hafontia": { + "name": "Hafontia", + "bio": null + }, + "NORD ID": { + "name": "NORD ID", + "bio": "Based in Stockholm & Copenhagen, NORD ID is a leading strategy & design agency creating coherent, distinct and differentiating brand identities. Uniquely combining insightful conceptual design with unparalleled craft, more often developing custom type design to be a key brand building component to create instant recognition across any and all touchpoints: From custom typefaces for large companies such as Vattenfall, Klarna and Skanska, down to more experimental type design for campaigns such as Chillboards for Coors. website" + }, + "Laura Garcia Mut": { + "name": "Laura Garcia Mut", + "bio": "Laura Garcia Mut is a Spanish type designer. She got a BA in Graphic Design focusing on digital type design, right after graduating in Biological Sciences. In 2022 she founded Hard Type Foundry, an independent type design studio, and started working on her retail and custom projects while collaborating with other design studios, agencies and foundries. hardtype.xyz | Instagram" + }, + "Greek Font Society": { + "name": "Greek Font Society", + "bio": null + }, + "Afotey Clement Nii Odai": { + "name": "Afotey Clement Nii Odai", + "bio": "Based in Accra, Ghana, Afotey Clement Nii Odai, known as Vikers, is a distinguished creative designer. Vikers excels as a brand, product, iconographer, and type designer, crafting enduring and impactful designs. bento.me/vikersjnr" + }, + "Ama Diaka": { + "name": "Ama Diaka", + "bio": "Ama Asantewa Diaka is a storyteller and a community catalyst. She is the author of two poetry books - \u201cYou too will know me\u201d and \u201cWoman, eat me whole\u201d and a short story collection \u201cSomeone birthed them broken\u201d. She is also the founder of Black Girls Glow, a feminist arts nonprofit that uses art to build thriving ecosystems, & Tampered Press, - Ghana-based independent publisher dedicated to books by and about Africans. Instagram" + }, + "David Abbey-Thompson": { + "name": "David Abbey-Thompson", + "bio": "David Abbey-Thompson is a creative from Accra, Ghana. He loves to explore vernacular design culture. He is a partner at Aayalolo Foundry. David Abbey-Thompson is also the project director for Akutso Design Lab, a not-for-profit creative lab in Accra. Instagram" + }, + "Naipe Foundry": { + "name": "Naipe Foundry", + "bio": "Naipe Foundry is the type design, lettering & font production practice of \u00c1lvaro Franca & Felipe Casaprima. Out of Rio de Janeiro, but based in Barcelona, Perth and everywhere in between, Naipe creates custom and retail typefaces for fun and for profit, ideally both. The company aims to tell latin american stories through letterforms, with a strong focus on Brazilian history and culture. store.naipefoundry.com" + }, + "Leandro Assis": { + "name": "Leandro Assis", + "bio": "Leandro Assis is a brazilian designer and lettering artist based in S\u00e3o Paulo. He's best known for super bold letterings, colorful palettes and playful illustrations, drawing the attention of global brands and agencies to digital projects and marketing campaigns for the most different scenes. Above all, he's interested in opportunities where he can use design as a tool to talk about things he cares about, such as black culture, gender topics and LGBTQ+ rights. lebassis.com" + }, + "\u00c1lvaro Franca": { + "name": "\u00c1lvaro Franca", + "bio": "\u00c1lvaro Franca (Rio de Janeiro, 1991) has designed type since 2013. A graphic design graduate of ESDI (Rio de Janeiro), he worked at Hipertipo and Dalton Maag before completing Typeface Design masters degrees in Barcelona and Antwerp. Currently, he is Type Director at Vasava Studio, founder of Type Thursday Barcelona and the founder and of Naipe Foundry which he runs with Felipe Casaprima since 2018. store.naipefoundry.com" + }, + "Felipe Casaprima": { + "name": "Felipe Casaprima", + "bio": "Felipe Casaprima is a type designer based in Perth, Australia. After a brief internship at Coppers and Brasses and a few years working at Plau Design, he founded Naipe Foundry with \u00c1lvaro Franca in 2018." + }, + "JIKJI SOFT": { + "name": "JIKJI SOFT", + "bio": null + }, + "Lautaro Hourcade": { + "name": "Lautaro Hourcade", + "bio": null + }, + "Saurabh Sharma": { + "name": "Saurabh Sharma", + "bio": "Based in Udaipur, Rajasthan, India, Saurabh Sharma is an independent Developer & Graphic/Web design professional with over 17 years of experience in the Information Technology and Services Industry. Saurabh has worked on HTML/CSS websites, UI Designs, frameworks, WordPress themes, plugins, JavaScript and PHP projects. In recent years, Saurabh has been actively working on font design and development. His first release was the Kumbh Sans project on Google Fonts. GitHub | LinkedIn" + }, + "Lafontype": { + "name": "Lafontype", + "bio": "Lafontype is a type foundry based in Indonesia. Started in 2016 by Anugrah Pasau and has published various typefaces for various needs." + }, + "Jiashuo Zhang": { + "name": "Jiashuo Zhang", + "bio": null + }, + "Binoy Dominic": { + "name": "Binoy Dominic", + "bio": "Binoy Dominic is a graphic designer from India focusing on Malayalam lettering, typesetting and logo designs. He designed Gayathri Malayalam typeface in collaboration with Swathanthra Malayalam Computing organization. binoydominic.com/" + }, + "Andr\u00e9s Briganti": { + "name": "Andr\u00e9s Briganti", + "bio": "Hailing from Buenos Aires, Argentina, Andr\u00e9s Briganti is a graphic designer specializing in visual identity. With a focus on bespoke logotypes, typography, and conceptual frameworks, he creates refined and aesthetically relevant work. As a designer and art director, Andr\u00e9s collaborates with brands, institutions, and individuals worldwide. He is the creator of Basement Grotesque, a striking and unapologetic typeface inspired by the expressiveness of early 19th-century grotesque fonts and the bold visuals of brutalist aesthetics. This marked Basement Studio\u2019s first venture into the exciting world of type design, pushing boundaries in typography and visual communication. briganti.works" + }, + "Mateo Zaragoza": { + "name": "Mateo Zaragoza", + "bio": "Based in Buenos Aires, Argentina, Mateo Zaragoza is a designer and FADU graduate. Since 2021, he has been leading web design at basement.studio, creating immersive websites for high-profile clients such as MrBeast, KidSuper, Harmony Korine, and Vercel. He also designed B\u2013MECHA, a bold display typeface inspired by Japanese Mecha culture, aimed at making a strong visual impact. His work focuses on crafting innovative digital experiences and designs, combining creativity with technical precision to push the limits of modern web design and typography. Instagram | x.com/teo_zaragoza" + }, + "Guillermo Rauch": { + "name": "Guillermo Rauch", + "bio": "Based in San Francisco, Guillermo Rauch is a software engineer and CEO of Vercel. Originally from Lan\u00fas, Buenos Aires, he has shaped the web development landscape through notable projects like Next.js, the most popular React framework, and Socket.IO, a key library for real-time communication. His company, Vercel, powers the digital presence of brands like The Washington Post, Porsche, and Nintendo. Previously, he founded Cloudup, which was acquired by Automattic to enhance WordPress's capabilities. Guillermo\u2019s technical contributions include creating Mongoose for MongoDB and authoring \u201cSmashing Node.js,\u201d showcasing his profound influence on JavaScript and developer experience (DX). vercel.com" + }, + "Evil Rabbit": { + "name": "Evil Rabbit", + "bio": "Based in San Francisco, Evil Rabbit (Nicol\u00e1s Garro) started designing at age 9 and landed his first web design job at 12. After studying Art and Graphic Design at UBA, he led digital design at VIACOM for Latin America, managing brands like MTV, VH1, and Paramount Pictures. In 2014, he shifted to product design, working at Aerolab and Auth0, before joining Guillermo Rauch in 2016 as the Founding Designer at Vercel. Known for his minimalistic black-and-white aesthetic, Nicol\u00e1s shapes Vercel\u2019s brand identity and has crafted digital experiences for major events like Vercel Conf and Ship. evilrabb.it" + }, + "Jos\u00e9 Rago": { + "name": "Jos\u00e9 Rago", + "bio": "Originally from Mar del Plata, Argentina, Jos\u00e9 Rago brings his visionary approach to design as the co-founder and creative lead at basement.studio. His passion for innovation and solving complex challenges drives him to elevate ideas for top-tier clients and internal teams. With a focus on staying ahead of the curve in emerging technologies, he creates cutting-edge products that make a lasting impact. Continuously exploring the evolving landscape of design and technology, he thrives on pushing the boundaries of creativity, always aiming to take each project to new heights of possibility. x.com/ragojose" + }, + "Facundo Santana": { + "name": "Facundo Santana", + "bio": "Facundo Santana, from Mar del Plata, Argentina, is the Co-founder & Managing Partner of basement.studio, where he leads growth, operations, and strategy. With a background in design and a sharp business acumen, Facundo bridges creativity and strategy to drive the company\u2019s vision forward. In addition, he is a member of SoDA, an exclusive network of digital agency leaders, and the Entrepreneurs' Organization (EO), an LP at Newtopia, and actively supports innovative startups as both an investor and advisor through basement ventures. linkedin.com/in/facundo-santana" + }, + "Monokrom": { + "name": "Monokrom", + "bio": null + }, + "Sindre Bremnes": { + "name": "Sindre Bremnes", + "bio": null + }, + "Frode Helland": { + "name": "Frode Helland", + "bio": null + }, + "Production Type": { + "name": "Production Type", + "bio": "Based in Paris, Production Type is a digital type design agency. Its activities span from the exclusive online distribution of its retail type for design professionals, to the creation of custom typefaces for the industrial, luxury, and media sectors." + }, + "Joe Prince": { + "name": "Joe Prince", + "bio": null + }, + "Andreas Larsen": { + "name": "Andreas Larsen", + "bio": "Andreas Larsen is a healthcare professional turned developer + designer from Copenhagen, Denmark. He grew up in Gidole, Ethiopia, from where he took inspiration for the Gidole font. Homepage" + }, + "Liam Spradlin": { + "name": "Liam Spradlin", + "bio": null + }, + "Duarte Pinto": { + "name": "Duarte Pinto", + "bio": "Duarte Pinto is a young graphic designer from Portugal who has a great interest in typography. He is currently studying Communication Design in Germany as an exchange student. Instagram" + }, + "Jaikishan Patel": { + "name": "Jaikishan Patel", + "bio": "Jaikishan Patel is a communication designer from India. After completing a master's in visual communication from IDC school of design, IIT-Bombay, he has been practising in the field of branding and visual communication. With a special interest in lettering and typography, he has been working on multiple type design projects inspired by various genres. www.magictype.in | Instagram" + }, + "Alexandra Korolkova": { + "name": "Alexandra Korolkova", + "bio": "Alexandra Korolkova is a type designer, book designer, type researcher and type consultant. She is art director of Paratype and is the 9th recipient of the Prix Charles Peignot (2013). She also won the Granshan, ED Awards and Red Dot. She is the leading designer of PT Sans and PT Serif, Circe, Golos, and the type system of Sber. She wrote a book on typography for beginners Live Typography (in Russian) which was first issued in 2007 and re-issued in 2008, 2010 and 2012, and a series of type-related articles. She spoke at ATypI, TYPO Berlin, TypeCon, TYPO Labs, Serebro Nabora, Typofest, Typetersburg and others and she is a jury member of the Modern Cyrillic type design competition since 2014. nicetype.ru/" + }, + "Vitaly Kuzmin": { + "name": "Vitaly Kuzmin", + "bio": "Type designer and design auditor at Paratype. Based in Moscow. At Paratype he develops new fonts, conducts design audits, and helps with the systematization and standardization of character sets. Author of PT Root, PT Root UI, Sober Sans, and several custom fonts. Specializing in user interface fonts, he has developed UI font styles for Sberbank\u2019s type system, which got awards from GRANSHAN, Red Dot, and ED Awards. vitalykuzmin.com" + }, + "Gustavo Dipre": { + "name": "Gustavo Dipre", + "bio": null + }, + "HanYang I&C Co": { + "name": "HanYang I&C Co", + "bio": null + }, + "Haesung Cho": { + "name": "Haesung Cho", + "bio": null + }, + "Agustina Mingote": { + "name": "Agustina Mingote", + "bio": "Agustina Mingote is a visual communication designer, specialized in typography, who currently lives in City Bell, Argentina. She currently works giving workshops and designing editorial pieces with knowledge of typeface families, producing typefaces and creating custom fonts. Instagram" + }, + "TAE System & Typefaces Co.": { + "name": "TAE System & Typefaces Co.", + "bio": null + }, + "Borna Izadpanah": { + "name": "Borna Izadpanah", + "bio": "Borna Izadpanah is a Lecturer in Typography at the University of Reading, UK, from where he was also awarded a PhD, and an MA in Typeface Design. His doctoral research explored the history of the early typographic representation of the Persian language. Borna has received numerous prestigious awards for his research and typeface design, including the Grand Prize and the First Prize for Arabic Text Typeface in the Granshan Type Design Competition, a TDC Certificate of Typographic Excellence, and the Symposia Iranica Prize for the best paper in Art History. GitHub | Twitter" + }, + "Fiona Ross": { + "name": "Fiona Ross", + "bio": "Fiona Ross specializes in type design primarily for Arabic, South Asian, and Thai scripts. She works as a consultant, type designer, author, and Professor in Type Design (part-time) at the University of Reading (UK). Fiona has received the SoTA Typography Award (2014) and the Type Director\u2019s Club Medal (2018). Academic Profile" + }, + "Alice Savoie": { + "name": "Alice Savoie", + "bio": "Alice Savoie is a graduate from \u00c9cole Duperr\u00e9 and \u00c9cole Estienne in Paris, and holds an MA in Typeface Design and a PhD in type history from the University of Reading (UK). Between 2008 and 2010 she joined Monotype as an in-house type designer, working on custom projects for international clients. She is currently based in Lyon, France, and teaches type design at \u00c9cal Lausanne (CH) as well as supervising research projects at Atelier National de Recherche Typographique in Nancy (FR). From 2018\u20142021 she was the principal researcher on the Leverhulme-funded \u2018Women in Type\u2019 project at the University of Reading with Prof. Fiona Ross. frenchtype.com | Twitter" + }, + "Simon Cozens": { + "name": "Simon Cozens", + "bio": "Simon Cozens is a font engineer based in Gloucester, UK. He specializes in OpenType layout of complex scripts, and operates Corvel Software, which enables type designers to support the world\u2019s languages. corvelsoftware.co.uk | Twitter" + }, + "Nonty": { + "name": "Nonty", + "bio": "A freelance typeface designer, based in Japan. They started designing type in 2017, with a focus on creating original, cute and fun fonts. website" + }, + "Hypertype": { + "name": "Hypertype", + "bio": "The multi-script-focused Typeface Design Studio Hypertype founded by Minjoo Ham and Mark Fr\u00f6mberg is specialized in Hangeul and Latin scripts, devoted to making a difference through sophisticated typeface design with deep research and has collaborated with various global companies to create multi-script design projects. futurefonts.xyz/hypertype | Twitter" + }, + "Indian Type Foundry": { + "name": "Indian Type Foundry", + "bio": "Indian Type Foundry (ITF) creates retail and custom multilingual fonts for print and digital media. Started in 2009 by Satya Rajpurohit and Peter Bil\u2019ak, ITF works with designers from across the world. ITF fonts are used by clients ranging from tech giants like Apple, Google, and Sony, to various international brands. Github | Twitter" + }, + "Nicole Fally": { + "name": "Nicole Fally", + "bio": null + }, + "David B\u0159ezina": { + "name": "David B\u0159ezina", + "bio": "Dr David B\u0159ezina is a typeface designer, writer, lecturer, and chief type officer at Rosetta type foundry. He designed typefaces for a diverse palette of the world\u2019s scripts, but focuses mostly on Gujarati and Latin. mrbrezina.com | Twitter" + }, + "Alfredo Marco Pradil": { + "name": "Alfredo Marco Pradil", + "bio": "Alfredo Marco Pradil is a type designer and founder of Hanken Design Co.\u00ae foundry. He graduated with a Fine Arts degree at Batangas State University and has been designing typefaces since 2012. His custom typeface work includes the Alienware\u00ae typeface for Dell\u00ae, Extremis Compakt for furniture design company Extremis\u00ae, and Ampersans for Ace & Tate. Behance | hanken.co" + }, + "Hanken Design Co.": { + "name": "Hanken Design Co.", + "bio": "Hanken Design Co.\u00ae was founded in 2013 and has its roots in Batangas, Philippines. Their versatile collection includes both retail and custom fonts. HDC has managed to produce typefaces that possess uniqueness and humanistic qualities. Some of the foundry\u2019s notable and widely used fonts include HK Grotesk, Glacial Indifference, Now, and Cerebri Sans. hanken.co | Instagram" + }, + "Kanon Foundry": { + "name": "Kanon Foundry", + "bio": "Kanon Foundry is a digital type foundry established in 2019 by Alexander \u00d6rn and Tor Weibull in Malm\u00f6, Sweden. They offer retail and custom typefaces with an approach based on research and conceptual thinking. Apart from design work Kanon also offers consultancy, lectures and workshops. kanonfoundry.com | Instagram" + }, + "Alexander \u00d6rn": { + "name": "Alexander \u00d6rn", + "bio": "Alexander \u00d6rn is a type designer based in Malm\u00f6, Sweden and co-founder of Kanon Foundry." + }, + "Tor Weibull": { + "name": "Tor Weibull", + "bio": "Tor Weibull is a Swedish type and graphic designer based in Stockholm, focusing on research and conceptual thinking. Along with his master's studies in type design and working with studios such as Lundgren+Lindqvist, Studio Claus Due, and Bedow, Tor has gained excellent skills and knowledge in the field. Today, he works as a type designer at Kanon Foundry, which he co-founded with Alexander \u00d6rn in 2019." + }, + "Hedvig": { + "name": "Hedvig", + "bio": "Hedvig is a digital insurance company that was founded in 2017 to make it predictably effortless to bounce back from loss. The in-house design department, led by Design Director Ermir Peci, was both client and contributor in the development of Hedvig Letters. hedvig.com" + }, + "Oded Ezer": { + "name": "Oded Ezer", + "bio": "Ezer Type House is an independent type foundry based in Tel-Aviv. Established in 2001 by Oded Ezer, one of today's prominent Hebrew type designers, the foundry specializes in the creation of Hebrew and Latin typefaces for global clients such as Google, Samsung, Waze, and more. Ezer's typefaces have garnered national and international recognition, receiving Certificates of Excellence at the TDC52 competition hosted by the New York Type Directors Club and at the 'Bukva raz' type design competition in Moscow, Russia. Additionally, Ezer has been honored with the Israeli Education Ministry Prize for Design, among other accolades. ezertypehouse.com" + }, + "Brownfox": { + "name": "Brownfox", + "bio": null + }, + "Mike LaGattuta": { + "name": "Mike LaGattuta", + "bio": null + }, + "Constanza Artigas Preller": { + "name": "Constanza Artigas Preller", + "bio": null + }, + "Element Type": { + "name": "Element Type", + "bio": "Element Type, founded by Do\u011fukan Karap\u0131nar and \u0130brahim Ka\u00e7t\u0131o\u011flu in \u0130stanbul, is a digital type foundry driven by continuous evolution. Element Type specializes in typeface design, font creation, and various typographic services. elementtype.co" + }, + "Do\u011fukan Karap\u0131nar": { + "name": "Do\u011fukan Karap\u0131nar", + "bio": "Do\u011fukan Karap\u0131nar is an award winning designer based in \u0130stanbul, working at the intersections of creative disciplines. With a background in graphic and type design, he blends design fundamentals into the digital medium and emerging technologies. He is the co-founder of Element Type and design studio S\u00f6mestr. doughkan.com | Instagram" + }, + "\u0130brahim Ka\u00e7t\u0131o\u011flu": { + "name": "\u0130brahim Ka\u00e7t\u0131o\u011flu", + "bio": "\u0130brahim Ka\u00e7t\u0131o\u011flu is from \u0130stanbul, drawing letters and, most of the time, exporting them as font files. He studied at EsadType to learn the formal way of crafting weird letterforms. ibrahimkactioglu.com" + }, + "Tobias Bjerrome Ahlin": { + "name": "Tobias Bjerrome Ahlin", + "bio": "Tobias is a product designer and engineer from Stockholm, Sweden, whose love for typography comes from his love for books. He initiated the Mona Sans and Hubot Sans projects together with Sam Oshin at GitHub. tobiasahlin.com" + }, + "Github": { + "name": "Github", + "bio": null + }, + "Degarism Studio": { + "name": "Degarism Studio", + "bio": "Degarism Studio, established by Deni Anggara in 2015, is an independent design studio focused on typography and editorial design. It is known for fonts such as Alliance and Biotif. degarism.com/" + }, + "Sebastian Carewe": { + "name": "Sebastian Carewe", + "bio": "Sebastian is an independent font engineer and type designer with a passion for music and linguistics, based in Europe. sebastiancarewe.com" + }, + "Justfont": { + "name": "Justfont", + "bio": null + }, + "Mike Abbink": { + "name": "Mike Abbink", + "bio": "Mike is the Executive Creative Director at IBM Brand Experience & Design\u2014a team overseeing the expression and strategic evolution of every IBM brand and sub-brand worldwide. The group\u2019s work crosses research and strategy, communications and content development, identity systems, digital and physical experiences, and tools and training. Mike has an extensive career as a type designer, creating successful typeface families, such as FF Kievit, FF Milo and Brando. Homepage | Twitter" + }, + "Bold Monday": { + "name": "Bold Monday", + "bio": "Bold Monday is an independent Dutch type foundry established in 2008 by Paul van der Laan and Pieter van Rosmalen. The Bold Monday library encompasses custom typeface design for high-profile, international clients, as well as state-of-the-art retail fonts for discerning designers. Homepage | Twitter" + }, + "Igino Marini": { + "name": "Igino Marini", + "bio": null + }, + "But Ko": { + "name": "But Ko", + "bio": null + }, + "Jos\u00e9 Mar\u00eda Ribagorda": { + "name": "Jos\u00e9 Mar\u00eda Ribagorda", + "bio": "Coordinator of the Graphic Design Degree at the Escuela Superior de Dise\u00f1o de Madrid. PhD in Image, Technology and Design from the Complutense University of Madrid. Twitter" + }, + "Olivia King": { + "name": "Olivia King", + "bio": "Olivia King is an Australian multidisciplinary designer specialising in branding, digital products and typography. Over the last decade she has art directed custom typefaces for global tech companies, arts organisations and not-for-profits. Recently she\u2019s been creating her own fonts with Inclusive Sans being her first major release. She has a passion for purposeful, accessible design and helping enrich the lives of others. oliviaking.com" + }, + "Raph Levien": { + "name": "Raph Levien", + "bio": null + }, + "Constanza Artigas": { + "name": "Constanza Artigas", + "bio": null + }, + "Gr\u00e9gori Vincens": { + "name": "Gr\u00e9gori Vincens", + "bio": null + }, + "J\u00e9r\u00e9mie Hornus": { + "name": "J\u00e9r\u00e9mie Hornus", + "bio": null + }, + "Jordan Egstad": { + "name": "Jordan Egstad", + "bio": "Jordan Egstad is a graphic designer and web developer creating expressive and enduring brand identities, websites, apps, typefaces, imagery, and more. egstad.com" + }, + "Rasmus Andersson": { + "name": "Rasmus Andersson", + "bio": null + }, + "Andrey V. Panov": { + "name": "Andrey V. Panov", + "bio": null + }, + "Sarah Cadigan-Fried": { + "name": "Sarah Cadigan-Fried", + "bio": "Sarah Cadigan-Fried (b. 1990) hails from Roanoke, Virginia. She obtained her MFA in Graphic Design from Boston University in 2019, and received a certificate in Type Design from Type@Cooper in 2022. She is currently living and working in Boston, Massachusetts where she is an Assistant Professor in Northeastern University's department of Art + Design. With a passion for fiber arts, Sarah is always looking for new and better ways to integrate typography into her knitting. Instagram" + }, + "Agyei Archer": { + "name": "Agyei Archer", + "bio": "Agyei Archer is a designer based in Trinidad and Tobago, working on interesting fonts with interesting people. LinkedIn" + }, + "C\u00e9line Hurka": { + "name": "C\u00e9line Hurka", + "bio": "C\u00e9line Hurka is an independent type designer based in The Hague, NL. In her practice, she aims to play with, question, and break the conventions that have prevailed for the past hundreds of years. She is fascinated by how meaning is attached to form and transforms over years of usage in different contexts. Letters are cultural signifiers that add meaning to a text far beyond the words they form. C\u00e9line's typefaces are deeply personal projects and are inspired by her long-term interest in type history, technological innovation, personal stories, pop culture, nature and universal emotions. celine-hurka.com/ | Instagram" + }, + "JetBrains": { + "name": "JetBrains", + "bio": "JetBrains creates tools for developers. The company thrives to make professional software development a more productive and enjoyable experience. Homepage" + }, + "Philipp Nurullin": { + "name": "Philipp Nurullin", + "bio": "Philipp Nurullin is a typeface designer with a digital design background. He is making typefaces since 2013 and likes to explore the type in the context of usage and trust his eyes and the heart." + }, + "Konstantin Bulenkov": { + "name": "Konstantin Bulenkov", + "bio": "Konstantin Bulenkov is a project manager at JetBrains. He is responsible for UI/UX of IntelliJ-based products. Pew Pew!" + }, + "Paolo Biagini": { + "name": "Paolo Biagini", + "bio": "Based in Italy, book and type lover, Paolo Biagini currently works as ui/ux designer. Fond of coding, he has also published several plugins for Adobe XD. paolobiagini.altervista.org | Plugins for Adobe XD" + }, + "KB Studio": { + "name": "KB Studio", + "bio": null + }, + "Christopher J. Fynn": { + "name": "Christopher J. Fynn", + "bio": null + }, + "Juli\u00e1n Tunni": { + "name": "Juli\u00e1n Tunni", + "bio": "Based in Buenos Aires, art director and designer Juli\u00e1n Tunni is the owner and creative force behind ArtPotions, an art and graphic design studio providing services to clients worldwide. He also owns Super Noob Games, a small publishing company dedicated to releasing exciting board games in Argentina. artpotions.com | supernoob.games" + }, + "Luciano Vergara": { + "name": "Luciano Vergara", + "bio": null + }, + "Vectro Type Foundry": { + "name": "Vectro Type Foundry", + "bio": "Vectro is a type foundry based in Portland, Oregon, founded by Travis Kochel and Lizy Gershenzon, who have been design partners for over 15 years. The studio offers a range of services, including retail fonts, bespoke typeface design, font production and tools. Vectro\u2019s work is known for exploring the intersections of technology, utility, and playfulness, resulting in innovative and inventive typefaces. Vectro is known for its distinct and creative approach to typeface design, which has helped establish the studio as a respected and influential presence in the industry. vectrotype.com" + }, + "Travis Kochel": { + "name": "Travis Kochel", + "bio": "Travis Kochel is a co-founder and owner of Future Fonts, where he plays a key role in the development of the influential platform. He is also the lead type designer and director for Vectro, overseeing the design and development of typefaces. As a partner at Scribble Tone for the past decade, he has focused on type design and development, and is best known for his award-winning typeface, Chartwell. In addition to his design work, Travis is an Adjunct Professor at Portland State University, where he teaches Type Design. vectrotype.com" + }, + "Lizy Gershenzon": { + "name": "Lizy Gershenzon", + "bio": "Lizy Gershenzon is an accomplished product designer with nearly 20 years of experience designing online platforms, directing marketing campaigns, and building businesses. As a co-founder and owner of Future Fonts and Vectro Type, she has been instrumental in the development of these innovative type companies. In addition to her work with these companies, Lizy has also been a partner at Scribble Tone for the past 15 years, and consults with leading product design teams. vectrotype.com" + }, + "Daria Cohen": { + "name": "Daria Cohen", + "bio": "Daria Cohen is a Berlin-based independent type designer. After working for several years at LucasFonts and Swiss Typefaces, she is now spliting her time between personal projects (which can be found on Future Fonts) and collaborations with various foundries. Instagram" + }, + "Ethan Cohen": { + "name": "Ethan Cohen", + "bio": "Ethan Cohen is a type designer and business manager from New York City currently living in Berlin and working at Dinamo. He has a masters degree in TypeMedia from the Royal Academy of Art in The Hague and attended the Type@Cooper Extended Program. Before joining Dinamo he worked at The Type Founders, LucasFonts, and Mucca Design, and released some of his own typefaces through Future Fonts. Before moving to Europe he spent many years handling contracts and IP at a record label during the day and playing guitar and banjo in bands at night. ethancohenstudio.com" + }, + "Font-Kai": { + "name": "Font-Kai", + "bio": "Font Kai began his career in graphic design, and soon worked on lettering and logo designs. He decided to start a career dedicated to type design in 1984, after winning an award in the Morisawa Type Competition. font-kai.jp/" + }, + "Frida Medrano": { + "name": "Frida Medrano", + "bio": "Frida Medrano is a Mexican type and interaction designer currently based in San Fransisco, California. She is interested in design automation and exploration projects where code and design converge. She won the SOTA Catalyst Award in 2018 and has presented her work in forums like ATypI, TypeLab, TypeCon, IxDA, Letr\u00e1stica, and TMX. fridamedrano.com | Instagram" + }, + "Becca Hirsbrunner Spalinger": { + "name": "Becca Hirsbrunner Spalinger", + "bio": null + }, + "Tep Sovichet": { + "name": "Tep Sovichet", + "bio": "Sovichet is a Cambodian self-taught typeface designer based in Phnom Penh, Cambodia. He runs his studio Anagata offering brand identity and custom font design services. He also talks and teaches Khmer typeface design inside and outside Cambodia. He is interested in Old Khmer and other Southeast Asian scripts." + }, + "Kousuke Nagai": { + "name": "Kousuke Nagai", + "bio": "Kousuke Nagai is a \"weekend typeface designer\". He likes to explore the potential of handwritten fonts. Twitter" + }, + "Rony Koch": { + "name": "Rony Koch", + "bio": "Rony Koch is a graphic designer based in Tel-Aviv. Her main work includes branding, logo design, print design, UX and UI. Her biggest passion is typography - investigating letters\u2019 formality, experimenting with their boundaries, and designing fonts. Portfolio | Instagram" + }, + "Jonny Pinhorn": { + "name": "Jonny Pinhorn", + "bio": "After completing an MA in Type Design at the University of Reading, Jonny went on to design Karla for Google Fonts. Karla is a popular and quirky sans-serif typeface that supports both Latin and Tamil scripts. His continued fascination with India and Indian languages led him to ITF, where he worked for three years. Jonny continues to work exclusively on Indic scripts\u2014including Shrikhand and Atithi most recently. Jonnypinhorn.co.uk | GitHub | Twitter" + }, + "Jonathan Pinhorn": { + "name": "Jonathan Pinhorn", + "bio": null + }, + "Tharique Azeez": { + "name": "Tharique Azeez", + "bio": "Tharique Azeez is a typeface designer, font engineer & lettering artist based in Sri Lanka. His work encompasses experimentation with multiple digital and analogue media to create letterforms. He is making fonts since 2013. He seeks to explore new visuals and shapes with a specific focus on the Tamil letterforms. Twitter thariqueazeez.com" + }, + "Hak Longdey": { + "name": "Hak Longdey", + "bio": null + }, + "Julia Petretta": { + "name": "Julia Petretta", + "bio": null + }, + "Hiroki-Chan": { + "name": "Hiroki-Chan", + "bio": "Hiroki-Chan expresses himself through typeface design because he feels it is the best way to share his perspective and creativity. Currently his goal is to confront his narcissism, and create typefaces that better suit himself. website" + }, + "Isa Ozler": { + "name": "Isa Ozler", + "bio": "Isa Ozler is a brand and software developer based in Amsterdam, the Netherlands. He is the founder of Fioritmo and is currently contracted as Product Design Director at Kadena LLC. Isa is devoted to solving complex challenges with innovative solutions. isaozler.com" + }, + "Suon May Sophanith": { + "name": "Suon May Sophanith", + "bio": "Sophanith is a Cambodian typeface designer based in Phnom Penh. He works as graphic designer and provides custom font design tasks. He began his journey in type design in 2015 and has made a significant contribution by widely sharing his Khmer fonts freely within the community. suonmaysophanith.com | Facebook" + }, + "MOTOYA": { + "name": "MOTOYA", + "bio": null + }, + "Birgit Pulk": { + "name": "Birgit Pulk", + "bio": null + }, + "Original Type": { + "name": "Original Type", + "bio": "Founded in 2018, Original Type sets out to produce and publish original, contemporary typefaces, both retail and custom, that enable creatives and brands express themselves in an authentic way. originaltype.com | Instagram" + }, + "Wael Morcos": { + "name": "Wael Morcos", + "bio": "Wael Morcos is a graphic designer and type designer from Beirut, Lebanon and a partner at the Brooklyn based design studio Morcos Key. morcoskey.com | Twitter" + }, + "Artur Schmal": { + "name": "Artur Schmal", + "bio": "Artur Schmal is a type designer from The Netherlands where he runs the Amsterdam based type foundry Original Type. Original Type publishes retail typefaces, designs custom fonts for clients and offers type services to type foundries. originaltype.com | Twitter" + }, + "Dale Sattler": { + "name": "Dale Sattler", + "bio": null + }, + "LXGW": { + "name": "LXGW", + "bio": null + }, + "Mercedes J\u00e1uregui": { + "name": "Mercedes J\u00e1uregui", + "bio": "Mercedes J\u00e1uregui is a graphic designer based in Buenos Aires, Argentina. She completed her training as a typography designer with a Master's Degree in Typography Design at the University of Buenos Aires. She has also been teaching Typography at the same university since 2003. As a graphic designer, she works mainly on digital projects for various NGOs. Labrada, her first published typeface, is the result of the final project carried out as part of her typography design master's degree and addresses the challenge of transcribing the Qom (a native South American people) language. Instagram" + }, + "Niki Polyocan": { + "name": "Niki Polyocan", + "bio": "Niki Polyocan is an award-winning freelance producer and photographer; some of her clients include Google, Nike, Converse, and Under Armour. She was fortunate enough to study photography under the mentorship of Mary Ellen Mark. Niki lives in Brooklyn with her two cats, Pablo and Celine. nikipolyocan.com | Instagram" + }, + "Eli Block": { + "name": "Eli Block", + "bio": "Eli Block is a graphic, product, and industrial designer. He loves bright color, strange texture, and inventive form (and also Hana, Noemie, and Niki). Eli has worked at Google Brand Studio, Google Creative Lab, and as a Kleiner Perkins Caufield & Byers Design Fellow. Homepage | Instagram" + }, + "Marion Kadi": { + "name": "Marion Kadi", + "bio": null + }, + "Typeland": { + "name": "Typeland", + "bio": "Typeland is an independent type design studio based in London. We offer retail fonts exclusively through our own website. We also develop custom fonts, and specialize in multi-script design and production. type.land" + }, + "Alessia Mazzarella": { + "name": "Alessia Mazzarella", + "bio": "Alessia Mazzarella is an independent typeface designer with several years of experience in font engineering, font mastering, and quality assurance. She holds degrees in Typeface Design from the University of Reading, Graphic Design from Central Saint Martins, and Graphic & Media Design from Sapienza University of Rome. type.land" + }, + "Caroline Hadilaksono": { + "name": "Caroline Hadilaksono", + "bio": null + }, + "Micah Rich": { + "name": "Micah Rich", + "bio": null + }, + "Haley Fiege": { + "name": "Haley Fiege", + "bio": null + }, + "Matt Bailey": { + "name": "Matt Bailey", + "bio": null + }, + "ISIA Urbino": { + "name": "ISIA Urbino", + "bio": null + }, + "Bonnie Shaver-Troup": { + "name": "Bonnie Shaver-Troup", + "bio": "Bonnie Shaver-Troup, EdD, the creator of the Lexend project, is focused on making reading easier for everyone. As an educational therapist, Bonnie created the first Lexend typeface in early 2001 aiming to reduce visual stress and to improve reading performance for those with dyslexia and other struggling readers. Today, Bonnie's goal is to make the Lexend fonts accessible to a larger spectrum of users thanks to the support of many talented collaborators." + }, + "H\u00e9ctor G\u00f3mez": { + "name": "H\u00e9ctor G\u00f3mez", + "bio": null + }, + "Superunion": { + "name": "Superunion", + "bio": "Superunion is a revolutionary creative company, with expertise in strategy, design, communications, and brand management. Superunion works with clients that include some of the world\u2019s most iconic brands, alongside technology unicorns, ambitious start-ups and inspiring not-for-profits. Superunion believes in the power of ideas to create positive, meaningful change. superunion.com" + }, + "Lasse Fister": { + "name": "Lasse Fister", + "bio": null + }, + "Pablo Impallari": { + "name": "Pablo Impallari", + "bio": null + }, + "Juan Montoreano": { + "name": "Juan Montoreano", + "bio": null + }, + "Dmitry Ivanov": { + "name": "Dmitry Ivanov", + "bio": "Based in Montreal, Dmitry Ivanov is open source and audio software enthusiast, author of open-source organizations audiojs, colorjs and projects such as subscript, lino and others. He developed special purpose audio-vis fonts such as Wavefont, Linefont and others. Github | Twitter" + }, + "Anton Skugarov": { + "name": "Anton Skugarov", + "bio": "A multidisciplinary designer based in Krasnodar, Russia, with twelve years of experience in designing for the digital space. He specializes in creating brands, graphic systems, user experiences and various digital products that people use. skugarov.com | x.com/skugiz" + }, + "Aleksandr Ivanin": { + "name": "Aleksandr Ivanin", + "bio": null + }, + "Liu Zhengjiang": { + "name": "Liu Zhengjiang", + "bio": null + }, + "ZhongQi": { + "name": "ZhongQi", + "bio": null + }, + "LV=": { + "name": "LV=", + "bio": null + }, + "Chen Xiaomin": { + "name": "Chen Xiaomin", + "bio": null + }, + "Google": { + "name": "Google", + "bio": null + }, + "Ana Paula Megda": { + "name": "Ana Paula Megda", + "bio": null + }, + "Coji Morishita": { + "name": "Coji Morishita", + "bio": null + }, + "M+ Fonts Project": { + "name": "M+ Fonts Project", + "bio": null + }, + "Ma ShanZheng": { + "name": "Ma ShanZheng", + "bio": null + }, + "Paul D. Hunt": { + "name": "Paul D. Hunt", + "bio": null + }, + "Taurai Valerie Mtake": { + "name": "Taurai Valerie Mtake", + "bio": "Taurai Valerie Mtake aka TaVaTake, is an award-winning Graphic Designer and Type Designer from Harare, Zimbabwe, dedicated to blending African visual culture with its authentic heritage. Committed to Africa, she creates edutainment content that fosters cultural connections and preserves authenticity. With extensive experience in brand identity and advertising, she has collaborated with renowned brands like IKEA, Gucci, Northvolt, ABSA, FNB Bank, and Google, demonstrating versatility across diverse media platforms. Notably, she received the prestigious Ung Svensk Form 2023 award for her exceptional work, among other accolades. tavatake.africa/ | Instagram" + }, + "Emre Parlak": { + "name": "Emre Parlak", + "bio": null + }, + "Pathum Egodawatta": { + "name": "Pathum Egodawatta", + "bio": null + }, + "Mikhail Sharanda": { + "name": "Mikhail Sharanda", + "bio": null + }, + "Carolina Short": { + "name": "Carolina Short", + "bio": "Carolina is a designer from Buenos Aires. After 30 years of working in the industry, and part-time teaching experience in Argentina, Germany and New Zealand, took a full-time academic position at the University of Waikato. Her education was in traditional graphic design, with a strong emphasis on typography, which became her deep interest. In 1994 she created the experimental typeface Miyuscules, one of the first Argentine digital fonts. In 1996 became a digital nomad, founded Bigital with Tom\u00e1s Garc\u00eda Ferrari, and started developing projects for clients in different countries, mainly in interactive and digital media. In 2019 she designed Mansalva, and keeps thinking about new typography projects, currently with other fonts under development. bigital.com | Instagram" + }, + "Nur Syamsi": { + "name": "Nur Syamsi", + "bio": "Nur Syamsi is a graphic designer and founder of NamelaType based in Indonesia. He has been drawing letters and Arabic calligraphy since he was a child, he studied the basic rules of Arabic calligraphy at the Islamic Boarding School and graduated from the Indonesian Institute of the Arts (ISI) Yogyakarta. He started designing his own typefaces in 2019, and has been enthusiastic about harmonizing Latin and Arabic fonts ever since. Instagram" + }, + "Bustanul Arifin": { + "name": "Bustanul Arifin", + "bio": "Bustanul Arifin is a graphic and type designer at NamelaType based in Indonesia, currently working to produce typefaces. He has been interested in lettering and handwriting scripts since high school, especially classic scripts. Instagram" + }, + "Florian Runge": { + "name": "Florian Runge", + "bio": null + }, + "Manvel Shmavonyan": { + "name": "Manvel Shmavonyan", + "bio": null + }, + "Roman Shamin": { + "name": "Roman Shamin", + "bio": "Roman Shamin is the head of design at Evil Martians and a multidisciplinary designer dividing his time between Lisbon and Istanbul. He has developed all kind of tools: web and mobile apps, about a dozen plugins for Figma, Sketch, and Adobe apps. Including pretty raucous Size Marks for Adobe Photoshop (1.5K stars on GitHub) and Color Name for Figma (4.5K installs). Also, OKLCH Color Picker, Evil Icons (2nd Product of the Day on ProductHunt), and Recipe Scaler. In recent years he is running Martian Fonts, a type foundry within Evil Martians. Twitter" + }, + "Evil Martians": { + "name": "Evil Martians", + "bio": "Evil Martians is a distributed product development consultancy that works with startups and established businesses, and creates open source-based products and services. Offices in New York, Porto, and Osaka. evilmartians.com" + }, + "Carolina Trebol": { + "name": "Carolina Trebol", + "bio": null + }, + "The Graphic Ant": { + "name": "The Graphic Ant", + "bio": "The Graphic Ant is an independent type foundry and design studio based in Kathmandu, Nepal, founded by Prashant Pant. Specializing in type design, identity, and motion, the studio collaborates with clients and agencies around the world to craft custom typefaces and build cohesive, expressive visual identities. Website | Instagram" + }, + "Adam Yeo": { + "name": "Adam Yeo", + "bio": "Adam Yeo is a graphic and type designer from C\u00f4te d'Ivoire. He holds a Doctorate in Art and Design from Nanjing University of the Arts, China. From 2022 to 2024, Adam was part of the ANRT, where he worked on developing a typeface for the B\u00e9t\u00e9 script. Upon returning to his home country, he was appointed as an Assistant Professor of Graphic Design at the University of Bondoukou, C\u00f4te d'Ivoire. Adam has published several articles on African scripts, symbols, and languages. Matemasie is his first Latin typeface. This | one: | x.com/YeoADAM | linkedin.com/in/adam-yeo/" + }, + "Wojciech Kalinowski": { + "name": "Wojciech Kalinowski", + "bio": null + }, + "Michal Sahar": { + "name": "Michal Sahar", + "bio": null + }, + "FONTDASU": { + "name": "FONTDASU", + "bio": "Fontdasu mainly works for graphic and web design. He liked drawing letters from when he was little, and when he met GlyphsApp in 2016, he started designing his own typefaces. He seeks to design fonts that are beautiful and attractive to use. website" + }, + "Tural Alisoy": { + "name": "Tural Alisoy", + "bio": "TAFT (Tural Alisoy Fonts) is a type foundry founded by Tural Alisoy in Baku, Azerbaijan. Formerly a graphic designer and art director, he became a self-taught type designer in 2016. Before starting his studio, he worked with various national and international clients. His fonts are frequently featured on Myfonts and include Cyrillic, Greek, Hebrew, Georgian, and Armenian characters. TAFT focuses on creating well-designed, thoroughly tested, and optimized fonts. With over ten years of experience in graphic design and six years in type design, Tural usually works alone but collaborates with a design team when needed. taft.work | Behance" + }, + "Lipi Raval": { + "name": "Lipi Raval", + "bio": null + }, + "Gumpita Rahayu": { + "name": "Gumpita Rahayu", + "bio": null + }, + "Jiyeon Park": { + "name": "Jiyeon Park", + "bio": null + }, + "Denis Jacquerye": { + "name": "Denis Jacquerye", + "bio": null + }, + "Elena Albertoni": { + "name": "Elena Albertoni", + "bio": null + }, + "Aleksandr Andreev": { + "name": "Aleksandr Andreev", + "bio": "Leads the Slavonic Computing Initiative, a volunteer group of developers seeking to expand computer support for Old Church Slavonic and modern Church Slavonic. Typefaces include Triodion, Pochaevsk, and Ponomar for modern CS; Shafarik and Monomakh for OCS and academic work; as well as Mezenets and other fonts for Znamenny Notation. sci.ponomar.net | academia.edu" + }, + "Nikita Simmons": { + "name": "Nikita Simmons", + "bio": null + }, + "Alejandra Rodriguez": { + "name": "Alejandra Rodriguez", + "bio": null + }, + "Florian Karsten": { + "name": "Florian Karsten", + "bio": "Florian Karsten Studio (Brno, Czech Republic) focuses on graphic design, type design and programming. They create websites, books, programmes, typefaces and above all, functional systems. They are excited about open-source and peer2peer networks. Typefaces | Instagram" + }, + "Neil Summerour": { + "name": "Neil Summerour", + "bio": null + }, + "Arthur Reinders Folmer": { + "name": "Arthur Reinders Folmer", + "bio": "Arthur Reinders Folmer attended the Royal Academy of Art, the Hague, and afterwards started his own design studio in Haarlem, the Netherlands, where he specialises on combining typography and illustration. Next to his design studio, Arthur also runs his type foundry, Typearture. Through Typearture he creates typefaces that merge concepts, culture, experiment and most importantly: a bit of humor. His designs play with concepts, conventions of written language, and embed cultural references. The Typearture fonts are a type of adventure, and they explores all the possibilities that can be contained in a font-file. typearture.com | Twitter" + }, + "Just van Rossum": { + "name": "Just van Rossum", + "bio": null + }, + "Sandoll Communication": { + "name": "Sandoll Communication", + "bio": null + }, + "Andrea Herstowski": { + "name": "Andrea Herstowski", + "bio": "Andrea Herstowski teaches typography, design, and professional practice at the University of Kansas, Lawrence KS. Her Typographic Universe course introduces design students to the vast world of type design. Before joining KU she worked as a graphic designer in San Francisco, Basel, and Frankfurt. andreaherstowski.xyz" + }, + "Ben Hoepner": { + "name": "Ben Hoepner", + "bio": "Ben Hoepner is a designer drawn to type design, publication, and arts and cultural heritage work. As a Visual Communication Design undergraduate student at the University of Kansas, he was instrumental in developing National Park for the Google Library. benhoepner.work" + }, + "Jeremy Shellhorn": { + "name": "Jeremy Shellhorn", + "bio": "Jeremy Shellhorn is a designer, illustrator, and educator. He runs the Design Outside Studio and teaches Visual Communication Design at the University of Kansas. As a designer, he specializes in the outdoor industry, works as \u201cdesigner-in-residence\u201d at Tenkara USA, and has been collaborating with Rocky Mountain National Park since 2012. jeremyshellhorn.com" + }, + "Nermin Kahrimanovic": { + "name": "Nermin Kahrimanovic", + "bio": "Nermin Kahrimanovic is a London based digital designer. His skills range from brand & website design to font development, HTML/CSS, 3D rendering, illustrations and video editing. Always looking to expand his skills further with a keen eye on current and upcoming design trends. Website | Behance" + }, + "Brian Zick": { + "name": "Brian Zick", + "bio": null + }, + "Vladimir Nikolic": { + "name": "Vladimir Nikolic", + "bio": "Vladimir Nikolic is based in Belgrade. As a passionate designer he worked in the product design industry and started type business in 2017. coroflot.com/vladimirnikolic" + }, + "Hana Tanimura": { + "name": "Hana Tanimura", + "bio": "Hana is an award-winning designer and art director at Google Creative Lab in New York (previously in London). She likes making good things with good people, for good causes. And sometimes just for fun. Homepage | Instagram" + }, + "Noemie Le Coz": { + "name": "Noemie Le Coz", + "bio": "Noemie Le Coz is a New York-based independent Art Director, Designer and Illustrator. While very diverse, her aesthetic approach often merges minimalism with a distinct sense of play. She is a winner of Young Guns 15. Homepage | Instagram" + }, + "Alexei Vanyashin": { + "name": "Alexei Vanyashin", + "bio": null + }, + "James Barnard": { + "name": "James Barnard", + "bio": null + }, + "\u1ee4d\u1ecb Foundry": { + "name": "\u1ee4d\u1ecb Foundry", + "bio": "Based in Lagos, Nigeria, \u1ee4d\u1ecb Foundry is an independent type foundry founded by Chisaokwu Joboson with a mission to craft contemporary typefaces inspired by African culture and accommodate various African language scripts. Its most recent typeface project is Ojuju. Twitter | udifoundry.com" + }, + "Chisaokwu Joboson": { + "name": "Chisaokwu Joboson", + "bio": "Chisaokwu Joboson is a Nigerian-based brand and type designer. He creates contemporary typefaces under his independent type foundry called \u1ee4d\u1ecb, meticulously crafted to accommodate various African language scripts. Twitter | jobosonchisa.com" + }, + "Alexey Kryukov": { + "name": "Alexey Kryukov", + "bio": null + }, + "soytutype fonts": { + "name": "soytutype fonts", + "bio": null + }, + "Dmitri Voloshin": { + "name": "Dmitri Voloshin", + "bio": "Dmitri Voloshin is the founder of Simpals, Moldova's largest Internet company. Font designer, product designer, cartoon director, he has received numerous awards for his work worldwide. voloshin.md" + }, + "Andrey Kudryavtsev": { + "name": "Andrey Kudryavtsev", + "bio": "Andrey Kudryavtsev was born in Irkutsk near the Lake Baikal in 1980. He started typedesign in 2008. He participated in the Rodrigo Araya's RodrigoTypo project in Chile as a consultant and designer of the cyrillic parts of several font families and was shortlisted twice for the Tipos Latinos Biennial. He participated as a co-author of the Qwincey FY typefamily in the French project Fontyou. His header type Czarevitch was awarded the Glyphs prize at the Modern Cyrillic 2019 international competition. He participated as co-author designer in the project of universal typefamily Onest for Moldova. Facebook | Behance" + }, + "Oleg Pospelov": { + "name": "Oleg Pospelov", + "bio": null + }, + "Sooun Cho": { + "name": "Sooun Cho", + "bio": null + }, + "Haruki Wakamatsu": { + "name": "Haruki Wakamatsu", + "bio": "Haruki Wakamatsu, who chooses to go by Haley, is a longtime hobbyist graphic designer from Sapporo, Japan. With a penchant for pixel typefaces and experience dating back to 2014, she has released a library of free and commercial fonts as the foundry UkiyoMoji Fonts. Homepage | Twitter" + }, + "Kalapi Gajjar": { + "name": "Kalapi Gajjar", + "bio": null + }, + "Smartsheet Inc": { + "name": "Smartsheet Inc", + "bio": "Smartsheet is a SaaS, enterprise cloud app for work management and collaboration. In September 2022, Smartsheet acquired Outfit.io co-creators of the Outfit typeface. smartsheet.com" + }, + "Delve Withrington": { + "name": "Delve Withrington", + "bio": null + }, + "Dave Bailey": { + "name": "Dave Bailey", + "bio": null + }, + "Severin Meyer": { + "name": "Severin Meyer", + "bio": null + }, + "ParaType": { + "name": "ParaType", + "bio": "ParaType was established in 1998 as a successor to the ParaGraph International type department. The company develops and distributes multilingual typefaces that support the Latin, Cyrillic, Greek, Arabic, Hebrew, Armenian, and Georgian scripts. A specialist in manual TrueType hinting, ParaType offers high-quality hinting services to other type designers. The most popular ParaType projects include Pragmatica, PT Serif, and Circe. Twitter" + }, + "Botjo Nikoltchev": { + "name": "Botjo Nikoltchev", + "bio": null + }, + "Ani Petrova": { + "name": "Ani Petrova", + "bio": null + }, + "James Puckett": { + "name": "James Puckett", + "bio": "James studied graphic design at the Corcoran College of Art where he graduated with honors. He designed the Armitage, Ironstrike, and Lorimer type families, and has worked on custom type designs for clients including Mucca, Mutt Industries, and Google. In 2009, he started Dunwich Type Founders. GitHub | Twitter" + }, + "Shibuya Font": { + "name": "Shibuya Font", + "bio": null + }, + "Kevin Burke": { + "name": "Kevin Burke", + "bio": "Kevin Burke is an animator, designer, and prototyper based in London, UK. Kevin currently works on the Google Doodle team. Outside of work, Kevin is a musician composing under the name Nomadic Sun. homepage | vimeo | twitter | soundcloud" + }, + "Red Stone": { + "name": "Red Stone", + "bio": "Red Stone is an optimistic, award-winning team of creative thinkers, makers and planners based in London. They have delivered award winning brand identities, communications and content for leading organisations and charities. Red Stone partners with clients who are looking to make a positive difference to individuals, communities and the planet. ww.red-stone.com | Instagram" + }, + "Patrick Wagesreiter": { + "name": "Patrick Wagesreiter", + "bio": null + }, + "Ringo R. Seeber": { + "name": "Ringo R. Seeber", + "bio": "Ringo R. Seeber is a designer and typographer based in NYC and DC, with broad interests in symbolic systems, publications, and identity. He is the founder of the design agency Glyph Co, aka Glyph NYC, and is driving the project Human Type. Twitter | glyph.co" + }, + "D\u01b0\u01a1ng Tr\u1ea7n": { + "name": "D\u01b0\u01a1ng Tr\u1ea7n", + "bio": "D\u01b0\u01a1ng Tr\u1ea7n is a Vietnamese graphic designer and type practitioner, who shares passions in creating visual identities, layout designs and typography. From 2020, he has been crafting letters with emotional expressions and focuses on how to scale up the market of Vietnamese supported typefaces, starting with Phudu and Loes. Website | Instagram" + }, + "Nicolas Massi": { + "name": "Nicolas Massi", + "bio": null + }, + "Stefie Justprince": { + "name": "Stefie Justprince", + "bio": "Stefie Justprince is a dedicated creative professional specializing in type design. With a strong commitment to excellence, he has been a proud member of Typecalism Foundryline since 2020, contributing as a solo artist. Throughout his career since 2017, he has honed his skills in curating and creating distinctive typefaces that capture attention and convey meaningful messages. By blending aesthetics with functionality, he strives to breathe life into letters and help brands communicate their unique identities effectively. typecalism.com | Instagram" + }, + "David Sargent": { + "name": "David Sargent", + "bio": "David Sargent is an Australian designer and educator living and working on Jagera and Turrbal land. He is the Creative Director of Liveworm, an incubator within the Queensland College of Art & Design, Griffith University, where students work on diverse external projects in a mentored environment. davidsargent.com.au" + }, + "Jonas Hecksher": { + "name": "Jonas Hecksher", + "bio": null + }, + "Laura Meseguer": { + "name": "Laura Meseguer", + "bio": "Laura is a freelance graphic and type designer based in Barcelona. She is specialised in all sorts of projects involving custom lettering and type design for branding and publishing design." + }, + "Veronika Burian": { + "name": "Veronika Burian", + "bio": "Veronika is a co-founder of the international indie foundry TypeTogether. She is one of the organisers of the alphabettes.org mentorship program, chairwoman of the GRANSHAN project, and organiser of TypeTech MeetUp." + }, + "Jos\u00e9 Scaglione": { + "name": "Jos\u00e9 Scaglione", + "bio": "Jos\u00e9 is a typeface designer, lecturer, and author specialising in typography. He co-founded the TypeTogether font foundry with Veronika Burian, where they have published numerous award-winning type families." + }, + "Vera Evstafieva": { + "name": "Vera Evstafieva", + "bio": "Based in Cambridge, UK, Vera Evstafieva is an independent type designer, calligrapher, and consultant who specializes in Latin and Cyrillic type design and lettering. Among Vera\u2019s type designs are: Amalta, winner of the 2011 TDC competition; ALS Direct typeface for interior and exterior wayfinding; Literata Cyrillic for TypeTogether, awarded by Modern Cyrillic 2021; Birra Lambic typeface for Darden Studio\u2019s Birra Flight project, awarded by 2022 Communication Arts magazine competition; Moscow University typeface; Rossica, Apriori, and other typefaces. Vera is a full member of Letter Exchange and has served as a jury member for international type design competitions, including Granshan. Instagram | letterexchange.org/members/portfolios/vera-evstafieva" + }, + "Tom Grace": { + "name": "Tom Grace", + "bio": "Tom Grace is a leading independent typeface and lettering designer based in Lausanne, Switzerland. He holds a Master of Arts in Typeface Design from the University of Reading (UK) and has been creating and optimizing letterforms professionally for over 20 years. Tom has designed and developed hundreds of custom font styles, many for Cyrillic and other non-Latin writing systems, and has published retail typefaces with Monotype and TypeTogether. He also teaches, lectures, and consults on typeface design and development. Tom\u2019s work has earned awards and distinctions for excellence, reinforcing his reputation as a go-to specialist for designers, design agencies, and type foundries in Switzerland and worldwide. tomgrace.ch" + }, + "Yorlmar Campos": { + "name": "Yorlmar Campos", + "bio": "Yorlmar Campos is an architect from the Universidad Central de Venezuela and taught typographic design in the Type Design MA at the Universidad de Buenos Aires where he had previously studied. He has worked on various technical development typographic projects for Google Fonts and his typefaces have been featured in the Tipos Latinos biennial. His font \"Atlante,\" published with TypeTogether, has received five awards, iClap Platinum, Tipos Latinos Certificate of Excellence, D&AD, Gold at the ED-Awards, and the TDC Certificate of Excellence. rnsfonts.com/ | Instagram" + }, + "Azza Alameddine": { + "name": "Azza Alameddine", + "bio": "Azza has been working as a graphic designer for 17 years in Lebanon and the UK; and as a type designer for 10 years. She holds a BA in visual communication from Cr\u00e9apole, Paris, and a Masters in Typeface Design from the University of Reading. She is interested in typefaces from a cultural point of view and the feelings they convey to people who can read them and to those who can't. Her goal is to bring more awareness to graphic and type designers in the Middle East about the added value of good typography in visual communication. azalam.com" + }, + "Gunjan Panchal": { + "name": "Gunjan Panchal", + "bio": "Gunjan Panchal is a type designer based in Mumbai. Having worked in advertising for five years in Mumbai and Bengaluru, Gunjan pursued an interest in type design, joining Indian Type Foundry in 2016 to work on Gujarati and Devanagari projects, and then Ektype in 2020, where he worked on a Nandinagari typeface. He\u2019s been collaborating with Universal Thirst since December 2021. gunjanpanchal.work/" + }, + "Sirin Gunkloy": { + "name": "Sirin Gunkloy", + "bio": "Sirin is an independent graphic and typeface designer based in Bangkok. She specializes in Thai and Latin typography, with an emphasis on linguistics and paleography. sirin-kwan.co/" + }, + "Tokotype": { + "name": "Tokotype", + "bio": "Tokotype is a type foundry based in Indonesia, initiated and operated by Gumpita Rahayu since in 2015. Tokotype is dedicated to providing experienced various commercial & custom fonts projects development by collaborating with leading design agencies, companies, and organizations. Homepage | Instagram | Twitter" + }, + "Adam P\u00f3\u0142tawski": { + "name": "Adam P\u00f3\u0142tawski", + "bio": null + }, + "Yoon Design": { + "name": "Yoon Design", + "bio": null + }, + "Ninad Kale": { + "name": "Ninad Kale", + "bio": null + }, + "Tipo": { + "name": "Tipo", + "bio": null + }, + "CodeMan38": { + "name": "CodeMan38", + "bio": null + }, + "Pavel Emelyanov": { + "name": "Pavel Emelyanov", + "bio": null + }, + "Jasper de Waard": { + "name": "Jasper de Waard", + "bio": null + }, + "USWDS": { + "name": "USWDS", + "bio": null + }, + "Dan Williams": { + "name": "Dan Williams", + "bio": null + }, + "Andrew Paglinawan": { + "name": "Andrew Paglinawan", + "bio": null + }, + "Charles Daoud": { + "name": "Charles Daoud", + "bio": "Charles Daoud is a multidisciplinary graphic designer and typographer that works with a wide variety of SMEs, large corporations, firms and advertising agencies across the province of Quebec and abroad. He is internationally recognized for his work with major clients, such as Netflix and Brocade, as well as his innovative typefaces, including the ever-popular Dense, which have been downloaded by millions of users. In 2017, he led the development of the Radio-Canada typeface, in collaboration with the public broadcaster - a project that earned him a Grafika Grand Prix as well as not only being published in the Communication Arts Typography Annual, but also making its cover. He was also featured as one of the \"15 Canadian Graphic Designers to Follow\" by MIJLO, an industry-leading design blog. charlesdaoud.com" + }, + "Coppers and Brasses": { + "name": "Coppers and Brasses", + "bio": "Coppers and Brasses is a digital type foundry developing retail and custom typefaces for local and international clients. Based in Montreal, the award-winning foundry was founded in 2011 by \u00c9tienne Aubert Bonn and Alexandre Saumier Demers. Their debut retail typeface, Martha, was released in 2012. \u00c9tienne now runs the foundry and collaborates regularly with designers and consultants from all around the globe. Their typefaces are meticulously created for print as well as screen use. Coppers and Brasses takes their pride in bringing the the smoothest bezier curves, the most regular rhythm and the nicest text color. They also design bespoke typographic solutions for a variety of clients, either through advertising agencies, creative studios, or directly. Whether it is for a complete typeface family or a lettering piece, they take interest in every project that involves the drawing of letterforms. coppersandbrasses.com" + }, + "Alexandre Saumier Demers": { + "name": "Alexandre Saumier Demers", + "bio": "Alexandre Saumier Demers is a type designer and sign painter based in Montreal, Canada. He sometimes develops fonts for Coppers and Brasses-foundry he initially co-founded in 2011. asaumierdemers.com" + }, + "\u00c9tienne Aubert Bonn": { + "name": "\u00c9tienne Aubert Bonn", + "bio": "Since 2012, \u00c9tienne Aubert Bonn has been working as a type designer at Coppers and Brasses, the type foundry he cofounded with Alexandre Saumier Demers. Together, he and Alexandre offer a variety of type-related services including retail typefaces, custom fonts, lettering work, and typographic consultancy. Additionally, he is involved in teaching type design at UQAM as part of the graphic design BA course. Prior to his current endeavors, he completed a graphic design BA at UQAM, followed by a type design certificate at Type@Cooper and the Type and Media MA at KABK. coppersandbrasses.com" + }, + "Zeynep Akay": { + "name": "Zeynep Akay", + "bio": null + }, + "Martin Sommaruga": { + "name": "Martin Sommaruga", + "bio": null + }, + "TipTopTyp": { + "name": "TipTopTyp", + "bio": null + }, + "Anna Giedry\u015b": { + "name": "Anna Giedry\u015b", + "bio": "Anna is a designer with many interests\u2014she favors fonts and graphics when working, and illustration as a welcomed distraction. She holds an MA in Visual Communication from the University of Fine Arts in Pozna\u0144, and discovered her interest in pattern and calligraphy while studying in Vilnius, Lithuania. She designed Signika, a type family for wayfinding, and collaborated on the open-source type families Yrsa and Rasa, which support the Latin and Gujarati scripts. After freelancing for several studios, Anna now works with Rosetta. Twitter | ancymonic.com" + }, + "Nadine Chahine": { + "name": "Nadine Chahine", + "bio": null + }, + "Arrow Type": { + "name": "Arrow Type", + "bio": "Arrow Type is a type foundry and studio practice based in Brooklyn, NY which specializes in custom type, type design, and font development, run by Stephen Nixon. Previously, Stephen worked in digital product design and brand experience design at IBM. In 2018, Stephen graduated with a Master\u2019s degree in Type and Media from The Royal Academy of Art (KABK) in The Hague, Netherlands. In 2019, Google Fonts commissioned and published Arrow Type\u2019s first release, Recursive. Today, Arrow Type has a focus on creating fonts that are beautiful, uniquely useful, and tell a story. arrowtype.com | GitHub | YouTube | Instagram" + }, + "Stephen Nixon": { + "name": "Stephen Nixon", + "bio": "Stephen Nixon designs & develops fonts, tools, and websites as Arrow Type. Previously, he was in the KABK TypeMedia class of 2018. Before that, he designed and built websites and brand tools at IBM. stephennixon.com | GitHub | Twitter | Instagram" + }, + "MCKL": { + "name": "MCKL", + "bio": "MCKL is a Los Angeles-based type foundry and design studio, publishing original fonts and creating custom designs for clients. Founded in 2012, MCKL is run by Jeremy Mickel, its primary designer and operating officer. MCKL has collaborated with leading design firms, companies, and organizations around the world to produce custom typeface and logo design services. Twitter | Instagram" + }, + "Christian Naths": { + "name": "Christian Naths", + "bio": "Christian Naths is a Canadian born software developer who specializes in planning, designing, and building digital products for early stage startups. christiannaths.com" + }, + "Stephen Hutchings": { + "name": "Stephen Hutchings", + "bio": "Stephen Hutchings is a specialist digital designer with deep expertise and broad interests, spanning custom fonts and type design, data visualisation and front\u2011end development. Based in Sydney, Australia, Stephen has developed a number of retail fonts, including Isomer and Maestro. He also produces bespoke typefaces for commercial clients. s-ings.com" + }, + "OrangeRed": { + "name": "OrangeRed", + "bio": "OrangeRed is Reddit's in-house brand creative team. Their role is to define the Reddit brand and maintain its standards through branding, messaging, design, art, and creative direction. redditinc.com/brand" + }, + "Hans Thiessen": { + "name": "Hans Thiessen", + "bio": "Hans Thiessen is currently serving as a Partner & ECD of Design at Rethink \u2014 AdAge\u2019s Creative Agency of the Year, one of Fast Company\u2019s Top 10 Most Innovative Creative Agencies, and all-around fun place to work. He also likes fonts. hansthiessen.com" + }, + "Christian Robertson": { + "name": "Christian Robertson", + "bio": null + }, + "Paratype": { + "name": "Paratype", + "bio": null + }, + "Font Bureau": { + "name": "Font Bureau", + "bio": "Formed in 1989, Font Bureau has been active in the design of typefaces, the development of tools for both type design and typography, and as a consultant in the development of font technology for both operating systems and applications. Font Bureau\u2019s custom fonts are seen in hundreds of publications world-wide. It\u2019s retail font library is popular among designers of a wide range of projects, and its pioneering work in variable font technology has set examples for both the finessing of typography for better composition, and new levels of expression that type can bring to reinforce user interest in any design. fontbureau.typenetwork.com" + }, + "David Berlow": { + "name": "David Berlow", + "bio": "David Berlow, the president of Font Bureau, is a 44-year veteran of the type industry. Beginning his career in 1978 at Mergenthaler-Linotype, Stemple, and Haas, he moved on to one of the first digital type foundries, Bitstream, in 1982. Berlow began consulting and sub-contracting to Apple Computer in 1989, leading development of the era-defining fonts for macOS 7 that introduced the TrueType format, and later the first variable font, Skia. His fonts are distributed by Google, Apple, Microsoft, Adobe, Monotype, Morisawa and Type Network. He has been the recipient of lifetime achievement awards from both the Type Directors Club and the Society of Type Aficionados. fontbureau.typenetwork.com" + }, + "Irene Vlachou": { + "name": "Irene Vlachou", + "bio": "Irene Vlachou is a typeface designer based in Athens, Greece. She holds an MA in Typeface Design from the University of Reading. Irene has collaborated with international type foundries and corporations, working as a typeface designer and a consultant for Greek typefaces. From 2013 to 2019, she was a senior designer and variable font expert at Type-Together. She currently works full time as a freelancer typeface designer specializing in OEM/System fonts. On behalf of the Greek Open Source Community (GFOSS), she is a mentor on the expansion of Greek libre fonts for the GSOC (Google Summer of Code) program. For the spring semester of 2022, Irene is an artist-in-residency at La Becque and a visiting professor at the Master program of Typeface design at ECAL, Lausanne. Her work includes: Colvert Greek (2012, typographies.fr), Parmigiano Greek (2014, Typotheque), Samsung One Greek (2016, Brody Associates), LL Bradford Greek (2016, identity for Documenta14, Laurenz Brunner), LL Unica77 Greek (2017, Lineto), Stratos Greek (2018, Production Type), FauxFoundry and FauxGreek parametric fonts (2019, self initiated), SauberScript Greek (2020, TypeJockeys), Amstelvar (2020, Font Bureau) and redesign of Roboto and Noto Greek fonts (2021, Google Fonts). ivtype.com" + }, + "Ilya Ruderman": { + "name": "Ilya Ruderman", + "bio": "Ilya is a type and graphic designer and teacher, who lives and works in Barcelona. He is a graduate of the Moscow State University of the Printing Arts (2002), where his graduation project was done under the supervision of Alexander Tarbeev. He has a MA degree in type design from the Type & Media programme at the Royal Academy of Art in the Hague (2005). After completing the programme, he returned to Moscow where he has collaborated with a number of media organizations: Kommersant, Afisha, Moskovskiye Novosti, Bolshoi Gorod and Men\u2019s Health Russia. In 2005\u20132007 he was art director for Afisha\u2019s city guidebooks, and 2007\u20132015 he supervised the curriculum in type and typography at the British Higher School of Art and Design in Moscow. He has been sought out as an expert consultant on Cyrillic type design by international foundries since 2008. In 2014 he founded the foundry CSTM Fonts with Yury Ostromentsky, and in 2016 the type.today font store with a focus on Cyrillic typefaces. type.today" + }, + "Yury Ostromentsky": { + "name": "Yury Ostromentsky", + "bio": "Graphic and type designer, co-founder of type.today store. Graduate of the Moscow State University of Printing Arts (Department of Arts and Technical Design of Printed Materials). Yury worked as a designer and art director for publishers and design studios. From 2004 to 2012, he was art director with Bolshoy Gorod (Big City) magazine. In 2004, he and lya Ruderman, Dmitry Yakovlev, and Daria Yarzhambek launched the DailyType webpage. Later in 2014, Yury and Ilya Ruderman founded CSTM Fonts type design studio which released Pilar, Big City Grotesque, Kazimir, Navigo, Normalidad, RIA Typeface, Lurk, Loos, Maregraph typefaces and CSTM Xprmntl series, as well as Cyrillic versions of Druk, Graphik, Spectral, Stratos and Apoc. The works by Ostromentsky and CSTM Fonts were awarded by European Design Award, Granshan and Modern Cyrillic Competition. type.today" + }, + "Mikhail Strukov": { + "name": "Mikhail Strukov", + "bio": "Mikhail Strukov is a type designer and graduate of Ilya Ruderman\u2019s course at BHSAD (Moscow) and Frank Blokland's program at Plantin Institute of Typography (Antwerp), where he developed a deep interest in history of type and evolution of type production. He collaborates with CSTM Fonts and Samarskaya & Partners, working mostly on Cyrillic versions for both custom and retail typefaces. When not busy with designing Cyrillic, he reviews, consults and writes about Cyrillic. A smalltown resident, road cycling fan, and builder of local communities" + }, + "Commercial Type": { + "name": "Commercial Type", + "bio": "Based in New York and London, Commercial Type is a joint venture between Paul Barnes and Christian Schwartz, who have collaborated since 2004 on various typeface projects, beginning with the award winning Guardian Egyptian, through to typefaces for clients worldwide including Vanity Fair; Helsingin Sanomat; T, The New York Times Style Magazine; MoMA; Visa; and Chobani. Commercial Type has also published typefaces that have helped to define the look of the last 10 years, including Graphik, Druk, and Dala Floda." + }, + "Greg Gazdowicz": { + "name": "Greg Gazdowicz", + "bio": "Greg Gazdowicz (b. 1988) hails from the suburbs of Gaithersburg, Maryland. He studied graphic design at the Maryland Institute College of Art, then completed the Type@Cooper Extended program in 2014, months after joining the design staff of Commercial Type. Greg has designed custom typefaces for Mailchimp, La Repubblica, Google, and New York magazine, and has released several families through Commercial Type, including Robinson and the ambitious Terza family." + }, + "Pablo Ugerman": { + "name": "Pablo Ugerman", + "bio": null + }, + "Hubert and Fischer": { + "name": "Hubert and Fischer", + "bio": null + }, + "Daniel Grumer": { + "name": "Daniel Grumer", + "bio": "Daniel Grumer is a multilingual type designer. He graduated from Bezalel Academy of Arts and Design in Jerusalem and received his Master of Design at TypeMedia at the Royal Academy of Art in The Hague (KABK). In 2017, Daniel joined Fontef Type Foundry, and he is also teaching typography and Lettering at Bezalel Academy of Arts and Design, Jerusalem. fontef.com" + }, + "Omaima Dajani": { + "name": "Omaima Dajani", + "bio": "Omaima Dajani, based in the Netherlands, holds a Bachelor's degree in Visual Communication and a Masters degree in Type Design from KABK. Besides being a freelance type and graphic designer, Omaima is an archivist and educator. She has collaborated with prominent type foundries such as ArabicType Foundry and Fontef Type Foundry and won a TDC award for her typeface Lifta. Omaima's keen interest lies in bridging the gap between traditional Arabic calligraphy and contemporary type design, displaying a unique blend of timeless artistry and modern innovation. Instagram" + }, + "NaN": { + "name": "NaN", + "bio": "NaN is an exploratory and service-driven type design practice, creating for and collaborating with the weird, the wise and the wonderful. nan.xyz | Twitter | Instagram" + }, + "Luke Prowse": { + "name": "Luke Prowse", + "bio": "Luke Prowse is a founder and designer working at the Berlin-based type studio NaN. nan.xyz" + }, + "Angelina Sanchez": { + "name": "Angelina Sanchez", + "bio": null + }, + "Meme Hern\u00e1ndez": { + "name": "Meme Hern\u00e1ndez", + "bio": null + }, + "Oleg Snarsky": { + "name": "Oleg Snarsky", + "bio": null + }, + "Vladimir Rabdu": { + "name": "Vladimir Rabdu", + "bio": null + }, + "Ross Mills": { + "name": "Ross Mills", + "bio": "Ross Mills is a Canadian type designer and font maker, and co-founder of Tiro Typeworks (1994)." + }, + "Ren\u00e9 Bieder": { + "name": "Ren\u00e9 Bieder", + "bio": "Ren\u00e9 Bieder is a trained Graphic designer, Art Director, and self-taught type designer. Before setting up his own studio as a type designer in 2012, he was employed in various small and large advertising agencies. Today, you can find his retail typefaces all around the world. From the Nemo Science Museum in Amsterdam to the University of Florida. Next to his retail releases, Bieder has worked with various national and international clients, such as industry giants such as Volkswagen, to create impactful custom brand fonts. renebieder.com/ | Instagram" + }, + "Hector Gatti": { + "name": "Hector Gatti", + "bio": null + }, + "Daniel Hernandez": { + "name": "Daniel Hernandez", + "bio": null + }, + "Batsirai Madzonga": { + "name": "Batsirai Madzonga", + "bio": "After earning his BSc in Computer Science from the University of Cape Town, Batsi channeled his passion for digital platforms and entrepreneurship into founding his own design agency. His success propelled him across Africa and the Middle East, where he held various roles in the design industry. Batsi has authored several books, including the notable career mentorship guide Devign Intervention and The Ubuntu Design Framework, in which he introduces a new product design framework. He is a design leader, international speaker, author, and content creator currently based in the Middle East. madzonga.com" + }, + "Bernd Montag": { + "name": "Bernd Montag", + "bio": null + }, + "Suppakit Chalermlarp": { + "name": "Suppakit Chalermlarp", + "bio": null + }, + "Plomb Type": { + "name": "Plomb Type", + "bio": "Plomb Type is an independent type foundry created by Max Esn\u00e9e and Emma Marichal, based in Lyon, France. The foundry creates a variety of typefaces with distinct voices, and also enjoys working closely with clients on custom designs. Alongside its font catalogue, Plomb Type offers typographic advice and support for brands of all kinds. plombtype.com | Instagram" + }, + "Max Esn\u00e9e": { + "name": "Max Esn\u00e9e", + "bio": "Max Esn\u00e9e is a typeface designer, graphic designer, and web developer. Graduating from EPSAA in 2014, he works independently, crafting visual identities and websites for a diverse range of clients. In 2019, he joined the EsadType program at ESAD Amiens to further his skills in typeface design. In 2021, he released the Gamuth typeface family at Production Type. Concurrently with his professional practice, he pursues various personal projects, ranging from designing new typefaces to creating web tools, such as the Stack & Justify application, launched in early 2024. max-esnee.com | Instagram" + }, + "mshio": { + "name": "mshio", + "bio": null + }, + "Bakken & B\u00e6ck": { + "name": "Bakken & B\u00e6ck", + "bio": "Bakken & B\u00e6ck is a technology-driven design studio founded in 2011. With offices in Oslo, Amsterdam, London, Bonn, and Barcelona, its team of 60+ people meets at the intersection of engineering, design, creative communication, and business development. Projects include defining future homes with IKEA to building decentralised platforms with Coinbase, serving as an end-to-end innovation partner for multiple ventures, and deploying a wide range of emerging technologies, like augmented reality, machine learning, and spatial computing. bakkenbaeck.com" + }, + "Henrik Kongsvoll": { + "name": "Henrik Kongsvoll", + "bio": "Henke is an Oslo-based type and graphic designer working with digital identities. He makes and produces fonts, typographic systems and type-driven brand narratives. henkehenke.no" + }, + "Dalton Maag": { + "name": "Dalton Maag", + "bio": "Dalton Maag is an international font foundry specializing in type design and digital font production. The company was founded by Swiss typographer Bruno Maag in 1991 and has grown over the past two decades to become one of the world\u2019s most respected type foundries. With a multinational and multicultural team drawn from 18 nations, Dalton Maag\u2019s clients span all industry sectors and include many of the world\u2019s most-recognized brands." + }, + "Sebasti\u00e1n Salazar": { + "name": "Sebasti\u00e1n Salazar", + "bio": null + }, + "Pedro Vergani": { + "name": "Pedro Vergani", + "bio": null + }, + "Kosal Sen": { + "name": "Kosal Sen", + "bio": null + }, + "Shantell Martin": { + "name": "Shantell Martin", + "bio": "Shantell Martin is a public speaker, curator, philosopher, cultural facilitator, teacher, choreographer, performer, and more. From fashion and celebrity collaborations to positions at MIT Media Lab, NYU Tisch ITP, Columbia University\u2019s Brown Institute, and choreographing a ballet at the Boston Ballet, Shantell\u2019s drawn LINE constantly evolves. Creating new connections between fine art, education, design, philosophy, and technology, Shantell explores themes such as intersectionality, identity, and play. shantellmartin.art | YouTube | Instagram | Twitter" + }, + "Anya Danilova": { + "name": "Anya Danilova", + "bio": "Anya Danilova is a type designer based in The Hague, Netherlands. She studied at the Moscow State University of Printing Arts, attending Alexander Tarbeev\u2019s type design workshop. In 2019, she obtained her Master\u2019s degree in Type and Media at The Royal Academy of Art in The Hague. In 2020, she won a Gerard Unger scholarship with her MA graduation typeface Rezak. Apart from working with typefaces, she loves writing and talking about them. She has written articles about various sides of typography and type design. anyadanilova.com | Instagram" + }, + "Jason Kottke": { + "name": "Jason Kottke", + "bio": "Based on the east coast of the US, Jason Kottke is an American writer and curator who fell in love with the web in the mid-90s and is now responsible for keeping long-time tech/culture blog kottke.org running smoothly. Silkscreen is the only typeface he\u2019s ever created. Kottke.org" + }, + "DXKorea Inc": { + "name": "DXKorea Inc", + "bio": null + }, + "Eduardo Rodriguez Tunni": { + "name": "Eduardo Rodriguez Tunni", + "bio": null + }, + "Jens Kut\u00edlek": { + "name": "Jens Kut\u00edlek", + "bio": "Jens Kut\u00edlek is a type designer and font engineer based in Berlin. After receiving a degree in Graphic Design, he worked at the FontFont Type Department, and also published two commercial type families through the FontFont label, FF Hertz and FF Uberhand. Jens gave presentations about font technology at typography events across Germany and taught a type design course at the Braunschweig University of Arts. He also released a number of open source fonts, like his coding font Sudo. Since 2016, Jens has been working at the LucasFonts studio with a focus on variable font production and font tool development. kutilek.de" + }, + "Annet Stirling": { + "name": "Annet Stirling", + "bio": null + }, + "Lettersoup": { + "name": "Lettersoup", + "bio": null + }, + "Botio Nikoltchev": { + "name": "Botio Nikoltchev", + "bio": null + }, + "Nathan Gross": { + "name": "Nathan Gross", + "bio": null + }, + "Bryan Kirschen": { + "name": "Bryan Kirschen", + "bio": null + }, + "Mariya Lish": { + "name": "Mariya Lish", + "bio": "Mariya is a designer specialising in lettering, typography, type and bespoke logo design. With over a decade of experience, Mariya has a large catalogue of work. Her practice is focused on Latin and Cyrillic type design and development. Born in Minsk, Belarus, Mariya has lived in the UK for the last 16 years, raising a family in Northumberland. She has an extensive background in retail typeface development and custom font solutions. mariyalish.com" + }, + "The Northern Block": { + "name": "The Northern Block", + "bio": "Founded in 2006 by Jonathan Hill, The Northern Block is a collaborative type foundry internationally recognised for producing modernist fonts for brands, creatives and makers. The Northern Block's highly skilled and enthusiastic global team, designs and develops award-winning retail and custom typefaces, and is pushing forward the design of non-latin scripts, including Arabic, Cyrillic, Greek and Hebrew. Thenorthernblock.co.uk | Instagram | Twitter" + }, + "JIKJI": { + "name": "JIKJI", + "bio": null + }, + "Jonathan Barnbrook": { + "name": "Jonathan Barnbrook", + "bio": null + }, + "Frank Grie\u00dfhammer": { + "name": "Frank Grie\u00dfhammer", + "bio": null + }, + "Alistair McCready": { + "name": "Alistair McCready", + "bio": "Monolith is an award-winning design and typographic practice based in Auckland, New Zealand. The studio is founded on the belief that the best ideas are measured by an ability to execute them with care and precision. For over a decade, Monolith has tasked itself with producing work composed out of aesthetic and technological detail, prompting a reputable portfolio that couples typographic acumen with contemporary storytelling for clients worldwide including FIFA, Lloyds Bank, Liverpool Football Club, Toblerone; and Auckland International Airport. monolith.nz" + }, + "Brian LaRossa": { + "name": "Brian LaRossa", + "bio": null + }, + "Erica Carras": { + "name": "Erica Carras", + "bio": null + }, + "Alexey Maslov": { + "name": "Alexey Maslov", + "bio": null + }, + "AsiaSoft Inc": { + "name": "AsiaSoft Inc", + "bio": null + }, + "JIKJISOFT": { + "name": "JIKJISOFT", + "bio": null + }, + "Bonjour Monde": { + "name": "Bonjour Monde", + "bio": "Bonjour Monde is a working group looking into alternative processes in the field of visual creation. Functioning mostly through workshops and self-initiated experiments, they question tools, open and understand them in order to divert them from their initial function, in an infinite search for noise, error and happy accidents. Homepage | Gitlab" + }, + "Lucas Descroix": { + "name": "Lucas Descroix", + "bio": "Lucas Descroix is a type and graphic designer who likes to draw shapes and build systems. After researching at the National Institute for Typographic Research in Nancy (Fr), he is now designing typefaces, books, posters and visual identities. You can also find him experimenting alternative tools and organizing workshops with Bonjour Monde. Homepage" + }, + "George Triantafyllakos": { + "name": "George Triantafyllakos", + "bio": "George Triantafyllakos holds a PhD in Participatory Design of Educational Software from the Computer Science Department, Aristotle University of Thessaloniki, Greece. On September 2015 he started the Atypical type foundry. He has designed typefaces for the Greek Font Society. In 2017 he participated in the team of designers that won the competition for the design of the new visual identity of the National Library of Greece (George D. Matthiopoulos, Dimitris Papazoglou, George Triantafyllakos and Axel Peem\u00f6ller). The same year he was a member of the jury committee of the Greek Graphic Design and Illustration Awards (\u0395\u0392\u0393\u0395 2017). On October 2019 he was awarded at the 11th GRANSHAN Type Design Competition for the design of the Dolce Noir type family. atypical.gr" + }, + "Yanone": { + "name": "Yanone", + "bio": null + }, + "Soulaf Khalifeh": { + "name": "Soulaf Khalifeh", + "bio": null + }, + "Chank Diesel": { + "name": "Chank Diesel", + "bio": "Chank Diesel is a font designer and artist based in Minneapolis, MN, USA. Chank makes typefaces known for their fun and creative personalities and releases new fonts through his small business, The Chank Company, which he founded in 1996. Chank Fonts are available through Adobe, MyFonts, Monotype, Fontspring and Font Bros. Chank also creates custom fonts for great clients who need a unique font to convey their message, including Prince, Scholastic, Target, PBS Kids, Ben & Jerry, Pusheen the cat and Doctor Who. Chank.com | Portfolio" + }, + "Adam Jagosz": { + "name": "Adam Jagosz", + "bio": "Adam Jagosz is a Polish type designer and frontend developer based in Bielsko-Bia\u0142a. adamjagosz.com/" + }, + "Guillermo Torres": { + "name": "Guillermo Torres", + "bio": null + }, + "Andy Clymer": { + "name": "Andy Clymer", + "bio": null + }, + "Stefan Schmidt": { + "name": "Stefan Schmidt", + "bio": "Stefan Schmidt is an electrical engineer with graduate studies in signal processing, combined artistic languages and sociology. Fascinated by the interplay between the virtual and the real, his work probes the boundaries between perception and technology. stefanschmidtart.com/" + }, + "Neelakash Kshetrimayum": { + "name": "Neelakash Kshetrimayum", + "bio": "Typeface and graphic designer from Manipur (India), Neelakash is the co-founder of Brand New Type, India. He has developed typefaces for Adobe, Google, Microsoft and Monotype, frequently collaborating with Fiona Ross and John Hudson. His work centers around identity, culture, and multi-script typeface design. He studied graphic design at the National Institute of Design, India and has a Master\u2019s degree in Typeface Design from the University of Reading, United Kingdom. neelakash.com" + }, + "Fernando Mello": { + "name": "Fernando Mello", + "bio": "Fernando Mello has diplomas from \u2018MATD\u2019/University of Reading, \u2018Expert class Type design\u2019/Plantin Institute of Typography, and \u2018Condensed Program\u2019/Type@Cooper, He has worked for 13 years as a type designer for Fontsmith and Monotype, and created several retail plus custom fonts for global clients. He also worked for Tiro, Adobe and Microsoft with Tamil fonts. LinkedIn" + }, + "Tony de Marco": { + "name": "Tony de Marco", + "bio": null + }, + "Monica Rizzolli": { + "name": "Monica Rizzolli", + "bio": null + }, + "Andreu Balius": { + "name": "Andreu Balius", + "bio": null + }, + "Takashi Funayama": { + "name": "Takashi Funayama", + "bio": "Takashi Funayama is a graphic designer based in Tokyo. He has a core focus on book design, typeface and exhibition design. mt-funa.com/" + }, + "Thatcher Ulrich": { + "name": "Thatcher Ulrich", + "bio": null + }, + "Naima Ben Ayed": { + "name": "Naima Ben Ayed", + "bio": null + }, + "Sergey Steblina": { + "name": "Sergey Steblina", + "bio": null + }, + "j. 'mach' wust": { + "name": "j. 'mach' wust", + "bio": null + }, + "Corey Hu": { + "name": "Corey Hu", + "bio": null + }, + "Peter Hull": { + "name": "Peter Hull", + "bio": null + }, + "Saber Rastikerdar": { + "name": "Saber Rastikerdar", + "bio": "Saber Rastikerdar is a software developer. He has designed a few Persian/Arabic typefaces for free. Github" + }, + "Mota Italic": { + "name": "Mota Italic", + "bio": null + }, + "Gydient": { + "name": "Gydient", + "bio": null + }, + "AbdElmomen Kadhim (blueMix)": { + "name": "AbdElmomen Kadhim (blueMix)", + "bio": null + }, + "Rune Bj\u00f8rner\u00e5s": { + "name": "Rune Bj\u00f8rner\u00e5s", + "bio": "Rune Bj\u00f8rner\u00e5s is a Norwegian front-end developer and multidisciplinary creative. In his spare time, he likes to work on one of his numerous projects within design, art, singing, music production, writing fiction or game/front-end programming. github.com/rubjo" + }, + "Nguyen Type": { + "name": "Nguyen Type", + "bio": "Nguyen Type is a Vietnam-based independent type foundry. Founded in 2020 by Andree Nguyen, the foundry aspires to enrich Vietnam\u2019s treasure trove of fonts. Nguyen Type focuses on exploiting new elements in type design, while also providing fonts that can be used in common contexts. nguyentype.com/ | Instagram" + }, + "Friedrich Althausen": { + "name": "Friedrich Althausen", + "bio": null + }, + "NightFurySL2001": { + "name": "NightFurySL2001", + "bio": null + }, + "Lars Berggren": { + "name": "Lars Berggren", + "bio": null + }, + "Typofactur": { + "name": "Typofactur", + "bio": "Typofactur is a small type foundry run by German graphic designer Simon Atzbach. Simon has loved designing and working with letters since he could write. Over the last 25 years, he has developed various typefaces alongside his work on web, print and logo projects. typofactur.de" + }, + "J\u00f6rg Drees": { + "name": "J\u00f6rg Drees", + "bio": "J\u00f6rg Drees: A Journey from Letterpress to AI Growing up in northern Germany, J\u00f6rg was surrounded by the art of letterpress typesetting, thanks to his parents' printing shop. He picked up the craft early on, and after training as a typographer, he honed his skills under Hans Rudolf Bosshard in Zurich, where he also designed his first typefaces. Nowadays, he works with news publishers and explores the cutting edge of AI in layout design. Next to his professional endeavors, font design has always been a personal passion. It\u2019s his go-to for inspiration and relaxation, and J\u00f6rg continues to create beautiful typefaces in his own time. linkedin.com/in/j\u00f6rg-drees-6680a513a" + }, + "Yellow Type": { + "name": "Yellow Type", + "bio": "Yellow Type is a digital type foundry based in Vietnam. Homepage" + }, + "Duy Dao": { + "name": "Duy Dao", + "bio": null + }, + "Catherine Leigh Schmidt": { + "name": "Catherine Leigh Schmidt", + "bio": null + }, + "Woowahan brothers": { + "name": "Woowahan brothers", + "bio": null + }, + "Bastien Sozeau": { + "name": "Bastien Sozeau", + "bio": "Bastien Sozeau is the founder of NoirBlancRouge, an independent type foundry based in Paris since 2019. Specializing in retail and custom typefaces, Bastien has crafted unique fonts for renowned brands like Kipling, Christian Louboutin and The Olympic Museum. Beyond their commercial work, Bastien has also been actively involved in designing free and open-source typefaces since 2013. noirblancrouge.com | Instagram" + }, + "Kinuta Font Factory": { + "name": "Kinuta Font Factory", + "bio": "Established in 1995, Kinuta Font Factory thinks that fonts are clothes made for words, and pursues this idea with new technology and trends. moji-sekkei.jp | kinutashotai.com" + }, + "Liu Bingke": { + "name": "Liu Bingke", + "bio": null + }, + "Yang Kang": { + "name": "Yang Kang", + "bio": null + }, + "Wu Shaojie": { + "name": "Wu Shaojie", + "bio": null + }, + "Zheng Qingke": { + "name": "Zheng Qingke", + "bio": null + }, + "Li Dawei": { + "name": "Li Dawei", + "bio": null + }, + "Yoshimichi Ohira": { + "name": "Yoshimichi Ohira", + "bio": "Yoshimichi Ohira started working on type design after several years of typesetting. He has created 23 Japanese fonts plus 3 Latin fonts. Popular works include \"Zen Old Mincho N Family,\" in which he pursued traditional beauty of Japanese characters. Aside from type designing, Ohira also works on metal stamps with letters of his original design. zenfont.jp" + }, + "Wei Zhimang": { + "name": "Wei Zhimang", + "bio": null + }, + "Typotheque": { + "name": "Typotheque", + "bio": null + } + }, + "metadata": { + "ABeeZee": { + "name": "ABeeZee", + "designer": [ + "Anja Meiners" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "ABeeZee is a children's learning font. Open, friendly and simple, the definite shapes support the process of learning to read and write. The italic carefully reminds young readers of fluent writing movements and inspires them to create their own unique handwriting. Learn more at carrois.com. To contribute, see github.com/googlefonts/abeezee.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "ADLaM Display": { + "name": "ADLaM Display", + "designer": [ + "Mark Jamra", + "Neil Patel", + "Andrew Footit" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "adlam", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "To help address the lack of display typefaces for the ADLaM script, invented by Ibrahima and Abdoulaye Barry, Microsoft commissioned three renowned type designers Neil Patel, Mark Jamra, and Andrew Footit to create ADLaM Display. The team created the font by taking inspiration from the spots, triangles, lozenges and chevrons patterns found in traditional khasas (blankets), Wodaabe (hats), and textiles of the Fulani culture. To contribute, please visit https://github.com/microsoft/ADLaM-Display.", + "primary_script": "Adlm", + "article": null, + "minisite_url": null + }, + "AR One Sans": { + "name": "AR One Sans", + "designer": [ + "Niteesh Yadav" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "AR One Sans is a type family for use in augmented reality environments and user interfaces. The family's low contrast, generous spacing and robust shapes make it work well in busy backgrounds with high readability. The design of letterforms is based on research and thorough testing on various devices ranging from high-end headsets to low-resolution smartphone-based devices. It has optical weights for high and low-resolution duplexed to avoid text reflow, making it easy to deliver a seamless user experience across platforms/devices. The functionality of the text has been tested thoroughly to make the reading experience better even in longer texts. AR One Sans language support includes full coverage of Vietnamese, additional to all Western, Central, and South-Eastern European languages. To contribute see github.com/niteeshy/ar-one-sans.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Abel": { + "name": "Abel", + "designer": [ + "MADType" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Abel is a modern interpretation of the condensed flat-sided sans serif. Originally used for newspaper headlines and posters, this style can also be used for text on the web. Its angled terminals and spiked stems give it enough style to be unique at display sizes, while its mono-weight still works well at smaller text sizes. Documentation can be found at www.madtype.com and to contribute to the project contact Matthew Desmond at mattdesmond@gmail.com", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Abhaya Libre": { + "name": "Abhaya Libre", + "designer": [ + "Mooniak" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "sinhala" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Abhaya Libre is the unicode compliant, complete libre version of the most widely used Sinhala typeface \u2018FM Abhaya\u2019 and includes Sinhala and Latin support. Designed in 1996, \u2018FM Abhaya\u2019 is an interpretation of the Sinhala letterpress typefaces from 1960s. The name \u2018Abhaya\u2019 is derived from the King Abhaya (474 BCE to 454 BCE) who reigned Sri Lanka from the ancient kingdom of Upatissa Nuwara. \u2018Abhaya Libre\u2019 was completely redrawn from scratch based on FM Abhaya to comply with modern day usages in terms of web, tab and smaller sizes for smartphones. Available in 5 weights, Abhaya Libre enables designers to build sophisticated typographic layouts by using lighter weights for body text and heavier weights for headlines and subheadings. Each of these weights contains 925 glyphs that enables clean and precise rendering for Sinhala, Pali and Sanskrit texts. Compact \u2018Da\u2019 forms can be enabled by using stylistic sets. The Latin characters, that match the aesthetics of \u2018Abhaya Libre Sinhala\u2019, which was inspired by the style of the original Sinhala with an eminent contrast between distinctive strokes that go from thick to thin and was further modified to co-exist with the visual logics of Latin typefaces. The ductus references according to the lines of a Didone typeface add a touch of Sinhala form to certain terminations. Large counters have been added along with small ascenders and descenders for optimized screen viewing. The project is led by Mooniak, a small type foundry based in Colombo, Sri Lanka, in collaboration with Pushpananda Ekanayake. The Latin part is designed by Sol Matas. Initial development and release was funded by Google Fonts in 2015. For more information and updates, or to report any bugs or suggestions, see github.com/mooniak/abhaya-libre-font", + "primary_script": "Sinh", + "article": null, + "minisite_url": null + }, + "Aboreto": { + "name": "Aboreto", + "designer": [ + "Dominik J\u00e1ger" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Aboreto is a display typeface based on early renaissance majuscule alphabet done by Luca della Robbia, a 15th century Florentine sculptor. The typeface is not a straightforward digitalization (it even couldn\u2019t be as the early Latin alphabet didn\u2019t include all the letters we use today) but more of a revival which keeps current needs and technologies in mind. Aboreto has vertical stress, a feature more typical of later-century typefaces. Another uniqueness lies in the construction, because it is essentially a sans-serif typeface that has only occasional indication of serifs \u2013 either via the \u201chidden\u201d serifs caused by stroke tapering or by slightly thickening the stroke endings. Aboreto comes in one weight - a high contrast regular that is on the thinner side. To contribute, see github.com/domija/Aboreto.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Abril Fatface": { + "name": "Abril Fatface", + "designer": [ + "TypeTogether" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Abril Fatface is part of a bigger type family system, Abril, which includes 18 styles for all Display and Text uses. The titling weights are a contemporary revamp of classic Didone styles, display both neutrality and strong presence on the page to attract reader attention with measured tension by its curves, good color and high contrast. Abril Fatface in particular is inspired by the heavy titling fonts used in advertising posters in 19th century Britain and France. The thin serifs and clean curves lend the typeface a refined touch that give any headline an elegant appearance. The Extended Latin character set supports over 50 languages, including those from Central and Northern Europe. Abril is designed by TypeTogether - Veronika Burian & Jos\u00e9 Scaglione. The additional weights of Abril can be seen at www.type-together.com/Abril", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Abyssinica SIL": { + "name": "Abyssinica SIL", + "designer": [ + "SIL International" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "ethiopic", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Abyssinica SIL is a Unicode font that supports Ethiopic and Latin languages. For more information please visit the Abyssinica SIL page on SIL International's Computers and Writing systems website, scripts.sil.org/AbyssinicaSIL To contribute, see github.com/silnrsi/font-abyssinica", + "primary_script": "Ethi", + "article": null, + "minisite_url": null + }, + "Aclonica": { + "name": "Aclonica", + "designer": [ + "Astigmatic" + ], + "license": "apache2", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Aclonica is a strong and modern sans serif typeface with a slight deco/techno essence to it. Clean letterforms, a generous x-height for a friendlier feel and easily legible typestyle. Perfect for both display titling as well as body copy.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Acme": { + "name": "Acme", + "designer": [ + "Juan Pablo del Peral", + "Huerta Tipogr\u00e1fica" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Acme is a condensed display typeface inspired by the visual language of classic cartoons and comics. It is designed to be used in headlines, and has a particular and groovy rhythm. The resulting texts are vivid but consistent, and its expressive characteristics work as well on screen as in print. The glyphs were each carefully designed, with top curve quality. It is well balanced, and carefully spaced by eye. Designed by Juan Pablo del Peral for Huerta Tipogr\u00e1fica.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Actor": { + "name": "Actor", + "designer": [ + "Thomas Junold" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "A diploma thesis project from the Aachen University of Applied Sciences at Karl-Friedrich (Kai) Oetzbach. The design was initiated in a course on type design, and the idea was to learn about writing as an information carrier by creating a typeface. It was created entirely digitally, so the path to the current version is very rocky and winding. Actor has a strong x-height, which is why it always requires a fairly high line spacing. The digits of Actor are created as old style figures. The forms of 6 and 9 are more dynamic and more tense than usual. The 8 has significantly shifted interiors and the 7 is slightly curved to the left.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Adamina": { + "name": "Adamina", + "designer": [ + "Cyreal" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Adamina is a typeface designed for text setting in small sizes. For this purpose the x-height is increased and contrast lowered. Proportions are transitional and compact. Refined design features like one-sided flaring and asymmetrical serifs are there to provide a pleasant reading experience. Designed by Alexei Vanyashin for Cyreal. To contribute to the project, visit github.com/cyrealtype/Adamina Updated: January 2016 to Version 1.012, to correct GPOS table (enabling kerning.)", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Advent Pro": { + "name": "Advent Pro", + "designer": [ + "VivaRado" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Advent Pro is a modern font designed for web and print. Advent Pro utilizes some of the universal characteristics of the sans-serif genre with modern characteristics to give an edge to your typography. The family was upgraded to a variable font with additional Italic styles in December 2022. The spacing and kerning was improved, which could lead to a slightly different text line length than the previous version. To contribute, see github.com/googlefonts/Advent.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Afacad": { + "name": "Afacad", + "designer": [ + "Kristian M\u00f6ller", + "Dicotype" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic-ext", + "latin", + "latin-ext", + "math", + "symbols", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "The \u2019Afacad typeface project\u2019 commenced in 2017 as a personalised lettering endeavour for Slagskeppet, a Swedish housing tenant, who sought fresh house address numbering for their entrances. The letters and numerals were meticulously crafted to harmonise with the architectural proportions and materials employed by Architect Sture Elm\u00e9n during the 1940s. Furthermore, the inclusion of supplementary weights and expanded language support contributes to a versatile typeface collection that is well-suited for both industrial and commercial applications. The alphabet, numerals and symbols were designed by Kristian M\u00f6ller and are part of the Dicotype Library. To contribute, please see github.com/Dicotype/Afacad.", + "minisite_url": null + }, + "Afacad Flux": { + "name": "Afacad Flux", + "designer": [ + "Kristian M\u00f6ller", + "Dicotype" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "The \u2019Afacad typeface project\u2019 commenced in 2017 as a personalised lettering endeavour for Slagskeppet, a Swedish housing tenant, who sought fresh house address numbering for their entrances. The letters and numerals were meticulously crafted to harmonise with the architectural proportions and materials employed by Architect Sture Elm\u00e9n during the 1940s. \u2018Afacad Flux\u2019 adds an extra dimension with a back-slanted version, commemorating, among other things, the typesetting of river names in historical cartography. Furthermore, the inclusion of supplementary weights and expanded language support contributes to a versatile typeface collection, well-suited for industrial and commercial applications. To contribute, please see github.com/Dicotype/Afacad.", + "minisite_url": null + }, + "Agbalumo": { + "name": "Agbalumo", + "designer": [ + "Raphael Al\u1eb9\u0301gb\u1eb9\u0301l\u1eb9\u0301y\u1eb9\u0300", + "Sorkin Type", + "Eben Sorkin" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Curvy, chunky, and compact. The Agbalumo display typeface has been designed to represent and capture the beauty of African languages. Primarily taking shape from the use of a brush pen, it's charming, playful, and cute look lends itself to a variety of commercial use cases. From beautifully curated eye catching websites to brightly colored packaged items, if you aim to communicate personality, Agbalumo is a sure selection. Agbalumo is a single weight font. The glyph set includes standard opentype features and an assortment of stylistic alternates. Agbalumo can be used for African languages that make use of the Latin script, European languages, and Vietnamese. To contribute to the project, visit github.com/SorkinType/Agbalumo", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Agdasima": { + "name": "Agdasima", + "designer": [ + "The DocRepair Project", + "Patric King" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Agdasima is a DocRepair font, intended to improve compliance with the ISO/IEC 29500 standard by providing fallback for Agency FB that minimizes text reflow in Office Open XML documents. Agdasima is based on Big Shoulders, a condensed American Gothic sans-serif font family. To contribute, please visit github.com/docrepair-fonts/agdasima-fonts.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Agu Display": { + "name": "Agu Display", + "designer": [ + "Seun Badejo" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "Agu Display is a distinctive typeface inspired by Nsibidi, an ancient graphic communication system from Nigeria and Cameroon's Cross River region. Used by the Ejagham, Ibibio, Efik, and Igbo peoples, Nsibidi's pictograms are deeply rooted in cultural storytelling and expression. Today, Nsibidi's symbols have found widespread use in modern design, from digital platforms like Marvel's \"Black Panther\" to print media, including fabric patterns and tattoos. Its pictographic nature allows for diverse creative applications, merging ancient art with contemporary design. Agu Display serves as a bridge between historical symbolism and modern typography. It's not just a font but a tool for cultural preservation, enabling designers to infuse their work with African heritage's depth and richness. This typeface celebrates tradition while fostering innovative expression, linking ancient communication with today's design needs. To contribute, see github.com/theseunbadejo/nsibidi-libre.", + "minisite_url": "https://www.agudisplay.com" + }, + "Aguafina Script": { + "name": "Aguafina Script", + "designer": [ + "Sudtipos" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Semi-formal and eye-catching elegance is the name of the game, says Aguafina Script. Graceful, but not too casual. Knowledgeable and artistic, but not too imposing. The characters flow into each other, making a very saucy script with appetizing color. The narrow lowercase allows for efficient use of space, while the long ascenders and descenders help maintain the legibility. A unique find among scripts, Aguafina is useful for product packaging, glossy magazine work, and book covers.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Akatab": { + "name": "Akatab", + "designer": [ + "SIL International" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "tifinagh" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Akatab is a Unicode font for rendering Tifinagh characters in the Tamahaq, Tamashek and Tawallamat languages. This font uses state-of-the-art OpenType font technology to provide accurate typography including the formation of bi-consonant ligatures. Variations of characters are included in the font to meet personal and regional preferences. For more information about supported Unicode ranges and languages, smart font features and how to use them, please see the documentation in the documentation folder. To contribute, see github.com/silnrsi/font-akatab.", + "primary_script": "Tfng", + "article": null, + "minisite_url": null + }, + "Akaya Kanadaka": { + "name": "Akaya Kanadaka", + "designer": [ + "Vaishnavi Murthy", + "Juan Luis Blanco" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "kannada", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Akaya is a single weight experimental display typeface in Kannada, Telugu and Latin scripts. Akaya Kanadaka and Akaya Telivigala are made as two separate font files which share a common Latin. To contribute, please see github.com/vaishnavimurthy/Akaya-Kanadaka.", + "primary_script": "Knda", + "article": null, + "minisite_url": null + }, + "Akaya Telivigala": { + "name": "Akaya Telivigala", + "designer": [ + "Vaishnavi Murthy", + "Juan Luis Blanco" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "telugu" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Akaya is a single weight experimental display typeface in Kannada, Telugu and Latin scripts. Akaya Telivigala and Akaya Kanadaka are made as two separate font files which share a common Latin. To contribute, please see github.com/vaishnavimurthy/Akaya-Telivigala.", + "primary_script": "Telu", + "article": null, + "minisite_url": null + }, + "Akronim": { + "name": "Akronim", + "designer": [ + "Grzegorz Klimczewski" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Akronim is a brand-new, original, brush like, stylish font with a Western and Central European (e.g. Polish, Croatian, Czech, Magyar etc.) Latin character set. Handmade in Poland, Europe, by Grzegorz Klimczewski. An acronym (in Polish, \"akronim\") is an abbreviation that forms a word. So this story is cut short. To understand it, imagine a nice girl with beautifully plaited slavic hair, strolling among the fields of wheat. If you imagine this, you will find a good use for this tasteful, brand-new typeface.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Akshar": { + "name": "Akshar", + "designer": [ + "Tall Chai" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Akshar is a variable display sans-serif font family that supports Latin and Devanagari. It is designed for titles, statements, headlines, annoucements, intros, outros, and other display texts. Akshar (Hindi: \u0905\u0915\u094d\u0937\u0930) literally means an alphabet or a letter in Hindi, Marathi, Gujarati and other Indic languages. Akshar is an OpenType Variable Font. It offers 2 axes: Weight (wght) and Contrast (CNTR). The Weight axis ranges from 300 to 700. The Contrast axis ranges from 0 to 100. Note: The Contrast axis is currently not supported by Google Fonts API. The fonts will be updated once it is supported. To contribute, visit github.com/tallchai/akshar-type.", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Aladin": { + "name": "Aladin", + "designer": [ + "Sudtipos" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Aladin is a calligraphic vintage face with a middle eastern touch, designed by Angel Koziupa and produced by Alejandro Paul. Casual, airy counters and friendly terminals give it an advantage as a packaging font for exotic coffees and teas. It also serves quite well on posters and book jackets where relaying the famous sense of Eastern hospitality and playfulness is a must.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Alata": { + "name": "Alata", + "designer": [ + "Spyros Zevelakis", + "Eben Sorkin" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Alata is a geometric low contrast sans design. It can feel monumental, serious and archaic and occasionally eccentric. It draws inspiration from both Early 20th C poster lettering and epigraphic Greek mono line letters. Curiously the capitals letters draw influence from UK Lettering while in contrast the lower case is more 'continental' or European in character. Alata offers a wide range of figures including oldstyle figures, small numbers including superiors and fractions. Alata also offers case sensitive forms. Alata is an original typeface designed by Spyros Zevelakis. . Eben Sorkin expanded the language support and refined the design in 2018. Alata is published by Sorkin Type . To contribute, see Alata GitHub", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Alatsi": { + "name": "Alatsi", + "designer": [ + "Spyros Zevelakis", + "Eben Sorkin" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Alatsi is an original typeface designed by Spyros Zevelakis. It is a semicondensed geometric sans design which feels familiar, calm, trustable and contemporary. It is a little lighthearted or casual in feeling as well. The contemporary feeling comes from the treatment of the terminals and the cheekily pointed V A W. The calmness from the modest x height. Alatsi offers a wide range of figures which include oldstyle figures, numerators, denominators and fractions. It also offers case sensitive forms. Latest upgrade from November 2022 includes a Latin Plus language coverage currently supporting most Latin-based languages. To contribute, see github.com/SorkinType/Alatsi . Alatsi is published by Sorkin Type .", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Albert Sans": { + "name": "Albert Sans", + "designer": [ + "Andreas Rasmussen" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Albert Sans is a modern geometric sans serif family, inspired by the type-characteristics of scandinavian architects and designers in the early 20th century. The Albert Sans family includes ten weights from Thin to Black and supports over two hundred languages. Designed by the Danish type designer Andreas Rasmussen from a.Foundry. To contribute, see github.com/usted/Albert-Sans.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Aldrich": { + "name": "Aldrich", + "designer": [ + "MADType" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Aldrich is a rounded yet squarely proportioned font that is reminiscent of early 20th Century gothic styles. With a solid stance and confident mono-weight strokes, Aldrich is a hardworking family with roots in Midwestern ethics. Documentation can be found at www.madtype.com and to contribute to the project contact Matthew Desmond at mattdesmond@gmail.com", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Alef": { + "name": "Alef", + "designer": [ + "Hagilda", + "Mushon Zer-Aviv" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "hebrew", + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Alef was born in the screen and designed to the pixel in an attempt to extend the palette of Hebrew fonts available for web design. It challenges the default, Arial. Alef supports both the Hebrew and Latin writing systems. To contribute, see alef.hagilda.com", + "primary_script": "Hebr", + "article": null, + "minisite_url": null + }, + "Alegreya": { + "name": "Alegreya", + "designer": [ + "Juan Pablo del Peral", + "Huerta Tipogr\u00e1fica" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Alegreya was chosen as one of 53 \"Fonts of the Decade\" at the ATypI Letter2 competition in September 2011, and one of the top 14 text type systems. It was also selected in the 2nd Bienal Iberoamericana de Dise\u00f1o, competition held in Madrid in 2010. Alegreya is a typeface originally intended for literature. Among its crowning characteristics, it conveys a dynamic and varied rhythm which facilitates the reading of long texts. Also, it provides freshness to the page while referring to the calligraphic letter, not as a literal interpretation, but rather in a contemporary typographic language. The italic has just as much care and attention to detail in the design as the roman. The bold weights are strong, and the Black weights are really experimental for the genre. There is also a Small Caps sibling family. Not only does Alegreya provide great performance, but also achieves a strong and harmonious text by means of elements designed in an atmosphere of diversity. The Alegreya type system is a \"super family\", originally intended for literature, and includes serif and sans serif sister families. Designed by Juan Pablo del Peral for Huerta Tipogr\u00e1fica. To contribute, see github.com/huertatipografica/Alegreya.", + "primary_script": null, + "article": null, + "minisite_url": "https://huertatipografica.com/en/fonts/alegreya-ht-pro" + }, + "Alegreya SC": { + "name": "Alegreya SC", + "designer": [ + "Juan Pablo del Peral", + "Huerta Tipogr\u00e1fica" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Alegreya was chosen as one of 53 \"Fonts of the Decade\" at the ATypI Letter2 competition in September 2011, and one of the top 14 text type systems. It was also selected in the 2nd Bienal Iberoamericana de Dise\u00f1o, competition held in Madrid in 2010. Alegreya is a typeface originally intended for literature. Among its crowning characteristics, it conveys a dynamic and varied rhythm which facilitates the reading of long texts. Also, it provides freshness to the page while referring to the calligraphic letter, not as a literal interpretation, but rather in a contemporary typographic language. The italic has just as much care and attention to detail in the design as the roman. The bold weights are strong, and the Black weights are really experimental for the genre. This is the Small Caps sister family that complements Alegreya, the main family. Not only does Alegreya provide great performance, but also achieves a strong and harmonious text by means of elements designed in an atmosphere of diversity. The Alegreya type system is a \"super family\", originally intended for literature, and includes serif and sans serif sister families. Designed by Juan Pablo del Peral for Huerta Tipogr\u00e1fica. To contribute, see github.com/huertatipografica/Alegreya.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Alegreya Sans": { + "name": "Alegreya Sans", + "designer": [ + "Juan Pablo del Peral", + "Huerta Tipogr\u00e1fica" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Alegreya Sans is a humanist sans serif family with a calligraphic feeling that conveys a dynamic and varied rhythm. This gives a pleasant feeling to readers of long texts. There is also a Small Caps companion family. The Alegreya type system is a \"super family\", originally intended for literature, and includes sans and serif sibling families. The family follows humanist proportions and principles, and achieves a ludic and harmonious paragraph through elements carefully designed in an atmosphere of diversity. The italics bring a strong emphasis to the roman styles. Designed by Juan Pablo del Peral for Huerta Tipogr\u00e1fica. To contribute, see github.com/huertatipografica/Alegreya-Sans.", + "primary_script": null, + "article": null, + "minisite_url": "https://huertatipografica.com/en/fonts/alegreya-sans-ht" + }, + "Alegreya Sans SC": { + "name": "Alegreya Sans SC", + "designer": [ + "Juan Pablo del Peral", + "Huerta Tipogr\u00e1fica" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Alegreya Sans SC is a Small Caps companion family to Alegreya Sans, a humanist sans serif family with a calligraphic feeling that conveys a dynamic and varied rhythm. This gives a pleasant feeling to readers of long texts. The Alegreya type system is a \"super family\", originally intended for literature, and includes sans and serif sibling families. The family follows humanist proportions and principles, and achieves a ludic and harmonious paragraph through elements carefully designed in an atmosphere of diversity. The italics bring a strong emphasis to the roman styles. Designed by Juan Pablo del Peral for Huerta Tipogr\u00e1fica. To contribute, see github.com/huertatipografica/Alegreya-Sans.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Aleo": { + "name": "Aleo", + "designer": [ + "Alessio Laiso" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SLAB_SERIF", + "classifications": [], + "description": "Aleo is a contemporary typeface designed by Alessio Laiso as the slab serif companion to the Lato font by \u0141ukasz Dziedzic. Aleo has semi-rounded details and a sleek structure, giving it a strong personality while still keeping readability high. The June 2023 update expanded the family from 6 style to 18 and became variable. It offers also a better language support (Pan African and Vietnamese added), and the design and spacing have been improved. To contribute, see github.com/AlessioLaiso/aleo.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Alex Brush": { + "name": "Alex Brush", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Alex Brush is a beautifully flowing brush script. It has short ascenders and descenders allowing a legibility not seen in other script fonts. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/alex-brush.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Alexandria": { + "name": "Alexandria", + "designer": [ + "Mohamed Gaber", + "Julieta Ulanovsky" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "arabic", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Alexandria is the Arabic companion of Montserrat, a Latin script typeface designed by Julieta Ulanovsky which was inspired by the old posters and signs in the traditional Montserrat neighborhood of Buenos Aires. Alexandria is a variable font ranging from Thin to Black, increasing the ability to use the font in various applications, from long text using the light weights to short headlines using the heavy thick weights. \u062e\u0637 \u0627\u0644\u0625\u0633\u0643\u0646\u062f\u0631\u064a\u0629 \u0627\u0644\u0639\u0631\u0628\u064a \u0647\u0648 \u0639\u0627\u0626\u0644\u0629 \u062e\u0637 \u0645\u0646 \u0669 \u0623\u0648\u0632\u0627\u0646 \u0645\u0635\u0646\u0648\u0639 \u0641\u064a \u0645\u0632\u0627\u0648\u062c\u0629 \u062e\u0637\u064a\u0651\u0629 \u0645\u0639 \u0627\u0644\u062e\u0637 \u0627\u0644\u0644\u0627\u062a\u064a\u0646\u064a \u0645\u0648\u0646\u062a\u0633\u0631\u0627\u062a \u0645\u0646 \u062a\u0635\u0645\u064a\u0645 \u062c\u0648\u0644\u064a\u0627 \u0623\u0644\u0627\u0646\u0648\u0641\u0633\u0643\u064a \u0645\u0633\u062a\u0648\u062d\u064a\u0627\u0647 \u0645\u0646 \u062a\u0635\u0645\u064a\u0645\u0627\u062a \u0644\u0644\u0648\u0627\u0635\u0642 \u0648\u0644\u0648\u062d \u0642\u062f\u064a\u0645\u0629 \u0641\u064a \u0634\u0648\u0627\u0631\u0639 \u062d\u064a \u0645\u0648\u0646\u062a\u0633\u0631\u0627\u062a \u0641\u064a \u0628\u064a\u0646\u0648\u0633 \u0622\u064a\u0631\u064a\u0633. \u0643\u0648\u0646 \u0627\u0644\u0639\u0627\u0626\u0644\u0629 \u0627\u0644\u062e\u0637\u064a\u0629 \u0645\u0643\u0648\u0651\u0646\u0629 \u0645\u0646 \u0669 \u0623\u0648\u0632\u0627\u0646 \u064a\u0632\u064a\u062f \u0630\u0644\u0643 \u0645\u0646 \u0642\u062f\u0631\u0627\u062a \u0627\u0633\u062a\u062e\u062f\u0627\u0645 \u0627\u0644\u062e\u0637 \u0641\u064a \u062a\u0637\u0628\u064a\u0642\u0627\u062a \u0645\u062a\u0646\u0648\u0639\u0629\u060c \u0645\u0646 \u062e\u0637 \u0645\u0646\u0627\u0633\u0628 \u0644\u0644\u0643\u062a\u0644 \u0627\u0644\u0646\u0635\u064a\u0629 \u0627\u0644\u0637\u0648\u064a\u0644\u0629 \u0639\u0646\u062f \u0627\u0633\u062a\u062e\u062f\u0627\u0645 \u0627\u0644\u0648\u0632\u0646 \u0627\u0644\u062e\u0641\u064a\u0641\u060c \u0644\u0645\u0646\u0627\u0633\u0628\u062a\u0647 \u0644\u0644\u0646\u0635\u0648\u0635 \u0627\u0644\u0642\u0635\u064a\u0631\u0629 \u0645\u062b\u0644 \u0627\u0644\u0639\u0646\u0627\u0648\u064a\u0646 \u0648\u0627\u0644\u062a\u064a \u064a\u0646\u0627\u0633\u0628\u0647\u0627 \u0627\u0633\u062a\u062e\u062f\u0627\u0645 \u0627\u0644\u0623\u0648\u0632\u0627\u0646 \u0627\u0644\u0633\u0645\u064a\u0643\u0629 \u0645\u0646 \u0627\u0644\u062e\u0637. To contribute, see github.com/Gue3bara/Alexandria.", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Alfa Slab One": { + "name": "Alfa Slab One", + "designer": [ + "JM Sol\u00e9" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Alfa Slab One is a contemporary take on the Six-lines Pica Egyptian created by Robert Thorne for the Thorowgood Foundry in 1921. Although initially based on that model, Alfa Slab One was designed with an extreme stem weight, big serifs, more stem contrast and gradual terminals with a single serif. All this attributes give Alfa Slab One a contemporary look with extreme black density.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Alice": { + "name": "Alice", + "designer": [ + "Ksenya Erulevich", + "Cyreal" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Ksenia Erulevich, designer of the Alice typeface, was inspired by Lewis Carrol's novel and decided to make a typeface that will be suitable for typesetting that book. It came out eclectic and quaint, old-fashioned, having widened proportions, open aperture, and soft rounded features; perfect for long meditative text-setting and headlines. This is in fact Ksenia's first typeface, as part of her diploma project in a Type and Typography course in Moscow, Russia. Released by Cyreal with help from Gayaneh Bagdasaryan and Alexei Vanyashin. To contribute, see github.com/cyrealtype/Alice.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Alike": { + "name": "Alike", + "designer": [ + "Sveta Sebyakina", + "Cyreal" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Alike is a text typeface with expressive and tense letterforms. Its design features are said to have Czech influence, but are softened for a friendlier feel. The proportions are regular and the contrast is low for a pleasant reading experience. Alike Angular is a complementary titling style. Designed by Sveta Sebyakina in 2009, and in collaboration with Alexei Vanyashin it was first released in 2011 by Cyreal. To contribute to the project, visit github.com/cyrealtype/Alike", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Alike Angular": { + "name": "Alike Angular", + "designer": [ + "Sveta Sebyakina", + "Cyreal" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Alike Angular is a complementary titling style to Alike. It shares the same proportions as its counterpart for compatibility, and is designed for larger display sizes. As opposed to the soft Regular, its letterforms consist of only straight splines. Additional expressive features are introduced in characters like T, Z, M, E. Designed by Sveta Sebyakina in 2009, and in collaboration with Alexei Vanyashin it was first released in 2011 by Cyreal. To contribute to the project, visit github.com/cyrealtype/Alike-Angular", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Alkalami": { + "name": "Alkalami", + "designer": [ + "SIL International" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "arabic", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Alkalami is the local word for the Arabic \"qalam\", a type of sharpened stick used for writing on wooden boards in the Kano region of Nigeria and in Niger, and what gives the style its distinct appearance. The baseline stroke is very thick and solid. The ascenders and other vertical strokes including the teeth are very narrow when compared to the baseline. A generous line height is necessary to allow for deep swashes and descenders, and the overall look of the page is a very black, solid rectangle. Diacritics are much smaller in scale, with very little distance from the main letters. Learn more at github.com/silnrsi/font-alkalami. To contribute, see github.com/silnrsi/font-alkalami.", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Alkatra": { + "name": "Alkatra", + "designer": [ + "Suman Bhandary" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "bengali", + "devanagari", + "latin", + "latin-ext", + "oriya" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "A display typeface family comprising of Bangla, Devanagari, Odia and Latin Each typeface for each script has been designed keeping in mind the inspiration of drawing letters for wall graffitis in Bengal, India, by using a stick and tar. The forms have blobby blackness to it and have been designed for mostly display purposes. The design and idea has been spearheaded by Suman Bhandary. The Latin has been crafted by Lewis McGuffie. Special thanks to Nehal Mathews and Lopamudra Bose for their assistance in Odia and Devanagari. To contribute, please see github.com/suman51284/Alkatra.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Allan": { + "name": "Allan", + "designer": [ + "Anton Koovit" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Once Allan was a sign painter in Berlin. Grey paneling work in the subway, bad materials, a city split in two. Now things have changed. His (character) palette of activities have expanded tremendously: he happily spends time traveling, experimenting in the gastronomic field, all kinds of festivities are no longer foreign to him. He comes with alternate features, and hints. A typeface suited for bigger sizes and display use. Truly a type that you like to see!", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Allerta": { + "name": "Allerta", + "designer": [ + "Matt McInerney" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Allerta was initially developed for use in signage, designed to be easily and quickly read from a distance. Each glyph exploits the unique aspects of the individual letter so that each can be easily distinguished from any other. Initially published at matt.cc/allerta.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Allerta Stencil": { + "name": "Allerta Stencil", + "designer": [ + "Matt McInerney" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Allerta was initially developed for use in signage, designed to be easily and quickly read from a distance. Each glyph exploits the unique aspects of the individual letter so that each can be easily distinguished from any other. Initially published at matt.cc/allerta.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Allison": { + "name": "Allison", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Allison is a casual handwriting script. The lowercase forms carry an obvious flat pen calligraphic influence while the uppercase letters are more brushy in style. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/allison.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Allura": { + "name": "Allura", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "The casual characters of Allura are simple, clean and very legible. The script and formal sets offer a softer, more formal look. Allura was designed with advertising, display and package design in mind. This OpenType Pro version of Allura combines all three styles along with extra alternate glyphs and flourished graphics to give designers maximum flexibility. In this family come complete with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/allura.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Almarai": { + "name": "Almarai", + "designer": [ + "Boutros Fonts", + "Mourad Boutros" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "arabic", + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Almarai is a modern Arabic and sans serif Latin typeface family in 4 weights. The font was created by Boutros\u2122 for optimal readability and suitability for both online and offline applications. Almarai\u2019s beauty lies in its clarity and simplicity. Beneath the font\u2019s geometric look lies a strict adherence to calligraphic structure and rules. Each letter has been crafted with careful attention to detail, retaining subtle hints of handwriting. Letters have low contrast and wide aperture in all four weights. These characteristics were designed to enhance the readability of the font in various media, especially on screen. To contribute, see github.com/JuergenWillrodt/Almarai.", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Almendra": { + "name": "Almendra", + "designer": [ + "Ana Sanfelippo" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Almendra is a typeface design based on calligraphy. Its style is related to the chancery and gothic hands. It is intended to be used in long texts, especially young children's literature. Almendra's black and white forms generate a nice texture in small sizes, while its many details appear when given the opportunity in huge sizes. The main challenge was to make compatible dialectic elements, especially balancing legibility and formal identity. Almendra was selected to be exhibited at the Bienal Iberoamericana de Dise\u00f1o in 2010 and was part of the German editorial project Typodarium 2012. This is the Regular family, and there are sister Small Cap and Display families.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Almendra Display": { + "name": "Almendra Display", + "designer": [ + "Ana Sanfelippo" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Almendra is a typeface design based on calligraphy. Its style is related to the chancery and gothic hands. It is intended to be used in long texts, especially young children's literature. Almendra's black and white forms generate a nice texture in small sizes, while its many details appear when given the opportunity in huge sizes. The main challenge was to make compatible dialectic elements, especially balancing legibility and formal identity. Almendra was selected to be exhibited at the Bienal Iberoamericana de Dise\u00f1o in 2010 and was part of the German editorial project Typodarium 2012. This is the Display family, and there are sister Regular and Small Cap families.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Almendra SC": { + "name": "Almendra SC", + "designer": [ + "Ana Sanfelippo" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Almendra is a typeface design based on calligraphy. Its style is related to the chancery and gothic hands. It is intended to be used in long texts, especially young children's literature. Almendra's black and white forms generate a nice texture in small sizes, while its many details appear when given the opportunity in huge sizes. The main challenge was to make compatible dialectic elements, especially balancing legibility and formal identity. Almendra was selected to be exhibited at the Bienal Iberoamericana de Dise\u00f1o in 2010 and was part of the German editorial project Typodarium 2012. This is the Small Cap family, and there are sister Regular and Display families.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Alumni Sans": { + "name": "Alumni Sans", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Originally inspired by the black face Impact, it soon evolved to include numerous weights from the Black flavor of its progenitor to a super Thin weight. The extreme weights (Thin and Black) are designed for display situations while the remaining weights may be used for more traditional textual design applications. Alumni is available in roman and italic versions. It comes with Latin character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/alumni.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Alumni Sans Collegiate One": { + "name": "Alumni Sans Collegiate One", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Alumni Sans Collegiate One is stand alone font based on Alumni. While it is a variable font available in Roman and Italic versions of each weight, the Collegiate version offers a display option adding a decorative outline to the ExtraBold style. Use this variation for situations requiring a sporty look. Collegiate One is designed to be used as a display font above 32pt in print (assuming 300 dpi) and above 96px in digital media. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/alumni-sans-collegiate.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Alumni Sans Inline One": { + "name": "Alumni Sans Inline One", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Alumni Inline One is a stand alone font from its base font, Alumni Sans (a variable font). Inline One is a black weight designed to be used as a display font above 32pt in print (assuming 300 dpi) and above 72px in digital media. In situations that require large text, use it in combination with the Alumni Sans base design. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/alumni-sans-inline.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Alumni Sans Pinstripe": { + "name": "Alumni Sans Pinstripe", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Alumni Pinstripe is a stand alone font from its base font, Alumni Sans (a variable font). Pinstripe is a super-thin weight and designed to be used as a display font above 32pt in print (assuming 300 dpi) and above 72px in digital media. In situations that require large text, use this Pinstripe variation in combination with the Alumni Sans base design. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/alumni-sans-pinstripe.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Alumni Sans SC": { + "name": "Alumni Sans SC", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Originally inspired by the blackface Impact, it soon evolved to include numerous weights, from the Black flavor of its progenitor to a super Thin weight. The extreme weights (Thin and Black) are designed for display situations, while the remaining weights may be used for more traditional textual design applications. Alumni Sans is available in roman and italic versions. It has Latin character sets, including Western, Central, and Vietnamese language support. Alumni Sans SC is the Small Caps version of Alumni Sans. To contribute, see github.com/googlefonts/alumni.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Amarante": { + "name": "Amarante", + "designer": [ + "Karolina Lach" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Amarante is a medium contrast condensed type. It uses unconventional Art Nouveau inspired shapes. Amarante is a display face but works surprisingly well in text and headlines too.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Amaranth": { + "name": "Amaranth", + "designer": [ + "Gesine Todt" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "The Amaranth family is a friendly upright italic design with a slight contrast and distinctive curves. With its three new styles Amaranth is healthy for all your texts too!", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Amatic SC": { + "name": "Amatic SC", + "designer": [ + "Vernon Adams", + "Ben Nathan", + "Thomas Jockin" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "cyrillic", + "hebrew", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Amatic SC (Small Caps) is a simple but effective hand drawn webfont. It can be used for titling and small runs of text. It was initially designed by Vernon Adams, and concieved of to be used freely across the internet by web browsers on desktop computers, laptops and mobile devices. It features both Latin and Hebrew alphabets. The Latin was initially designed by Vernon Adams. The Hebrew was designed by Ben Nathan, who also revised the Latin design. Thomas Jockin respaced and kerned the whole font.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Amethysta": { + "name": "Amethysta", + "designer": [ + "Cyreal" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Amethysta was designed by Konstantin Vinogradov with the purpose of printing on low quality paper in mind. This is why it has such minimalistic wedge serifs and terminals. It builds the impression of a simple and strong text typeface. In terms of proportions it is closely related to the transitional serif group. Amethysta is suitable for small to medium sizes, while some details will be noticeable at larger sizes. It also will work well in print.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Amiko": { + "name": "Amiko", + "designer": [ + "Impallari Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Amiko is a clean and utilitarian Devanagari and Latin typeface family, specifically designed for maximum legibility at the smallest possible text sizes. It is intended for body text on the web and low resolution screens. It was designed in a studio collaboration by Pablo Impallari, Rodrigo Fuenzalida and Andres Torresi. Thank you to Pria Ravichandran, Erin McLaughlin, Girish Dalvi, Dan Reynolds and all those who have shared their knowledge and helped with reviews to improve Amiko. The Amiko project is led by Impallari Type, a type design foundry based in Rosario, Argentina. To contribute, see github.com/impallari/Amiko-Devanagari", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Amiri": { + "name": "Amiri", + "designer": [ + "Khaled Hosny", + "Sebastian Kosch" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "arabic", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Amiri is a classical Arabic typeface in Naskh style for typesetting books and other running text. Its design is a revival of the beautiful typeface pioneered in early 20th century by Bulaq Press in Cairo, also known as Amiria Press, after which the font is named. Read more about the project at www.amirifont.org To contribute, see github.com/aliftype/amiri. Updated in December 2022 to v1.000", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Amiri Quran": { + "name": "Amiri Quran", + "designer": [ + "Khaled Hosny", + "Sebastian Kosch" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "arabic", + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Amiri (\u0623\u0645\u064a\u0631\u064a) is a classical Arabic typeface in Naskh style for typesetting books and other running text. Amiri is a revival of the beautiful typeface pioneered in early 20th century by Bulaq Press in Cairo, also known as Amiria Press, after which the font is named. The uniqueness of this typeface comes from its superb balance between the beauty of Naskh calligraphy on one hand, the constraints and requirements of elegant typography on the other. Also, it is one of the few metal typefaces that were used in typesetting the Koran, making it a good source for a digital typeface to be used in typesetting Koranic verses. Amiri project aims at the revival of the aesthetics and traditions of Arabic typesetting, and adapting it to the era of digital typesetting, in a publicly available form. See the amirifont.org website for further information and to contribute, see github.com/alif-type/amiri This font uses the COLRv0, CPAL and SVG tables. Please visit the gf-guide color page to learn more about Color Fonts technology. \u0627\u0644\u062e\u0637 \u0627\u0644\u0623\u0645\u064a\u0631\u064a \u062e\u0637 \u0646\u0633\u062e\u064a \u0645\u0648\u062c\u0647 \u0644\u0637\u0628\u0627\u0639\u0629 \u0627\u0644\u0643\u062a\u0628 \u0648 \u0627\u0644\u0646\u0635\u0648\u0635 \u0627\u0644\u0637\u0648\u064a\u0644\u0629. \u0627\u0644\u062e\u0637 \u0627\u0644\u0623\u0645\u064a\u0631\u064a \u0647\u0648 \u0625\u062d\u064a\u0627\u0621 \u0648 \u0645\u062d\u0627\u0643\u0627\u0629 \u0644\u0644\u062e\u0637 \u0627\u0644\u0637\u0628\u0627\u0639\u064a \u0627\u0644\u062c\u0645\u064a\u0644 \u0627\u0644\u0630\u064a \u062a\u0645\u064a\u0632\u062a \u0628\u0647 \u0645\u0637\u0628\u0639\u0629 \u0628\u0648\u0644\u0627\u0642 \u0645\u0646\u0630 \u0623\u0648\u0627\u0626\u0644 \u0627\u0644\u0642\u0631\u0646 \u0627\u0644\u0639\u0634\u0631\u064a\u0646\u060c \u0648 \u0627\u0644\u062a\u064a \u0639\u0631\u0641\u062a \u0623\u064a\u0636\u0627 \u0628\u0627\u0644\u0645\u0637\u0628\u0639\u0629 \u0627\u0644\u0623\u0645\u064a\u0631\u064a\u0629\u060c \u0648 \u0645\u0646 \u0647\u0646\u0627 \u0623\u062e\u0630 \u0627\u0644\u062e\u0637 \u0627\u0633\u0645\u0647. \u064a\u062a\u0645\u064a\u0632 \u062e\u0637 \u0627\u0644\u0645\u0637\u0627\u0628\u0639 \u0627\u0644\u0623\u0645\u064a\u0631\u064a\u0629 \u0628\u062c\u0645\u0627\u0644\u064a\u062a\u0647 \u0648 \u0645\u0631\u0627\u0639\u0627\u062a\u0647 \u0644\u0641\u0646 \u0627\u0644\u062e\u0637 \u0627\u0644\u0639\u0631\u0628\u064a\u060c \u0628\u0623\u0633\u0644\u0648\u0628 \u0646\u0633\u062e\u064a \u062c\u0645\u064a\u0644\u060c \u0648 \u0641\u064a \u0630\u0627\u062a \u0627\u0644\u0648\u0642\u062a \u064a\u0631\u0627\u0639\u0649 \u0645\u062a\u0637\u0644\u0628\u0627\u062a \u0627\u0644\u0637\u0628\u0627\u0639\u0629 \u0648 \u0627\u0644\u0642\u064a\u0648\u062f \u0627\u0644\u062a\u064a \u062a\u0641\u0631\u0636\u0647\u0627\u060c \u0645\u0646 \u063a\u064a\u0631 \u0625\u0641\u0631\u0627\u0637 \u0641\u064a \u062c\u0627\u0646\u0628 \u0639\u0644\u0649 \u062d\u0633\u0627\u0628 \u0627\u0644\u0622\u062e\u0631. \u0648 \u0644\u0647\u0630\u0627 \u064a\u062a\u0645\u064a\u0632 \u0628\u0645\u0646\u0627\u0633\u0628\u062a\u0647 \u0644\u0644\u0635\u0641 \u0627\u0644\u0637\u0628\u0627\u0639\u064a \u0639\u0645\u0648\u0645\u0627\u060c \u0648 \u0644\u0635\u0641 \u0627\u0644\u0643\u062a\u0628 \u062e\u0635\u0648\u0635\u0627. \u0648 \u0642\u062f \u0627\u0644\u0646\u0635\u0648\u0635 \u0627\u0644\u0642\u0631\u0622\u0646\u064a\u0629. \u064a\u0647\u062f\u0641 \u0645\u0634\u0631\u0648\u0639 \u0627\u0644\u062e\u0637 \u0627\u0644\u0623\u0645\u064a\u0631\u064a \u0625\u0644\u0649 \u0625\u062d\u064a\u0627\u0621 \u062a\u0642\u0627\u0644\u064a\u062f \u0648 \u062c\u0645\u0627\u0644\u064a\u0627\u062a \u0627\u0644\u0637\u0628\u0627\u0639\u0629 \u0627\u0644\u0639\u0631\u0628\u064a\u0629 \u0648 \u0645\u0648\u0627\u0626\u0645\u062a\u0647\u0627 \u0644\u062a\u0642\u0646\u064a\u0627\u062a \u0639\u0635\u0631 \u0627\u0644\u062d\u0648\u0627\u0633\u064a\u0628\u060c \u0645\u0639 \u0625\u062a\u0627\u062d\u062a\u0647\u0627 \u0644\u0644\u0639\u0645\u0648\u0645. \u064a\u0645\u0643\u0646 \u0627\u0644\u062d\u0635\u0648\u0644 \u0639\u0644\u0649 \u0622\u062e\u0631 \u0625\u0635\u062f\u0627\u0631\u0627\u062a \u0627\u0644\u062e\u0637 \u0627\u0644\u0623\u0645\u064a\u0631\u064a \u0645\u0646 \u0645\u0648\u0642\u0639\u0647: amirifont.org", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Amita": { + "name": "Amita", + "designer": [ + "Eduardo Tunni", + "Brian Bonislawsky" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Amita is the Indian Feminine form of Amit. Amita is a Latin and Devanagari typeface derived from Redressed and Modular Infotech Devanagari 2310 and 1228. The Latin is a script type designed by Brian Bonislawsky which blends script and italic letterforms together in an upright non-connecting style. Open spacing and stylish letterforms lend themselves to titling, but also to clean legibility at smaller sizes as body copy. The Devanagari is a traditionally calligraphic style. The combination was designed by Eduardo Tunni. This project is led by Eduardo Tunni, a type designer based in Buenos Aires. To contribute, see github.com/etunni/Amita", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Anaheim": { + "name": "Anaheim", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "The Anaheim font family is a free font family. The Anaheim Fonts are designed to be used freely across the internet by web browsers on desktop computers, laptops and mobile devices. To contribute, see github.com/googlefonts/anaheimFont.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ancizar Sans": { + "name": "Ancizar Sans", + "designer": [ + "Universidad Nacional de Colombia (UNAL)", + "C\u00e9sar Puertas", + "Viviana Monsalve", + "Juli\u00e1n Moncada" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "greek", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "UNAL Anc\u00edzar is a highly versatile and legible typeface family, initially designed in 2014 to strengthen the institutional image of Universidad Nacional de Colombia, the country's largest public university. This typeface was initially designed by Professor C\u00e9sar Puertas (Faculty of Arts, Bogot\u00e1 Campus), Viviana Monsalve, and Juli\u00e1n Moncada, within the framework of a project led by Professor Jaime Franky Rodr\u00edguez (Director of the Communications & Media Unity - UNIMEDIOS), Martha Luc\u00eda Chaves Mu\u00f1oz (Head of the Digital Media Office), and Mar\u00eda Teresa Naranjo Castillo (Institutional Image Coordinator). In 2024, the University released the typeface family under the leadership of Professor Jaime Rodolfo Ram\u00edrez Rodr\u00edguez (director of UNIMEDIOS), to transcend the institution and constitute a contribution from UNAL to humanity. Naturally diverse, the UNAL Anc\u00edzar type family is designed for daily use in almost any condition. All fonts share a common structure that enhances both readability and identity, while a broad range of weights ensures adaptability for various needs. UNAL Anc\u00edzar is not only optimized for challenging print environments\u2014its streamlined curves also perform exceptionally well on digital screens, giving text a unique personality that helps distinguish the university from others. The UNAL Anc\u00edzar type family is divided into two groups: Serif and Sans Serif, enhancing its versatility and adaptability to various applications. The Serif fonts are designed for long texts, such as essays and articles, while the Sans Serif variants excel in signage and headlines, ensuring optimal performance in shorter texts. Its robust typographic repertoire\u2014including diacritics, small caps, and uppercase and lowercase numerals\u2014ensures broad functionality. With nine weights, Anc\u00edzar offers a diverse range of styles, making it easier to select the right variant for each context. Its extensive character set (1,043 per font) supports Western Latin, monotonic Greek, and the International Phonetic Alphabet (IPA). Beyond meeting institutional requirements, this typographic richness allows the university community to explore and express its creativity with greater freedom. Since 2014, several individuals have played a key role in the development and refinement of this type family. We extend our gratitude to Juli\u00e1n Prieto Velandia, Jos\u00e9 Castro Garnica, Mariel Hern\u00e1ndez Camino, Felipe Arag\u00f3n Rubio, Sara Alarc\u00f3n Quinche, Ra\u00fal Aponte, Jhon Garc\u00eda and to the Digital Media Office (Martha Luc\u00eda Chaves Mu\u00f1oz, Mar\u00eda Teresa Naranjo Castillo, Giovanni Romero P\u00e9rez, Alejandro D\u00edaz Vecchio and Aldemar Hern\u00e1ndez Torres) for their valuable contributions. To contribute, please see github.com/UNAL-OMD/UNAL-Ancizar.", + "minisite_url": null + }, + "Ancizar Serif": { + "name": "Ancizar Serif", + "designer": [ + "Universidad Nacional de Colombia (UNAL)", + "C\u00e9sar Puertas", + "Viviana Monsalve", + "Juli\u00e1n Moncada" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "greek", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "UNAL Anc\u00edzar is a highly versatile and legible typeface family, initially designed in 2014 to strengthen the institutional image of Universidad Nacional de Colombia, the country's largest public university. This typeface was initially designed by Professor C\u00e9sar Puertas (Faculty of Arts, Bogot\u00e1 Campus), Viviana Monsalve, and Juli\u00e1n Moncada, within the framework of a project led by Professor Jaime Franky Rodr\u00edguez (Director of the Communications & Media Unity - UNIMEDIOS), Martha Luc\u00eda Chaves Mu\u00f1oz (Head of the Digital Media Office), and Mar\u00eda Teresa Naranjo Castillo (Institutional Image Coordinator). In 2024, the University released the typeface family under the leadership of Professor Jaime Rodolfo Ram\u00edrez Rodr\u00edguez (director of UNIMEDIOS), to transcend the institution and constitute a contribution from UNAL to humanity. Naturally diverse, the UNAL Anc\u00edzar type family is designed for daily use in almost any condition. All fonts share a common structure that enhances both readability and identity, while a broad range of weights ensures adaptability for various needs. UNAL Anc\u00edzar is not only optimized for challenging print environments\u2014its streamlined curves also perform exceptionally well on digital screens, giving text a unique personality that helps distinguish the university from others. The UNAL Anc\u00edzar type family is divided into two groups: Serif and Sans Serif, enhancing its versatility and adaptability to various applications. The Serif fonts are designed for long texts, such as essays and articles, while the Sans Serif variants excel in signage and headlines, ensuring optimal performance in shorter texts. Its robust typographic repertoire\u2014including diacritics, small caps, and uppercase and lowercase numerals\u2014ensures broad functionality. With nine weights, Anc\u00edzar offers a diverse range of styles, making it easier to select the right variant for each context. Its extensive character set (1,043 per font) supports Western Latin, monotonic Greek, and the International Phonetic Alphabet (IPA). Beyond meeting institutional requirements, this typographic richness allows the university community to explore and express its creativity with greater freedom. Since 2014, several individuals have played a key role in the development and refinement of this type family. We extend our gratitude to Juli\u00e1n Prieto Velandia, Jos\u00e9 Castro Garnica, Mariel Hern\u00e1ndez Camino, Felipe Arag\u00f3n Rubio, Sara Alarc\u00f3n Quinche, Ra\u00fal Aponte, Jhon Garc\u00eda and to the Digital Media Office (Martha Luc\u00eda Chaves Mu\u00f1oz, Mar\u00eda Teresa Naranjo Castillo, Giovanni Romero P\u00e9rez, Alejandro D\u00edaz Vecchio and Aldemar Hern\u00e1ndez Torres) for their valuable contributions. To contribute, please see github.com/UNAL-OMD/UNAL-Ancizar.", + "minisite_url": null + }, + "Andada Pro": { + "name": "Andada Pro", + "designer": [ + "Huerta Tipogr\u00e1fica", + "Carolina Giovagnoli" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Andada Pro is an organic-slab serif, hybrid style and medium contrast type for text, initially designed to be used in a specific bilingual context, Spanish and Guaran\u00ed (pre-hispanic) languages. This font has received an award at the Ibero-America Design Biennial. The Biennial has been shown in Spain, Argentina, Chile, El Salvador, Uruguay, Bolivia, Colombia and Venezuela. Designed by Carolina Giovagnoli for Huerta Tipogr\u00e1fica. To contribute see github.com/huertatipografica/Andada-Pro.", + "primary_script": null, + "article": null, + "minisite_url": "https://huertatipografica.com/en/fonts/andada-ht-pro" + }, + "Andika": { + "name": "Andika", + "designer": [ + "SIL International" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Andika is a sans serif, Unicode-compliant font designed especially for literacy use, taking into account the needs of beginning readers. The focus is on clear, easy-to-perceive letterforms that will not be readily confused with one another. Starting with an initial draft of a basic lowercase Latin alphabet by Victor Gaultney, Annie Olsen refined the design and added over 4,700 glyphs, including a complete extended Cyrillic set. A sans serif font is preferred by some literacy personnel for teaching people to read. Its forms are simpler and less cluttered than those of most serif fonts. For years, literacy workers have had to make do with fonts that were not really suitable for beginning readers and writers. In some cases, literacy specialists have had to tediously assemble letters from a variety of fonts in order to get all of the characters they need for their particular language project, resulting in confusing and unattractive publications. Andika addresses those issues. The font has been upgraded in May 2022. This upgrade gives additional weight styles and expands the glyphset to support full Latin and Cyrillic characters sets. Rendering is also much improved. Read more at software.sil.org/andika To contribute, see github.com/silnrsi/font-andika. SIL International recently released three typefaces for lesser-served writing systems (Tai Viet, Yi, Lepcha) used in Asia. SIL has also created Andika, which is specially designed to maximize legibility for new readers. SIL and lesser-served languages SIL International has a team of type designers who specialize in creating typefaces for lesser-served or non-dominant language communities. These are communities that exist alongside larger, more prominent language communities such as Chinese, English, or Arabic. These relatively smaller communities may have their own script, or they may have sounds in their language that are not represented in the script used by the majority language. Some non-dominant languages are endangered. According to UNESCO, about 40% of the estimated 7,000 languages are at risk of extinction. Without typefaces, these language communities can't survive online. To learn more, read New SIL Typefaces: Expanding type for legibility and lesser-served languages", + "minisite_url": null + }, + "Anek Bangla": { + "name": "Anek Bangla", + "designer": [ + "Ek Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "bengali", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Beng", + "article": "Anek, as the meaning of the word suggests, is an exercise in multiplicity \u2014 multiple scripts designed in multiple weights and widths by multiple designers. A well-informed, conscientious and refreshing interpretation of India\u2019s letter traditions, this family offers a versatile system that can meet the demands of a wide range of applications. Its expansive design space allows Anek to don multiple personalities. At its most condensed, capsular forms keep structures compact for that graphic texture. On the wide end of the spectrum, the extra legroom lets each letter yawn and stretch into their message. But it is in the boldest weights that Anek comes alive. Sharp terminals and tapered joineries sparkle amidst regimented forms, making this ideal for setting titillating headlines or that magnetic word-mark. Anek comes in ten scripts: Bangla, Devanagari, Kannada, Latin, Gujarati, Gurmukhi, Malayalam, Odia, Tamil and Telugu. The shared aesthetics of this type-family are drawn from a collaboratively decided pool of visual features. At the same time, each script amalgamates influences from its own typographic culture as well as the perspectives of individual designers. This project is designed, engineered and maintained by Ek Type; a collective of type designers based in Mumbai focused on designing contemporary Indian typefaces. Contributors of this project are: Maithili Shingre (Anek Malayalam, Anek Kannada), Yesha Goshar (Anek Latin, Anek Odia), Kailash Malviya (Anek Devanagari), Aadarsh Rajan (Anek Tamil), Sulekha Rajkumar (Anek Bangla), Vaishnavi Murthy (Anek Kannada), Omkar Bhoir (Anek Telugu), Mrunmayee Ghaisas (Anek Gujarati), Mahesh Sahu (Anek Odia), and Sarang Kulkarni (Anek Gurmukhi). Project management and design assistance by Noopur Datye, and Font engineering and design assistance by Girish Dalvi. To contribute, see github.com/EkType/Anek Multiple scripts for multilingual India The award-winning Anek variable font The nine scripts have base characters in the center, with vowel signs and conjuncts that come above, below or next to them. The Anek multi-script typeface for 9 Indian languages and Latin was made through a collaboration of 12 type designers working across 8 cities in India. How did Ek Type win two type design awards (the TDC Certificate of Typographic Excellence and the D&AD Graphite Pencil) for their Anek multi-script typeface? There were two key factors to their success: Teamwork: The team of 12 collaborated democratically. Equality: Giving equal value to each of the nine Indian writing systems (scripts) and Latin, while maintaining both common visual features and script-specific characteristics. Teamwork during lockdown Getting 12 people to collaborate while speaking in three languages (English, Hindi, and Marathi) and spread out in eight different Indian cities (Mumbai, Pune, Kalyan, Hinganghat, Baroda, Bengaluru, Bharampur, and Pali) is not an easy task. Ek Type established a collaboration structure that fostered teamwork, while also giving designers the liberty to be creative. The team consisted of Maithili Shingre, Yesha Goshar, Kailash Malviya, Aadarsh Rajan, Sulekha Rajkumar, Vaishnavi Murthy, Omkar Bhoir, Mrunmayee Ghaisas, Mahesh Sahu, Sarang Kulkarni, Noopur Datye, and Girish Dalvi. Ten people focused on one script each, while the other two members worked on font engineering and project management. The designers focused on the script that was most familiar to them. Via three- to four-hour weekly video calls, team members annotated drawings with emojis, arrows, text, and other marks in their video conference platform. In between calls, the team collaborated online. The team made design decisions based on majority or unanimous votes. Before the pandemic, most of the team had worked together at the Ek Type studio in Mumbai. Remote work created some unforeseen benefits. \u201cEveryone had the time to venture in different directions, not getting colored by what the others were doing,\u201d said Noopur Datye, co-founder and type designer at Ek Type. To learn more, read Multilingual scripts for multilingual India.", + "minisite_url": null + }, + "Anek Devanagari": { + "name": "Anek Devanagari", + "designer": [ + "Ek Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Deva", + "article": "Anek, as the meaning of the word suggests, is an exercise in multiplicity \u2014 multiple scripts designed in multiple weights and widths by multiple designers. A well-informed, conscientious and refreshing interpretation of India\u2019s letter traditions, this family offers a versatile system that can meet the demands of a wide range of applications. Its expansive design space allows Anek to don multiple personalities. At its most condensed, capsular forms keep structures compact for that graphic texture. On the wide end of the spectrum, the extra legroom lets each letter yawn and stretch into their message. But it is in the boldest weights that Anek comes alive. Sharp terminals and tapered joineries sparkle amidst regimented forms, making this ideal for setting titillating headlines or that magnetic word-mark. Anek comes in ten scripts: Bangla, Devanagari, Kannada, Latin, Gujarati, Gurmukhi, Malayalam, Odia, Tamil and Telugu. The shared aesthetics of this type-family are drawn from a collaboratively decided pool of visual features. At the same time, each script amalgamates influences from its own typographic culture as well as the perspectives of individual designers. This project is designed, engineered and maintained by Ek Type; a collective of type designers based in Mumbai focused on designing contemporary Indian typefaces. Contributors of this project are: Maithili Shingre (Anek Malayalam, Anek Kannada), Yesha Goshar (Anek Latin, Anek Odia), Kailash Malviya (Anek Devanagari), Aadarsh Rajan (Anek Tamil), Sulekha Rajkumar (Anek Bangla), Vaishnavi Murthy (Anek Kannada), Omkar Bhoir (Anek Telugu), Mrunmayee Ghaisas (Anek Gujarati), Mahesh Sahu (Anek Odia), and Sarang Kulkarni (Anek Gurmukhi). Project management and design assistance by Noopur Datye, and Font engineering and design assistance by Girish Dalvi. To contribute, see github.com/EkType/Anek Multiple scripts for multilingual India The award-winning Anek variable font The nine scripts have base characters in the center, with vowel signs and conjuncts that come above, below or next to them. The Anek multi-script typeface for 9 Indian languages and Latin was made through a collaboration of 12 type designers working across 8 cities in India. How did Ek Type win two type design awards (the TDC Certificate of Typographic Excellence and the D&AD Graphite Pencil) for their Anek multi-script typeface? There were two key factors to their success: Teamwork: The team of 12 collaborated democratically. Equality: Giving equal value to each of the nine Indian writing systems (scripts) and Latin, while maintaining both common visual features and script-specific characteristics. Teamwork during lockdown Getting 12 people to collaborate while speaking in three languages (English, Hindi, and Marathi) and spread out in eight different Indian cities (Mumbai, Pune, Kalyan, Hinganghat, Baroda, Bengaluru, Bharampur, and Pali) is not an easy task. Ek Type established a collaboration structure that fostered teamwork, while also giving designers the liberty to be creative. The team consisted of Maithili Shingre, Yesha Goshar, Kailash Malviya, Aadarsh Rajan, Sulekha Rajkumar, Vaishnavi Murthy, Omkar Bhoir, Mrunmayee Ghaisas, Mahesh Sahu, Sarang Kulkarni, Noopur Datye, and Girish Dalvi. Ten people focused on one script each, while the other two members worked on font engineering and project management. The designers focused on the script that was most familiar to them. Via three- to four-hour weekly video calls, team members annotated drawings with emojis, arrows, text, and other marks in their video conference platform. In between calls, the team collaborated online. The team made design decisions based on majority or unanimous votes. Before the pandemic, most of the team had worked together at the Ek Type studio in Mumbai. Remote work created some unforeseen benefits. \u201cEveryone had the time to venture in different directions, not getting colored by what the others were doing,\u201d said Noopur Datye, co-founder and type designer at Ek Type. To learn more, read Multilingual scripts for multilingual India.", + "minisite_url": null + }, + "Anek Gujarati": { + "name": "Anek Gujarati", + "designer": [ + "Ek Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "gujarati", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Gujr", + "article": "Anek, as the meaning of the word suggests, is an exercise in multiplicity \u2014 multiple scripts designed in multiple weights and widths by multiple designers. A well-informed, conscientious and refreshing interpretation of India\u2019s letter traditions, this family offers a versatile system that can meet the demands of a wide range of applications. Its expansive design space allows Anek to don multiple personalities. At its most condensed, capsular forms keep structures compact for that graphic texture. On the wide end of the spectrum, the extra legroom lets each letter yawn and stretch into their message. But it is in the boldest weights that Anek comes alive. Sharp terminals and tapered joineries sparkle amidst regimented forms, making this ideal for setting titillating headlines or that magnetic word-mark. Anek comes in ten scripts: Bangla, Devanagari, Kannada, Latin, Gujarati, Gurmukhi, Malayalam, Odia, Tamil and Telugu. The shared aesthetics of this type-family are drawn from a collaboratively decided pool of visual features. At the same time, each script amalgamates influences from its own typographic culture as well as the perspectives of individual designers. This project is designed, engineered and maintained by Ek Type; a collective of type designers based in Mumbai focused on designing contemporary Indian typefaces. Contributors of this project are: Maithili Shingre (Anek Malayalam, Anek Kannada), Yesha Goshar (Anek Latin, Anek Odia), Kailash Malviya (Anek Devanagari), Aadarsh Rajan (Anek Tamil), Sulekha Rajkumar (Anek Bangla), Vaishnavi Murthy (Anek Kannada), Omkar Bhoir (Anek Telugu), Mrunmayee Ghaisas (Anek Gujarati), Mahesh Sahu (Anek Odia), and Sarang Kulkarni (Anek Gurmukhi). Project management and design assistance by Noopur Datye, and Font engineering and design assistance by Girish Dalvi. To contribute, see github.com/EkType/Anek Multiple scripts for multilingual India The award-winning Anek variable font The nine scripts have base characters in the center, with vowel signs and conjuncts that come above, below or next to them. The Anek multi-script typeface for 9 Indian languages and Latin was made through a collaboration of 12 type designers working across 8 cities in India. How did Ek Type win two type design awards (the TDC Certificate of Typographic Excellence and the D&AD Graphite Pencil) for their Anek multi-script typeface? There were two key factors to their success: Teamwork: The team of 12 collaborated democratically. Equality: Giving equal value to each of the nine Indian writing systems (scripts) and Latin, while maintaining both common visual features and script-specific characteristics. Teamwork during lockdown Getting 12 people to collaborate while speaking in three languages (English, Hindi, and Marathi) and spread out in eight different Indian cities (Mumbai, Pune, Kalyan, Hinganghat, Baroda, Bengaluru, Bharampur, and Pali) is not an easy task. Ek Type established a collaboration structure that fostered teamwork, while also giving designers the liberty to be creative. The team consisted of Maithili Shingre, Yesha Goshar, Kailash Malviya, Aadarsh Rajan, Sulekha Rajkumar, Vaishnavi Murthy, Omkar Bhoir, Mrunmayee Ghaisas, Mahesh Sahu, Sarang Kulkarni, Noopur Datye, and Girish Dalvi. Ten people focused on one script each, while the other two members worked on font engineering and project management. The designers focused on the script that was most familiar to them. Via three- to four-hour weekly video calls, team members annotated drawings with emojis, arrows, text, and other marks in their video conference platform. In between calls, the team collaborated online. The team made design decisions based on majority or unanimous votes. Before the pandemic, most of the team had worked together at the Ek Type studio in Mumbai. Remote work created some unforeseen benefits. \u201cEveryone had the time to venture in different directions, not getting colored by what the others were doing,\u201d said Noopur Datye, co-founder and type designer at Ek Type. To learn more, read Multilingual scripts for multilingual India.", + "minisite_url": null + }, + "Anek Gurmukhi": { + "name": "Anek Gurmukhi", + "designer": [ + "Ek Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "gurmukhi", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Guru", + "article": "Anek, as the meaning of the word suggests, is an exercise in multiplicity \u2014 multiple scripts designed in multiple weights and widths by multiple designers. A well-informed, conscientious and refreshing interpretation of India\u2019s letter traditions, this family offers a versatile system that can meet the demands of a wide range of applications. Its expansive design space allows Anek to don multiple personalities. At its most condensed, capsular forms keep structures compact for that graphic texture. On the wide end of the spectrum, the extra legroom lets each letter yawn and stretch into their message. But it is in the boldest weights that Anek comes alive. Sharp terminals and tapered joineries sparkle amidst regimented forms, making this ideal for setting titillating headlines or that magnetic word-mark. Anek comes in ten scripts: Bangla, Devanagari, Kannada, Latin, Gujarati, Gurmukhi, Malayalam, Odia, Tamil and Telugu. The shared aesthetics of this type-family are drawn from a collaboratively decided pool of visual features. At the same time, each script amalgamates influences from its own typographic culture as well as the perspectives of individual designers. This project is designed, engineered and maintained by Ek Type; a collective of type designers based in Mumbai focused on designing contemporary Indian typefaces. Contributors of this project are: Maithili Shingre (Anek Malayalam, Anek Kannada), Yesha Goshar (Anek Latin, Anek Odia), Kailash Malviya (Anek Devanagari), Aadarsh Rajan (Anek Tamil), Sulekha Rajkumar (Anek Bangla), Vaishnavi Murthy (Anek Kannada), Omkar Bhoir (Anek Telugu), Mrunmayee Ghaisas (Anek Gujarati), Mahesh Sahu (Anek Odia), and Sarang Kulkarni (Anek Gurmukhi). Project management and design assistance by Noopur Datye, and Font engineering and design assistance by Girish Dalvi. To contribute, see github.com/EkType/Anek Multiple scripts for multilingual India The award-winning Anek variable font The nine scripts have base characters in the center, with vowel signs and conjuncts that come above, below or next to them. The Anek multi-script typeface for 9 Indian languages and Latin was made through a collaboration of 12 type designers working across 8 cities in India. How did Ek Type win two type design awards (the TDC Certificate of Typographic Excellence and the D&AD Graphite Pencil) for their Anek multi-script typeface? There were two key factors to their success: Teamwork: The team of 12 collaborated democratically. Equality: Giving equal value to each of the nine Indian writing systems (scripts) and Latin, while maintaining both common visual features and script-specific characteristics. Teamwork during lockdown Getting 12 people to collaborate while speaking in three languages (English, Hindi, and Marathi) and spread out in eight different Indian cities (Mumbai, Pune, Kalyan, Hinganghat, Baroda, Bengaluru, Bharampur, and Pali) is not an easy task. Ek Type established a collaboration structure that fostered teamwork, while also giving designers the liberty to be creative. The team consisted of Maithili Shingre, Yesha Goshar, Kailash Malviya, Aadarsh Rajan, Sulekha Rajkumar, Vaishnavi Murthy, Omkar Bhoir, Mrunmayee Ghaisas, Mahesh Sahu, Sarang Kulkarni, Noopur Datye, and Girish Dalvi. Ten people focused on one script each, while the other two members worked on font engineering and project management. The designers focused on the script that was most familiar to them. Via three- to four-hour weekly video calls, team members annotated drawings with emojis, arrows, text, and other marks in their video conference platform. In between calls, the team collaborated online. The team made design decisions based on majority or unanimous votes. Before the pandemic, most of the team had worked together at the Ek Type studio in Mumbai. Remote work created some unforeseen benefits. \u201cEveryone had the time to venture in different directions, not getting colored by what the others were doing,\u201d said Noopur Datye, co-founder and type designer at Ek Type. To learn more, read Multilingual scripts for multilingual India.", + "minisite_url": null + }, + "Anek Kannada": { + "name": "Anek Kannada", + "designer": [ + "Ek Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "kannada", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Knda", + "article": "Anek, as the meaning of the word suggests, is an exercise in multiplicity \u2014 multiple scripts designed in multiple weights and widths by multiple designers. A well-informed, conscientious and refreshing interpretation of India\u2019s letter traditions, this family offers a versatile system that can meet the demands of a wide range of applications. Its expansive design space allows Anek to don multiple personalities. At its most condensed, capsular forms keep structures compact for that graphic texture. On the wide end of the spectrum, the extra legroom lets each letter yawn and stretch into their message. But it is in the boldest weights that Anek comes alive. Sharp terminals and tapered joineries sparkle amidst regimented forms, making this ideal for setting titillating headlines or that magnetic word-mark. Anek comes in ten scripts: Bangla, Devanagari, Kannada, Latin, Gujarati, Gurmukhi, Malayalam, Odia, Tamil and Telugu. The shared aesthetics of this type-family are drawn from a collaboratively decided pool of visual features. At the same time, each script amalgamates influences from its own typographic culture as well as the perspectives of individual designers. This project is designed, engineered and maintained by Ek Type; a collective of type designers based in Mumbai focused on designing contemporary Indian typefaces. Contributors of this project are: Maithili Shingre (Anek Malayalam, Anek Kannada), Yesha Goshar (Anek Latin, Anek Odia), Kailash Malviya (Anek Devanagari), Aadarsh Rajan (Anek Tamil), Sulekha Rajkumar (Anek Bangla), Vaishnavi Murthy (Anek Kannada), Omkar Bhoir (Anek Telugu), Mrunmayee Ghaisas (Anek Gujarati), Mahesh Sahu (Anek Odia), and Sarang Kulkarni (Anek Gurmukhi). Project management and design assistance by Noopur Datye, and Font engineering and design assistance by Girish Dalvi. To contribute, see github.com/EkType/Anek Multiple scripts for multilingual India The award-winning Anek variable font The nine scripts have base characters in the center, with vowel signs and conjuncts that come above, below or next to them. The Anek multi-script typeface for 9 Indian languages and Latin was made through a collaboration of 12 type designers working across 8 cities in India. How did Ek Type win two type design awards (the TDC Certificate of Typographic Excellence and the D&AD Graphite Pencil) for their Anek multi-script typeface? There were two key factors to their success: Teamwork: The team of 12 collaborated democratically. Equality: Giving equal value to each of the nine Indian writing systems (scripts) and Latin, while maintaining both common visual features and script-specific characteristics. Teamwork during lockdown Getting 12 people to collaborate while speaking in three languages (English, Hindi, and Marathi) and spread out in eight different Indian cities (Mumbai, Pune, Kalyan, Hinganghat, Baroda, Bengaluru, Bharampur, and Pali) is not an easy task. Ek Type established a collaboration structure that fostered teamwork, while also giving designers the liberty to be creative. The team consisted of Maithili Shingre, Yesha Goshar, Kailash Malviya, Aadarsh Rajan, Sulekha Rajkumar, Vaishnavi Murthy, Omkar Bhoir, Mrunmayee Ghaisas, Mahesh Sahu, Sarang Kulkarni, Noopur Datye, and Girish Dalvi. Ten people focused on one script each, while the other two members worked on font engineering and project management. The designers focused on the script that was most familiar to them. Via three- to four-hour weekly video calls, team members annotated drawings with emojis, arrows, text, and other marks in their video conference platform. In between calls, the team collaborated online. The team made design decisions based on majority or unanimous votes. Before the pandemic, most of the team had worked together at the Ek Type studio in Mumbai. Remote work created some unforeseen benefits. \u201cEveryone had the time to venture in different directions, not getting colored by what the others were doing,\u201d said Noopur Datye, co-founder and type designer at Ek Type. To learn more, read Multilingual scripts for multilingual India.", + "minisite_url": null + }, + "Anek Latin": { + "name": "Anek Latin", + "designer": [ + "Ek Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Anek, as the meaning of the word suggests, is an exercise in multiplicity \u2014 multiple scripts designed in multiple weights and widths by multiple designers. A well-informed, conscientious and refreshing interpretation of India\u2019s letter traditions, this family offers a versatile system that can meet the demands of a wide range of applications. Its expansive design space allows Anek to don multiple personalities. At its most condensed, capsular forms keep structures compact for that graphic texture. On the wide end of the spectrum, the extra legroom lets each letter yawn and stretch into their message. But it is in the boldest weights that Anek comes alive. Sharp terminals and tapered joineries sparkle amidst regimented forms, making this ideal for setting titillating headlines or that magnetic word-mark. Anek comes in ten scripts: Bangla, Devanagari, Kannada, Latin, Gujarati, Gurmukhi, Malayalam, Odia, Tamil and Telugu. The shared aesthetics of this type-family are drawn from a collaboratively decided pool of visual features. At the same time, each script amalgamates influences from its own typographic culture as well as the perspectives of individual designers. This project is designed, engineered and maintained by Ek Type; a collective of type designers based in Mumbai focused on designing contemporary Indian typefaces. Contributors of this project are: Maithili Shingre (Anek Malayalam, Anek Kannada), Yesha Goshar (Anek Latin, Anek Odia), Kailash Malviya (Anek Devanagari), Aadarsh Rajan (Anek Tamil), Sulekha Rajkumar (Anek Bangla), Vaishnavi Murthy (Anek Kannada), Omkar Bhoir (Anek Telugu), Mrunmayee Ghaisas (Anek Gujarati), Mahesh Sahu (Anek Odia), and Sarang Kulkarni (Anek Gurmukhi). Project management and design assistance by Noopur Datye, and Font engineering and design assistance by Girish Dalvi. To contribute, see github.com/EkType/Anek Multiple scripts for multilingual India The award-winning Anek variable font The nine scripts have base characters in the center, with vowel signs and conjuncts that come above, below or next to them. The Anek multi-script typeface for 9 Indian languages and Latin was made through a collaboration of 12 type designers working across 8 cities in India. How did Ek Type win two type design awards (the TDC Certificate of Typographic Excellence and the D&AD Graphite Pencil) for their Anek multi-script typeface? There were two key factors to their success: Teamwork: The team of 12 collaborated democratically. Equality: Giving equal value to each of the nine Indian writing systems (scripts) and Latin, while maintaining both common visual features and script-specific characteristics. Teamwork during lockdown Getting 12 people to collaborate while speaking in three languages (English, Hindi, and Marathi) and spread out in eight different Indian cities (Mumbai, Pune, Kalyan, Hinganghat, Baroda, Bengaluru, Bharampur, and Pali) is not an easy task. Ek Type established a collaboration structure that fostered teamwork, while also giving designers the liberty to be creative. The team consisted of Maithili Shingre, Yesha Goshar, Kailash Malviya, Aadarsh Rajan, Sulekha Rajkumar, Vaishnavi Murthy, Omkar Bhoir, Mrunmayee Ghaisas, Mahesh Sahu, Sarang Kulkarni, Noopur Datye, and Girish Dalvi. Ten people focused on one script each, while the other two members worked on font engineering and project management. The designers focused on the script that was most familiar to them. Via three- to four-hour weekly video calls, team members annotated drawings with emojis, arrows, text, and other marks in their video conference platform. In between calls, the team collaborated online. The team made design decisions based on majority or unanimous votes. Before the pandemic, most of the team had worked together at the Ek Type studio in Mumbai. Remote work created some unforeseen benefits. \u201cEveryone had the time to venture in different directions, not getting colored by what the others were doing,\u201d said Noopur Datye, co-founder and type designer at Ek Type. To learn more, read Multilingual scripts for multilingual India.", + "minisite_url": null + }, + "Anek Malayalam": { + "name": "Anek Malayalam", + "designer": [ + "Ek Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "malayalam" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Mlym", + "article": "Anek, as the meaning of the word suggests, is an exercise in multiplicity \u2014 multiple scripts designed in multiple weights and widths by multiple designers. A well-informed, conscientious and refreshing interpretation of India\u2019s letter traditions, this family offers a versatile system that can meet the demands of a wide range of applications. Its expansive design space allows Anek to don multiple personalities. At its most condensed, capsular forms keep structures compact for that graphic texture. On the wide end of the spectrum, the extra legroom lets each letter yawn and stretch into their message. But it is in the boldest weights that Anek comes alive. Sharp terminals and tapered joineries sparkle amidst regimented forms, making this ideal for setting titillating headlines or that magnetic word-mark. Anek comes in ten scripts: Bangla, Devanagari, Kannada, Latin, Gujarati, Gurmukhi, Malayalam, Odia, Tamil and Telugu. The shared aesthetics of this type-family are drawn from a collaboratively decided pool of visual features. At the same time, each script amalgamates influences from its own typographic culture as well as the perspectives of individual designers. This project is designed, engineered and maintained by Ek Type; a collective of type designers based in Mumbai focused on designing contemporary Indian typefaces. Contributors of this project are: Maithili Shingre (Anek Malayalam, Anek Kannada), Yesha Goshar (Anek Latin, Anek Odia), Kailash Malviya (Anek Devanagari), Aadarsh Rajan (Anek Tamil), Sulekha Rajkumar (Anek Bangla), Vaishnavi Murthy (Anek Kannada), Omkar Bhoir (Anek Telugu), Mrunmayee Ghaisas (Anek Gujarati), Mahesh Sahu (Anek Odia), and Sarang Kulkarni (Anek Gurmukhi). Project management and design assistance by Noopur Datye, and Font engineering and design assistance by Girish Dalvi. To contribute, see github.com/EkType/Anek Multiple scripts for multilingual India The award-winning Anek variable font The nine scripts have base characters in the center, with vowel signs and conjuncts that come above, below or next to them. The Anek multi-script typeface for 9 Indian languages and Latin was made through a collaboration of 12 type designers working across 8 cities in India. How did Ek Type win two type design awards (the TDC Certificate of Typographic Excellence and the D&AD Graphite Pencil) for their Anek multi-script typeface? There were two key factors to their success: Teamwork: The team of 12 collaborated democratically. Equality: Giving equal value to each of the nine Indian writing systems (scripts) and Latin, while maintaining both common visual features and script-specific characteristics. Teamwork during lockdown Getting 12 people to collaborate while speaking in three languages (English, Hindi, and Marathi) and spread out in eight different Indian cities (Mumbai, Pune, Kalyan, Hinganghat, Baroda, Bengaluru, Bharampur, and Pali) is not an easy task. Ek Type established a collaboration structure that fostered teamwork, while also giving designers the liberty to be creative. The team consisted of Maithili Shingre, Yesha Goshar, Kailash Malviya, Aadarsh Rajan, Sulekha Rajkumar, Vaishnavi Murthy, Omkar Bhoir, Mrunmayee Ghaisas, Mahesh Sahu, Sarang Kulkarni, Noopur Datye, and Girish Dalvi. Ten people focused on one script each, while the other two members worked on font engineering and project management. The designers focused on the script that was most familiar to them. Via three- to four-hour weekly video calls, team members annotated drawings with emojis, arrows, text, and other marks in their video conference platform. In between calls, the team collaborated online. The team made design decisions based on majority or unanimous votes. Before the pandemic, most of the team had worked together at the Ek Type studio in Mumbai. Remote work created some unforeseen benefits. \u201cEveryone had the time to venture in different directions, not getting colored by what the others were doing,\u201d said Noopur Datye, co-founder and type designer at Ek Type. To learn more, read Multilingual scripts for multilingual India.", + "minisite_url": null + }, + "Anek Odia": { + "name": "Anek Odia", + "designer": [ + "Ek Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "oriya" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Orya", + "article": "Anek, as the meaning of the word suggests, is an exercise in multiplicity \u2014 multiple scripts designed in multiple weights and widths by multiple designers. A well-informed, conscientious and refreshing interpretation of India\u2019s letter traditions, this family offers a versatile system that can meet the demands of a wide range of applications. Its expansive design space allows Anek to don multiple personalities. At its most condensed, capsular forms keep structures compact for that graphic texture. On the wide end of the spectrum, the extra legroom lets each letter yawn and stretch into their message. But it is in the boldest weights that Anek comes alive. Sharp terminals and tapered joineries sparkle amidst regimented forms, making this ideal for setting titillating headlines or that magnetic word-mark. Anek comes in ten scripts: Bangla, Devanagari, Kannada, Latin, Gujarati, Gurmukhi, Malayalam, Odia, Tamil and Telugu. The shared aesthetics of this type-family are drawn from a collaboratively decided pool of visual features. At the same time, each script amalgamates influences from its own typographic culture as well as the perspectives of individual designers. This project is designed, engineered and maintained by Ek Type; a collective of type designers based in Mumbai focused on designing contemporary Indian typefaces. Contributors of this project are: Maithili Shingre (Anek Malayalam, Anek Kannada), Yesha Goshar (Anek Latin, Anek Odia), Kailash Malviya (Anek Devanagari), Aadarsh Rajan (Anek Tamil), Sulekha Rajkumar (Anek Bangla), Vaishnavi Murthy (Anek Kannada), Omkar Bhoir (Anek Telugu), Mrunmayee Ghaisas (Anek Gujarati), Mahesh Sahu (Anek Odia), and Sarang Kulkarni (Anek Gurmukhi). Project management and design assistance by Noopur Datye, and Font engineering and design assistance by Girish Dalvi. To contribute, see github.com/EkType/Anek Multiple scripts for multilingual India The award-winning Anek variable font The nine scripts have base characters in the center, with vowel signs and conjuncts that come above, below or next to them. The Anek multi-script typeface for 9 Indian languages and Latin was made through a collaboration of 12 type designers working across 8 cities in India. How did Ek Type win two type design awards (the TDC Certificate of Typographic Excellence and the D&AD Graphite Pencil) for their Anek multi-script typeface? There were two key factors to their success: Teamwork: The team of 12 collaborated democratically. Equality: Giving equal value to each of the nine Indian writing systems (scripts) and Latin, while maintaining both common visual features and script-specific characteristics. Teamwork during lockdown Getting 12 people to collaborate while speaking in three languages (English, Hindi, and Marathi) and spread out in eight different Indian cities (Mumbai, Pune, Kalyan, Hinganghat, Baroda, Bengaluru, Bharampur, and Pali) is not an easy task. Ek Type established a collaboration structure that fostered teamwork, while also giving designers the liberty to be creative. The team consisted of Maithili Shingre, Yesha Goshar, Kailash Malviya, Aadarsh Rajan, Sulekha Rajkumar, Vaishnavi Murthy, Omkar Bhoir, Mrunmayee Ghaisas, Mahesh Sahu, Sarang Kulkarni, Noopur Datye, and Girish Dalvi. Ten people focused on one script each, while the other two members worked on font engineering and project management. The designers focused on the script that was most familiar to them. Via three- to four-hour weekly video calls, team members annotated drawings with emojis, arrows, text, and other marks in their video conference platform. In between calls, the team collaborated online. The team made design decisions based on majority or unanimous votes. Before the pandemic, most of the team had worked together at the Ek Type studio in Mumbai. Remote work created some unforeseen benefits. \u201cEveryone had the time to venture in different directions, not getting colored by what the others were doing,\u201d said Noopur Datye, co-founder and type designer at Ek Type. To learn more, read Multilingual scripts for multilingual India.", + "minisite_url": null + }, + "Anek Tamil": { + "name": "Anek Tamil", + "designer": [ + "Ek Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "tamil" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Taml", + "article": "Anek, as the meaning of the word suggests, is an exercise in multiplicity \u2014 multiple scripts designed in multiple weights and widths by multiple designers. A well-informed, conscientious and refreshing interpretation of India\u2019s letter traditions, this family offers a versatile system that can meet the demands of a wide range of applications. Its expansive design space allows Anek to don multiple personalities. At its most condensed, capsular forms keep structures compact for that graphic texture. On the wide end of the spectrum, the extra legroom lets each letter yawn and stretch into their message. But it is in the boldest weights that Anek comes alive. Sharp terminals and tapered joineries sparkle amidst regimented forms, making this ideal for setting titillating headlines or that magnetic word-mark. Anek comes in ten scripts: Bangla, Devanagari, Kannada, Latin, Gujarati, Gurmukhi, Malayalam, Odia, Tamil and Telugu. The shared aesthetics of this type-family are drawn from a collaboratively decided pool of visual features. At the same time, each script amalgamates influences from its own typographic culture as well as the perspectives of individual designers. This project is designed, engineered and maintained by Ek Type; a collective of type designers based in Mumbai focused on designing contemporary Indian typefaces. Contributors of this project are: Maithili Shingre (Anek Malayalam, Anek Kannada), Yesha Goshar (Anek Latin, Anek Odia), Kailash Malviya (Anek Devanagari), Aadarsh Rajan (Anek Tamil), Sulekha Rajkumar (Anek Bangla), Vaishnavi Murthy (Anek Kannada), Omkar Bhoir (Anek Telugu), Mrunmayee Ghaisas (Anek Gujarati), Mahesh Sahu (Anek Odia), and Sarang Kulkarni (Anek Gurmukhi). Project management and design assistance by Noopur Datye, and Font engineering and design assistance by Girish Dalvi. To contribute, see github.com/EkType/Anek Multiple scripts for multilingual India The award-winning Anek variable font The nine scripts have base characters in the center, with vowel signs and conjuncts that come above, below or next to them. The Anek multi-script typeface for 9 Indian languages and Latin was made through a collaboration of 12 type designers working across 8 cities in India. How did Ek Type win two type design awards (the TDC Certificate of Typographic Excellence and the D&AD Graphite Pencil) for their Anek multi-script typeface? There were two key factors to their success: Teamwork: The team of 12 collaborated democratically. Equality: Giving equal value to each of the nine Indian writing systems (scripts) and Latin, while maintaining both common visual features and script-specific characteristics. Teamwork during lockdown Getting 12 people to collaborate while speaking in three languages (English, Hindi, and Marathi) and spread out in eight different Indian cities (Mumbai, Pune, Kalyan, Hinganghat, Baroda, Bengaluru, Bharampur, and Pali) is not an easy task. Ek Type established a collaboration structure that fostered teamwork, while also giving designers the liberty to be creative. The team consisted of Maithili Shingre, Yesha Goshar, Kailash Malviya, Aadarsh Rajan, Sulekha Rajkumar, Vaishnavi Murthy, Omkar Bhoir, Mrunmayee Ghaisas, Mahesh Sahu, Sarang Kulkarni, Noopur Datye, and Girish Dalvi. Ten people focused on one script each, while the other two members worked on font engineering and project management. The designers focused on the script that was most familiar to them. Via three- to four-hour weekly video calls, team members annotated drawings with emojis, arrows, text, and other marks in their video conference platform. In between calls, the team collaborated online. The team made design decisions based on majority or unanimous votes. Before the pandemic, most of the team had worked together at the Ek Type studio in Mumbai. Remote work created some unforeseen benefits. \u201cEveryone had the time to venture in different directions, not getting colored by what the others were doing,\u201d said Noopur Datye, co-founder and type designer at Ek Type. To learn more, read Multilingual scripts for multilingual India.", + "minisite_url": null + }, + "Anek Telugu": { + "name": "Anek Telugu", + "designer": [ + "Ek Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "telugu" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Telu", + "article": "Anek, as the meaning of the word suggests, is an exercise in multiplicity \u2014 multiple scripts designed in multiple weights and widths by multiple designers. A well-informed, conscientious and refreshing interpretation of India\u2019s letter traditions, this family offers a versatile system that can meet the demands of a wide range of applications. Its expansive design space allows Anek to don multiple personalities. At its most condensed, capsular forms keep structures compact for that graphic texture. On the wide end of the spectrum, the extra legroom lets each letter yawn and stretch into their message. But it is in the boldest weights that Anek comes alive. Sharp terminals and tapered joineries sparkle amidst regimented forms, making this ideal for setting titillating headlines or that magnetic word-mark. Anek comes in ten scripts: Bangla, Devanagari, Kannada, Latin, Gujarati, Gurmukhi, Malayalam, Odia, Tamil and Telugu. The shared aesthetics of this type-family are drawn from a collaboratively decided pool of visual features. At the same time, each script amalgamates influences from its own typographic culture as well as the perspectives of individual designers. This project is designed, engineered and maintained by Ek Type; a collective of type designers based in Mumbai focused on designing contemporary Indian typefaces. Contributors of this project are: Maithili Shingre (Anek Malayalam, Anek Kannada), Yesha Goshar (Anek Latin, Anek Odia), Kailash Malviya (Anek Devanagari), Aadarsh Rajan (Anek Tamil), Sulekha Rajkumar (Anek Bangla), Vaishnavi Murthy (Anek Kannada), Omkar Bhoir (Anek Telugu), Mrunmayee Ghaisas (Anek Gujarati), Mahesh Sahu (Anek Odia), and Sarang Kulkarni (Anek Gurmukhi). Project management and design assistance by Noopur Datye, and Font engineering and design assistance by Girish Dalvi. To contribute, see github.com/EkType/Anek Multiple scripts for multilingual India The award-winning Anek variable font The nine scripts have base characters in the center, with vowel signs and conjuncts that come above, below or next to them. The Anek multi-script typeface for 9 Indian languages and Latin was made through a collaboration of 12 type designers working across 8 cities in India. How did Ek Type win two type design awards (the TDC Certificate of Typographic Excellence and the D&AD Graphite Pencil) for their Anek multi-script typeface? There were two key factors to their success: Teamwork: The team of 12 collaborated democratically. Equality: Giving equal value to each of the nine Indian writing systems (scripts) and Latin, while maintaining both common visual features and script-specific characteristics. Teamwork during lockdown Getting 12 people to collaborate while speaking in three languages (English, Hindi, and Marathi) and spread out in eight different Indian cities (Mumbai, Pune, Kalyan, Hinganghat, Baroda, Bengaluru, Bharampur, and Pali) is not an easy task. Ek Type established a collaboration structure that fostered teamwork, while also giving designers the liberty to be creative. The team consisted of Maithili Shingre, Yesha Goshar, Kailash Malviya, Aadarsh Rajan, Sulekha Rajkumar, Vaishnavi Murthy, Omkar Bhoir, Mrunmayee Ghaisas, Mahesh Sahu, Sarang Kulkarni, Noopur Datye, and Girish Dalvi. Ten people focused on one script each, while the other two members worked on font engineering and project management. The designers focused on the script that was most familiar to them. Via three- to four-hour weekly video calls, team members annotated drawings with emojis, arrows, text, and other marks in their video conference platform. In between calls, the team collaborated online. The team made design decisions based on majority or unanimous votes. Before the pandemic, most of the team had worked together at the Ek Type studio in Mumbai. Remote work created some unforeseen benefits. \u201cEveryone had the time to venture in different directions, not getting colored by what the others were doing,\u201d said Noopur Datye, co-founder and type designer at Ek Type. To learn more, read Multilingual scripts for multilingual India.", + "minisite_url": null + }, + "Angkor": { + "name": "Angkor", + "designer": [ + "Danh Hong" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "khmer", + "latin" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Angkor is a Khmer font for headlines and even banner designs. To contribute, see github.com/danhhong/Angkor.", + "primary_script": "Khmr", + "article": null, + "minisite_url": null + }, + "Annapurna SIL": { + "name": "Annapurna SIL", + "designer": [ + "SIL International" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Annapurna SIL is a Unicode-based font family with broad support for writing systems that use the Devanagari script. To contribute, please see github.com/silnrsi/font-annapurna.", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Annie Use Your Telescope": { + "name": "Annie Use Your Telescope", + "designer": [ + "Kimberly Geswein" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "This is a favorite of mine. A talented photography student I know was writing something down and I squealed and ran over to beg her for a sample of her writing. It was worth the effort, as I adore her style and feel it translated perfectly into a cute font. She named the font as a nod to one of her favorite bands, Jack\u2019s Mannequin.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Anonymous Pro": { + "name": "Anonymous Pro", + "designer": [ + "Mark Simonson" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "cyrillic", + "greek", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "monospace" + ], + "description": "Anonymous Pro is a family of four fixed-width fonts designed especially with coding in mind. It is inspired by Anonymous 9, a freeware Macintosh bitmap font developed in the mid-'90s by Susan Lesch and David Lamkins, that was intended as a more legible alternative to Monaco, the fixed-width Macintosh system font. Characters that could be mistaken for one another (O, 0, I, l, 1, etc.) have distinct shapes to make them easier to tell apart in the context of source code. The regular and bold styles have embedded bitmaps for the smallest sizes (10-13 ppem.)", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Anta": { + "name": "Anta", + "designer": [ + "Sergej Lebedev" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Anta, a modern font family, is intelligently designed for screen publications. Anta Typeface has several interesting, constructed glyph shapes that give the typeface a modern look. The typeface is particularly suitable for graphic design, but also for branding projects. To contribute, see github.com/Typedesigners/Anta-Regular.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Antic": { + "name": "Antic", + "designer": [ + "Santiago Orozco" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Antic is the result of studying calligraphic forms, and is designed to be used for running text. This started two big text type family projects and this is the first one. Antic explores the use of sans-serif letterforms for text usage, keeping a calligraphic touch found in the serif counterpart, Clark. The letterforms have an eight degree stress, which is almost the same degree of my own hand writing.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Antic Didone": { + "name": "Antic Didone", + "designer": [ + "Santiago Orozco" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Antic Didone was designed for use in the headlines of newspapers and magazines. The Antic Type System is a super family that is still evolving, and this first release of the Didone family. It complements the Sans and Didone versions, giving the designer freedom to create rhythmic and dynamic typography using all three families in the type system. Each family in the type system has a large x-height that makes it very readable, especially on the web. Each also has slight stress derived from handwriting. Antic Didone's minuscule ornate serifs create a unique texture. With modern proportions and condensed letterforms, it is great for economical typesetting, on paper and on screen. The Antic Type System is in progress and is being regularly improved. If you have a request, wish to contribute improvements or even fund specific features, simply contact Santiago Orozco. You can follow Santiago on Twitter, @Typemade.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Antic Slab": { + "name": "Antic Slab", + "designer": [ + "Santiago Orozco" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Antic Slab was designed for use in the headlines of newspapers and magazines. The Antic Type System is a super family that is still evolving, and this first release of the Slab family. It complements the Sans and Didone versions, giving the designer freedom to create rhythmic and dynamic typography using all three families in the type system. Each family in the type system has a large x-height that makes it very readable, especially on the web. Each also has slight stress derived from handwriting. Antic Slab's discreet slab serifs give it a strong presence in layouts. With modern proportions and condensed letterforms, it is great for economical typesetting, on paper and on screen. The Antic Type System is in progress and is being regularly improved. If you have a request, wish to contribute improvements or even fund specific features, simply contact Santiago Orozco. You can follow Santiago on Twitter, @Typemade.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Anton": { + "name": "Anton", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Anton is a reworking of a traditional advertising sans serif typeface. The letter forms have been digitised and then reshaped for use as a webfont, the counters have been opened up a little and the stems optimised for use as bold display font in modern web browsers. Anton language support includes now African Latin and full coverage of Vietnamese, additional to all Western, Central, and South-Eastern European languages. To contribute see github.com/googlefonts/AntonFont.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Anton SC": { + "name": "Anton SC", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Anton is a reworking of a traditional advertising sans serif typeface. The letter forms have been digitised and then reshaped for use as a webfont, the counters have been opened up a little and the stems optimised for use as bold display font in modern web browsers. Anton language support includes now African Latin and full coverage of Vietnamese, additional to all Western, Central, and South-Eastern European languages. Anton SC is the Small Caps version of Anton. To contribute see github.com/googlefonts/AntonFont .", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Antonio": { + "name": "Antonio", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Antonio is a 'refined' version of the Anton Font. Anton is a single weight web font, designed specifically for larger display, headline and 'banner' use (see Google's PR for the Chromebook notebooks that used Anton, big and bright). Antonio extends the Anton design to include more weights and introduces refinements to the design that makes it also suitable for use in smaller headings, menus and 'buttons' etc. To contribute, see github.com/googlefonts/antonioFont", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Anuphan": { + "name": "Anuphan", + "designer": [ + "Cadson Demak" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "thai", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Anuphan is a loopless version of IBM Plex Thai developed by Mint Tantisuwanna, a type designer at Cadson Demak. This project is intended for self-improvement/educational purpose. Note: This is not a modification of IBM Plex Sans Thai. All drawings and outlines of Thai characters in this project are based solely on the Latin version of IBM Plex Sans. Read more about Mint Tantisuwanna's process on cadsondemak.com/medias/read/design-like-a-bilingual-ibm-plex-thai. To contribute, please visit github.com/cadsondemak/Anuphan.", + "primary_script": "Thai", + "article": null, + "minisite_url": null + }, + "Anybody": { + "name": "Anybody", + "designer": [ + "Tyler Finck" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Anybody is a big family that combines an affinity for Eurostile plus a heavy dose of 90s inspiration. It's flexible enough to adapt to a variety of situations. From UltraCondensed to ExtraExpanded, type set in Anybody can take up a tiny amount of horizontal space or so much space that you'll need several lines. Its high x-height and low cap height help exaggerate extreme widths and weights. The italic angle is 10 degrees, noticable but subtle. The inclusion of some popular OpenType features make it practical and customizable. Learn more at www.etceteratype.co/anybody. To contribute, see github.com/Etcetera-Type-Co/Anybody.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Aoboshi One": { + "name": "Aoboshi One", + "designer": [ + "Natsumi Matsuba" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "\"Aoboshi\" is a single-weight serif-style Japanese font inspired by Copperplate Gothic. To contribute to the project, visit github.com/matsuba723/Aoboshi", + "primary_script": "Hira", + "article": null, + "minisite_url": null + }, + "Arapey": { + "name": "Arapey", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Arapey (Ah-ra-pay) is a contemporary modern typeface with some features of a Bodoni, but the structures, soft lines, and finishes leave a calm and distinguished feeling. The first sketches were made during a vacation in Arapey, a small town the north of Uruguay. The italics are gentle, rhythmic, and bring a special glamour to both text use and titles.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Arbutus": { + "name": "Arbutus", + "designer": [ + "Karolina Lach" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SLAB_SERIF", + "classifications": [ + "display" + ], + "description": "Arbutus is a sturdy, medium contrast, slab serif typeface with a faceted/spiked treatment inspired by American wood type. The generous spacing found in this design means that it can be used at fairly small sizes which makes it surprisingly versatile.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Arbutus Slab": { + "name": "Arbutus Slab", + "designer": [ + "Karolina Lach" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Arbutus Slab is a sturdy, medium contrast, slab serif typeface inspired by 18th and 19th American jobbing type. The generous spacing found in this design means that it can be used at fairly small sizes which makes it surprisingly versatile.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Architects Daughter": { + "name": "Architects Daughter", + "designer": [ + "Kimberly Geswein" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Inspired by the writing of the daughter of an architect (surprise, surprise!), this font incorporates the graphic, squared look of architectural writing, combined with the natural feel of daily handwriting.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Archivo": { + "name": "Archivo", + "designer": [ + "Omnibus-Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Archivo is a grotesque sans serif typeface family originally designed for highlights and headlines. This family is reminiscent of late nineteenth century American typefaces. The technical and aesthetic characteristics of the font are both crafted for high performance typography. It was designed to be used simultaneously in print and online platforms and supports over 200 world languages. Archivo has been upgraded to a variable font in 2021. The weight and width axes allow a wide variety of styles, from Thin to Black and from ExtraCondensed to Expanded. Archivo is designed by H\u00e9ctor Gatti and Omnibus-Type Team. To contribute to the project visit github.com/Omnibus-Type.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Archivo Black": { + "name": "Archivo Black", + "designer": [ + "Omnibus-Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Archivo Black was designed to be used simultaneously in print and digital platforms. The technical and aesthetic characteristics of the font are both crafted for high performance typography. It was designed to be used simultaneously in print and online platforms and supports over 200 world languages. Archivo is a grotesque sans serif typeface family from Omnibus-Type. It was originally designed for highlights and headlines. This family is reminiscent of late nineteenth century American typefaces. It includes normal, Black and Narrow styles, and was derived from Chivo To contribute to the project visit github.com/Omnibus-Type", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Archivo Narrow": { + "name": "Archivo Narrow", + "designer": [ + "Omnibus-Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Archivo Narrow was designed to be used simultaneously in print and digital platforms. The technical and aesthetic characteristics of the font are both crafted for high performance typography. It was designed to be used simultaneously in print and online platforms and supports over 200 world languages. Archivo is a grotesque sans serif typeface family from Omnibus-Type. It was originally designed for highlights and headlines. This family is reminiscent of late nineteenth century American typefaces. It includes normal, Narrow and Black styles, and was derived from Chivo In April 2020, the family was converted to a variable font family. To contribute to the project visit github.com/Omnibus-Type", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Are You Serious": { + "name": "Are You Serious", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Are You Serious doesn't take itself seriously at all. This is a fun playful font with a very joyful spirit. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/are-you-serious.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Aref Ruqaa": { + "name": "Aref Ruqaa", + "designer": [ + "Abdullah Aref", + "Khaled Hosny", + "Hermann Zapf" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "arabic", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Aref Ruqaa is an Arabic typeface that aspires to capture the essence of the classical Ruqaa calligraphic style. The Latin part is based on AMS Euler, but spaced for regular text rather than mathematics. The Aref Ruqaa project is led by Khaled Hosny, a type designer based in Cairo, Egypt. To contribute, see github.com/alif-type/aref-ruqaa", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Aref Ruqaa Ink": { + "name": "Aref Ruqaa Ink", + "designer": [ + "Abdullah Aref", + "Khaled Hosny", + "Hermann Zapf" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "arabic", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Aref Ruqaa Ink is an Arabic typeface that aspires to capture the essence of the classical Ruqaa calligraphic style. This font uses the COLRv1, CPAL and SVG tables. Please visit the gf-guide color page to learn more about Color Fonts technology. The Aref Ruqaa project is led by Khaled Hosny, a type designer based in Cairo, Egypt. To contribute, see github.com/alif-type/aref-ruqaa", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Arima": { + "name": "Arima", + "designer": [ + "Natanael Gama", + "Joana Correia", + "Rosalie Wagner" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "greek", + "greek-ext", + "latin", + "latin-ext", + "malayalam", + "tamil", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "A display font with soft edges and calligraphic feel is the main inspiration for Arima project. It has a low contrast to allow good rendering on screen. Legibility is always a central concern, but the design has a lot of personality to be recognizable as a display font to be used in headlines, brand names, and similar uses on the web. The primary goal was to create a design that will prove popular because it resonates with both casual and professional designers, and without ever lowering the quality of the design. Each font in the family was extensively tested on low resolution phones and refined to work well as a web font in the mobile era. From the very first round of design testing, each font was hinted with ttfautohint and refined for Windows users. Arima Madurai has an extended language support for the Tamil and Latin scripts, as well as Malayalam and Greek. Greek developed during Google Summer of Code 2017 by Rosalie Wagner, under the mentorship of Emilios Theofanous and Irene Vlachou.\" The Arima project is led by NDISCOVER, a type design foundry based in Portugal. To contribute, see github.com/NDISCOVER/Arima-Font", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Arimo": { + "name": "Arimo", + "designer": [ + "Steve Matteson" + ], + "license": "apache2", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "hebrew", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Arimo was designed by Steve Matteson as an innovative, refreshing sans serif design that is metrically compatible with Arial\u2122. Arimo offers improved on-screen readability characteristics and the pan-European WGL character set and solves the needs of developers looking for width-compatible fonts to address document portability across platforms. Updated in May 2013 with improved hinting and released under the Apache 2.0 license.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Arizonia": { + "name": "Arizonia", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Arizonia was inspired by the lettering found on a construction truck. It has a sign-painterly appearance which features thick and contrasting stokes that have been painted by a pointed brush. It can be used for situations that require a hand lettered, contemporary and sporty feel. As with any script, Arizonia should not be used in ALL Caps. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/arizonia.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Armata": { + "name": "Armata", + "designer": [ + "Viktoriya Grabowska" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Armata is a low contrast sans serif text face, with a mixture of familiar and unfamiliar shapes. The steadiness and strength is juxtaposed with some innovative and delicate gestures. Armata can be used in a wide range of sizes.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Arsenal": { + "name": "Arsenal", + "designer": [ + "Andrij Shevchenko" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Arsenal is a semi-grotesque with traditional forms. It is primarily designed for body text and intended for professional visual communication. The special qualities of these letter shapes, such as subtle contrast modulation, articulate grace and expressivity. Arsenal's somewhat lyrical sentiment abides to the Ukrainian nature of the font. The main design features are the narrow proportions, that allow for economical typesetting, the moderate aperture and the observable contrast. These create some notable traits: Neutrality, clarity, and swiftness. In 2011 this typeface by Andrijbecame a winner of the Ukrainian Type Design Competition Mystetsky Arsenal. The judges sought designs with three main criteria: Hitting the zeitgeist, being practical, and feeling Ukrainian. Andrij's winning entry was crowned with the name Arsenal, and made publicly available under the SIL Open Font License.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Arsenal SC": { + "name": "Arsenal SC", + "designer": [ + "Andrij Shevchenko" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "In 2011 Andrij 's typeface became a winner of Ukrainian Type Design Competition ' Mystetsky Arsenal ' in which three main criteria were sought for: being zeitgeist, practical, and Ukrainian. Andrij's winning entry was crowned Arsenal and made publicly available. Arsenal is a semi-grotesque with traditional forms. It is primarily designed for body text and intended for various professional communication. Its special qualities of letter shapes and subtle contrast modulation articulate grace and expressivity. Arsenal's somewhat lyrical sentiment abides to the Ukrainian nature of the font. Main design features: narrow proportions that allow for economical type-setting, moderate aperture and observable contrast. Notable traits: neutrality, clarity, swiftness. This is the Small Cap sibling family to the main Arsenal family.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Artifika": { + "name": "Artifika", + "designer": [ + "Cyreal" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Artifika is an amiable upright italic for fashionable display titling. Overall features are tender and crisp, descenders short. Settled curves are sculpted with calligraphic elegance, instrokes have a widening as a tribute to it's broad-nib origin. Nearly horizontal flat serifs support left-to-right direction, making the typeface pleasant for reading on screen. Designed by Yulya Zhdanova, Ivan Petrov in 2010-2011. To contribute, see github.com/cyrealtype/Artifika.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Arvo": { + "name": "Arvo", + "designer": [ + "Anton Koovit" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SLAB_SERIF", + "classifications": [], + "description": "Arvo is a geometric slab-serif typeface family suited for screen and print. The family includes 4 cuts: Roman, Italic, Roman Bold, Bold Italic. It is a libre font, first published in Google Fonts. The flavour of the font is rather mixed. It's monolinear-ish, but has a tiny bit of contrast (which increases the legibility a little in Mac OS X.) The name Arvo is a typical Estonian man's name, but is not widely used today. In the Finnish language, Arvo means \"number, value, worth.\" Considering how much programming is involved in hinting, all these meanings are true. In December 2013 Arvo 2.0.1 was released, with support for languages that use the Cyrillic script, the latin script is expanded to Adobe's Glyph List 3, and many truetype hints are improved especially for in smaller sizes (regular cuts start now from 9ppem). Also added PANOSE classification numbers, cleaned up character palette order, and many more smaller bug fixes were made. Updated August 2015: Bold and Bold Italic styles were updated to allow document embedding.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Arya": { + "name": "Arya", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Arya is a Devanagari and Latin type family. It originated with Modular InfoTech's 1201, and was made more smooth. The new and original Latin design is intended to match the Devanagari in weight and and size with an unusual high-contrast sans serif design. This project is led by Eduardo Tunni, a type designed based in Buenos Aires, Argentina. To contribute, visit github.com/etunni/Arya", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Asap": { + "name": "Asap", + "designer": [ + "Omnibus-Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Asap (\"as soon as possible\") is a contemporary sans-serif family with subtle rounded corners. This family, specially developed for screen and desktop use, offers a standarised character width on all styles, which means lines of text remain the same length. This useful feature allows users to change type styles on-the-go without reflowing a text body. Asap has been upgraded to a variable font in 2021, and in October 2022, this variable is completed by a width axis and a larger scope of weight. Axes weight now go from Thin to Black and width from Condensed to Expanded. Asap is based on Ancha (Pablo Cosgaya, Hector Gatti). It is designed by Pablo Cosgaya and Omnibus-Type Team, with the collaboration of Andr\u00e9s Torresi. To contribute, see github.com/Omnibus-Type/Asap.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Asap Condensed": { + "name": "Asap Condensed", + "designer": [ + "Omnibus-Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Asap Condensed is the condensed version of the Asap family. Its a contemporary sans-serif family with subtle rounded corners. Designed by Pablo Cosgaya and Nicol\u00e1s Silva, Asap (\"as soon as possible\") has 8 styles: Regular, Medium, Semibold, Bold and its italics. This family, specially developed for screen and desktop use, offers a standarised character width on all styles, which means lines of text remain the same length. This useful feature allows users to change type styles on-the-go without reflowing a text body. Asap is based on Ancha (designed by Pablo Cosgaya and Hector Gatti), and has been developed with the collaboration of Andr\u00e9s Torresi. To contribute, see github.com/Omnibus-Type/AsapCondensed.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Asar": { + "name": "Asar", + "designer": [ + "Sorkin Type" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Asar is an original Devanagari and Latin typeface that is based on an expanding brush stroke following a heart line. The design is meant to work well with long texts while maintaining a certain charm at large sizes. Asar is partially derived from Pria Ravichadran's Palanquin, starting by interpreting that design's overall proportions and heart lines and glyph set and OpenType features. The design arrives at its own identity by adjusting for the density of certain brush strokes, that dictate wider spacing and new forms. The brush used is the Expand Path feature of Fontlab Studio 5, using a width of 93, an angle of -55, and a roundness of 35. In general the letters are designed so as to not require further adjustment, but where this is not satisfying then manual adjustments are made. This project is led by Sorkin Type, an international type foundry based in Boston. To contribute, see github.com/EbenSorkin/Asar", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Asset": { + "name": "Asset", + "designer": [ + "Riccardo De Franceschi", + "Eben Sorkin" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic-ext", + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Asset was inspired by the engraved letters found on United States dollar bills. Asset belongs to the \"fat face\" category because it is so bold or heavy. It is also a high contrast design and very extended or wide. Although it is legible at medium sizes it will shine most when used large where both its restraint and passion can be seen. This font was made specifically to be used on the web, but will work well in print. To contribute, see github.com/SorkinType/Asset.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Assistant": { + "name": "Assistant", + "designer": [ + "Adobe Systems Inc.", + "Ben Nathan" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "hebrew", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Assistant is a Hebrew and Latin type family, with a contemporary sans serif Hebrew design. The family contains 6 upright styles, from ExtraLight to Black. Hebrew type family was designed by Ben Nathan, to complement the Latin Source Sans Pro that was designed by Paul Hunt at Adobe Type. The Assistant project is led by Ben Nathan, a type designer based in Tel Aviv, Israel. To contribute, see github.com/hafontia/Assistant", + "primary_script": "Hebr", + "article": null, + "minisite_url": null + }, + "Asta Sans": { + "name": "Asta Sans", + "designer": [ + "42dot" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "korean", + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Kore", + "article": "Asta Sans is a modern, highly adaptable typeface designed for seamless use across a wide spectrum of applications. Taking inspiration from the asterisk (ASCII code 42, *), a symbol of universality and openness, Asta Sans embodies clarity, neutrality, and inclusiveness. With its harmonious balance of straight lines that represent cutting-edge technology and gentle curves that exude user-friendliness, Asta Sans reflects the perfect synergy between precision and approachability. The square-like interior shapes bring a sense of structure and organization, aligning seamlessly with the brand\u2019s emphasis on clarity and functionality. This typeface is engineered for exceptional legibility across various contexts, whether in lengthy passages or concise text. The smooth flow of its lines ensures readability in diverse environments, making it an ideal choice for digital interfaces, print media, and beyond. Learn more about the Asta Sans project: github.com/42dot/Asta-Sans", + "minisite_url": null + }, + "Astloch": { + "name": "Astloch", + "designer": [ + "Dan Rhatigan" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Astloch is a set of monolinear display faces \u2014 one delicate, one sturdy \u2014 based on the mix of sharp angles and florid curves found in fraktur lettering.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Asul": { + "name": "Asul", + "designer": [ + "Mariela Monsalve" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Asul can be described as a baroque humanist typface; it has semi-serifs and it is a type revival project developed for editorial use. It is based on a typeface found in some Argentinian books and magazines from the early 20th century.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Athiti": { + "name": "Athiti", + "designer": [ + "Cadson Demak" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "thai", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Athiti is a Thai word for the Sun, and it is an informal sans Latin and loopless Thai typeface. The friendly personality is based on humanist calligraphy, and has an organic look and feel while preserving the traditional construction of Roman type. It all started with a desire to learn more about the origin of strokes in human handwriting. It is designed to reflect a trace of writing tools and convey its inspiration. The family consists of 6 weights that can be used in headlines or body text. The outer curves contrast with the angled inner counter shapes, which distributes feelings of strength and softness at the same time. Athiti can be used with a mixture of formal and informal content, for example in educational work. A similarity between some glyphs such as \u0e01 \u0e16 \u0e20 \u0e24 \u0e26, \u0e0e \u0e0f, \u0e1a \u0e1b, or \u0e02 \u0e0a is something to take into consideration because it might lead to confusion when typesetting very short texts. A specific approach has been taken for dealing with thick and thin strokes in the Thai design. Other type designers may consider this font as an example when developing new fonts. Informal loopless Thai typefaces have slightly simplified details, as compared to the formal looped style, and this allows type designers to extend loopless families to very black weights. Sizes and positions of vowels and tone marks need to be managed carefully because they are all relevant to readability, legibility, and overall texture. Also, in this case, ink trapping is required when connecting two specific strokes of each glyph, and it has to be done carefully, as it has been in Athiti. The Athiti project is led by Cadson Demak, a type foundry in Thailand. To contribute, see github.com/cadsondemak/athiti", + "primary_script": "Thai", + "article": null, + "minisite_url": null + }, + "Atkinson Hyperlegible": { + "name": "Atkinson Hyperlegible", + "designer": [ + "Braille Institute", + "Applied Design Works", + "Elliott Scott", + "Megan Eiswerth", + "Linus Boman", + "Theodore Petrosky" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Atkinson Hyperlegible, named after the founder of the Braille Institute, has been developed specifically to increase legibility for readers with low vision, and to improve comprehension. Having a traditional grotesque sans-serif at its core, it departs from tradition to incorporate unambiguous, distinctive elements\u2014and at times, unexpected forms\u2014always with the goal of increasing character recognition and ultimately improve reading. To contribute, see github.com/googlefonts/atkinson-hyperlegible. From Rebranding to Readability with Atkinson Hyperlegible Distinct and modern, the Atkinson Hyperlegible typeface aims to deliver both legibility and readability According to the World Health Organization (WHO), at least 2.2 billion people have a vision impairment. Major financial burdens can occur when people can\u2019t read fluently or work to their full potential. For example, the WHO estimates that \u201closses associated with vision impairment from uncorrected myopia and presbyopia alone were estimated to be US$ 244 billion and US$ 25.4 billion, respectively.\u201d Typeface design can help. When Braille Institute hired Applied Design Works to create a new brand identity and branding strategy to coincide with their 2019 centennial anniversary, the firm looked for a beautiful and functional font specifically designed for improved legibility and readability. Brad Scott and Elliott Scott of Applied Design Works were concerned about typefaces that look a little like old ransom notes, where each letter and number were dramatically different from each other. They wondered if, despite designers\u2019 intentions, these typefaces could actually be more difficult to read for some people. They decided that no existing typeface met their legibility, readability, and branding goals. So they endeavored to create a new typeface called Atkinson Hyperlegible, named after the organization\u2019s founder J. Robert Atkinson. The work would go on to be recognized with a 2019 Fast Company \u2018Innovation by Design\u2019 Award. Atkinson Hyperlegible uses circular shapes to reference Braille dots. To learn more, visit From Rebranding to Readability with Atkinson Hyperlegible.", + "minisite_url": null + }, + "Atkinson Hyperlegible Mono": { + "name": "Atkinson Hyperlegible Mono", + "designer": [ + "Braille Institute", + "Applied Design Works", + "Elliott Scott", + "Megan Eiswerth", + "Letters From Sweden" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Atkinson Hyperlegible Mono, a monospace version of Atkinson Hyperlegible, offers new opportunities for developers with low vision. Atkinson Hyperlegible Mono includes new weights, refined curves, added symbols, and additional language support. Named after the founder of the Braille Institute, Atkinson Hyperlegible Mono has been developed specifically to increase legibility for readers with low vision, and to improve reading comprehension. Having a traditional grotesque sans-serif at its core, it departs from tradition to incorporate unambiguous, distinctive elements\u2014and at times, unexpected forms\u2014always with the goal of increasing character recognition and ultimately improving reading. To contribute, see github.com/googlefonts/atkinson-hyperlegible-next-mono. From Rebranding to Readability with Atkinson Hyperlegible Distinct and modern, the Atkinson Hyperlegible typeface aims to deliver both legibility and readability According to the World Health Organization (WHO), at least 2.2 billion people have a vision impairment. Major financial burdens can occur when people can\u2019t read fluently or work to their full potential. For example, the WHO estimates that \u201closses associated with vision impairment from uncorrected myopia and presbyopia alone were estimated to be US$ 244 billion and US$ 25.4 billion, respectively.\u201d Typeface design can help. When Braille Institute hired Applied Design Works to create a new brand identity and branding strategy to coincide with their 2019 centennial anniversary, the firm looked for a beautiful and functional font specifically designed for improved legibility and readability. Brad Scott and Elliott Scott of Applied Design Works were concerned about typefaces that look a little like old ransom notes, where each letter and number were dramatically different from each other. They wondered if, despite designers\u2019 intentions, these typefaces could actually be more difficult to read for some people. They decided that no existing typeface met their legibility, readability, and branding goals. So they endeavored to create a new typeface called Atkinson Hyperlegible, named after the organization\u2019s founder J. Robert Atkinson. The work would go on to be recognized with a 2019 Fast Company \u2018Innovation by Design\u2019 Award.", + "minisite_url": null + }, + "Atkinson Hyperlegible Next": { + "name": "Atkinson Hyperlegible Next", + "designer": [ + "Braille Institute", + "Applied Design Works", + "Elliott Scott", + "Megan Eiswerth", + "Letters From Sweden" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Atkinson Hyperlegible Next, a refined version of Atkinson Hyperlegible, improves on the original in every way. It features new weights, improved kerning, refined curves, added symbols, and additional language support. Named after the founder of the Braille Institute, Atkinson Hyperlegible Next has been developed specifically to increase legibility for readers with low vision, and to improve reading comprehension. Having a traditional grotesque sans-serif at its core, it departs from tradition to incorporate unambiguous, distinctive elements\u2014and at times, unexpected forms\u2014always with the goal of increasing character recognition and ultimately improving reading. To contribute, see github.com/googlefonts/atkinson-hyperlegible-next. From Rebranding to Readability with Atkinson Hyperlegible Distinct and modern, the Atkinson Hyperlegible typeface aims to deliver both legibility and readability According to the World Health Organization (WHO), at least 2.2 billion people have a vision impairment. Major financial burdens can occur when people can\u2019t read fluently or work to their full potential. For example, the WHO estimates that \u201closses associated with vision impairment from uncorrected myopia and presbyopia alone were estimated to be US$ 244 billion and US$ 25.4 billion, respectively.\u201d Typeface design can help. When Braille Institute hired Applied Design Works to create a new brand identity and branding strategy to coincide with their 2019 centennial anniversary, the firm looked for a beautiful and functional font specifically designed for improved legibility and readability. Brad Scott and Elliott Scott of Applied Design Works were concerned about typefaces that look a little like old ransom notes, where each letter and number were dramatically different from each other. They wondered if, despite designers\u2019 intentions, these typefaces could actually be more difficult to read for some people. They decided that no existing typeface met their legibility, readability, and branding goals. So they endeavored to create a new typeface called Atkinson Hyperlegible, named after the organization\u2019s founder J. Robert Atkinson. The work would go on to be recognized with a 2019 Fast Company \u2018Innovation by Design\u2019 Award.", + "minisite_url": null + }, + "Atma": { + "name": "Atma", + "designer": [ + "Black Foundry" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "bengali", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Atma is an original Bengali and Latin typeface family with a fun and informal feeling. The Bengali and Latin were developed in parallel as a studio collaboration by Jeremie Hornus, Gregori Vincens, Yoann Minet, and Roxane Gataud. The Atma project is led by Black Foundry, a type design foundry based in Paris, France. To contribute, see github.com/TypefactoryNet/Atma", + "primary_script": "Beng", + "article": null, + "minisite_url": null + }, + "Atomic Age": { + "name": "Atomic Age", + "designer": [ + "James Grieshaber" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Foundry: Sorkin Type Co Atomic Age was inspired by 1950s era connected scripts seen on nameplates of American cars. Atomic Age looses the connection but keeps the spirit of these letters to make a highly legible somewhat mechanical looking font. Atomic Age is usable from very small sizes all the way up to large display sizes. To contribute to the project, visit github.com/EbenSorkin/Atomic-Age Updated: January 2016 to Version 1.007, to correct encoding, improve hinting, and tightened inter-letter spacing (so the vertical and horizontal metrics have changed, causing some reflow.)", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Aubrey": { + "name": "Aubrey", + "designer": [ + "Cyreal" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Aubrey is a playful condensed decorative font with an art nouveau essence. Horizontal elements are unexpectedly cut and swapped with sloped curves creating off-beats in the overall rhythm. Spurs are added to twist and stress the movement. Aubrey can be a good choice for designing holiday decorations and greetings. Works best in medium and large sizes. Designed by Gayaneh Bagdasaryan. To contribute, see github.com/cyrealtype/Aubrey.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Audiowide": { + "name": "Audiowide", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Audiowide is a sans serif, technology styled, typeface composed of soft corner tubular forms. With vague nods to letter styles like that of Handel Gothic and the Converse logo, Audiowide veers off in a direction of its own for a slightly more techno-futuristic and yet cleanly readable typestyle. Designed by Brian J. Bonislawsky for Astigmatic (AOETI). Audiowide is a Unicode typeface family that supports languages that use the Latin script and its variants, and could be expanded to support other scripts. To contribute to the project contact Brian J. Bonislawsky.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Autour One": { + "name": "Autour One", + "designer": [ + "Sorkin Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Autour One is inspired by handwritten letters on Ludwig Hohlwein posters. It has been changed and adapted from the originals in a variety of ways so that it will work in paragraphs of text and on the web. Autour One can be used a in a wide range of sizes. Autour means 'round' in French.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Average": { + "name": "Average", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Average is a typeface that emerged from a long process of research into text typeface families from various different historical periods, both classical and contemporary. The idea was to design an average font for use in text, through a lengthy process of shape measurement and data gathering in spreadsheets. This resulted in a series of parameters which could be used by a designer to determine the proportions, color, spacing and other attributes of a typeface. Once the parameters were defined and best values were selected, the forms for the Average Regular typeface were drawn. In september 2022, Average has been updated to provide a larger glyphset and therefore greater language support. A sans sister family, Average Sans, is also available. To contribute to the project contact To contribute, see github.com/etunni/average.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Average Sans": { + "name": "Average Sans", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Average Sans has the color, structure and proportions of its serif sister family, Average, which it complements harmoniously. The neutrality of the forms create a nice texture, both for texts and short headlines. Use it for online magazines, academic texts and blogs. To contribute to the project contact Eduardo Tunni.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Averia Gruesa Libre": { + "name": "Averia Gruesa Libre", + "designer": [ + "Dan Sayers" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Aver\u00eda means \"breakdown\" or \"mechanical damage\" in Spanish - and is related to the root of the English word \"average.\" Averia Libre is based on the average of 725 fonts in the Google Fonts collection, and both glyph outlines and metrics are the result of the averaging process described at iotic.com/averia Averia Gruesa Libre exists in a Regular style, and there are also the Averia Libre, Averia Sans Libre and Averia Serif Libre families with 6 styles.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Averia Libre": { + "name": "Averia Libre", + "designer": [ + "Dan Sayers" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Aver\u00eda means \"breakdown\" or \"mechanical damage\" in Spanish - and is related to the root of the English word \"average.\" Averia Libre is based on the average of 725 fonts in the Google Fonts collection, and both glyph outlines and metrics are the result of the averaging process described at iotic.com/averia Averia Libre exists in 6 styles, and there are also the Averia Serif Libre, Averia Sans Libre and Averia Gruesa Libre families.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Averia Sans Libre": { + "name": "Averia Sans Libre", + "designer": [ + "Dan Sayers" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Aver\u00eda (\"breakdown\" or \"mechanical damage\" in Spanish - related to the root of the English word \"average\") is a Unicode typeface superfamily created from the average of all fonts on the computer of the creator, Dan Sayers. The process is described at iotic.com/averia. All metrics are the result of an averaging process. The included glyphs are those that existed in a majority of the source fonts. The Averia Libre families of fonts are based on the average of all 725 fonts in the Google Web Fonts project, released under the SIL Open Font License, as of 9 Nov 2011. Averia Sans Libre exists in 6 styles, and there are also the Averia Libre, Averia Serif Libre and Averia Gruesa Libre families. For more information please visit the Aver\u00eda page on the iotic website or send an email to Dan Sayers.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Averia Serif Libre": { + "name": "Averia Serif Libre", + "designer": [ + "Dan Sayers" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Aver\u00eda (\"breakdown\" or \"mechanical damage\" in Spanish - related to the root of the English word \"average\") is a Unicode typeface superfamily created from the average of all fonts on the computer of the creator, Dan Sayers. The process is described at iotic.com/averia. All metrics are the result of an averaging process. The included glyphs are those that existed in a majority of the source fonts. The Averia Libre families of fonts are based on the average of all 725 fonts in the Google Web Fonts project, released under the SIL Open Font License, as of 9 Nov 2011. Averia Serif Libre exists in 6 styles, and there are also the Averia Libre, Averia Sans Libre and Averia Gruesa Libre families. For more information please visit the Aver\u00eda page on the iotic website or send an email to Dan Sayers.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Azeret Mono": { + "name": "Azeret Mono", + "designer": [ + "Displaay", + "Martin V\u00e1cha" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "monospace" + ], + "description": "Azeret Mono is a monospaced typeface with a mono-linear character. The story of the typeface began with a draft that was driven by an exploration of OCR fonts, past and futuristic operating systems, various interfaces and the nineties. The final result is more based on a desire to achieve an appearance of the typeface that could serve in operating systems. Thus the overall character is a conjunction of everything described with details that evoke a specific personality. Azeret is designed by Martin V\u00e1cha and Daniel Quisek. To contribute, see github.com/displaay/Azeret.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "B612": { + "name": "B612", + "designer": [ + "PolarSys", + "Nicolas Chauveau", + "Thomas Paillot", + "Jonathan Favre-Lamarine", + "Jean-Luc Vinot" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "B612 is an highly legible open source font family, designed and tested to be used on aircraft cockpit screens. Its design makes it particularly suitable for degraded contexts (ensuring legibility and readability of data), with a positive effect on reducing visual fatigue and cognitive load. Particular attention was given to the uniformity of the typeface, whether being used for isolated terms, reading information on a map, mixing capital letters and numbers, waypoint lists, long or abbreviated texts, specific terms and data in the aeronautical field. In 2010, Airbus initiated a research collaboration with ENAC and Universit\u00e9 de Toulouse III on a prospective study to define and validate an \u201cAeronautical Font\u201d: the challenge was to improve the display of textual data information on all cockpit screens, concerning more specifically legibility, readability and reading comfort, and to enhance the overall cockpit consistency. The typographical research was conducted through iterations from experimentation to design. Two years later, Airbus came to Intactile DESIGN in order to design and develop the eight variants of the font. Baptized B612 in reference to the imaginary asteroid of the aviator Antoine de Saint\u2011Exup\u00e9ry, the font has been optimised following a calligraphic approach, in order to preserve the readable qualities of humanist typefaces like r\u00e9ales and incises, but also the technical and functional image of sans serif or bitmap. B612 is a two-weight font family including roman and italic styles but also a monospaced variation, B612 Mono. It was designed in 2012 by Nicolas Chauveau, Thomas Paillot and Jonathan Favre-Lamarine from the design agency Intactile DESIGN, and Jean-Luc Vinot from ENAC (French National University of Civil Aviation) Interactive Informatics Team for Laurent Spaggiari from the Airbus Human Factors department \u2014 prior research by Jean\u2011Luc Vinot (DGAC/DSNA) and Sylvie Ath\u00e8nes (Universit\u00e9 de Toulouse III). In 2017, Airbus agreed to publish the font with an open source license (Eclipse Public License) within the Polarsys project, an industry-oriented project hosted by the Eclipse foundation. B612 project was awarded the Observeur du Design: Industry Star in 2018. Updated 2019-03: Updated to latest upstream release. The B612 project is led by Polarsys, an Eclipse Working Group created by large industry players and by tools providers to collaborate on the creation and support of Open Source tools for the development of embedded systems. To contribute, see github.com/polarsys/b612", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "B612 Mono": { + "name": "B612 Mono", + "designer": [ + "Nicolas Chauveau", + "Thomas Paillot", + "Jonathan Favre-Lamarine", + "Jean-Luc Vinot" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "monospace" + ], + "description": "B612 is an highly legible open source font family, designed and tested to be used on aircraft cockpit screens. Its design makes it particularly suitable for degraded contexts (ensuring legibility and readability of data), with a positive effect on reducing visual fatigue and cognitive load. Particular attention was given to the uniformity of the typeface, whether being used for isolated terms, reading information on a map, mixing capital letters and numbers, waypoint lists, long or abbreviated texts, specific terms and data in the aeronautical field. In 2010, Airbus initiated a research collaboration with ENAC and Universit\u00e9 de Toulouse III on a prospective study to define and validate an \u201cAeronautical Font\u201d: the challenge was to improve the display of textual data information on all cockpit screens, concerning more specifically legibility, readability and reading comfort, and to enhance the overall cockpit consistency. The typographical research was conducted through iterations from experimentation to design. Two years later, Airbus came to Intactile DESIGN in order to design and develop the eight variants of the font. Baptized B612 in reference to the imaginary asteroid of the aviator Antoine de Saint\u2011Exup\u00e9ry, the font has been optimised following a calligraphic approach, in order to preserve the readable qualities of humanist typefaces like r\u00e9ales and incises, but also the technical and functional image of sans serif or bitmap. B612 is a two-weight font family including roman and italic styles but also a monospaced variation, B612 Mono. It was designed in 2012 by Nicolas Chauveau, Thomas Paillot and Jonathan Favre-Lamarine from the design agency Intactile DESIGN, and Jean-Luc Vinot from ENAC (French National University of Civil Aviation) Interactive Informatics Team for Laurent Spaggiari from the Airbus Human Factors department \u2014 prior research by Jean\u2011Luc Vinot (DGAC/DSNA) and Sylvie Ath\u00e8nes (Universit\u00e9 de Toulouse III). In 2017, Airbus agreed to publish the font with an open source license (Eclipse Public License) within the Polarsys project, an industry-oriented project hosted by the Eclipse foundation. B612 project was awarded the Observeur du Design: Industry Star in 2018. Updated 2019-03: Updated to latest upstream release. The B612 project is led by Polarsys, an Eclipse Working Group created by large industry players and by tools providers to collaborate on the creation and support of Open Source tools for the development of embedded systems. To contribute, see github.com/polarsys/b612", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "BIZ UDGothic": { + "name": "BIZ UDGothic", + "designer": [ + "Type Bank Co.", + "Morisawa Inc." + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "greek-ext", + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Jpan", + "article": "\u30e2\u30ea\u30b5\u30ef\u306eBIZ UD\u30b4\u30b7\u30c3\u30af\u306f\u3001\u6559\u80b2\u3084\u30d3\u30b8\u30cd\u30b9\u6587\u66f8\u4f5c\u6210\u306a\u3069\u306b\u6d3b\u7528\u3067\u304d\u308b\u3088\u3046\u3001\u3088\u308a\u591a\u304f\u306e\u65b9\u306b\u3068\u3063\u3066\u8aad\u307f\u3084\u3059\u304f\u4f7f\u3044\u3084\u3059\u3044\u3088\u3046\u306b\u8a2d\u8a08\u3055\u308c\u305f\u30e6\u30cb\u30d0\u30fc\u30b5\u30eb\u30c7\u30b6\u30a4\u30f3\u30d5\u30a9\u30f3\u30c8\u3067\u3059\u3002\u8aad\u307f\u3084\u3059\u3055\u3068\u30c7\u30b6\u30a4\u30f3\u30d0\u30e9\u30f3\u30b9\u306b\u512a\u308c\u305f\u3001\u3059\u3063\u304d\u308a\u3068\u3057\u305fUD\u30b4\u30b7\u30c3\u30af\u66f8\u4f53\u3067\u3001\u6f22\u5b57\u306e\u7701\u7565\u3067\u304d\u308b\u30cf\u30cd\u3084\u30b2\u30bf\u3092\u53d6\u308b\u3053\u3068\u3067\u3001\u6587\u5b57\u3092\u30af\u30ea\u30a2\u306b\u898b\u305b\u3066\u3044\u307e\u3059\u3002\u5927\u304d\u3081\u306a\u5b57\u9762\u3067\u3082\u6587\u5b57\u3068\u3057\u3066\u306e\u304b\u305f\u3061\u306e\u30d0\u30e9\u30f3\u30b9\u3092\u640d\u306d\u306a\u3044\u3088\u3046\u3001\u30d5\u30c8\u30b3\u30ed\u306a\u3069\u306e\u7a7a\u9593\u3092\u7d30\u304b\u304f\u8abf\u6574\u3057\u3066\u3044\u307e\u3059\u3002\u304b\u306a\u306f\u6f22\u5b57\u306b\u6bd4\u3079\u3066\u3084\u3084\u5c0f\u3076\u308a\u306b\u4f5c\u3089\u308c\u3066\u304a\u308a\u3001\u7d30\u3044\u30a6\u30a8\u30a4\u30c8\u3067\u9577\u6587\u3092\u7d44\u3080\u3068\u307b\u3069\u3088\u3044\u6291\u63da\u304c\u751f\u307e\u308c\u307e\u3059\u3002 BIZ UD Gothic is a universal design typeface designed to be easy to read and ideal for education and business documentation. It is a highly legible and well-balanced design sans serif. In order to make the kanji more clear and identifiable, the letterforms are simplified by omitting hane (hook) and geta (the vertical lines extending beyond horizontal strokes at the bottom of kanji). Counters and other spaces are finely adjusted so that the overall balance of the type is not impaired even with the use in relatively large size. The kana are made slightly smaller than the kanji to give a good rhythm and flow when setting long texts in the lighter weights. UDGothic includes full-width kana. UDPGothic includes proportional-width kana. To contribute to the project, visit github.com/googlefonts/morisawa-biz-ud-gothic Morisawa BIZ Universal Design (UD) Japanese fonts added to Google Fonts and Google Workspace As part of our larger effort to make great type accessible in more languages, Google Fonts is pleased to announce that the Japanese type foundry Morisawa has made 2 BIZ Universal Design (UD) font families available on Google Fonts, under the SIL Open Font License. These Gothic and Mincho designs, available in regular and bold weights and proportional and full width styles, are now also available in Google Workspace. \u201cHaving these fonts available in Japan allows Google Education to align with the most widely used fonts in education publishing in Japan,\u201d said Stuart Miller, Head of Marketing for Google Education in Asia Pacific (APAC). \u201cThis makes it easier for partners to collaborate with Google Education. It also ensures a more consistent, inclusive, delightful experience for the millions of teachers and students that use Google tools.\u201d Drawing on extensive end-user evaluation, the BIZ UD typefaces were developed using the principles of universal design (UD) to ensure legibility (the ease of differentiating individual characters) and readability (the ease of reading text overall). BIZ UD fonts are especially suited for conveying text accurately\u2014for example, in educational settings, corporate communication environments, and other places that use ICT. To learn more, read Morisawa BIZ Universal Design (UD) Japanese fonts added to Google Fonts and Google Workspace.", + "minisite_url": null + }, + "BIZ UDMincho": { + "name": "BIZ UDMincho", + "designer": [ + "Type Bank Co.", + "Morisawa Inc." + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "greek-ext", + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Jpan", + "article": "\u30e2\u30ea\u30b5\u30ef\u306eBIZ UD\u660e\u671d\u306f\u3001\u6559\u80b2\u3084\u30d3\u30b8\u30cd\u30b9\u6587\u66f8\u4f5c\u6210\u306a\u3069\u306b\u6d3b\u7528\u3067\u304d\u308b\u3088\u3046\u3001\u3088\u308a\u591a\u304f\u306e\u65b9\u306b\u3068\u3063\u3066\u8aad\u307f\u3084\u3059\u304f\u4f7f\u3044\u3084\u3059\u3044\u3088\u3046\u306b\u8a2d\u8a08\u3055\u308c\u305f\u30e6\u30cb\u30d0\u30fc\u30b5\u30eb\u30c7\u30b6\u30a4\u30f3\u30d5\u30a9\u30f3\u30c8\u3067\u3059\u3002\u683c\u8abf\u9ad8\u3044\u660e\u671d\u4f53\u306e\u4f1d\u7d71\u3092\u4fdd\u3061\u306a\u304c\u3089\u3001\u898b\u3084\u3059\u3055\u3001\u8aad\u307f\u3084\u3059\u3055\u3092\u5b9f\u73fe\u3057\u305f\u66f8\u4f53\u3067\u3059\u3002\u4e00\u822c\u7684\u306a\u660e\u671d\u4f53\u306f\u3001\u6a2a\u7dda\u304c\u7d30\u304f\u30c7\u30b6\u30a4\u30f3\u3055\u308c\u3066\u3044\u308b\u305f\u3081\u3001\u8996\u529b\u304c\u5f31\u3044\u65b9\u3084\u30c7\u30a3\u30b9\u30d7\u30ec\u30a4\u306e\u8868\u793a\u306a\u3069\u3067\u306f\u8aad\u307f\u306b\u304f\u3044\u3053\u3068\u304c\u3042\u308a\u307e\u3059\u3002BIZ UD\u660e\u671d\u306f\u5f93\u6765\u306e\u660e\u671d\u4f53\u3088\u308a\u3082\u6a2a\u7dda\u304c\u592a\u3044\u660e\u671d\u4f53\u3092\u30d9\u30fc\u30b9\u306b\u3057\u3066\u304a\u308a\u3001\u6fc1\u70b9\u3084\u534a\u6fc1\u70b9\u3092\u5927\u304d\u304f\u898b\u3084\u3059\u3044\u30c7\u30b6\u30a4\u30f3\u306b\u5909\u66f4\u3057\u3066\u3044\u308b\u307b\u304b\u3001\u5b57\u9762\u3084\u3075\u3068\u3053\u308d\u3092\u5927\u304d\u304f\u3068\u308a\u306a\u304c\u3089\u3082\u6587\u5b57\u306e\u30d5\u30a9\u30eb\u30e0\u3092\u5d29\u3055\u306a\u3044\u30c7\u30b6\u30a4\u30f3\u306b\u8abf\u6574\u3057\u3066\u3044\u307e\u3059\u3002 BIZ UD Mincho is a universal design typeface designed to be easy to read and ideal for education and business documentation. It combines high quality in readability and legibility while carrying on the stately Japanese Mincho type tradition. BIZ UD Mincho bases its design on one of the typefaces from the Morisawa font library, which has thicker horizontal lines than the traditional Mincho type style. Because most Mincho types have thin horizontal strokes, the style can be difficult to read on some displays or signs and for people with low vision. For the universal design version, dakuten (\u309b) and handakuten (\u309c) voicing marks are designed to be more legible, and the letterforms are adjusted to maintain their balance while having a larger face and wider counters. UD Mincho includes full-width kana. UDPMincho includes proportional-wdith kana. To contribute to the project, visit github.com/googlefonts/morisawa-biz-ud-mincho Morisawa BIZ Universal Design (UD) Japanese fonts added to Google Fonts and Google Workspace As part of our larger effort to make great type accessible in more languages, Google Fonts is pleased to announce that the Japanese type foundry Morisawa has made 2 BIZ Universal Design (UD) font families available on Google Fonts, under the SIL Open Font License. These Gothic and Mincho designs, available in regular and bold weights and proportional and full width styles, are now also available in Google Workspace. \u201cHaving these fonts available in Japan allows Google Education to align with the most widely used fonts in education publishing in Japan,\u201d said Stuart Miller, Head of Marketing for Google Education in Asia Pacific (APAC). \u201cThis makes it easier for partners to collaborate with Google Education. It also ensures a more consistent, inclusive, delightful experience for the millions of teachers and students that use Google tools.\u201d Drawing on extensive end-user evaluation, the BIZ UD typefaces were developed using the principles of universal design (UD) to ensure legibility (the ease of differentiating individual characters) and readability (the ease of reading text overall). BIZ UD fonts are especially suited for conveying text accurately\u2014for example, in educational settings, corporate communication environments, and other places that use ICT. To learn more, read Morisawa BIZ Universal Design (UD) Japanese fonts added to Google Fonts and Google Workspace.", + "minisite_url": null + }, + "BIZ UDPGothic": { + "name": "BIZ UDPGothic", + "designer": [ + "Type Bank Co.", + "Morisawa Inc." + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "greek-ext", + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Jpan", + "article": "\u30e2\u30ea\u30b5\u30ef\u306eBIZ UD\u30b4\u30b7\u30c3\u30af\u306f\u3001\u6559\u80b2\u3084\u30d3\u30b8\u30cd\u30b9\u6587\u66f8\u4f5c\u6210\u306a\u3069\u306b\u6d3b\u7528\u3067\u304d\u308b\u3088\u3046\u3001\u3088\u308a\u591a\u304f\u306e\u65b9\u306b\u3068\u3063\u3066\u8aad\u307f\u3084\u3059\u304f\u4f7f\u3044\u3084\u3059\u3044\u3088\u3046\u306b\u8a2d\u8a08\u3055\u308c\u305f\u30e6\u30cb\u30d0\u30fc\u30b5\u30eb\u30c7\u30b6\u30a4\u30f3\u30d5\u30a9\u30f3\u30c8\u3067\u3059\u3002\u8aad\u307f\u3084\u3059\u3055\u3068\u30c7\u30b6\u30a4\u30f3\u30d0\u30e9\u30f3\u30b9\u306b\u512a\u308c\u305f\u3001\u3059\u3063\u304d\u308a\u3068\u3057\u305fUD\u30b4\u30b7\u30c3\u30af\u66f8\u4f53\u3067\u3001\u6f22\u5b57\u306e\u7701\u7565\u3067\u304d\u308b\u30cf\u30cd\u3084\u30b2\u30bf\u3092\u53d6\u308b\u3053\u3068\u3067\u3001\u6587\u5b57\u3092\u30af\u30ea\u30a2\u306b\u898b\u305b\u3066\u3044\u307e\u3059\u3002\u5927\u304d\u3081\u306a\u5b57\u9762\u3067\u3082\u6587\u5b57\u3068\u3057\u3066\u306e\u304b\u305f\u3061\u306e\u30d0\u30e9\u30f3\u30b9\u3092\u640d\u306d\u306a\u3044\u3088\u3046\u3001\u30d5\u30c8\u30b3\u30ed\u306a\u3069\u306e\u7a7a\u9593\u3092\u7d30\u304b\u304f\u8abf\u6574\u3057\u3066\u3044\u307e\u3059\u3002\u304b\u306a\u306f\u6f22\u5b57\u306b\u6bd4\u3079\u3066\u3084\u3084\u5c0f\u3076\u308a\u306b\u4f5c\u3089\u308c\u3066\u304a\u308a\u3001\u7d30\u3044\u30a6\u30a8\u30a4\u30c8\u3067\u9577\u6587\u3092\u7d44\u3080\u3068\u307b\u3069\u3088\u3044\u6291\u63da\u304c\u751f\u307e\u308c\u307e\u3059\u3002 BIZ UD Gothic is a universal design typeface designed to be easy to read and ideal for education and business documentation. It is a highly legible and well-balanced design sans serif. In order to make the kanji more clear and identifiable, the letterforms are simplified by omitting hane (hook) and geta (the vertical lines extending beyond horizontal strokes at the bottom of kanji). Counters and other spaces are finely adjusted so that the overall balance of the type is not impaired even with the use in relatively large size. The kana are made slightly smaller than the kanji to give a good rhythm and flow when setting long texts in the lighter weights. UDGothic includes full-width kana. UDPGothic includes proportional-width kana. To contribute to the project, visit github.com/googlefonts/morisawa-biz-ud-gothic Morisawa BIZ Universal Design (UD) Japanese fonts added to Google Fonts and Google Workspace As part of our larger effort to make great type accessible in more languages, Google Fonts is pleased to announce that the Japanese type foundry Morisawa has made 2 BIZ Universal Design (UD) font families available on Google Fonts, under the SIL Open Font License. These Gothic and Mincho designs, available in regular and bold weights and proportional and full width styles, are now also available in Google Workspace. \u201cHaving these fonts available in Japan allows Google Education to align with the most widely used fonts in education publishing in Japan,\u201d said Stuart Miller, Head of Marketing for Google Education in Asia Pacific (APAC). \u201cThis makes it easier for partners to collaborate with Google Education. It also ensures a more consistent, inclusive, delightful experience for the millions of teachers and students that use Google tools.\u201d Drawing on extensive end-user evaluation, the BIZ UD typefaces were developed using the principles of universal design (UD) to ensure legibility (the ease of differentiating individual characters) and readability (the ease of reading text overall). BIZ UD fonts are especially suited for conveying text accurately\u2014for example, in educational settings, corporate communication environments, and other places that use ICT. To learn more, read Morisawa BIZ Universal Design (UD) Japanese fonts added to Google Fonts and Google Workspace.", + "minisite_url": null + }, + "BIZ UDPMincho": { + "name": "BIZ UDPMincho", + "designer": [ + "Type Bank Co.", + "Morisawa Inc." + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "greek-ext", + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Jpan", + "article": "\u30e2\u30ea\u30b5\u30ef\u306eBIZ UD\u660e\u671d\u306f\u3001\u6559\u80b2\u3084\u30d3\u30b8\u30cd\u30b9\u6587\u66f8\u4f5c\u6210\u306a\u3069\u306b\u6d3b\u7528\u3067\u304d\u308b\u3088\u3046\u3001\u3088\u308a\u591a\u304f\u306e\u65b9\u306b\u3068\u3063\u3066\u8aad\u307f\u3084\u3059\u304f\u4f7f\u3044\u3084\u3059\u3044\u3088\u3046\u306b\u8a2d\u8a08\u3055\u308c\u305f\u30e6\u30cb\u30d0\u30fc\u30b5\u30eb\u30c7\u30b6\u30a4\u30f3\u30d5\u30a9\u30f3\u30c8\u3067\u3059\u3002\u683c\u8abf\u9ad8\u3044\u660e\u671d\u4f53\u306e\u4f1d\u7d71\u3092\u4fdd\u3061\u306a\u304c\u3089\u3001\u898b\u3084\u3059\u3055\u3001\u8aad\u307f\u3084\u3059\u3055\u3092\u5b9f\u73fe\u3057\u305f\u66f8\u4f53\u3067\u3059\u3002\u4e00\u822c\u7684\u306a\u660e\u671d\u4f53\u306f\u3001\u6a2a\u7dda\u304c\u7d30\u304f\u30c7\u30b6\u30a4\u30f3\u3055\u308c\u3066\u3044\u308b\u305f\u3081\u3001\u8996\u529b\u304c\u5f31\u3044\u65b9\u3084\u30c7\u30a3\u30b9\u30d7\u30ec\u30a4\u306e\u8868\u793a\u306a\u3069\u3067\u306f\u8aad\u307f\u306b\u304f\u3044\u3053\u3068\u304c\u3042\u308a\u307e\u3059\u3002BIZ UD\u660e\u671d\u306f\u5f93\u6765\u306e\u660e\u671d\u4f53\u3088\u308a\u3082\u6a2a\u7dda\u304c\u592a\u3044\u660e\u671d\u4f53\u3092\u30d9\u30fc\u30b9\u306b\u3057\u3066\u304a\u308a\u3001\u6fc1\u70b9\u3084\u534a\u6fc1\u70b9\u3092\u5927\u304d\u304f\u898b\u3084\u3059\u3044\u30c7\u30b6\u30a4\u30f3\u306b\u5909\u66f4\u3057\u3066\u3044\u308b\u307b\u304b\u3001\u5b57\u9762\u3084\u3075\u3068\u3053\u308d\u3092\u5927\u304d\u304f\u3068\u308a\u306a\u304c\u3089\u3082\u6587\u5b57\u306e\u30d5\u30a9\u30eb\u30e0\u3092\u5d29\u3055\u306a\u3044\u30c7\u30b6\u30a4\u30f3\u306b\u8abf\u6574\u3057\u3066\u3044\u307e\u3059\u3002 BIZ UD Mincho is a universal design typeface designed to be easy to read and ideal for education and business documentation. It combines high quality in readability and legibility while carrying on the stately Japanese Mincho type tradition. BIZ UD Mincho bases its design on one of the typefaces from the Morisawa font library, which has thicker horizontal lines than the traditional Mincho type style. Because most Mincho types have thin horizontal strokes, the style can be difficult to read on some displays or signs and for people with low vision. For the universal design version, dakuten (\u309b) and handakuten (\u309c) voicing marks are designed to be more legible, and the letterforms are adjusted to maintain their balance while having a larger face and wider counters. UDMincho includes full-width kana. UDPMincho includes proportional-width kana. To contribute to the project, visit github.com/googlefonts/morisawa-biz-ud-mincho Morisawa BIZ Universal Design (UD) Japanese fonts added to Google Fonts and Google Workspace As part of our larger effort to make great type accessible in more languages, Google Fonts is pleased to announce that the Japanese type foundry Morisawa has made 2 BIZ Universal Design (UD) font families available on Google Fonts, under the SIL Open Font License. These Gothic and Mincho designs, available in regular and bold weights and proportional and full width styles, are now also available in Google Workspace. \u201cHaving these fonts available in Japan allows Google Education to align with the most widely used fonts in education publishing in Japan,\u201d said Stuart Miller, Head of Marketing for Google Education in Asia Pacific (APAC). \u201cThis makes it easier for partners to collaborate with Google Education. It also ensures a more consistent, inclusive, delightful experience for the millions of teachers and students that use Google tools.\u201d Drawing on extensive end-user evaluation, the BIZ UD typefaces were developed using the principles of universal design (UD) to ensure legibility (the ease of differentiating individual characters) and readability (the ease of reading text overall). BIZ UD fonts are especially suited for conveying text accurately\u2014for example, in educational settings, corporate communication environments, and other places that use ICT. To learn more, read Morisawa BIZ Universal Design (UD) Japanese fonts added to Google Fonts and Google Workspace.", + "minisite_url": null + }, + "Babylonica": { + "name": "Babylonica", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Babylonica is a dry brush style with hand written calligraphic brush characteristics. It's italicized approach is sometimes interrupted by upright or even back-slanted forms giving it an interrupted stress. This stress gives Babylonica that truly hand lettered appeal. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/babylonica.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Bacasime Antique": { + "name": "Bacasime Antique", + "designer": [ + "The DocRepair Project", + "Claus Eggers S\u00f8rensen" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Bacasime Antique is a DocRepair font, intended to improve compliance with the ISO/IEC 29500 standard by providing fallback for Baskerville Old Face that minimizes text reflow in Office Open XML documents. Bacasime Antique is based on Playfair, which is stylistically a transitional design. To contribute, please visit github.com/docrepair-fonts/bacasime-antique-fonts.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Bad Script": { + "name": "Bad Script", + "designer": [ + "Gaslight" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Bad Script started from a simple six-letter logotype and developed into a separate font, supporting Latin and Cyrillic character sets. It was completely made using a tablet to imitate casual and neat handwriting. Designed to resemble the designer's own handwriting, while making it systematic and smooth. The 2024 update improves kerning and offers better language support. Some bugs have been fixed, and the design has been enhanced. To contribute, see github.com/alexeiva/badscript.", + "primary_script": "Latn", + "article": null, + "minisite_url": null + }, + "Badeen Display": { + "name": "Badeen Display", + "designer": [ + "Hani Alasadi" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "arabic", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Badeen Display isn\u2019t just another typeface\u2014it\u2019s a bold, unapologetic move that challenges the conventions of Arabic typography. Think of it as a bridge between the energy of youth culture and the richness of Arab pop heritage. Badeen Display lives in the space between contrasts, blending thick and thin strokes with a purpose, bringing together soft, rounded forms and sharp, assertive edges. It\u2019s designed to do more than just look good; it\u2019s here to create an impact, to grab attention, and to express a sense of personality that\u2019s both grounded and forward-thinking. This is the font for creators who want to make a statement, who want every letter to have meaning and every word to stand out. Badeen Display is about embodying a vibrant character in a way that\u2019s contemporary, yet unmistakably rooted in culture. It\u2019s a tool to bring your brand to life, to speak with authenticity and clarity, and to capture the spirit of something timeless yet completely new. When you choose Badeen Display, you\u2019re not just choosing a font\u2014you\u2019re making a creative decision to stand out, to resonate, and to inspire. To contribute, see github.com/haniadnansd/Badeen-Display.", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Bagel Fat One": { + "name": "Bagel Fat One", + "designer": [ + "Kyungwon Kim", + "JAMO" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "korean", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Bagel Fat is a very heavy/fat font with rounded details. By these rounded corners, the overall mood is cute and lovely which is inspired by bread, pastries and sweets. Also a large contrast at where the horizontal and the vertical stroke come across makes it unique, not just cute. To contribute, please visit github.com/JAMO-TYPEFACE/BagelFat.", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "Bahiana": { + "name": "Bahiana", + "designer": [ + "Omnibus-Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Bahiana has a rustic, fresh and casual look. Its ideal for composing condensed titles and short texts. The family has OpenType alternatives to make the texture more organic. There are 490 glyphs and diacritics, supporting over 103 Latin languages (including Guarani.) Designed by Daniela Raskovsky and Pablo Cosgaya.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Bahianita": { + "name": "Bahianita", + "designer": [ + "Omnibus-Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Bahianita is an evolution of the Bahiana project, adding lowercase. It has a rustic, fresh and casual appearance, which has been influenced by wood carving. Its proportions are ideal for composing condensed titles and short texts. This To contribute, see github.com/Omnibus-Type/Bahiana/tree/master/Bahianita", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Bai Jamjuree": { + "name": "Bai Jamjuree", + "designer": [ + "Cadson Demak" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "thai", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Bai Jamjuree is a Thai and Latin family which works well for headings and small passages of text. The design was inspired by Eurostyle and other square san serifs.", + "primary_script": "Thai", + "article": null, + "minisite_url": null + }, + "Bakbak One": { + "name": "Bakbak One", + "designer": [ + "Saumya Kishore", + "Sanchit Sawaria" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Bakbak One is a custom brand typeface for All India Bakchod. Owing to its usage, it is a heavyweight display typeface for headings, video titles and posters. It consists of 1 weight and 692 glyphs and borrows from humanist \u2018Johnston\u2019 like arches. Bakbak is loud and present but also neutral enough to render anything from a warning to a mockery. To contribute, please visit github.com/googlefonts/bakbak", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Ballet": { + "name": "Ballet", + "designer": [ + "Omnibus-Type", + "Maximiliano Sproviero" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Ballet is a reinterpretation of the classic Spencerian script style with a few whimsical twists in two different versions: Ballet aligned and crooked, both with Latin GF Plus character set (+630 characters/+800 glyphs). Ballet is designed by Maximiliano Sproviero and developed by Eduardo Tunni. To contribute, see github.com/Omnibus-Type/Ballet", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Baloo 2": { + "name": "Baloo 2", + "designer": [ + "Ek Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "devanagari", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "A perfect blend of pointy paws in a coat of fur, Baloo is an affable display typeface by Ek Type. Available in nine Indian scripts plus Arabic along with a Latin counterpart, the family is Unicode compliant and libre licensed. Baloo 2 is an extension of the earlier Baloo project. The new Baloo 2 includes additional glyphs, engineering improvements, and has been extended to five weights, ranging from the light footed Regular to the affable ExtraBold. The lighter weights retain Baloo\u2019s characteristic bounce, but they do so slightly, infusing life into each word. This allows the new family to freely fraternise with texts of all sizes and temperaments \u2014 be it short bursts or copious reams, demanding headlines or whispering bylines. Carefree yet confident, sprightly yet versatile, the renewed family of Baloo promises to bring warmth to every project. The Baloo 2 project consists of ten font families with unique local names for each of the nine Indic scripts plus Arabic (Baloo Bhaijaan 2). Each family supports one Indic/Arabic script plus Latin, Latin Extended, and Vietnamese. It took a team of committed type designers to rear Baloo and raise it to be the typeface we love. The Gurmukhi is designed by Shuchita Grover; Bangla by Noopur Datye and Sulekha Rajkumar; Odia by Yesha Goshar, Manish Minz, and Shuchita Grover; Gujarati by Noopur Datye and Supriya Tembe; Kannada by Divya Kowshik and Shuchita Grover; Telugu by Maithili Shingre and Omkar Shende; Malayalam by Maithili Shingre and Unnati Kotecha; and Tamil by Aadarsh Rajan. Baloo Devanagari and Latin are collaboratively designed by Ek Type. Font engineering and type design assistance by Girish Dalvi. To contribute to the project, visit github.com/EkType/Baloo2", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Baloo Bhai 2": { + "name": "Baloo Bhai 2", + "designer": [ + "Ek Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "gujarati", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "A perfect blend of pointy paws in a coat of fur, Baloo is an affable display typeface by Ek Type. Available in nine Indian scripts plus Arabic along with a Latin counterpart, the family is Unicode compliant and libre licensed. Baloo 2 is an extension of the earlier Baloo project. The new Baloo 2 includes additional glyphs, engineering improvements, and has been extended to five weights, ranging from the light footed Regular to the affable ExtraBold. The lighter weights retain Baloo\u2019s characteristic bounce, but they do so slightly, infusing life into each word. This allows the new family to freely fraternise with texts of all sizes and temperaments \u2014 be it short bursts or copious reams, demanding headlines or whispering bylines. Carefree yet confident, sprightly yet versatile, the renewed family of Baloo promises to bring warmth to every project. The Baloo 2 project consists of ten font families with unique local names for each of the nine Indic scripts plus Arabic (Baloo Bhaijaan 2). Each family supports one Indic/Arabic script plus Latin, Latin Extended, and Vietnamese. It took a team of committed type designers to rear Baloo and raise it to be the typeface we love. The Gurmukhi is designed by Shuchita Grover; Bangla by Noopur Datye and Sulekha Rajkumar; Odia by Yesha Goshar, Manish Minz, and Shuchita Grover; Gujarati by Noopur Datye and Supriya Tembe; Kannada by Divya Kowshik and Shuchita Grover; Telugu by Maithili Shingre and Omkar Shende; Malayalam by Maithili Shingre and Unnati Kotecha; and Tamil by Aadarsh Rajan. Baloo Devanagari and Latin are collaboratively designed by Ek Type. Font engineering and type design assistance by Girish Dalvi. To contribute to the project, visit github.com/EkType/Baloo2", + "primary_script": "Gujr", + "article": null, + "minisite_url": null + }, + "Baloo Bhaijaan 2": { + "name": "Baloo Bhaijaan 2", + "designer": [ + "Ek Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "arabic", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "A perfect blend of pointy paws in a coat of fur, Baloo is an affable display typeface by Ek Type. Available in nine Indian scripts plus Arabic along with a Latin counterpart, the family is Unicode compliant and libre licensed. Baloo 2 is an extension of the earlier Baloo project. The new Baloo 2 includes additional glyphs, engineering improvements, and has been extended to five weights, ranging from the light footed Regular to the affable ExtraBold. The lighter weights retain Baloo\u2019s characteristic bounce, but they do so slightly, infusing life into each word. This allows the new family to freely fraternise with texts of all sizes and temperaments \u2014 be it short bursts or copious reams, demanding headlines or whispering bylines. Carefree yet confident, sprightly yet versatile, the renewed family of Baloo promises to bring warmth to every project. The Baloo 2 project consists of ten font families with unique local names for each of the nine Indic scripts plus Arabic (Baloo Bhaijaan 2). Each family supports one Indic/Arabic script plus Latin, Latin Extended, and Vietnamese. It took a team of committed type designers to rear Baloo and raise it to be the typeface we love. The Gurmukhi is designed by Shuchita Grover; Bangla by Noopur Datye and Sulekha Rajkumar; Odia by Yesha Goshar, Manish Minz, and Shuchita Grover; Gujarati by Noopur Datye and Supriya Tembe; Kannada by Divya Kowshik and Shuchita Grover; Telugu by Maithili Shingre and Omkar Shende; Malayalam by Maithili Shingre and Unnati Kotecha; and Tamil by Aadarsh Rajan. Baloo Devanagari and Latin are collaboratively designed by Ek Type. Font engineering and type design assistance by Girish Dalvi. To contribute to the project, visit github.com/EkType/Baloo2", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Baloo Bhaina 2": { + "name": "Baloo Bhaina 2", + "designer": [ + "Ek Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "oriya", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "A perfect blend of pointy paws in a coat of fur, Baloo is an affable display typeface by Ek Type. Available in nine Indian scripts plus Arabic along with a Latin counterpart, the family is Unicode compliant and libre licensed. Baloo 2 is an extension of the earlier Baloo project. The new Baloo 2 includes additional glyphs, engineering improvements, and has been extended to five weights, ranging from the light footed Regular to the affable ExtraBold. The lighter weights retain Baloo\u2019s characteristic bounce, but they do so slightly, infusing life into each word. This allows the new family to freely fraternise with texts of all sizes and temperaments \u2014 be it short bursts or copious reams, demanding headlines or whispering bylines. Carefree yet confident, sprightly yet versatile, the renewed family of Baloo promises to bring warmth to every project. The Baloo 2 project consists of ten font families with unique local names for each of the nine Indic scripts plus Arabic (Baloo Bhaijaan 2). Each family supports one Indic/Arabic script plus Latin, Latin Extended, and Vietnamese. It took a team of committed type designers to rear Baloo and raise it to be the typeface we love. The Gurmukhi is designed by Shuchita Grover; Bangla by Noopur Datye and Sulekha Rajkumar; Odia by Yesha Goshar, Manish Minz, and Shuchita Grover; Gujarati by Noopur Datye and Supriya Tembe; Kannada by Divya Kowshik and Shuchita Grover; Telugu by Maithili Shingre and Omkar Shende; Malayalam by Maithili Shingre and Unnati Kotecha; and Tamil by Aadarsh Rajan. Baloo Devanagari and Latin are collaboratively designed by Ek Type. Font engineering and type design assistance by Girish Dalvi. To contribute to the project, visit github.com/EkType/Baloo2", + "primary_script": "Orya", + "article": null, + "minisite_url": null + }, + "Baloo Chettan 2": { + "name": "Baloo Chettan 2", + "designer": [ + "Ek Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "malayalam", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "A perfect blend of pointy paws in a coat of fur, Baloo is an affable display typeface by Ek Type. Available in nine Indian scripts plus Arabic along with a Latin counterpart, the family is Unicode compliant and libre licensed. Baloo 2 is an extension of the earlier Baloo project. The new Baloo 2 includes additional glyphs, engineering improvements, and has been extended to five weights, ranging from the light footed Regular to the affable ExtraBold. The lighter weights retain Baloo\u2019s characteristic bounce, but they do so slightly, infusing life into each word. This allows the new family to freely fraternise with texts of all sizes and temperaments \u2014 be it short bursts or copious reams, demanding headlines or whispering bylines. Carefree yet confident, sprightly yet versatile, the renewed family of Baloo promises to bring warmth to every project. The Baloo 2 project consists of ten font families with unique local names for each of the nine Indic scripts plus Arabic (Baloo Bhaijaan 2). Each family supports one Indic/Arabic script plus Latin, Latin Extended, and Vietnamese. It took a team of committed type designers to rear Baloo and raise it to be the typeface we love. The Gurmukhi is designed by Shuchita Grover; Bangla by Noopur Datye and Sulekha Rajkumar; Odia by Yesha Goshar, Manish Minz, and Shuchita Grover; Gujarati by Noopur Datye and Supriya Tembe; Kannada by Divya Kowshik and Shuchita Grover; Telugu by Maithili Shingre and Omkar Shende; Malayalam by Maithili Shingre and Unnati Kotecha; and Tamil by Aadarsh Rajan. Baloo Devanagari and Latin are collaboratively designed by Ek Type. Font engineering and type design assistance by Girish Dalvi. To contribute to the project, visit github.com/EkType/Baloo2", + "primary_script": "Mlym", + "article": null, + "minisite_url": null + }, + "Baloo Da 2": { + "name": "Baloo Da 2", + "designer": [ + "Ek Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "bengali", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "A perfect blend of pointy paws in a coat of fur, Baloo is an affable display typeface by Ek Type. Available in nine Indian scripts plus Arabic along with a Latin counterpart, the family is Unicode compliant and libre licensed. Baloo 2 is an extension of the earlier Baloo project. The new Baloo 2 includes additional glyphs, engineering improvements, and has been extended to five weights, ranging from the light footed Regular to the affable ExtraBold. The lighter weights retain Baloo\u2019s characteristic bounce, but they do so slightly, infusing life into each word. This allows the new family to freely fraternise with texts of all sizes and temperaments \u2014 be it short bursts or copious reams, demanding headlines or whispering bylines. Carefree yet confident, sprightly yet versatile, the renewed family of Baloo promises to bring warmth to every project. The Baloo 2 project consists of ten font families with unique local names for each of the nine Indic scripts plus Arabic (Baloo Bhaijaan 2). Each family supports one Indic/Arabic script plus Latin, Latin Extended, and Vietnamese. It took a team of committed type designers to rear Baloo and raise it to be the typeface we love. The Gurmukhi is designed by Shuchita Grover; Bangla by Noopur Datye and Sulekha Rajkumar; Odia by Yesha Goshar, Manish Minz, and Shuchita Grover; Gujarati by Noopur Datye and Supriya Tembe; Kannada by Divya Kowshik and Shuchita Grover; Telugu by Maithili Shingre and Omkar Shende; Malayalam by Maithili Shingre and Unnati Kotecha; and Tamil by Aadarsh Rajan. Baloo Devanagari and Latin are collaboratively designed by Ek Type. Font engineering and type design assistance by Girish Dalvi. To contribute to the project, visit github.com/EkType/Baloo2", + "primary_script": "Beng", + "article": null, + "minisite_url": null + }, + "Baloo Paaji 2": { + "name": "Baloo Paaji 2", + "designer": [ + "Ek Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "gurmukhi", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "A perfect blend of pointy paws in a coat of fur, Baloo is an affable display typeface by Ek Type. Available in nine Indian scripts plus Arabic along with a Latin counterpart, the family is Unicode compliant and libre licensed. Baloo 2 is an extension of the earlier Baloo project. The new Baloo 2 includes additional glyphs, engineering improvements, and has been extended to five weights, ranging from the light footed Regular to the affable ExtraBold. The lighter weights retain Baloo\u2019s characteristic bounce, but they do so slightly, infusing life into each word. This allows the new family to freely fraternise with texts of all sizes and temperaments \u2014 be it short bursts or copious reams, demanding headlines or whispering bylines. Carefree yet confident, sprightly yet versatile, the renewed family of Baloo promises to bring warmth to every project. The Baloo 2 project consists of ten font families with unique local names for each of the nine Indic scripts plus Arabic (Baloo Bhaijaan 2). Each family supports one Indic/Arabic script plus Latin, Latin Extended, and Vietnamese. It took a team of committed type designers to rear Baloo and raise it to be the typeface we love. The Gurmukhi is designed by Shuchita Grover; Bangla by Noopur Datye and Sulekha Rajkumar; Odia by Yesha Goshar, Manish Minz, and Shuchita Grover; Gujarati by Noopur Datye and Supriya Tembe; Kannada by Divya Kowshik and Shuchita Grover; Telugu by Maithili Shingre and Omkar Shende; Malayalam by Maithili Shingre and Unnati Kotecha; and Tamil by Aadarsh Rajan. Baloo Devanagari and Latin are collaboratively designed by Ek Type. Font engineering and type design assistance by Girish Dalvi. To contribute to the project, visit github.com/EkType/Baloo2", + "primary_script": "Guru", + "article": null, + "minisite_url": null + }, + "Baloo Tamma 2": { + "name": "Baloo Tamma 2", + "designer": [ + "Ek Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "kannada", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "A perfect blend of pointy paws in a coat of fur, Baloo is an affable display typeface by Ek Type. Available in nine Indian scripts plus Arabic along with a Latin counterpart, the family is Unicode compliant and libre licensed. Baloo 2 is an extension of the earlier Baloo project. The new Baloo 2 includes additional glyphs, engineering improvements, and has been extended to five weights, ranging from the light footed Regular to the affable ExtraBold. The lighter weights retain Baloo\u2019s characteristic bounce, but they do so slightly, infusing life into each word. This allows the new family to freely fraternise with texts of all sizes and temperaments \u2014 be it short bursts or copious reams, demanding headlines or whispering bylines. Carefree yet confident, sprightly yet versatile, the renewed family of Baloo promises to bring warmth to every project. The Baloo 2 project consists of ten font families with unique local names for each of the nine Indic scripts plus Arabic (Baloo Bhaijaan 2). Each family supports one Indic/Arabic script plus Latin, Latin Extended, and Vietnamese. It took a team of committed type designers to rear Baloo and raise it to be the typeface we love. The Gurmukhi is designed by Shuchita Grover; Bangla by Noopur Datye and Sulekha Rajkumar; Odia by Yesha Goshar, Manish Minz, and Shuchita Grover; Gujarati by Noopur Datye and Supriya Tembe; Kannada by Divya Kowshik and Shuchita Grover; Telugu by Maithili Shingre and Omkar Shende; Malayalam by Maithili Shingre and Unnati Kotecha; and Tamil by Aadarsh Rajan. Baloo Devanagari and Latin are collaboratively designed by Ek Type. Font engineering and type design assistance by Girish Dalvi. To contribute to the project, visit github.com/EkType/Baloo2", + "primary_script": "Knda", + "article": null, + "minisite_url": null + }, + "Baloo Tammudu 2": { + "name": "Baloo Tammudu 2", + "designer": [ + "Ek Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "telugu", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "A perfect blend of pointy paws in a coat of fur, Baloo is an affable display typeface by Ek Type. Available in nine Indian scripts plus Arabic along with a Latin counterpart, the family is Unicode compliant and libre licensed. Baloo 2 is an extension of the earlier Baloo project. The new Baloo 2 includes additional glyphs, engineering improvements, and has been extended to five weights, ranging from the light footed Regular to the affable ExtraBold. The lighter weights retain Baloo\u2019s characteristic bounce, but they do so slightly, infusing life into each word. This allows the new family to freely fraternise with texts of all sizes and temperaments \u2014 be it short bursts or copious reams, demanding headlines or whispering bylines. Carefree yet confident, sprightly yet versatile, the renewed family of Baloo promises to bring warmth to every project. The Baloo 2 project consists of ten font families with unique local names for each of the nine Indic scripts plus Arabic (Baloo Bhaijaan 2). Each family supports one Indic/Arabic script plus Latin, Latin Extended, and Vietnamese. It took a team of committed type designers to rear Baloo and raise it to be the typeface we love. The Gurmukhi is designed by Shuchita Grover; Bangla by Noopur Datye and Sulekha Rajkumar; Odia by Yesha Goshar, Manish Minz, and Shuchita Grover; Gujarati by Noopur Datye and Supriya Tembe; Kannada by Divya Kowshik and Shuchita Grover; Telugu by Maithili Shingre and Omkar Shende; Malayalam by Maithili Shingre and Unnati Kotecha; and Tamil by Aadarsh Rajan. Baloo Devanagari and Latin are collaboratively designed by Ek Type. Font engineering and type design assistance by Girish Dalvi. To contribute to the project, visit github.com/EkType/Baloo2", + "primary_script": "Telu", + "article": null, + "minisite_url": null + }, + "Baloo Thambi 2": { + "name": "Baloo Thambi 2", + "designer": [ + "Ek Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "tamil", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "A perfect blend of pointy paws in a coat of fur, Baloo is an affable display typeface by Ek Type. Available in nine Indian scripts plus Arabic along with a Latin counterpart, the family is Unicode compliant and libre licensed. Baloo 2 is an extension of the earlier Baloo project. The new Baloo 2 includes additional glyphs, engineering improvements, and has been extended to five weights, ranging from the light footed Regular to the affable ExtraBold. The lighter weights retain Baloo\u2019s characteristic bounce, but they do so slightly, infusing life into each word. This allows the new family to freely fraternise with texts of all sizes and temperaments \u2014 be it short bursts or copious reams, demanding headlines or whispering bylines. Carefree yet confident, sprightly yet versatile, the renewed family of Baloo promises to bring warmth to every project. The Baloo 2 project consists of ten font families with unique local names for each of the nine Indic scripts plus Arabic (Baloo Bhaijaan 2). Each family supports one Indic/Arabic script plus Latin, Latin Extended, and Vietnamese. It took a team of committed type designers to rear Baloo and raise it to be the typeface we love. The Gurmukhi is designed by Shuchita Grover; Bangla by Noopur Datye and Sulekha Rajkumar; Odia by Yesha Goshar, Manish Minz, and Shuchita Grover; Gujarati by Noopur Datye and Supriya Tembe; Kannada by Divya Kowshik and Shuchita Grover; Telugu by Maithili Shingre and Omkar Shende; Malayalam by Maithili Shingre and Unnati Kotecha; and Tamil by Aadarsh Rajan. Baloo Devanagari and Latin are collaboratively designed by Ek Type. Font engineering and type design assistance by Girish Dalvi. To contribute to the project, visit github.com/EkType/Baloo2", + "primary_script": "Taml", + "article": null, + "minisite_url": null + }, + "Balsamiq Sans": { + "name": "Balsamiq Sans", + "designer": [ + "Michael Angeles" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Balsamiq Sans is the handwritten font created for the Balsamiq Wireframes and has been in use since version 2.1. The font contains 942 glyphs in 2 weights with italics/obliques, and includes the basic and extended latin character set, Cyrillic, Basic Symbols and Dingbats, Math and Technical Symbols, and punctuation To contribute, see github.com/balsamiq/balsamiqsans", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Balthazar": { + "name": "Balthazar", + "designer": [ + "Dario Manuel Muhafara" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Balthazar is a contemporary \"Copperplate Gothic like\" serif typeface inspired by the kind of typefaces used by many bistros and cafes in New York City and Paris. Unusually this type includes lowercase letters. The high x-height gives the text a compact look, true to the original Cooperplate Gothic design. The general form is less condensed. It has diagonal stress, and a soft variation in contrast to improve legibility. It is bolder than normal for better rasterization on screen. The typeface works smoothly at text sizes with its delicate serifs, which gives a crisp effect on the screen. At larger sizes it shows a strong personality with the combination of serif details and the modulation of its strokes. It is useful for both short text and headlines, but it is also comfortable for reading on screen. Designed by Dario Muhafara for tipo foundry.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Bangers": { + "name": "Bangers", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Bangers is a comicbook style font which packs a punch! It was designed in the style of mid-20th century superhero comics cover lettering in mind. To contribute, see github.com/googlefonts/bangers.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Barlow": { + "name": "Barlow", + "designer": [ + "Jeremy Tribby" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Barlow is a slightly rounded, low-contrast, grotesk type family. Drawing from the visual style of the California public, Barlow shares qualities with the state's car plates, highway signs, busses, and trains. This is the Normal family, which is part of the superfamily along with Semi Condensed and Condensed, each with 9 weights in Roman and Italic. The Barlow project is led by Jeremy Tribby, a designer based in San Francisco, USA. To contribute, see github.com/jpt/barlow Updated December 2018: Added Vietnamese.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Barlow Condensed": { + "name": "Barlow Condensed", + "designer": [ + "Jeremy Tribby" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Barlow is a slightly rounded, low-contrast, grotesk type family. Drawing from the visual style of the California public, Barlow shares qualities with the state's car plates, highway signs, busses, and trains. This is the Condensed family, which is part of the superfamily along with Normal and Semi Condensed, each with 9 weights in Roman and Italic. The Barlow project is led by Jeremy Tribby, a designer based in San Francisco, USA. To contribute, see github.com/jpt/barlow Updated December 2018: Added Vietnamese.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Barlow Semi Condensed": { + "name": "Barlow Semi Condensed", + "designer": [ + "Jeremy Tribby" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Barlow is a slightly rounded, low-contrast, grotesk type family. Drawing from the visual style of the California public, Barlow shares qualities with the state's car plates, highway signs, busses, and trains. This is the Semi Condensed family, which is part of the superfamily along with Condensed, and Normal, each with 9 weights in Roman and Italic. The Barlow project is led by Jeremy Tribby, a designer based in San Francisco, USA. To contribute, see github.com/jpt/barlow", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Barriecito": { + "name": "Barriecito", + "designer": [ + "Omnibus-Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Barriecito is an evolution of the Barrio project, adding lowercase. The amateur appearance conveys a friendly and authentic tone which works well for hand crafted products and billboards. It also works well on screens at headline sizes. To contribute, see github.com/Omnibus-Type/Barrio/tree/master/Barriecito", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Barrio": { + "name": "Barrio", + "designer": [ + "Omnibus-Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Barrio is designed to be used on screens, billboards, magazines and promotional material. Its particularly remarkable for its rhythmic contrast and its amateur appearance. These features make it ideal for warm, lively and fun communication. Barrio offers 490 glyphs and diacritics with support for over 103 languages \u200b\u200bLatin (including Guarani.) Designed by Sergio Jim\u00e9nez and Pablo Cosgaya.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Basic": { + "name": "Basic", + "designer": [ + "Magnus Gaarde" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Basic is a low contrast, sans serif text typeface. It mixes familiar forms with a hint of novelty, and is easy to read with a slight elegance. Basic can be used from small sizes to larger display settings.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Baskervville": { + "name": "Baskervville", + "designer": [ + "ANRT" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Baskervville is a revival of Jacob\u2019s revival of Baskerville\u2019s typeface. It was distributed by the Berger-Levrault Foundry from 1815. The font Jacob produced was sold as a \u201cCaract\u00e8res dans le genre Baskerwille\u201d i.e. \u201cBaskerwille alike fonts\u201d \u2014 with a w instead of a v. The particularity of Jacob\u2019s Baskerwille is that the roman is very close to Baskerville\u2019s typefaces while the italic is closer to Didot\u2019s typefaces. The ANRT workshop that took place for five days aimed to digitize Jacob\u2019s font in order to show his work which moves from transitional to modern styles. The typeface was then developed and engineered by Rosalie Wagner. Baskervville was designed by the ANRT students from 2017 (Alexis Faudot, R\u00e9mi Forte, Morgane Pierson, Rafael Ribas, Tanguy Vanlaeys and Rosalie Wagner), under the direction of Charles Maz\u00e9 and Thomas Huot-Marchand. In 2025, a bold weight designed by Thomas Huot-Marchand was added. Rosalie Wagner fixed some kerning and glyphset issues and improved the font's outlines for a better rendering on screen. To contribute, see github.com/anrt-type/ANRT-Baskervville from Baskerville to Baskerwille to Baskervville In 1779, Sarah Eaves manages to sell Baskerville\u2019s punches and supplies to Pierre-Augustin Caron de Beaumarchais. Beaumarchais places his new printing house \u2014Soci\u00e9t\u00e9 Litt\u00e9raire Typographique\u2014 in Kehl, Germany (6 kilometers away from Strasbourg, France) and gives Jean Fran\u00e7ois Letellier the post of director. Letellier is in charge of supervising the negotiations of the sale and the transfer of the material from Birmingham to Kehl. Given the complexity of this work, Letellier hires a former Baskerville employee, presumably John Handy who had worked with Baskerville for a long time, \u201cto check, inspect, and put right if necessary all the punches used by Baskerville\u201d. But this employee being too old to leave England, Letellier decides to send an employee of Soci\u00e9t\u00e9 Litt\u00e9raire Typographique, named Claude Jacob, to Birmingham to carry out this work. 1784. Soon after his return from Birmingham, Jacob has an argument with his employer (probably Letellier) and leaves Kehl with another employee of the Soci\u00e9t\u00e9 Litt\u00e9raire Typographique, Henri Rolland, to settle in Strasbourg. Together they make a request to the Magistrat of Strasbourg for the creation of a typefoundry, called Soci\u00e9t\u00e9 Typographique de Strasbourg. At this time, there is no other type foundry in Strasbourg. 1784-85. A first type specimen is printed: \u00c9preuves des caract\u00e8res de la soci\u00e9t\u00e9 typographique de Strasbourg; Par Jacob \u00e9l\u00e8ve de Baskerville. It is the first appearance of Jacob\u2019s typeface based on Baskerville\u2019s design, in 3 sizes. Jacob & Rolland are not totally honest here stating that Jacob had been \u201ca pupil of Baskerville\u201d (Jacob went to Birmingham 7 years after the death of Baskerville). 1786. Rolland & Jacob want to diversify their activity, and are given the permission to print, in addition to the engraving activity. Apparently, printing in Strasbourg at the time was not something easy, as 5 other printers were already in business, protecting their territory. Rolland went to Paris to present their typefaces to the King, and they obtained the title of \u201cimprimeur du Roi\u201d in 1789. It was apparently too much for the other printers in Strasbourg, and they started a lawsuit against Rolland & Jacob. 1788-89. Despite these complications, a new type specimen is printed: \u00c9preuves des caract\u00e8res de Rolland et Jacob, \u00e0 Strasbourg, including Jacob\u2019s typeface now available in 6 sizes (Great Primer ou Gros Romain, English ou Saint-Augustin, Small-Pica ou Cicero, Long Primer ou Petit Romain, Parangon Petit oeil, Gros-Texte Petit oeil) all in roman and italic, among a few other typefaces, Vignettes and Filets. In 1789 however, Rolland & Jacob are ending their collaboration after a \u201cdisagreement\u201d. In 1790, one of the five printers of Strasbourg, Fran\u00e7ois-Xavier Levrault, took the opportunity to create a new partnership with Claude Jacob and a lawyer named Michel Thomassin, in order to continue to produce typefaces. A contract signed in January 12th and February 9th 1990 by Thomassin, Jacob, and Nicolas Levrault \u2014the eldest of the Levrault family\u2014 states that the association would last 12 years, that Jacob would work for nobody else but the foundry, and that he would create all kinds of typefaces with a minimum of one font per year. The new punches and matrices would belong to the association, and the association would go by the name of Soci\u00e9t\u00e9 typographique Levrault. The story of the printers Levrault is also a very long one, beginning as early as 1676. In fact, Levrault\u2019s printing activities have now stopped but the group still exists today as Berger- Levrault. They now produce software. Back in 1790, the new Soci\u00e9t\u00e9 typographique operated as an annex of the Levrault printing house. Its publications indicated that the text was typeset \u201cAvec les caract\u00e8res de Jacob\u201d. Jacob had to produce these so-called \u201ccaract\u00e8res de Jacob\u201d on behalf of Levrault, but also to be sold to other printers in Strasbourg, in Alsace, in Lorraine, in Avignon, but also in Belgium, Switzerland and Germany. Levrault might have shut down the Soci\u00e9t\u00e9 typographique between 1795 and 1800, and definitively integrated the type foundry to his printing facility. 1800. A new type specimen is printed: \u00c9preuves des caract\u00e8res de la fonderie des Fr\u00e8res Levrault, in Strasbourg, and showing the \u201cCaract\u00e8res dans le genre de Baskerwille\u201d. Jacob must have stopped working for Levrault earlier than in 1802 \u2014he signed a 12-years contract in 1790\u2014, as his name disappears. But the original source of his typeface, Baskerville, finally reappears, although spelled with a w instead of a v. We lose track of Claude Jacob at this point, but his design is preserved by Levrault. 1815. The last known specimen printed by Levrault, \u00c9preuves de la fonderie de Fran\u00e7ois Georges Levrault, \u00e0 Strasbourg, 1815 is still selling Jacob\u2019s \u201cCaract\u00e8res dans le genre de Baskerwille\u201d. In 1871, after the end of the Franco-Prussian War, Strasbourg is part of Imperial Germany and the Levrault decide to move to Nancy. Five years later, in 1876, a fire destroys the printing facility, and they have to build a new one from scratch. But despite all these difficulties, Jacob\u2019s typeface survived and one finally finds it again in 1878, in a publication telling the long story of the Levrault, entitled Notice historique de l\u2019Imprimerie Berger-Levrault & Cie, typesetted in \u201ccaract\u00e8res genre Baskerwille (propri\u00e9t\u00e9 de la Maison)\u201d, as mentioned in the imprint. Font specimen from the foundry Fran\u00e7ois Georges Levrault, Strasbourg, France, 1815.", + "minisite_url": null + }, + "Baskervville SC": { + "name": "Baskervville SC", + "designer": [ + "ANRT" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Baskervville is a revival of Jacob\u2019s revival of Baskerville\u2019s typeface. It was distributed by the Berger-Levrault Foundry from 1815. The font Jacob produced was sold as a \u201cCaract\u00e8res dans le genre Baskerwille\u201d i.e \u201cBaskerwille alike fonts\u201d \u2014 with a w instead of a v. The particularity of Jacob\u2019s Baskerwille is that the roman is very close to Baskerville\u2019s typefaces while the italic is closer to Didot\u2019s typefaces. The ANRT workshop that took place for five days aimed to digitize Jacob\u2019s font in order to show his work which moves from transitional to modern styles. The typeface was then developped and engineered by Rosalie Wagner. Baskervville was designed by the ANRT students from 2017 (Alexis Faudot, R\u00e9mi Forte, Morgane Pierson, Rafael Ribas, TanguyVanlaeys and Rosalie Wagner), under the direction of Charles Maz\u00e9 and Thomas Huot-Marchand. In 2025, a bold weight designed by Thomas Huot-Marchand was added. Rosalie Wagner fixed some kerning and glyphset issues and improved the font's outlines for a better rendering on screen. To contribute, see github.com/anrt-type/ANRT-Baskervville from Baskerville to Baskerwille to Baskervville In 1779, Sarah Eaves manages to sell Baskerville\u2019s punches and supplies to Pierre-Augustin Caron de Beaumarchais. Beaumarchais places his new printing house \u2014Soci\u00e9t\u00e9 Litt\u00e9raire Typographique\u2014 in Kehl, Germany (6 kilometers away from Strasbourg, France) and gives Jean Fran\u00e7ois Letellier the post of director. Letellier is in charge of supervising the negotiations of the sale and the transfer of the material from Birmingham to Kehl. Given the complexity of this work, Letellier hires a former Baskerville employee, presumably John Handy who had work with Baskerville for a long time, \u201cto check, inspect, and put right if necessary all the punches used by Baskerville\u201d. But this employee being too old to leave England, Letellier decides to send an employee of Soci\u00e9t\u00e9 Litt\u00e9raire Typographique, named Claude Jacob, to Birmingham to carry out this work. 1784. Soon after his return from Birmingham, Jacob has an argument with his employer (probably Letellier) and leaves Kehl with another employee of the Soci\u00e9t\u00e9 Litt\u00e9raire Typographique, Henri Rolland, to settle in Strasbourg. Together they make a request to the Magistrat of Strasbourg for the creation of a typefoundry, called Soci\u00e9t\u00e9 Typographique de Strasbourg. At this time, there is no other type foundry in Strasbourg. 1784-85. A first type specimen is printed: \u00c9preuves des caracteres de la soci\u00e9t\u00e9 typographique de Strasbourg; Par Jacob \u00e9l\u00e8ve de Baskerville. It is the first appearance of Jacob\u2019s typeface based on Baskerville\u2019s design, in 3 sizes. Jacob & Rolland are not totally honest here stating that Jacob had been \u201ca pupil of Baskerville\u201d (Jacob went to Birmingham 7 years after the death of Baskerville). 1786. Rolland & Jacob want to diversify their activity, and are given the permission to print, in addition to the engraving activity. Apparently, printing in Strasbourg at the time was not something easy, as 5 other printers were already in business, protecting their territory. Rolland went to Paris to present their typefaces to the King, and they obtained the title of \u201cimprimeur du Roi\u201d in 1789. It was apparently too much for the other printers in Strasbourg, and they started a lawsuit against Rolland & Jacob. 1788-89. Despite these complications, a new type specimen is printed: \u00c9preuves des caract\u00e8res de Rolland et Jacob, \u00e0 Strasbourg, including Jacob\u2019s typeface now available in 6 sizes (Great Primer ou Gros Romain, English ou Saint-Augustin, Small-Pica ou Cicero, Long Primer ou Petit Romain, Parangon Petit oeil, Gros-Texte Petit oeil) all in roman and italic, among a few other typefaces, Vignettes and Filets. In 1789 however, Rolland & Jacob are ending their collaboration after a \u201cdisagreement\u201d. In 1790, one of the five printers of Strasbourg, Fran\u00e7ois-Xavier Levrault, took the opportunity to create a new partnership with Claude Jacob and a lawyer named Michel Thomassin, in order to continue to produce typefaces. A contract signed in January 12th and February 9th 1990 by Thomassin, Jacob, and Nicolas Levrault \u2014the eldest of the Levrault family\u2014 states that the association would last 12 years, that Jacob would work for nobody else but the foundry, and that he would create all kind of typefaces with a minimum of one font per year. The new punches and matrices would belong to the association, and the association would go by the name of Soci\u00e9t\u00e9 typographique Levrault. The story of the printers Levrault is also a very long one, beginning as early as 1676. In fact, Levrault\u2019s printing activities have now stopped but the group still exists today as Berger- Levrault. They now produce softwares. Back in 1790, the new Soci\u00e9t\u00e9 typographique operated as an annex of the Levrault printing house. Its publications indicated that the text was typesetted \u201cAvec les caract\u00e8res de Jacob\u201d. Jacob had to produce these so-called \u201ccaract\u00e8res de Jacob\u201d on behalf of Levrault, but also to be sold to other printers in Strasbourg, in Alsace, in Lorraine, in Avignon, but also in Belgium, Switzerland and Germany. Levrault might have shut down the Soci\u00e9t\u00e9 typographique between 1795 and 1800, and definitively integrated the type foundry to his printing facility. 1800. A new type specimen is printed: \u00c9preuves des caract\u00e8res de la fonderie des Fr\u00e8res Levrault, in Strasbourg, and showing the \u201cCaract\u00e8res dans le genre de Baskerwille\u201d. Jacob must have stopped working for Levrault earlier than in 1802 \u2014he signed a 12-years contract in 1790\u2014, as his name disappears. But the original source of his typeface, Baskerville, finally reappears, although spelled with a w instead of a v. We lose track of Claude Jacob at this point, but his design is preserved by Levrault. 1815. The last known specimen printed by Levrault, \u00c9preuves de la fonderie de Fran\u00e7ois Georges Levrault, \u00e0 Strasbourg, 1815 is still selling Jacob\u2019s \u201cCaract\u00e8res dans le genre de Baskerwille\u201d. In 1871, after the end of the Franco-Prussian War, Strasbourg is part of Imperial Germany and the Levrault decide to move to Nancy. Five years later, in 1876, a fire destroys the printing facility, and they have to build a new one from scratch. But despite all these difficulties, Jacob\u2019s typeface survived and one finally finds it again in 1878, in a publication telling the long story of the Levrault, entitled Notice historique de l\u2019Imprimerie Berger-Levrault & Cie, typesetted in \u201ccaract\u00e8res genre Baskerwille (propri\u00e9t\u00e9 de la Maison)\u201d, as mentioned in the imprint. \u201c\u00c9preuves des caract\u00e8res de la fonderie des fr\u00e8res Levrault\u201d (font speciment from the foundry Fr\u00e8res Levrault), Strasbourg, France, 1815.", + "minisite_url": null + }, + "Battambang": { + "name": "Battambang", + "designer": [ + "Danh Hong" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "khmer", + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Battambang is a Khmer font for body text. The shape is similar to the Battambang legacy font released in the 1990s. To contribute, see github.com/danhhong/Battambang.", + "primary_script": "Khmr", + "article": null, + "minisite_url": null + }, + "Baumans": { + "name": "Baumans", + "designer": [ + "Cyreal" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Baumans is a geometric typeface for headlines. Its letterforms are inspired by Bauhaus typefaces and preconstructivist forms. The concept of the typeface fits with Moholy-Nagy's typography statement that type must be clear, legible, and communicate its message. The main distinctive features are the sharp corners in MVW, curved Z and unicase-like N. Contrast is monolinear and proportions are balanced. Baumans is suitable for medium to large sizes and optimized for screen. Designed by Henadij Zarechnjuk.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Bayon": { + "name": "Bayon", + "designer": [ + "Danh Hong" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "khmer", + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Bayon is a Khmer font for headlines, titles and subtitles, and even banner designs. To contribute, see github.com/danhhong/Bayon.", + "primary_script": "Khmr", + "article": null, + "minisite_url": null + }, + "Be Vietnam Pro": { + "name": "Be Vietnam Pro", + "designer": [ + "L\u00e2m B\u1ea3o", + "Tony Le", + "Vi\u1ec7tAnh Nguy\u1ec5n" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Be Vietnam Pro is a Neo Grotesk which is well suited to tech companies and startups. We have refined Vietnamese letterforms with diacritics adaptive forms and engineered them for the best readability. To contribute, see github.com/bettergui/BeVietnamPro.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Beau Rivage": { + "name": "Beau Rivage", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Beau Rivage is a classic calligraphic with strong contrast between thick and thin strokes. Perfect for invitations and posh events. Utilize the stylistic sets which contain ornamental caps and more flourished lower case forms. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/beau-rivage.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Bebas Neue": { + "name": "Bebas Neue", + "designer": [ + "Ryoichi Tsunekawa" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Bebas Neue is a display family suitable for headlines, captions, and packaging, designed by Ryoichi Tsunekawa. It's based on the original Bebas typeface. The family is suitable for pro users due to its extended character set and OpenType features. To contribute, see https://github.com/dharmatype/Bebas-Neue. http://bebasneue.com", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Beiruti": { + "name": "Beiruti", + "designer": [ + "Boutros Fonts", + "Arlette Boutros", + "Volker Schnebel" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "arabic", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Beiruti is a distinctive modern Arabic typeface, available as a variable font with a weight axis with unlimited styles from Thin to Black. The design was created by Boutros to offer a modern geometric style while still respecting the rules of Arabic calligraphy. The fluid geometry makes it the perfect choice to use in both print and web applications, and alongside its harmonized and built-in Latin typeface companion. The Arabic is designed by Arlette Boutros, while the Latin is designed by Volker Schnebel. To contribute, please see github.com/googlefonts/beiruti.", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Belanosima": { + "name": "Belanosima", + "designer": [ + "The DocRepair Project", + "Santiago Orozco" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Belanosima is a DocRepair font, intended to improve compliance with the ISO/IEC 29500 standard by providing fallback for Berlin Sans FB that minimizes text reflow in Office Open XML documents. Belanosima is based on Josefin Sans, a geometric, elegant family with a vintage feeling, for use at larger sizes. Josefin Sans is inspired by geometric sans serif designs from the 1920s. To contribute, please visit github.com/docrepair-fonts/belanosima-fonts.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Belgrano": { + "name": "Belgrano", + "designer": [ + "LatinoType" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Belgrano is a slab serif type designed initially for printed newspapers. It has been adapted for use on the web, with coarse terminals and larger counterforms that mean it works well in very small sizes.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Bellefair": { + "name": "Bellefair", + "designer": [ + "Nick Shinn", + "Liron Lavi Turkenic" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "hebrew", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Bellefair started life as a Latin typeface designed by Nick Shinn. Then a Hebrew typeface was designed as part of the project by Liron Lavi Turkenich, to be a good match in terms of style, weight and overall color. The Bellefair project is led by Shinntype, a type design foundry based in Toronto, Canada. To contribute, see github.com/shinntype/bellefair", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Belleza": { + "name": "Belleza", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Belleza is a humanist sans serif typeface inspired by the world of fashion. With classic proportions, high contrast in its strokes and special counters, it provides a fresh look that reminds readers of elegant models and feminine beauty. Belleza is a Unicode typeface family that supports languages that use the Latin script and its variants, and could be expanded to support other scripts. The last release in June 2022, offers an major language support update. To contribute, see github.com/etunni/belleza.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Bellota": { + "name": "Bellota", + "designer": [ + "Kemie Guaida" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Bellota is an ornamented, low contrast sans-serif with text and swash alternates. It\u2019s just cute enough! It comes in two variations: Normal and Text. Each of these comes in three weights (Light/Regular/Bold) and Italics. There are stylistic alternates (for swash and non-ornamented characters) and ligatures available through OpenType features. Stylistic Set 1: Text, Stylistic Set 2: Swash caps. To contribute to the project, please go to github.com/kemie/Bellota-Font.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Bellota Text": { + "name": "Bellota Text", + "designer": [ + "Kemie Guaida" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Bellota is an ornamented, low contrast sans-serif with text and swash alternates. It\u2019s just cute enough! It comes in two variations: Normal and Text. Each of these comes in three weights (Light/Regular/Bold) and Italics. There are stylistic alternates (for swash and non-ornamented characters) and ligatures available through OpenType features. Stylistic Set 1: Text, Stylistic Set 2: Swash caps. To contribute to the project, please go to github.com/kemie/Bellota-Font.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "BenchNine": { + "name": "BenchNine", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "The design of BenchNine is loosely based on the look of the ink spreads and bleeds characteristic of traditional or vernacular woodcut type. The design takes a mash-up of a number of old Stephenson Blake designs and rounds the corners a little. In theory the face should work well for headlines that want to stand out just a little from the crowd.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Benne": { + "name": "Benne", + "designer": [ + "John Harrington" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "kannada", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Benne is a Kannada text font developed by John Harrington. The style and weights are designed to harmonise with EB Garamond, originally designed by Georg Duffner. To contribute, see github.com/googlefonts/Benne.", + "primary_script": "Knda", + "article": null, + "minisite_url": null + }, + "Bentham": { + "name": "Bentham", + "designer": [ + "Ben Weiner" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Bentham is inspired by the lettering of nineteenth-century maps, gravestones and the maker\u2019s plates of cast-iron machinery. It is characterized by expressive, flowing, and bulging curves, mannered awkwardness, and the bobbles on the terminals of its characters. The \u2018modern face\u2019 type genre is the typographical equivalent, and it can be found in books printed throughout the nineteenth century. This genre survived in educational textbooks produced throughout the twentieth century, and is preserved in computer science as the style which Donald Knuth adopted for his TEX typesetting system. Bentham is a half-way design; true neither to the type produced during the nineteenth century, nor to the letterforms of cartographers, stonecutters, or engravers. Really it is an examination of the characteristics that these letters share, colored by Ben's approach to type drawing.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Berkshire Swash": { + "name": "Berkshire Swash", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Berkshire Swash is an alluring semi-sweet typestyle with a bold yet feminine flair to it. Designed by Astigmatic (AOETI). To contribute to the project contact Brian J. Bonislawsky.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Besley": { + "name": "Besley", + "designer": [ + "Owen Earl" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SLAB_SERIF", + "classifications": [], + "description": "Besley is a antique slab serif inspired by Robert Besley's Clarendon. It features a full range of weights and matching italics, making it subtle for a variety of uses. A slight rounding of the corners gives a subtle warmth, and OpenType features such as ligatures and contextual substitutions perfect the finer details. It was made with love and will continue to improve with your support. The Besley project is designed by Owen Earl (indestructible type*). To contribute, see https://github.com/indestructible-type/Besley", + "primary_script": null, + "article": null, + "minisite_url": "https://indestructibletype.com/Besley.html" + }, + "Beth Ellen": { + "name": "Beth Ellen", + "designer": [ + "Rob Jelinski", + "Alyson Fraser Diaz" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Beth Ellen\u2122 font is a joyful handwritten font created by Rob Jelinski (Art Direction & Design) and Alyson Fraser Diaz (Typography & Functionality) in 2018. The typeface was crafted after the penmanship of Rob's mom, Beth Ellen Jelinski who passed away from cancer on March 5th, 2017. Upon it's formal release Jelinski stated, \u201cThe purpose of this typeface is to give, so it is totally free to use for personal or commercial projects under the SIL Open Font License. My single request is that you help the legacy of Beth Ellen live on by sending a short note to someone you love each time the font is used. Tell them you love them, encourage them to be their best, or send them a scripture. This is the way Beth Ellen lived her life, writing notes to share love and faith.\u201d To contribute, see github.com/googlefonts/BethEllen", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Bevan": { + "name": "Bevan", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SLAB_SERIF", + "classifications": [ + "display" + ], + "description": "Bevan is a reworking of a traditional slab serif display typeface created by Heinrich Jost in the 1930s. In Bevan, Jost's earlier letter forms have been digitised and then reshaped for use as a webfont, the counters have been opened up a little and the stems optimised for use as bold display font in modern web browsers. Upgrade December 2021: an Italic style was added during the Summer of Type Program 2016, thanks to the contribution of Kalapi Gajjar-Bordawekar and Jacques Le Bailly. To contribute, see github.com/googlefonts/BevanFont.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "BhuTuka Expanded One": { + "name": "BhuTuka Expanded One", + "designer": [ + "Erin McLaughlin" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "gurmukhi", + "latin", + "latin-ext" + ], + "stroke": "SLAB_SERIF", + "classifications": [ + "display" + ], + "description": "BhuTuka Expanded One is a Gurmukhi companion to Aoife Mooney\u2019s BioRhyme Expanded Light typeface. To contribute, see github.com/erinmclaughlin/BhuTuka-Extended-One.", + "primary_script": "Guru", + "article": null, + "minisite_url": null + }, + "Big Shoulders": { + "name": "Big Shoulders", + "designer": [ + "Patric King" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Big Shoulders is a superfamily of condensed American Gothic variable fonts, created for the Chicago Design System, and the citizens of Chicago. The family's tall, sans-serif forms are based in Chicago's multiple histories in railway transport, public political action, and dance. Big Shoulders is used in the Chicago Design System as the primary typeface to identify Chicago and its citizens allowing the Chicagoans to speak with one consistent typographic voice. Big Shoulders Stencil explores Chicago's histories in work and protest, and is designed to apply the Chicagoan voice to those uses. Big Shoulders Inline formalizes a local typographic vernacular for celebration, taking its hypnotic inline design from Black Chicagoans' House parties, and local LGBTQ dance events, a tradition beginning in the early 1980s. To contribute, see github.com/xotypeco/big_shoulders.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Big Shoulders Inline": { + "name": "Big Shoulders Inline", + "designer": [ + "Patric King" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Big Shoulders is a superfamily of condensed American Gothic variable fonts, created for the Chicago Design System, and the citizens of Chicago. The family's tall, sans-serif forms are based in Chicago's multiple histories in railway transport, public political action, and dance. Big Shoulders is used in the Chicago Design System as the primary typeface to identify Chicago and its citizens allowing the Chicagoans to speak with one consistent typographic voice. Big Shoulders Stencil explores Chicago's histories in work and protest, and is designed to apply the Chicagoan voice to those uses. Big Shoulders Inline formalizes a local typographic vernacular for celebration, taking its hypnotic inline design from Black Chicagoans' House parties, and local LGBTQ dance events, a tradition beginning in the early 1980s. To contribute, see github.com/xotypeco/big_shoulders.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Big Shoulders Stencil": { + "name": "Big Shoulders Stencil", + "designer": [ + "Patric King" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Big Shoulders is a superfamily of condensed American Gothic variable fonts, created for the Chicago Design System, and the citizens of Chicago. The family's tall, sans-serif forms are based in Chicago's multiple histories in railway transport, public political action, and dance. Big Shoulders is used in the Chicago Design System as the primary typeface to identify Chicago and its citizens allowing the Chicagoans to speak with one consistent typographic voice. Big Shoulders Stencil explores Chicago's histories in work and protest, and is designed to apply the Chicagoan voice to those uses. Big Shoulders Inline formalizes a local typographic vernacular for celebration, taking its hypnotic inline design from Black Chicagoans' House parties, and local LGBTQ dance events, a tradition beginning in the early 1980s. To contribute, see github.com/xotypeco/big_shoulders.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Bigelow Rules": { + "name": "Bigelow Rules", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "The Bigelow Rules typeface is an odd hybrid from numerous inspirations. Imagine Times Roman feels the squeeze, marries a Didone, and gives birth to something with retro appeal and bounce with some eclectic glyph oddities thrown in for spunk. That is Bigelow Rules. To contribute to the project contact Brian J. Bonislawsky.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Bigshot One": { + "name": "Bigshot One", + "designer": [ + "Gesine Todt" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Bigshot One is a contemporary Didone. The design plays within its systematic features and likes to be cheeky. Bigshot One also likes to show-off and prefers big display sizes.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Bilbo": { + "name": "Bilbo", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Bilbo is a very legible calligraphic style that has a masculine feel. It can be used for more than just display. Use Bilbo in body copy that requires added warmth to a message. Bilbo comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/bilbo.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Bilbo Swash Caps": { + "name": "Bilbo Swash Caps", + "designer": [ + "TypeSETit" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Bilbo Swash Caps is a sister family to the normal Bilbo. It is very legible calligraphic style that has a masculine feel. This family is ideal for headlines and other display uses, while the normal Bilbo can also be used in body copy that requires added warmth to a message.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "BioRhyme": { + "name": "BioRhyme", + "designer": [ + "Aoife Mooney" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SLAB_SERIF", + "classifications": [], + "description": "BioRhyme is a Latin typeface family comprised of two widths, normal and expanded. Previously separated into two distinct families, BioRhyme has been updated in September 2023, and became variable on two axes, offering weights ranging from ExtraLight to ExtraBold. To contribute, see github.com/aoifemooney/makingbiorhyme", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "BioRhyme Expanded": { + "name": "BioRhyme Expanded", + "designer": [ + "Aoife Mooney" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SLAB_SERIF", + "classifications": [ + "display" + ], + "description": "BioRhyme is a Latin typeface family comprised of two widths, a normal family and an expanded family. Each family has 5 weights, and both are intended for use in large and medium sizes. To contribute, see github.com/aoifemooney/makingbiorhyme", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Birthstone": { + "name": "Birthstone", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "The Birthstone Family is a set of fonts that are not only diverse but perfectly compatible to interchange styles in a single block of text. There are 3 precious stylistic sets: Script, Casual, and Formal, plus a Titling set. For added luster, there is the sibling Birthstone Bounce (both Regular and Medium weights) a version that includes caps and ending swashed forms. All the styles are uniquely compatible to one another, but distinctly different. See how easily the fonts may change according to the needs of the look. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/birthstone.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Birthstone Bounce": { + "name": "Birthstone Bounce", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Birthstone Bounce is the sibling family of Birthstone that adds more luster and playfulness to it. Available in Regular and Medium weights, this version includes caps and ending swashed forms. All the styles are uniquely compatible to one another, but distinctly different. See how easily the fonts may change according to the needs of the look. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/birthstone-bounce.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Biryani": { + "name": "Biryani", + "designer": [ + "Dan Reynolds", + "Mathieu R\u00e9guer" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Biryani (\u092c\u093f\u0930\u092f\u093e\u0928\u0940) is a libre font development project. Its fonts are designed in a monolinear, geometric sans serif style. Like several early geometric sans typefaces from the last century, Biryani\u2019s characters have a strong flavor to them; they are more wonky than sterile. Biryani\u2019s fonts are indeed meant for text, just not necessarily for very long, immersive reading-length passages. The letterforms are a bit too \u201cdisplay\u201d for that. Currently, the Biryani fonts support the Latin and Devangari scripts, meaning that Indian languages like Hindi, Marathi, and Nepali may be set with the fonts, in addition to most Western and Central European languages. The Biryani project is led by Dan Reynolds, a type designer based in Berlin, Germany. To contribute, visit github.com/typeoff/biryani", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Bitter": { + "name": "Bitter", + "designer": [ + "Sol Matas" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "People read and interact with text on screens more and more each day. What happens on screen ends up being more important than what comes out of the printer. With the accelerating popularity of electronic books, type designers are working hard to seek out the ideal designs for reading on screen. Motivated by her love for the pixel, Sol Matas designed Bitter. A \"contemporary\" slab serif typeface for text, it is specially designed for comfortably reading on any computer or device. The robust design started from the austerity of the pixel grid, based on rational rather than emotional principles. It combines the large x-heights and legibility of the humanistic tradition with subtle characteristics in the characters that inject a certain rhythm to flowing texts. Bitter has little variation in stroke weight and the Regular style is thicker than a usual \u2018Regular\u2019 style for print design. This generates an intense color in paragraphs, accentuated by the serifs that are as thick as strokes with square terminals. Each glyph is carefully designed with an excellent curve quality added to the first stage of the design, that was entirely made in a pixel grid. The typeface is balanced and manually spaced to use very few kerning pairs. To contribute, see github.com/solmatas/BitterPro .", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Black And White Picture": { + "name": "Black And White Picture", + "designer": [ + "AsiaSoft Inc." + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "korean", + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Black And White Picture is a Korean font that expresses the nostalgia of faded black and white photos through its old and scratchy texture. A matching Latin font, Flavors, is built-in for convenience.", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "Black Han Sans": { + "name": "Black Han Sans", + "designer": [ + "Zess Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "korean", + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Black Han Sans is a new Korean Hangul typeface based on ZBLACK Original. With adjustments to the spacing between letters, this typeface has more structurally unified heights and widths. It has also been improved for greater legibility and usability. Black Han Sans has been designed to emphasize square shapes as a font for headlines and titles. It includes 2,580 Korean characters, numbers and punctuation marks. Latin alphabet characters and other symbols are not provided. To contribute, see github.com/zesstype/Black-Han-Sans.", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "Black Ops One": { + "name": "Black Ops One", + "designer": [ + "James Grieshaber", + "Eben Sorkin" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Black Ops One is a low contrast, semi geometric typeface inspired by military stencil lettering. It is heavy, sturdy, punchy, and looks best when used at medium to large sizes because of the small cuts found in stencils. In the July 2022 update, Black Ops One has improved language support. To contribute, see github.com/SorkinType/Black-Ops.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Blaka": { + "name": "Blaka", + "designer": [ + "Mohamed Gaber" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "arabic", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Blaka is an experimental typeface, enriching the gothic feeling of Black Letters by enhancing the geometric features to create midgrounds with the Kufic style for the Arabic letterforms. The aesthetical matching process between the two scripts relies on the features of being hand-drawn with a reed pen. While Latin letterforms maintain sharp edges, Arabic relies on sharp edges and thick strokes to create overlaps to replace a usual baseline in most letterforms, giving the Arabic letterforms contemporary features. The font family comes in two styles, Blaka and Blaka Hollow, featuring an outlined version of the font. Blaka also comes in two variants, the usual monochrome variants as well as an Ink variant Blaka Ink. The Ink variant are color fonts where the colors are defined by the font itself. Support for color fonts is currently limited to few applications like Google Chrome (version 98 or later). To contribute, see github.com/Gue3bara/Blaka.", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Blaka Hollow": { + "name": "Blaka Hollow", + "designer": [ + "Mohamed Gaber" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "arabic", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Blaka is an experimental typeface, enriching the gothic feeling of Black Letters by enhancing the geometric features to create midgrounds with the Kufic style for the Arabic letterforms. The aesthetical matching process between the two scripts relies on the features of being hand-drawn with a reed pen. While Latin letterforms maintain sharp edges, Arabic relies on sharp edges and thick strokes to create overlaps to replace a usual baseline in most letterforms, giving the Arabic letterforms contemporary features. The font family comes in two styles, Blaka and Blaka Hollow, featuring an outlined version of the font. Blaka also comes in two variants, the usual monochrome variants as well as an Ink variant Blaka Ink. The Ink variant are color fonts where the colors are defined by the font itself. Support for color fonts is currently limited to few applications like Google Chrome (version 98 or later). To contribute, see github.com/Gue3bara/Blaka.", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Blaka Ink": { + "name": "Blaka Ink", + "designer": [ + "Mohamed Gaber" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "arabic", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Blaka is an experimental typeface, enriching the gothic feeling of Black Letters by enhancing the geometric features to create midgrounds with the Kufic style for the Arabic letterforms. The aesthetical matching process between the two scripts relies on the features of being hand-drawn with a reed pen. While Latin letterforms maintain sharp edges, Arabic relies on sharp edges and thick strokes to create overlaps to replace a usual baseline in most letterforms, giving the Arabic letterforms contemporary features. The font family comes in two styles, Blaka and Blaka Hollow, featuring an outlined version of the font. Blaka also comes in two variants, the usual monochrome variants as well as an Ink variant Blaka Ink. The Ink variant are color fonts where the colors are defined by the font itself. Support for color fonts is currently limited to few applications like Google Chrome (version 98 or later). This font uses the COLRv1, CPAL and SVG tables. Please visit the gf-guide color page to learn more about Color Fonts technology. To contribute, see github.com/Gue3bara/Blaka", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Blinker": { + "name": "Blinker", + "designer": [ + "Juergen Huber" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Blinker is a low contrast sans serif typeface with a squircle as its basic shape, think squarish curves, or Eurostyle\u2019s flamboyant cousin. It\u2019s best used for medium to large text, rather than a long copy. To do its claim justice Blinker also comes with a headline weight with an extra large x-height, tight spacing, and glyphs drawn more narrowly. Blink! The original 9 weights with a latin extended glyph set were designed by supertype\u2019s J\u00fcrgen Huber in 2019. To contribute, see github.com/supertype-de/Blinker", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Bodoni Moda": { + "name": "Bodoni Moda", + "designer": [ + "Owen Earl" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Bodoni Moda is a no-compromises Bodoni family, built for the digital age. This font family includes a full range of weights, italics, an extended character set, OpenType features, and optical sizes, totalling 64 font files. It was made with love and will continue to improve with your support. The Bodoni Moda project is designed by Owen Earl (indestructible type*). To contribute, see github.com/indestructible-type/Bodoni", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Bodoni Moda SC": { + "name": "Bodoni Moda SC", + "designer": [ + "Owen Earl" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Bodoni Moda is a no-compromises Bodoni family, built for the digital age. This font family includes a full range of weights, italics, an extended character set, OpenType features, and optical sizes, totalling 64 font files. It was made with love and will continue to improve with your support. Bodoni Moda SC is the small caps version of Bodoni Moda. The Bodoni Moda project is designed by Owen Earl (indestructible type*). To contribute, see github.com/indestructible-type/Bodoni", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Bokor": { + "name": "Bokor", + "designer": [ + "Danh Hong" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "khmer", + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Bokor is a display Khmer font, suitable for headlines, titles, subtitles, and even banner designs. To contribute, see github.com/danhhong/Bokor.", + "primary_script": "Khmr", + "article": null, + "minisite_url": null + }, + "Boldonse": { + "name": "Boldonse", + "designer": [ + "Universitype" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "When it comes to making a big impact in design, UT Boldonse is here to help. This bold, condensed sans serif font is packed with personality and strength. It\u2019s more than just a font\u2014it\u2019s the tool you need to make your designs stand out. Let\u2019s explore why UT Boldonse is the perfect choice for your creative projects. To contribute, see github.com/googlefonts/boldonse.", + "minisite_url": null + }, + "Bona Nova": { + "name": "Bona Nova", + "designer": [ + "Capitalics", + "Mateusz Machalski", + "Andrzej Heidrich" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "hebrew", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Bona Nova is a digitisation of Bona, a cursive typeface designed in 1971 by Andrzej Heidrich \u2014 the creator of Polish banknotes. Besides giving it a digital form, this project was the opportunity to expand the character set, design the small caps, alternates and opentype functions for the typeface. Two new versions has been created together with the original author; a Regular and a Bold, to give the family a form of a classical triad. To contribute, see github.com/kosmynkab/Bona-Nova.", + "primary_script": null, + "article": null, + "minisite_url": "http://bonanova.wtf/" + }, + "Bona Nova SC": { + "name": "Bona Nova SC", + "designer": [ + "Capitalics", + "Mateusz Machalski", + "Andrzej Heidrich" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "hebrew", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Bona Nova is a digitisation of Bona, a cursive typeface designed in 1971 by Andrzej Heidrich \u2014 the creator of Polish banknotes. Besides giving it a digital form, this project was the opportunity to expand the character set, design the small caps, alternates and opentype functions for the typeface. Two new versions has been created together with the original author; a Regular and a Bold, to give the family a form of a classical triad. To contribute, see github.com/kosmynkab/Bona-Nova.", + "primary_script": null, + "article": null, + "minisite_url": "http://bonanova.wtf" + }, + "Bonbon": { + "name": "Bonbon", + "designer": [ + "Cyreal" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Bonbon is a fancy handwriting font for cheerful and bright headlines. The letterforms are artistic and naive as if they are written in a teenage girl's diary. It is drawn with a fine marker by author Ksenia Erulevich. Curves are carefully adjusted so that the font will also work well in print - making it a good choice for appetizing product design, greeting cards, or titling in children's books. Extra ornamental characters are included.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Bonheur Royale": { + "name": "Bonheur Royale", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "It's casual and contemporary. BonheurRoyale has the look of a calligraphic hand with a slightly brush feel. The contrast of this and thin strokes gives this clean style a legible quality. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/bonheur-royale.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Boogaloo": { + "name": "Boogaloo", + "designer": [ + "John Vargas Beltr\u00e1n" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Boogaloo was started in 2010 as a complement to the Salsa typeface, while thinking about type used in Latin American music genres and the culture's own identity. The structure of Boogaloo is that of classic American lettering, found so often in old LP albums cover art from the 1960s, when Latin music became very popular and preceding the birth of the musical phenomenon of Salsa. Functionally this typeface can be used to display texts that wish to remind readers of the 1960s, Latin music. There is movement, coolness and happiness across all its forms.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Borel": { + "name": "Borel", + "designer": [ + "Rosalie Wagner" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "math", + "symbols", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "handwriting" + ], + "description": "What considerations should be taken into account when approaching typography in the context of simultaneous learning of reading and writing? Borel is a French cursive primer \u2014 developed with primary school teachers and speech therapists \u2014 which aims aims to harmonise cursive strokes and common typographic structure. This typeface, named in tribute to Suzanne Borel-Maisonny (a pioneer in speech therapy), boasts a sturdy design featuring low contrast and a generous x-height. The letters are intentionally open and clearly differentiated while adhering to the conventions of handwriting in French schools. Due to the specifity of this project, the font only supports a limited set of glyphs allowing to write in French, English, Spanish, Catalan, German, Portuguese, Turkish and Vietnamese. Please submit language requests with images in the issue tracker of the reposotory linked below. Find more documentation here: Fran\u00e7ais | English To contribute, please see github.com/RosaWagner/Borel.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Bowlby One": { + "name": "Bowlby One", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Bowlby One has been designed for use as a utilitarian, all caps display font. A version with lowercase characters is also available. Its forms are a fusion of a handfull of designs scanned from old, early Twentieth Century type specimens. Bowlby One is perfect for big bold headlines and display uses that need a slightly roughened look. Bowlby is a web font, designed to be used freely across the internet by web browsers on desktop computers, laptops, cloud systems and mobile devices.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Bowlby One SC": { + "name": "Bowlby One SC", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Bowlby One SC is designed for use as a utilitarian, All Caps and Small Caps display font. A version with lowercase characters is also available. Its forms are a fusion of a handfull of designs scanned from old, early Twentieth Century type specimens. Bowlby One SC is perfect for big bold headlines and display uses that need a slightly roughened look. Bowlby is a web font, designed to be used freely across the internet by web browsers on desktop computers, laptops, cloud systems and mobile devices.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Braah One": { + "name": "Braah One", + "designer": [ + "Ashish Kumar" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "gurmukhi", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Braah is a display font that perfectly blends boldness and playfulness. The font is available with corresponding Latin/Gurmukhi scripts, making it versatile and adaptable to different languages. Braah was designed by India-based typeface and UX designer Ashish Kumar. An update in May 2023 corrects the original vertical metrics, which may impact line spacing in some layouts. To contribute to the project please see github.com/artandtype/Braah.", + "primary_script": "Guru", + "article": null, + "minisite_url": null + }, + "Brawler": { + "name": "Brawler", + "designer": [ + "Cyreal" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Brawler is a compact typeface with sharp features and a sturdy character, designed for comfortable reading in small sizes. It was initially planned as a typeface for newspapers and tabloids. Thus, the design concept was shaped by the demands of low quality printing media and the aesthetic preferences of periodical publications. To contribute, see github.com/cyrealtype/Brawler.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Bree Serif": { + "name": "Bree Serif", + "designer": [ + "TypeTogether" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "This friendly upright italic is the serif cousin of TypeTogether's award winning family Bree. Designed by Veronika Burian and Jos\u00e9 Scaglione, Bree was originally released in 2008 and became an immediate success because of its originality, charming appearance and versatility.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Bricolage Grotesque": { + "name": "Bricolage Grotesque", + "designer": [ + "Mathieu Triay" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Bricolage Grotesque is a collage of lots of different things: historical sources, technical decisions and personal feelings. It started as a fork of Mayenne Sans, an open-source single weight font designed by J\u00e9r\u00e9my Landes (Studio Triple). It evolved by reinforcing cues from French sources and British sources: the compressed weights lean more towards the anxious and wonky tones of Grotesque N\u00ba9 and the regular weights have a bit more of Antique Olive's relaxed and confident attitude. The smaller optical sizes become more neutral and reflective of contemporary sans serifs, notably through the use of exaggerated ink traps. By blending iconic British and French designs with modern trends and tools, it aims to traverse a complex typographical and emotional landscape. At the same time, it\u2019s so steeped in historical sources and references that it\u2019s hard to call it anything but a re-interpretation of the same ideas but for a different purpose: trying to express visually what it feels like to move countries and rebuild, what it feels like to have a hybrid identity where you cannot be what you were and yet you can never truly be anybody else. To contribute, see github.com/ateliertriay/bricolage.", + "primary_script": null, + "article": null, + "minisite_url": "https://ateliertriay.github.io/bricolage" + }, + "Bruno Ace": { + "name": "Bruno Ace", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Bruno Ace draws inspiration from modern automotive logos. This techno geometric sans has a wide stance with a tall x-height for a strong look and appeal. Both a normal case and small caps font exists. To contribute, see github.com/googlefonts/Bruno-ace.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Bruno Ace SC": { + "name": "Bruno Ace SC", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Bruno Ace draws inspiration from modern automotive logos. This techno geometric sans has a wide stance with a tall x-height for a strong look and appeal. Both a normal case and small caps font exists. To contribute, see github.com/googlefonts/Bruno-ace.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Brygada 1918": { + "name": "Brygada 1918", + "designer": [ + "Capitalics", + "Mateusz Machalski", + "Borys Kosmynka", + "Ania Wielu\u0144ska", + "Przemys\u0142aw Hoffer" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Brygada 1918 is a revival project created for the celebration of the 100 years of independance of the Republic of Poland in 2018, with the support of the \"Independent\" program and the President of the Republic of Poland. The typeface is based on the catalogue entry of the National Type Foundry from 1954, and a set of matrices found at the Book Arts Museum by Janusz Tryzno in 2016. More information is available on the project's website and Google Design. To contribute, see github.com/kosmynkab/Brygada-1918. Reviving a forgotten font: Type detectives give life to Brygada Mysterious Polish font matrices spark interest in a lost and forgotten pre-World War II typeface A man uncovers an unused font in dusty piles of metal plates and blocks. He is intrigued by the mysterious letters \u201cK\u201d and \u201cR\u201d with curly legs, and a handwritten note on old brown paper that says \u201cBrygada.\u201d He starts an archeological quest to research the origins of the font\u2013and inspires a team to revive the font with 21st century software and a microscopic camera. Is this the plot line for a new \u201cIndiana Jones\u201d movie or the origin story for a remade digitized font? It\u2019s the latter. It\u2019s the story of Brygada, a lost and forgotten 20th century typeface remade for the 21st century. Handwritten note with \u201cBrygada\u201d name in Polish It was the summer of 2015 and Mr. Janusz Tryzno was the owner of the Book Art Museum of \u0141\u00f3d\u017a located in a 19th century villa in \u0141\u00f3d\u017a (pronounced \u201cWoodge\u201d), Poland. He dug through piles of font matrices (metal blocks with letter shapes used to cast letters) and metal plates wrapped in brown paper from the Polish National Type Foundry. After uncovering the Brygada matrices, he asked museum volunteers, Przemys\u0142aw Hoffer and Borys Kosmynka, to examine the matrices to see if they could bring the font back to life. To learn more about Brygada, visit: Reviving a forgotten font: Type detectives give life to Brygada(English), Rewitalizacja zapomnianej czcionki: nowe \u017cycie Brygady(Polish).", + "minisite_url": "https://brygada1918.eu/" + }, + "Bubblegum Sans": { + "name": "Bubblegum Sans", + "designer": [ + "Sudtipos" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Bubblegum Sans is upbeat, flavor-loaded, brushalicious letters for the sunny side of the street. It bounces with joy and tells a great story. Designed by Angel Koziupa and produced by Ale Paul, this typeface is a loud 21st century shoutout to the kind of the 1930s lettering that sold everything to everyone through every medium. From Sudtipos.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Bubbler One": { + "name": "Bubbler One", + "designer": [ + "Brenda Gallo" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Bubbler One is an original font with thin strokes that are particularly straight. It is a legible typeface in small sizes. You can use Bubbler One for any kind of text, formal or informal, big or small; I hope you find it useful! Designed by Brenda Gallo and Gustavo Dipre.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Buda": { + "name": "Buda", + "designer": [ + "Ad\u00e8le Antignac" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Against the typographical grey, Buda is a black and white typeface. The letters are shared by two contrasting weights, which clash and balance each other out. This typeface is inspired by Budapest, a paradoxal town, beautiful and ugly, fragile and exuberant. Like this town, the typeface Buda is an assemblage of heterogeneous elements which form a harmony.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Buenard": { + "name": "Buenard", + "designer": [ + "Gustavo Ibarra" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Buenard is a high-quality serif typeface for art books. It is based on the Transitional Roman classical structure, with less contrasted strokes and heavier serifs. It has its own contemporary style, combining elegance, consistency and legibility for all text sizes, making it an excellent choice when selecting a serif font. Buenard was initially designed for an Argentinian art publisher and progressed as a final project in the Postgraduate Career in Typography at the University of Buenos Aires. To contribute, see github.com/googlefonts/buenard.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Bungee": { + "name": "Bungee", + "designer": [ + "David Jonathan Ross" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "In the crowded urban environment, space for signage is always at a premium. From crummy liquor stores to majestic theaters, sometimes signs have nowhere to go but up. Bungee is a font that celebrates urban signs that stack the Latin alphabet, one letter on top of the other, in order to make dramatic use of limited space. Following their lead, Bungee typesets horizontally and vertically, so it is always ready to take your text in a new direction. Bungee\u2019s letterforms were designed to reinforce a sense of verticality. Round characters like O and diagonal characters like A are straight-sided, and letters like L and I gain serifs in order to create vertical words with well-defined left and right edges. To contribute, see github.com/djrrb/Bungee The Bungee family Google Fonts distributes seven variants of Bungee, including two color fonts: Bungee Bungee Hairline Bungee Inline Bungee Outline Bungee Shade Bungee Tint, a COLRv0 font Bungee Spice, a COLRv1 font Bungee\u2019s downloadable releases also includes special layer fonts (for multicolor typesetting in environments where color fonts are not supported) and rotated fonts (for stacked typesetting in environments where vertical text is not supported). The Bungee project is led by David Jonathan Ross, and thanks to support from Google and The Font Bureau, Bungee was released under the SIL Open Font License. In 2023\u201324, Marte Verhaegen and Just van Rossum produced a major revision (v2), which includes an automated build process as well as many enhancements to the vertical features and color fonts.", + "minisite_url": "https://djr.com/bungee" + }, + "Bungee Hairline": { + "name": "Bungee Hairline", + "designer": [ + "David Jonathan Ross" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "In the crowded urban environment, space for signage is always at a premium. From crummy liquor stores to majestic theaters, sometimes signs have nowhere to go but up. Bungee is a font that celebrates urban signs that stack the Latin alphabet, one letter on top of the other, in order to make dramatic use of limited space. Following their lead, Bungee typesets horizontally and vertically, so it is always ready to take your text in a new direction. Bungee\u2019s letterforms were designed to reinforce a sense of verticality. Round characters like O and diagonal characters like A are straight-sided, and letters like L and I gain serifs in order to create vertical words with well-defined left and right edges. To contribute, see github.com/djrrb/Bungee The Bungee family Google Fonts distributes seven variants of Bungee, including two color fonts: Bungee Bungee Hairline Bungee Inline Bungee Outline Bungee Shade Bungee Tint, a COLRv0 font Bungee Spice, a COLRv1 font Bungee\u2019s downloadable releases also includes special layer fonts (for multicolor typesetting in environments where color fonts are not supported) and rotated fonts (for stacked typesetting in environments where vertical text is not supported). The Bungee project is led by David Jonathan Ross, and thanks to support from Google and The Font Bureau, Bungee was released under the SIL Open Font License. In 2023\u201324, Marte Verhaegen and Just van Rossum produced a major revision (v2), which includes an automated build process as well as many enhancements to the vertical features and color fonts.", + "minisite_url": "https://djr.com/bungee" + }, + "Bungee Inline": { + "name": "Bungee Inline", + "designer": [ + "David Jonathan Ross" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "In the crowded urban environment, space for signage is always at a premium. From crummy liquor stores to majestic theaters, sometimes signs have nowhere to go but up. Bungee is a font that celebrates urban signs that stack the Latin alphabet, one letter on top of the other, in order to make dramatic use of limited space. Following their lead, Bungee typesets horizontally and vertically, so it is always ready to take your text in a new direction. Bungee\u2019s letterforms were designed to reinforce a sense of verticality. Round characters like O and diagonal characters like A are straight-sided, and letters like L and I gain serifs in order to create vertical words with well-defined left and right edges. To contribute, see github.com/djrrb/Bungee The Bungee family Google Fonts distributes seven variants of Bungee, including two color fonts: Bungee Bungee Hairline Bungee Inline Bungee Outline Bungee Shade Bungee Tint, a COLRv0 font Bungee Spice, a COLRv1 font Bungee\u2019s downloadable releases also includes special layer fonts (for multicolor typesetting in environments where color fonts are not supported) and rotated fonts (for stacked typesetting in environments where vertical text is not supported). The Bungee project is led by David Jonathan Ross, and thanks to support from Google and The Font Bureau, Bungee was released under the SIL Open Font License. In 2023\u201324, Marte Verhaegen and Just van Rossum produced a major revision (v2), which includes an automated build process as well as many enhancements to the vertical features and color fonts.", + "minisite_url": "https://djr.com/bungee" + }, + "Bungee Outline": { + "name": "Bungee Outline", + "designer": [ + "David Jonathan Ross" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "In the crowded urban environment, space for signage is always at a premium. From crummy liquor stores to majestic theaters, sometimes signs have nowhere to go but up. Bungee is a font that celebrates urban signs that stack the Latin alphabet, one letter on top of the other, in order to make dramatic use of limited space. Following their lead, Bungee typesets horizontally and vertically, so it is always ready to take your text in a new direction. Bungee\u2019s letterforms were designed to reinforce a sense of verticality. Round characters like O and diagonal characters like A are straight-sided, and letters like L and I gain serifs in order to create vertical words with well-defined left and right edges. To contribute, see github.com/djrrb/Bungee The Bungee family Google Fonts distributes seven variants of Bungee, including two color fonts: Bungee Bungee Hairline Bungee Inline Bungee Outline Bungee Shade Bungee Tint, a COLRv0 font Bungee Spice, a COLRv1 font Bungee\u2019s downloadable releases also includes special layer fonts (for multicolor typesetting in environments where color fonts are not supported) and rotated fonts (for stacked typesetting in environments where vertical text is not supported). The Bungee project is led by David Jonathan Ross, and thanks to support from Google and The Font Bureau, Bungee was released under the SIL Open Font License. In 2023\u201324, Marte Verhaegen and Just van Rossum produced a major revision (v2), which includes an automated build process as well as many enhancements to the vertical features and color fonts.", + "minisite_url": "https://djr.com/bungee" + }, + "Bungee Shade": { + "name": "Bungee Shade", + "designer": [ + "David Jonathan Ross" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "In the crowded urban environment, space for signage is always at a premium. From crummy liquor stores to majestic theaters, sometimes signs have nowhere to go but up. Bungee is a font that celebrates urban signs that stack the Latin alphabet, one letter on top of the other, in order to make dramatic use of limited space. Following their lead, Bungee typesets horizontally and vertically, so it is always ready to take your text in a new direction. Bungee\u2019s letterforms were designed to reinforce a sense of verticality. Round characters like O and diagonal characters like A are straight-sided, and letters like L and I gain serifs in order to create vertical words with well-defined left and right edges. To contribute, see github.com/djrrb/Bungee The Bungee family Google Fonts distributes seven variants of Bungee, including two color fonts: Bungee Bungee Hairline Bungee Inline Bungee Outline Bungee Shade Bungee Tint, a COLRv0 font Bungee Spice, a COLRv1 font Bungee\u2019s downloadable releases also includes special layer fonts (for multicolor typesetting in environments where color fonts are not supported) and rotated fonts (for stacked typesetting in environments where vertical text is not supported). The Bungee project is led by David Jonathan Ross, and thanks to support from Google and The Font Bureau, Bungee was released under the SIL Open Font License. In 2023\u201324, Marte Verhaegen and Just van Rossum produced a major revision (v2), which includes an automated build process as well as many enhancements to the vertical features and color fonts.", + "minisite_url": "https://djr.com/bungee" + }, + "Bungee Spice": { + "name": "Bungee Spice", + "designer": [ + "David Jonathan Ross" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "In the crowded urban environment, space for signage is always at a premium. From crummy liquor stores to majestic theaters, sometimes signs have nowhere to go but up. Bungee is a font that celebrates urban signs that stack the Latin alphabet, one letter on top of the other, in order to make dramatic use of limited space. Following their lead, Bungee typesets horizontally and vertically, so it is always ready to take your text in a new direction. Bungee\u2019s letterforms were designed to reinforce a sense of verticality. Round characters like O and diagonal characters like A are straight-sided, and letters like L and I gain serifs in order to create vertical words with well-defined left and right edges. This font uses the COLRv1, CPAL and SVG tables. Please visit the gf-guide color page to learn more about Color Fonts technology. To contribute, see github.com/djrrb/Bungee Bungee\u2019s color fonts Bungee was an early experimental color font, and has been updated as color font technology has developed over the past decade. Both Bungee Tint (flat colors) and Bungee Spice (gradients) contain multiple color palettes, so it is possible to create chromatic effects even in the most basic typesetting environments. Hopefully these fonts will help designers and developers explore the possibilities of what color fonts have to offer. The Bungee family Google Fonts distributes seven variants of Bungee, including two color fonts: Bungee Bungee Hairline Bungee Inline Bungee Outline Bungee Shade Bungee Tint, a COLRv0 font Bungee Spice, a COLRv1 font Bungee\u2019s downloadable releases also includes special layer fonts (for multicolor typesetting in environments where color fonts are not supported) and rotated fonts (for stacked typesetting in environments where vertical text is not supported). The Bungee project is led by David Jonathan Ross, and thanks to support from Google and The Font Bureau, Bungee was released under the SIL Open Font License. In 2023\u201324, Marte Verhaegen and Just van Rossum produced a major revision (v2), which includes an automated build process as well as many enhancements to the vertical features and color fonts.", + "minisite_url": "https://djr.com/bungee" + }, + "Bungee Tint": { + "name": "Bungee Tint", + "designer": [ + "David Jonathan Ross" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "In the crowded urban environment, space for signage is always at a premium. From crummy liquor stores to majestic theaters, sometimes signs have nowhere to go but up. Bungee is a font that celebrates urban signs that stack the Latin alphabet, one letter on top of the other, in order to make dramatic use of limited space. Following their lead, Bungee typesets horizontally and vertically, so it is always ready to take your text in a new direction. Bungee\u2019s letterforms were designed to reinforce a sense of verticality. Round characters like O and diagonal characters like A are straight-sided, and letters like L and I gain serifs in order to create vertical words with well-defined left and right edges. This font uses the COLRv0 and CPAL tables. Please visit the gf-guide color page to learn more about Color Fonts technology. To contribute, see github.com/djrrb/Bungee Bungee\u2019s color fonts Bungee was an early experimental color font, and has been updated as color font technology has developed over the past decade. Both Bungee Tint (flat colors) and Bungee Spice (gradients) contain multiple color palettes, so it is possible to create chromatic effects even in the most basic typesetting environments. Hopefully these fonts will help designers and developers explore the possibilities of what color fonts have to offer. The Bungee family Google Fonts distributes seven variants of Bungee, including two color fonts: Bungee Bungee Hairline Bungee Inline Bungee Outline Bungee Shade Bungee Tint, a COLRv0 font Bungee Spice, a COLRv1 font Bungee\u2019s downloadable releases also includes special layer fonts (for multicolor typesetting in environments where color fonts are not supported) and rotated fonts (for stacked typesetting in environments where vertical text is not supported). The Bungee project is led by David Jonathan Ross, and thanks to support from Google and The Font Bureau, Bungee was released under the SIL Open Font License. In 2023\u201324, Marte Verhaegen and Just van Rossum produced a major revision (v2), which includes an automated build process as well as many enhancements to the vertical features and color fonts.", + "minisite_url": "https://djr.com/bungee" + }, + "Butcherman": { + "name": "Butcherman", + "designer": [ + "Typomondo" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Butcherman is a zombified display font, hacked and chopped and left for dead, yet still crawling.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Butterfly Kids": { + "name": "Butterfly Kids", + "designer": [ + "Tart Workshop" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Cute and flirty, Butterfly Kids flits about spreading cheer! Be fun. Be cute. Be happy!", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Bytesized": { + "name": "Bytesized", + "designer": [ + "Baltdev" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Bytesized is a miniscule monospace pixel font - 3x4 modulo diacritics - made to be as legible as possible within these restrictions. The name comes from the fact that, if you restrict the font to ASCII only, you can store it raw in just under 150 bytes! While a few compromises had to be made to fit it into such a small profile, namely only supporting the Latin Core character set, and some \"creative\" glyph designs, so to speak, it's still quite readable! To contribute, see github.com/balt-dev/bytesized-gf.", + "minisite_url": null + }, + "Cabin": { + "name": "Cabin", + "designer": [ + "Impallari Type", + "Rodrigo Fuenzalida" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Cabin is a humanist sans inspired by Edward Johnston's and Eric Gill's typefaces, with a touch of modernism. Cabin incorporates modern proportions, optical adjustments, and some elements of the geometric sans. It remains true to its roots, but has its own personality. The Cabin font family comes in two variable fonts, roman and true italic, with a Weight range from Regular to Bold, and a Width range from normal to Condensed. The stroke contrast is almost monolinear, although top and bottom curves are slightly thinned. Counters of the b, g, p and q are rounded, and all are optically adjusted. Cabin has wide language support, including full Latin coverage of Vietnamese, additional to all Western, Central, and South/Eastern European languages. To contribute, see github.com/impallari/Cabin", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Cabin Condensed": { + "name": "Cabin Condensed", + "designer": [ + "Impallari Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "This is the condensed set of styles of the Cabin font family. The compete family is available as a variable font, with a Weight range from Regular to Bold, and a Width range from Normal to Condensed.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Cabin Sketch": { + "name": "Cabin Sketch", + "designer": [ + "Impallari Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "The Cabin Font is a humanist sans inspired by Edward Johnston\u2019s and Eric Gill\u2019s typefaces, with a touch of modernism.Cabin incorporates modern proportions, optical adjustments, and some elements of the geometric sans. This is the Sketch version, with the texture of a teenage doodle.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Cactus Classical Serif": { + "name": "Cactus Classical Serif", + "designer": [ + "Henry Chan", + "Tian Haidong", + "Moonlit Owen" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "chinese-traditional", + "cyrillic", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "\"Cactus Classical Serif\" is an open source font suitable for Traditional Chinese environments. This font uses inherited glyphs, largely adhering to the Inherited Glyphs standard maintained by the I.Font Project, combined with other commonly seen inherited glyphs, to produce a Chinese typeface with glyphs in the traditional style. This font is produced by Tian Haidong. Moonlit Owen has assisted in the font production and is also a maintainer. The CJK characters are based on glyphs prepared by Henry Chan on GlyphWiki, with modifications and characters supplemented by Tian Haidong. The Latin characters, Kana characters, and other symbols are based on glyphs from the Genyo Font developed by But Ko based on Source Han Serif. To contribute, see github.com/MoonlitOwen/CactusSerif.", + "primary_script": "Hant", + "article": null, + "minisite_url": null + }, + "Caesar Dressing": { + "name": "Caesar Dressing", + "designer": [ + "Open Window" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Caesar Dressing is a 'Markers' take on a Greek alphabet. Open Window fonts gravitate towards more experimental or spontaneous renderings and this one doesn't look out of place next to the most experimental of those. It also maintains the geometric balance of a classic Greek-font quite effectively. Designed by Dathan Boardman of Open Window.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Cagliostro": { + "name": "Cagliostro", + "designer": [ + "MADType" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Cagliostro was inspired by the early 20th Century lettering work of Ozwald Bruce Cooper. Care was taken to preserve the original hand-lettered feel of his work while updating the style for modern use. The x-height was increased from the original style and some of the more quirky aspects were toned back. The end result is a very handsome and unique sans that is very useful for titles and short blocks of text. Documentation can be found at www.madtype.com and to contribute to the project contact Matthew Desmond at mattdesmond@gmail.com", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Cairo": { + "name": "Cairo", + "designer": [ + "Mohamed Gaber", + "Accademia di Belle Arti di Urbino" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "arabic", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Cairo is a contemporary multilingual typeface family. Mohamed Gaber extended the Latin typeface family Titillum Web to support the Arabic script, with a design that is based on the Kufi calligraphic style. Now available as a variable font. Cairo balances classic and contemporary tastes with wide open counters and short ascenders and descenders that minimize length while maintaining easy readability. The lighter weights can be used for body text while the heavier weights are perfect for headlines and display typography. The Arabic component has a wide glyph set that supports the Arabic, Farsi and Urdu languages. The Cairo project is led by Mohamed Gaber, a type designer based in Cairo, Egypt. To contribute, see github.com/Gue3bara/Cairo", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Cairo Play": { + "name": "Cairo Play", + "designer": [ + "Mohamed Gaber", + "Accademia di Belle Arti di Urbino" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "arabic", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Cairo Play is a color font version of Cairo which features colored marks. This font uses the COLRv0 and CPAL tables. Please visit the gf-guide color page to learn more about Color Fonts technology. To contribute, see github.com/Gue3bara/Cairo.", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Cal Sans": { + "name": "Cal Sans", + "designer": [ + "Mark Davis", + "Cal.com Inc." + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Cal Sans is a geometric sans-serif typeface designed for display, particularly large point sizes. It was created by Mark Davis for Cal.com by Peer Richelsen and Bailey Pumfleet, with interface design by Ciar\u00e1n Hanrahan, and is open source. The design aims for a serious and geometric aesthetic, ensuring circular shapes throughout the \u201ccal.com\u201d lettering. To contribute, see github.com/calcom/font. Introduction Cal Sans is a geometric sans-serif tuned for display, that is, large point sizes. It is an Open Source typeface to adorn the headlines and interfaces of Cal.com, a company founded by Peer Richelsen and Bailey Pumfleet and interface design by Ciar\u00e1n Hanrahan. The basis of Cal Sans is my initial answer to what my Futura would be. It fit well with Peer\u2019s brief, for something serious and and geometric so that the letters of \u201ccal.com\u201d would have circular shapes throughout. It was decided early on that it be open source for all! Design Philosophy and Unique Characteristics As this design was created for display, and is currently a single static font, an unusual approach is taken for its texture and default typography. Letters are intentionally spaced to be extremely close for tight headlines \u201cout of the box.\u201d For smaller subheadings, positive letter spacing must be applied. There are currently no other Open Source geometric sanserifs geared as intentionally for \u201ctight but not touching\u201d typesetting\u2014as it is more labor intensive to produce with accurate texture. But for typesetters, if they would letterspace another design as tight as Cal Sans, the results would not be as consistent. So, for end users, more flexibility is available when the tightest typesetting extreme edge case is gracefully addressed. One may create looser typesetting as needed. Features While the default design is fairly ahistorical, there are historical design options. Using Stylistic Set 01 (ss01), Futura-specific alternates can be deployed. Including diacritic variants, there are 48 alternates for this set. I give credit to Rasmus Andersson implementing in his design Inter Character Variants to offer more control in website typography. Cal Sans also employs this feature. There are six Character Variants in Cal Sans, for Cc (cv01), j (cv02), t (cv03), u (cv04), 0 (cv05), and 1 (cv06). In celebration of Futura\u2019s geometrically extreme ligatures, Cal Sans has an experimental approach to ligatures, Stylistic Set 02 (ss02) is identical to ss01, but also combines eligible letters as historical Futura ligatures. This is included as a stylistic set and not as discretionary ligatures because default characters really do not match these historical ligatures. (But they were included anyway!) Probably the most novel OpenType feature of Cal Sans is its third Stylistic Set (ss03). The best way to exhibit the need of ss03 is to see how \u201ctight but not touching\u201d affects spacing with consecutive diagonals. Some designers would never want their letters to overlap or touch in a headline, or very large title. Diagonals\u2019 corners are kerned from eachother, and some might say this causes more problems than the \u201cstock\u201d kerning solves. Such letter combinations aren\u2019t\u2026incredibly common. But they are not rare, nor is spacing letters in a way that is sometimes consistent a goal of mine. But, I see merits in both paths. So, ss03 overrides diagonal-to-diagonal kerning pairs with new ones that let diagonal corners \u201ccrash.\u201d I don\u2019t know of any other typefaces that has many kerning options, hopefully this feature is of use! Thanks to Tal Leming\u2019s OpenType Cook Book for technical details.", + "minisite_url": null + }, + "Caladea": { + "name": "Caladea", + "designer": [ + "Andr\u00e9s Torresi", + "Carolina Giovanolli" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Caladea is a free modern, friendly serif font family based on Cambo, designed by Carolina Giovagnoli and Andr\u00e9s Torresi for Huerta Tipogr\u00e1fica. Caladea has the following differences: More condensed width New metrics 4 styles. Regular, Bold, Italic, and Bold Italic Character set expanded to WGL (418 glyphs) To contribute, see github.com/huertatipografica/Caladea.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Calistoga": { + "name": "Calistoga", + "designer": [ + "Yvonne Sch\u00fcttler", + "Sorkin Type", + "Eben Sorkin" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Calistoga is a cheerful, space saving display typeface. It was inspired by Oscar M. Bryn's lettering as seen on the posters made for the Western US based Santa Fe Railroad. Its vintage railroad flavor is found in the whole design. Calistoga includes proportional, tabular, old style and lining figures. It also offers fractions, superiors, inferiors, a broad range of symbols, and it includes case sensitive forms. Calistoga is an original typeface designed by Yvonne Schuttler. Eben Sorkin expanded the language support and refined the design in 2018 and 2022. To contribute, see github.com/SorkinType/Calistoga", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Calligraffitti": { + "name": "Calligraffitti", + "designer": [ + "Open Window" + ], + "license": "apache2", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Calligraffitti by Open Window owes its credit to mom and all her years of Calligraphic experience. This impromptu rendering of her calligraphic alphabet captures her years or formal practice blended with a rare encounter with the mood altering music of Santana.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Cambay": { + "name": "Cambay", + "designer": [ + "Pooja Saxena" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Cambay is a libre Devanagari typeface family designed to match the Latin Cantarell. It comes in two weights, Regular and Bold, in upright and oblique styles. The oblique styles are slanted with only the absolutely necessary optical corrections. This project is led by Pooja Saxena, a type designer based in Bangalore, India. To contribute, see Cambay on GitHub.", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Cambo": { + "name": "Cambo", + "designer": [ + "Huerta Tipogr\u00e1fica" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Cambo is a modern Latin typeface inspired by the contrast, style and ornaments of Khmer typefaces and writing styles. Its main objective is to be used to write Latin texts in a Khmer context, but it is also an elegant choice for all kinds of texts. Designed by Carolina Giovagnoli and Andr\u00e9s Torresi for Huerta Tipogr\u00e1fica.", + "primary_script": null, + "article": null, + "minisite_url": "https://huertatipografica.com/en/fonts/cambo-ht" + }, + "Candal": { + "name": "Candal", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Candal is an original and fun sans serif type design by Vernon Adams which was inspired by historical types.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Cantarell": { + "name": "Cantarell", + "designer": [ + "Dave Crossland" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "The Cantarell typeface family was designed during Dave Crossland's study of MA Typeface Design in 2009 in the Department of Typography at the University of Reading (UK). The typeface is designed as a contemporary Humanist sans serif, and was developed for on-screen reading; in particular, reading web pages on an HTC Dream mobile phone. This family was developed using only open-source softwares, mainly FontForge. Typeface designs are tools too, and therefore these font files are licensed in a way that respects your freedom \u2014 you are invited to extend them to meet your needs, such as to add the glyphs missing from your own writing systems, under the terms of the Open Font License. In October 2022 some metadata were fixed such as license clification, style name and style linking. Users may notice that the style \"Oblique\" has changed to \"Italic\". To contribute, see github.com/davelab6/cantarell.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Cantata One": { + "name": "Cantata One", + "designer": [ + "Joana Correia" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Cantata One is a high contrast extended Didone style text face. In addition to being useful in medium to large text sizes, Cantata One is meant to evoke luxury when used in display sizes. Cantata One was originally inspired by hand written letters made with a pointed pen on an old handmade map of New York City.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Cantora One": { + "name": "Cantora One", + "designer": [ + "Impallari Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Cantora ('Singer' in Spanish) is a friendly semi formal, semi condensed, semi sans serif. It has reminiscences of hand lettering, mixing straight and bowed stems, and natural curves. It was born as an experiment in drawing from the outside to the inside (drawing the space surrounding the letters first, instead of drawing the letters themselves) in trying to apply the ideas and methods of Michael Harvey and Evert Bloemsma to my own glyphs construction. In 0ctober 2022 naming inconcistencies between the font file and the API were fixed, users maybe cautious with using this update as the font name now aligns with the family name displayed by the API: Cantora One (instead of CantoraOne). Although Cantora is a sans, the lowercase letters have serif proportions. It's perfect for headlines (H1, H2, H3) in sizes larger than 20px.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Caprasimo": { + "name": "Caprasimo", + "designer": [ + "The DocRepair Project", + "Phaedra Charles", + "Flavia Zimbardi" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Caprasimo is a DocRepair font, intended to improve compliance with the ISO/IEC 29500 standard by providing fallback for Cooper Black that minimizes text reflow in Office Open XML documents. Caprasimo is based on Fraunces, a display, old-style soft-serif typeface inspired by the mannerisms of early 20th century typefaces such as the Cooper Series. Fraunces was designed by Phaedra Charles and Flavia Zimbardi, partners at Undercase Type. To contribute, please visit github.com/docrepair-fonts/caprasimo-fonts.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Capriola": { + "name": "Capriola", + "designer": [ + "Viktoriya Grabowska" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Capriola is a sans-serif typeface whose unique style draws upon forms seen in handwriting and italic types. Skeletons of the most characteristic glyphs are inspired by quick handwriting and based on a single hand movement (G,a,g,k,e). Capriola ambitiously seeks to push the boundaries of originality in the genre without losing legibility. The unusual glyphs are quite noticeable in large sizes which allows for distinctive headlines. However in small sizes these gestures become less noticeable, making it possible to set longer texts. The name means somersault in Latin. The a, e and G are the real acrobats, and the \"g\" makes a double salto! Capriola was spaced for use on the web. Capriola's originality combined with utility makes it ideal for a wide range of uses.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Caramel": { + "name": "Caramel", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "The Caramel Family is a fun, hand lettered script with three variations that are combined in the latest version of the font. Use alternates and style sets to customize your work. Caramel comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/caramel", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Carattere": { + "name": "Carattere", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Carattere is a beautiful italic style that is perfect for invitations and other uses where formal elegance and beauty are essential. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/carattere.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Cardo": { + "name": "Cardo", + "designer": [ + "David Perry" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "gothic", + "greek", + "greek-ext", + "hebrew", + "latin", + "latin-ext", + "old-italic", + "runic" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Cardo is a large Unicode font specifically designed for the needs of classicists, Biblical scholars, medievalists, and linguists. It also works well for general typesetting in situations where a high-quality Old Style font is appropriate. Its large character set supports many modern languages as well as those needed by scholars. Cardo also contains features that are required for high-quality typography such as ligatures, text figures (also known as old style numerals), true small capitals and a variety of punctuation and space characters.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Carlito": { + "name": "Carlito", + "designer": [ + "\u0141ukasz Dziedzic" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Carlito is a font designed derived from Lato (also designed by \u0141ukasz Dziedzic) that is metric-compatible with Calibri. It comes with Latin and Cyrillic character sets. To contribute, see github.com/googlefonts/carlito", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Carme": { + "name": "Carme", + "designer": [ + "Rub\u00e9n Prol" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Carme (Version 1.0) is a clean sans-serif font, specially designed for texts. It contains 206 glyphs and it was given visual metrics and kerning. The bold version is about to be released.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Carrois Gothic": { + "name": "Carrois Gothic", + "designer": [ + "Carrois Apostrophe" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Carrois Gothic is a well balanced and modern gothic type family. Clean and beautiful. What more do you need? There is the Small Caps sister family too, useful for all noble and significant applications. Learn more at carrois.com", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Carrois Gothic SC": { + "name": "Carrois Gothic SC", + "designer": [ + "Carrois Apostrophe" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Carrois Gothic is a well balanced and modern gothic type family. Clean and beautiful. What more do you need? This is the Small Caps sister family to the regular family, useful for all noble and significant applications. Learn more at carrois.com", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Carter One": { + "name": "Carter One", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Carter is a reworking of particular casual typeforms that were popular around the mid 20th century, often found used in advertising or pulp fiction book covers. The letterforms have been reshaped and digitized for use on the web, such as opening up the counterforms a little and optimizing the stems for use in display typography.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Cascadia Code": { + "name": "Cascadia Code", + "designer": [ + "Aaron Bell", + "Mohamad Dakak", + "Viktoriya Grabowska", + "Liron Lavi Turkenich" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "arabic", + "braille", + "cyrillic", + "cyrillic-ext", + "greek", + "hebrew", + "latin", + "latin-ext", + "symbols2", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Cascadia Code is a fun open source font that originated from the Windows Terminal project as a replacement for Consolas. It was intended to bring personality to monospace environemnts (especially in the italic!), while still maintaining a high degree of legibility and performance even on lower resolution screens at smaller sizes. It also offers broad language coverage, including extended Latin (and Vietnamese), Greek, Cyrillic, Arabic and Hebrew. Cascadia Code also has an alternate version available\u2014Cascadia Mono\u2014which has the programming ligatures disabled for those who prefer to see one glyph per square. For more information or to contribute to the project, please visit the github repository", + "minisite_url": null + }, + "Cascadia Mono": { + "name": "Cascadia Mono", + "designer": [ + "Aaron Bell", + "Mohamad Dakak", + "Viktoriya Grabowska", + "Liron Lavi Turkenich" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "arabic", + "braille", + "cyrillic", + "cyrillic-ext", + "greek", + "hebrew", + "latin", + "latin-ext", + "symbols2", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Cascadia Code is a fun open source font that originated from the Windows Terminal project as a replacement for Consolas. It was intended to bring personality to monospace environemnts (especially in the italic!), while still maintaining a high degree of legibility and performance even on lower resolution screens at smaller sizes. It also offers broad language coverage, including extended Latin (and Vietnamese), Greek, Cyrillic, Arabic and Hebrew. Cascadia Code also has an alternate version available\u2014Cascadia Mono\u2014which has the programming ligatures disabled for those who prefer to see one glyph per square. For more information or to contribute to the project, please visit the github repository", + "minisite_url": null + }, + "Castoro": { + "name": "Castoro", + "designer": [ + "Tiro Typeworks", + "John Hudson", + "Paul Hanslow", + "Kaja S\u0142ojewska" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Castoro began as a synthesis of aspects of assorted Dutch types from the 16\u201318th Centuries and was initially made for the Indic fonts that Tiro produced for Harvard University Press. The version released as Castoro retains the extensive diacritic set for transliteration of South Asian languages and additional characters for an increased number of European languages. Castoro is named for the North American beaver, Castor canadensis. Robust serif text types with extensive language and typographic layout support are sometimes referred to as 'workhorse' types. Castoro may be thought of as a busy beaver. The roman was designed by John Hudson, and the italic with his Tiro colleague Paul Hanslow, assisted by Kaja S\u0142ojewska. To contribute, see github.com/TiroTypeworks/Castoro.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Castoro Titling": { + "name": "Castoro Titling", + "designer": [ + "Tiro Typeworks", + "John Hudson" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Castoro Titling is an all-caps font in which the uppercase of the Castoro text typeface has been \u2018re-hung\u2019 on the proportions of Roman inscriptional letters. These lighter, elegant forms are ideal for larger sizes. The font covers the same set of extended diacritics for European orthographies and for transliteration of Indian languages. Castoro Titling was designed by John Hudson. To contribute, see github.com/TiroTypeworks/Castoro.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Catamaran": { + "name": "Catamaran", + "designer": [ + "Pria Ravichandran" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "tamil" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Catamaran is a Unicode-compliant Latin and Tamil text type family designed for the digital age. The Tamil is monolinear and was designed alongside the sans serif Latin and Devanagari family Palanquin. It currently comprises of 9 text weights, making it a versatile family that strikes a balance between typographic conventions and that bit of sparkle. (A catamaran is a multihulled vessel consisting of two parallel hulls of equal size. The catamaran concept is a relative newcomer for Western boat designers, been used since time immemorial among the Dravidian people, in South India.) The Catamaran project is led by Pria Ravichandran, a type designer from India. To contribute, visit github.com/VanillaandCream/Catamaran", + "primary_script": "Taml", + "article": null, + "minisite_url": null + }, + "Caudex": { + "name": "Caudex", + "designer": [ + "Nidud" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "greek", + "greek-ext", + "latin", + "latin-ext", + "runic", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Caudex is a Unicode TrueType font created with FontForge. It is developed on SourceForge. It includes most of the Medieval Unicode Font Initiative (MUFI) version 3.0 recommendations. The font was originally made in the late nineties using the ISO 8859-1 character set, and used for printing some old handwritten text. Greek is also included.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Caveat": { + "name": "Caveat", + "designer": [ + "Impallari Type" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Caveat is a handwriting type family designed by Pablo Impallari. It is designed for both short annotations and body text usage. For a different style, there is also a sister family, Caveat Brush The fonts have OpenType features that enable the letters to have slight variations according to their occurrence within a word, for a natural handwritten feel. The Caveat project was commissioned by Google from Impallari Type, a type design foundry in Rosario, Argentina. To contribute, see github.com/googlefonts/caveat Updated June 2019 to v1.500: Adding extended Cyrillic, by Cyreal, a type design foundry in Moscow, Russia.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Caveat Brush": { + "name": "Caveat Brush", + "designer": [ + "Impallari Type" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Caveat is a handwriting type family designed by Pablo Impallari. It is designed for short annotations. For a different style, there is also a sister family, Caveat The fonts have OpenType features that enable the letters to have slight variations according to their occurrence within a word, for a natural handwritten feel.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Cedarville Cursive": { + "name": "Cedarville Cursive", + "designer": [ + "Kimberly Geswein" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Cederville Cursive is based on the handwriting of a cheerful young preschool teacher. From her love of her Cedarville University alma mater to her passion for her students, she is a delightful, dependable person. Her handwriting contains that same blend of fun appeal with restrained discipline. Many handwritten script fonts have large flourishes, but this is a more simple script, similar to authentic daily handwriting.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ceviche One": { + "name": "Ceviche One", + "designer": [ + "Miguel Hernandez" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Ceviche One is a bold expressionist sans. Tasty, wild and delicious curves are inspired in lettering from the 1960s. Ceviche One is a great and dynamic option for large headlines, displays and posters.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Chakra Petch": { + "name": "Chakra Petch", + "designer": [ + "Cadson Demak" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "thai", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Chakra Petch is a Thai and Latin family which features Thai's traditional looped letterforms. It's a square sans serif with tapered corners. Due to the design, it works well for both digital and print based media.", + "primary_script": "Thai", + "article": null, + "minisite_url": null + }, + "Changa": { + "name": "Changa", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "arabic", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Changa is intended for text usage, with its short ascenders and descenders and a set of lowercase letters inscribed within a square. The uppercase letters gains slightly more in height form a single height so that typographers can set text with minimum line spacing. Changa One is also available, the initial style that is an extra-bold sister family intended for display usage. In November 2019, it was updated with a Variable Font \"Weight\" axis. To contribute, see github.com/googlefonts/changa-vf.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Changa One": { + "name": "Changa One", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Changa One is intended for titles, with its short ascenders and descenders and a set of lowercase letters inscribed within a square. The uppercases case gains slightly more in height and develops its morphology in a single height in order to make it possible to create text composition with minimum line spacing. Its counter-shapes are rectangular, featuring small curvatures in opposite vertexes which accompany and break the shapes, thus evoking a modern style. A script type by Eduardo Tunni, and more documentation can be found at www.tipo.net.ar", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Chango": { + "name": "Chango", + "designer": [ + "Fontstage" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Chango is a display face based on letters drawn by Mexican illustrator Ernesto \u201cChango\u201d Garc\u00eda Cabral. It\u2019s big and heavy, ideal for head-line body sizes with a humorous touch.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Charis SIL": { + "name": "Charis SIL", + "designer": [ + "SIL International" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "The Charis project is intended to provide a free and open font family for all current languages and writing systems that use Latin and Cyrillic scripts. It supports almost the complete range of Unicode characters for these scripts, including a comprehensive range of diacritics and a large set of symbols useful for linguistics and literacy work. Smart font routines automatically adjust the position of diacritics to support and optimize arbitrary base+diacritic combinations. This project uses a UFO-based design and production workflow, with all sources in open formats and a completely open-source build toolkit. Learn more at software.sil.org/charis. To contribute, see github.com/silnrsi/font-charis.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Charm": { + "name": "Charm", + "designer": [ + "Cadson Demak" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "thai", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Charm is a handwritten Thai and Latin family. The letterforms were created using a flat tip pen on paper. It works well for Thai religous texts.", + "primary_script": "Thai", + "article": null, + "minisite_url": null + }, + "Charmonman": { + "name": "Charmonman", + "designer": [ + "Cadson Demak" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "thai", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Charmonman is a Thai and Latin family which takes inspiration from Zapfino. It features tall ascenders and descenders with swashed letterforms.", + "primary_script": "Thai", + "article": null, + "minisite_url": null + }, + "Chathura": { + "name": "Chathura", + "designer": [ + "Appaji Ambarisha Darbha" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "telugu" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Chathura was developed initially as an ASCII font in 2009 in the Ezi Fonts collection, which consists 42 Telugu ASCII fonts. In 2015 Chathura was developed into a Unicode font family with support for Telugu and Latin. The design is useful for invitations, headings, in print and on the web. Each letter has rectangular forms and a uniform stroke thickness. The Telugu component was designed by Appaji Ambarisha Darbha. The Latin component was added from Rajdhani, a Latin and Devanagari font family developed by Shiva Nalleperumal at Indian Type Foundry. The Chathura project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India. To contribute, see github.com/appajid/Chathura", + "primary_script": "Telu", + "article": null, + "minisite_url": null + }, + "Chau Philomene One": { + "name": "Chau Philomene One", + "designer": [ + "Vicente Lam\u00f3naca" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Chau Philomene One is one of four families within the Chau superfamily. Hardy, ideal for headings and highlighted text, with narrow letters and sharp angles that have a distinctive personality.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Chela One": { + "name": "Chela One", + "designer": [ + "Miguel Hernandez" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Chela One is a bold and condensed brush script typeface from Chilean type foundry LatinoType.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Chelsea Market": { + "name": "Chelsea Market", + "designer": [ + "Tart Workshop" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Chelsea Market has a quirky bohemian feel.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Chenla": { + "name": "Chenla", + "designer": [ + "Danh Hong" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "khmer" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "The Chenla fonts are designed for readable and beautiful rendering of text in the Khmer script, the national language of Cambodia. The designer, Danh Hong, has many years of experience creating fonts for Khmer and other Southeast Asian languages, and is actively involved in the KhmerOS project, dedicated to a vision where Cambodians can learn and use computers in their own language.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Cherish": { + "name": "Cherish", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Cherish is a gorgeous dry brush style that adds expression and sophistication to your design creations. Perfect for captions and short phrases combined with modern sans fonts. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/cherish.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Cherry Bomb One": { + "name": "Cherry Bomb One", + "designer": [ + "Satsuyako" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "japanese", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Satsuyako first released the kana font CherryBomb in 2012 with the concept, \"Cute with a kick.\" Its round and modern bounciness has made it appealing for diverse use from title logos and food packaging to children' s magazines. To publish on Google Fonts, the designer adjusted the outline and balance of all the letters, added symbols and Latin glyphs, and made it into a proportional font that could also be used in the vertical writing style. To contribute to the project, visit github.com/satsuyako/CherryBomb", + "primary_script": "Hira", + "article": null, + "minisite_url": null + }, + "Cherry Cream Soda": { + "name": "Cherry Cream Soda", + "designer": [ + "Font Diner" + ], + "license": "apache2", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Cruise in to your favorite soda fountain and ask the jerk behind the counter to pull you a sweet red cherry cream soda! This extra wide sans-serif will take you back to the world of the 1950s teenager complete with bubbly enthusiasm and an optimistic outlook!", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Cherry Swash": { + "name": "Cherry Swash", + "designer": [ + "Nataliya Kasatkina" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Cherry Swash is a contemporary, monolinear slab-serif with eye-catching forms and elegant swash capitals. This typeface is at its best in headlines and logos.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Chewy": { + "name": "Chewy", + "designer": [ + "Sideshow" + ], + "license": "apache2", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "A font you can really sink your teeth into. And unlike all those tasteless fonts, Chewy never loses its flavor! Chewy is sealed for freshness in an easy-open package. Be sure to sample Squid's other main courses and side dishes!", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Chicle": { + "name": "Chicle", + "designer": [ + "Sudtipos" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "In a much needed break from complex scripts and polished packaging fonts, Koziupa and Paul decided to show their playful side. Chicle has bold, stretchable, kid-proof, pet-resistant letters. This font is made to take the abuse of software used to put together the elaborate, attention-scrambling artwork of candy, cereal, and toy packaging, or whatever boxed obscenity contains cat and dog treats. Chicle is Spanish for bubble gum. Its a definite sugar fix \u2014 no substitutes.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Chilanka": { + "name": "Chilanka", + "designer": [ + "SMC", + "Santhosh Thottingal" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "malayalam" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Chilanka is Malayalam handwriting style font designed by Santhosh Thottingal. It follows the common style one can see in everyday handwriting of Malayalam. It has a comprehensive Malayalam glyph set that contains most of the unique Malayalam conjuncts. To contribute, see gitlab.com/smc/fonts/chilanka.", + "primary_script": "Mlym", + "article": null, + "minisite_url": null + }, + "Chiron Sung HK": { + "name": "Chiron Sung HK", + "designer": [ + "Tamcy" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "chinese-hongkong", + "cyrillic", + "cyrillic-ext", + "greek", + "latin", + "latin-ext", + "symbols2", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Hant", + "article": "Chiron Sung HK (\u662d\u6e90\u5b8b\u9ad4) is a Traditional Chinese serif typeface based on Adobe's Source Han Serif (branded as Noto Serif CJK by Google). The font aims to provide a modern, region-agnostic glyph set that adopts the \u201cmodern\u201d glyph style similar to the prevailing, usually commercial, typefaces in Traditional Chinese regions. In Chiron Sung HK, glyph shapes in Source Han Serif Traditional Chinese (Hong Kong) are reviewed and adjusted for the better display effect on screen and in print. The font takes references from the glyph shapes of typefaces commonly seen in daily life to provide a set of regional agnostic, modern-style glyphs that balance standard glyph shapes and the usual stroke forms of printed typefaces. The glyph set is similar to the prevailing, usually commercial, typefaces in the Traditional Chinese communities. To contribute, see github.com/chiron-fonts/chiron-sung-hk.", + "minisite_url": null + }, + "Chivo": { + "name": "Chivo", + "designer": [ + "Omnibus-Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Chivo (\"Goat\" in Spanish) is Omnibus-Type's first grotesque family. The strength of Chivo Black makes it ideal for highlights and headlines whilst Chivo Regular's elegance is ideal for continuous reading. Its design details make it an indispensable ally for any designer. In october 2022, the family is upgraded to a variable font ranging from Thin to Black, including matching italics. The glyphset has also been extended, supporting now a wider number of languages. The family was developed by H\u00e9ctor Gatti. To contribute, see github.com/Omnibus-Type/Chivo.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Chivo Mono": { + "name": "Chivo Mono", + "designer": [ + "Omnibus-Type" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "monospace" + ], + "description": "Chivo (\u2018goat\u2019 in Spanish) is the first Omnibus-Type neo-grotesque typeface family. Its solidness and balanced strokes give Chivo both elegance and practicality. Chivo Mono is the monospace sibling of Chivo. Likewise, Chivo Mono is a variable font ranging from Thin to Black with matching Italics. The family was developed by H\u00e9ctor Gatti. To contribute, see github.com/Omnibus-Type/Chivo.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Chocolate Classical Sans": { + "name": "Chocolate Classical Sans", + "designer": [ + "Moonlit Owen" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "chinese-traditional", + "cyrillic", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "\"Chocolate Classical Sans\" is an open source font suitable for Traditional Chinese environments. This font uses inherited glyphs, largely adhering to the Inherited Glyphs standard maintained by the I.Font Project, combined with other commonly seen inherited glyphs, to produce a Chinese typeface with glyphs in the traditional style.. This font is produced by Tian Haidong, with modifications from Moonlit Owen. This font is based on the \"Source Han Sans\" font jointly developed by Adobe and Google, incorporating modifications and additional glyphs by using open source contributions from Steve Yuu, GuiWonder and ChiuMing. To contribute, see github.com/MoonlitOwen/ChocolateSans.", + "primary_script": "Hant", + "article": null, + "minisite_url": null + }, + "Chokokutai": { + "name": "Chokokutai", + "designer": [ + "Font Zone 108" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "japanese", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Chokokutai is a display Japanese font family whose characters have a funky appearance. To contribute to the project, visit github.com/go108go/Chokokutai", + "primary_script": "Hira", + "article": null, + "minisite_url": null + }, + "Chonburi": { + "name": "Chonburi", + "designer": [ + "Cadson Demak" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "thai", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Chonburi is a new Thai + Latin typeface for display usage, with an formal looped + serif design. The Chonburi project is led by Cadson Demak, a type foundry in Thailand. To contribute, see github.com/cadsondemak/chonburi", + "primary_script": "Thai", + "article": null, + "minisite_url": null + }, + "Cinzel": { + "name": "Cinzel", + "designer": [ + "Natanael Gama" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Cinzel is a typeface inspired in first century roman inscriptions, and based on classical proportions. However it\u2019s not a simple revivalism, while it conveys all the ancient history of the latin alphabet it also merges a contemporary feel onto it. To contribute, see github.com/NDISCOVER/Cinzel.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Cinzel Decorative": { + "name": "Cinzel Decorative", + "designer": [ + "Natanael Gama" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Cinzel is a typeface inspired in first century roman inscriptions, and based on classical proportions. However it\u2019s not a simple revivalism, while it conveys all the ancient history of the latin alphabet it also merges a contemporary feel onto it.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Clicker Script": { + "name": "Clicker Script", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Clicker Script finds its inspiration from RCA Records Stereo Action Series from the 1960's. This signature elegant yet slightly bouncy script truly sings, and lends a happy go lucky flavor to any design. Designed by Brian J. Bonislawsky and Jim Lyles for Astigmatic (AOETI). To contribute to the project contact Brian J. Bonislawsky.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Climate Crisis": { + "name": "Climate Crisis", + "designer": [ + "Daniel Coull", + "Eino Korkala" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "Climate Crisis, is a variable font designed to help visualise the urgency of climate change, designed for Helsingin Sanomat, the largest Nordic newspaper. The typeface\u2019s weight responds to the levels of Arctic sea ice from 1979 to 2019 and predictions for 2050, based on data from the National Snow and Ice Data Center. Case study on the mini website. To contribute, see github.com/dancoull/ClimateCrisis. Show your type melting over time like a glacier with Climate Crisis and its Year axis As mentioned in the recent article about the Tilt family, Google Fonts is adding a bunch of new expressive variable fonts and axes to the library. Check out the latest release, Climate Crisis. Climate Crisis, with its new variable axis called Year, was commissioned by the Nordic newspaper \"Helsingin Sanomat\" to use in its own editorial and marketing. It visualizes the urgency of climate change by appearing to degrade over time, like each character is a glacier melting away. More than just a metaphor, the font reflects actual data from the National Snow and Ice Data Center to represent the levels of Arctic sea ice from 1979 to 2019. Satellite measuring began in 1979. Predictive data from The Intergovernmental Panel on Climate Change (IPCC) is used to visualize the ice melting through 2050. The typeface's designers, Daniel Coull and Eino Korkala included eight masters for the Year axis. (When type designers create a variable font, they need to embed masters at each extreme end of a variable axis, but often they embed multiple masters along the axis in order to give the in-between instances more finesse.) The heaviest weight represents the Arctic sea ice in 1979. The lightest weight represents the IPCC's 2050 forecast, when only 30% of the ice will remain. To learn more, read:Show your type melting over time like a glacier with Climate Crisis and its Year axis. Climate Crisis minisite", + "minisite_url": "https://kampanjat.hs.fi/climatefont" + }, + "Coda": { + "name": "Coda", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Eye-catching, no-messing, bandwidth-saving, Coda's Heavy (800) style is designed to be an unassuming, practical, impact heavy display font for the world wide web. Designed to be used in large sizes to bring bold information to web pages, it is complemented by a Regular weight for use in text and display contexts. These webfonts are designed to be used freely across the internet by web browsers on desktop computers, laptops and mobile devices.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Codystar": { + "name": "Codystar", + "designer": [ + "Neapolitan" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "As you stroll down Manhattan streets and through Times Square, look all around you at the sizzling lights! Sparkling. Brilliant. Codystar. Designed by Crystal Kluge of Neapolitan (a DBA of Font Diner, Inc.) To contribute to the project contact Font Diner.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Coiny": { + "name": "Coiny", + "designer": [ + "Marcelo Magalh\u00e3es" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "tamil", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Coiny is a typeface designed originally for the Latin and Tamil scripts in parallel. Naturally bold, and born on street to shine on screen. It has a structure based on simple geometrical shapes, and is inspired by the vernacular designs seen around every big city. The forms are similar to those found with writing made with a rounded brush point. It is a lot of fun for titles and headlines. The Coiny project is led by Marcelo Magalh\u00e3es, a type designer based in S\u00e3o Paulo, Brasil. To contribute, see github.com/marcelommp/Coiny", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Combo": { + "name": "Combo", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Combo has a simple structure, based on the elliptical arcs and strokes of a flat-tipped marker pen. This display typeface is suitable for use in advertisements, headlines and short texts.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Comfortaa": { + "name": "Comfortaa", + "designer": [ + "Johan Aakerlund" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Comfortaa is a rounded geometric sans-serif type design intended for large sizes. It is absolutely free, both for personal and commercial use. If you like it please visit my DeviantArt page and fav it (but obviously only if you like it.) You are also more than welcome to comment about anything you want (I'm open to critique). I obviously would love to see how my font is being used, so feel free to comment with a link to your work, or send me a message. I hope you will enjoy using my font!", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Comforter": { + "name": "Comforter", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "cyrillic", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Comforter is a bouncy, upright brush style script. Its look is appealing for many usages. It\u2019s contemporary, and non- traditional. It\u2019s sophisticated, yet fun and funky. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/comforter.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Comforter Brush": { + "name": "Comforter Brush", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "cyrillic", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Comforter Brush is the \"brushy\" companion of Comforter, a bouncy, upright brush style script a contemporary, and non- traditional script font. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/comforter-brush.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Comic Neue": { + "name": "Comic Neue", + "designer": [ + "Craig Rozynski", + "Hrant Papazian" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Comic Neue is an original reinterpretation of the classic, Comic Sans. Comic Neue aspires to be the casual script choice for everyone, including the typographically savvy. The squashed, wonky, and weird glyphs of Comic Sans have been beaten into shape \u2013 while maintaining the honesty that made Comic Sans so popular. Don't miss the project homepage, comicneue.com The Comic Neue project was initiated by Craig Rozynski, a designer living in Australia and Japan. To contribute or report any issues, see github.com/crozynski/comicneue", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Comic Relief": { + "name": "Comic Relief", + "designer": [ + "Jeff Davis" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "greek", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Comic Relief is a typeface designed to be metrically equivalent to the popular Comic Sans MS. Comic Relief can be used in place of Comic Sans MS without having to move, resize, or reset any part of the copy. Perfect for missing cat posters and all of your WordArt needs! To contribute, see github.com/loudifier/Comic-Relief.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Coming Soon": { + "name": "Coming Soon", + "designer": [ + "Open Window" + ], + "license": "apache2", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Coming Soon by Open Window is based on the handwriting from mom when she was in 6th grade. Solid balance, masterful strokes, and just a touch of lemonade stand for good measure!", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Comme": { + "name": "Comme", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Comme is a variable Sans Serif font forked from the Oxygen family. Language support is improved in this version, and the font is variable, with a weight axis ranging from thin to black. To contribute, please see github.com/googlefonts/comme.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Commissioner": { + "name": "Commissioner", + "designer": [ + "Kostas Bartsokas" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Commissioner is a low-contrast humanist sans-serif with almost classical proportions, conceived as a variable family. The family consists of three \u201cvoices\u201d. The default style is a grotesque with straight stems. As the flair axis grows the straight grotesque terminals develop a swelling and become almost glyphic serifs and the joints become more idiosyncratic. The volume axis transforms the glyphic serifs to wedge-like ones. Each voice of Commissioner comes in a range of styles from Thin to Black including italics. The diverse proportions of lowercase and capitals add warmth and appeal to texts across sizes, while the different voices can express a variation in the typographic texture that ranges from delicate in text sizes to exuberant in larger sizes. To contribute, please see github.com/kosbarts/Commissioner.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Concert One": { + "name": "Concert One", + "designer": [ + "Johan Kallas", + "Mihkel Virkus" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Concert One is a rounded grotesque typeface inspired by 19th century 3D lettering from a leaflet announcing a chamber concert. To contribute to the project contact Johan Kallas or Mihkel Virkus.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Condiment": { + "name": "Condiment", + "designer": [ + "Sudtipos" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Condiment adds flavor to your design, with soft and brush-drawn letters. This font is designed by Angel Koziupa and Ale Paul.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Content": { + "name": "Content", + "designer": [ + "Danh Hong" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "khmer" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "The Content fonts are designed for readable and beautiful rendering of text in the Khmer script, the national language of Cambodia. The designer, Danh Hong, has many years of experience creating fonts for Khmer and other Southeast Asian languages, and is actively involved in the KhmerOS project, dedicated to a vision where Cambodians can learn and use computers in their own language.", + "primary_script": "Khmr", + "article": null, + "minisite_url": null + }, + "Contrail One": { + "name": "Contrail One", + "designer": [ + "Riccardo De Franceschi" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Contrail One is based on handmade sans-serif letters seen on UK posters. The slight slant and bouncy quality suggest the emerging jet age, and a state of excited anticipation. The rounded corners give it an approachable friendly feeling. As a low contrast design it is suitable for use in medium to large sizes, including headlines. This font was made specifically to be used as web type.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Convergence": { + "name": "Convergence", + "designer": [ + "Nicol\u00e1s Silva", + "John Vargas Beltr\u00e1n" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Convergence is a low contrast Upright Italic Sans Serif Typeface with a large x-height. It was created by two designers with very different ideas, who took advantage of their divergent criteria to draw glyphs that made the Upright and Italic styles converge without mixing them. In this way, it was possible to converge the inclination of an Upright Sans Serif with a Sans Serif Italic. Looking at the font in detail, the bottom halves of the glyphs have Transitive serifs while the upper halves conserve the Sans Serif terminals. Other specific details can be seen in the a, g, and e glyphs, which have an Italic structure, not an Upright one. In addition, the glyph for the letter r has a relatively closed instroke. The references used to develop this font were Bree from TypeTogether, Parisine de Porchez Typofonderie, and, undeniably, Ludovico Degli Arrighi's manuscript about the structure the \"humanistic cursive\" that is Convergence. Designed by Nicola\u0087s Silva (@zar_nicolas20) and John Vargas (@vargas74)", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Cookie": { + "name": "Cookie", + "designer": [ + "Ania Kruk" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Cookie is a script typeface based on brush calligraphy. It has a little bit of 1950s style that makes you think about all the beautiful ads and pin-ups from this time. It is sweet and friendly - but not too decorative; simple and legible even in text sizes.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Copse": { + "name": "Copse", + "designer": [ + "Dan Rhatigan" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Copse is a low-contrast slab serif that is a little soft around the edges, but with a clear and sturdy posture.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Coral Pixels": { + "name": "Coral Pixels", + "designer": [ + "Tanukizamurai" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "Coral Pixels is a color font inspired by subpixel rendering techniques. It enhances the retro pixel font style commonly seen in games and digital art by adding color, creating a more vivid digital aesthetic. This font uses the COLRv0 and CPAL tables. Please visit the gf-guide color page to learn more about Color Fonts technology. To contribute, see github.com/tanukifont/Coral-Pixels. Coral Pixels is a color font inspired by subpixel rendering techniques. It elevates the retro pixel font style commonly seen in games and digital art by infusing it with color, creating a more vibrant and dynamic digital aesthetic. Beyond being merely a font, it offers a new dimension for visual expression. Subpixel Rendering Expression: By applying display technology to font design, Coral Pixels creates a depth and dimensionality not typically found in traditional fonts. This innovative approach could inspire new ideas for retro game pixel art. Rich Color Expression: The font's glyphs, when viewed from a distance, appear as blurred black text. However, upon closer inspection, they reveal a random arrangement of colorful dots, offering a unique and visually engaging experience. Transparency Implementation: Coral Pixels incorporates transparency into its color elements to minimize the occurrence of unsightly fringes. While this design choice enhances the font's appearance, it can result in a loss of color vibrancy when used against dark backgrounds. As a temporary workaround, we recommend using color inversion or other adjustments within your application.", + "minisite_url": null + }, + "Corben": { + "name": "Corben", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Corben is a simple web friendly display font with ample curves and ligatures. Corben is designed to be easy on the eye with a touch of classic display lettering.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Corinthia": { + "name": "Corinthia", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Corinthia flows with perfect connections and beautiful curves. It\u2019s a delightful design that offers wide usage... All three weights are perfect for creating elegant design work from packaging and romance novels, to invitations and social expression products. This award winning font comes with over 500 glyphs, covering Latin Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/corinthia.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Cormorant": { + "name": "Cormorant", + "designer": [ + "Christian Thalmann" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Cormorant is a free display type family developed by Christian Thalmann. The project currently comprises a total of 45 font files spanning 9 different visual styles (Roman, Italic, Infant, Infant Italic, Garamond, Garamond Italic, Upright Cursive, Small Caps, and Unicase) and 5 weights (Light, Regular, Medium, SemiBold, and Bold.) Cormorant was conceived, drawn, spaced, kerned, programmed, interpolated, and produced in its entirety by Christian Thalmann of Catharsis Fonts. For an illustrated presentation and description of the family, please visit its B\u0113hance page. While this project was heavily inspired by Claude Garamont's immortal legacy, Christian did not use any specific font as a starting point or direct reference for the designs. Most glyphs were drawn from scratch; when he needed guidance on a specific character, he searched for the term Garamond and skimmed through the results for a general impression. He is grateful to the creative souls on the Typophile, TypeDrawers and Typografie forums, and Github, for a wealth of knowledge about type design, and for providing a large amount of excellent feedback on Cormorant during its development. He also thanks the tireless folks at Glyphs, in particular Rainer Erich Scheichelbauer of Schriftlabor and Georg Seifert. Special thanks go to Dave Crossland and Google Fonts for making the libre release of this font family possible through generous funding of the development process. The Cormorant project is led by Christian Thalmann, a type designer based in Zurich, Switzerland. To contribute, see github.com/CatharsisFonts/Cormorant", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Cormorant Garamond": { + "name": "Cormorant Garamond", + "designer": [ + "Christian Thalmann" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Cormorant is a free display type family developed by Christian Thalmann. The project currently comprises a total of 45 font files spanning 9 different visual styles (Roman, Italic, Infant, Infant Italic, Garamond, Garamond Italic, Upright Cursive, Small Caps, and Unicase) and 5 weights (Light, Regular, Medium, SemiBold, and Bold.) Cormorant was conceived, drawn, spaced, kerned, programmed, interpolated, and produced in its entirety by Christian Thalmann of Catharsis Fonts. For an illustrated presentation and description of the family, please visit its B\u0113hance page. While this project was heavily inspired by Claude Garamont's immortal legacy, Christian did not use any specific font as a starting point or direct reference for the designs. Most glyphs were drawn from scratch; when he needed guidance on a specific character, he searched for the term Garamond and skimmed through the results for a general impression. He is grateful to the creative souls on the Typophile, TypeDrawers and Typografie forums, and Github, for a wealth of knowledge about type design, and for providing a large amount of excellent feedback on Cormorant during its development. He also thanks the tireless folks at Glyphs, in particular Rainer Erich Scheichelbauer of Schriftlabor and Georg Seifert. Special thanks go to Dave Crossland and Google Fonts for making the libre release of this font family possible through generous funding of the development process. The Cormorant project is led by Christian Thalmann, a type designer based in Zurich, Switzerland. To contribute, see github.com/CatharsisFonts/Cormorant", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Cormorant Infant": { + "name": "Cormorant Infant", + "designer": [ + "Christian Thalmann" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Cormorant is a free display type family developed by Christian Thalmann. The project currently comprises a total of 45 font files spanning 9 different visual styles (Roman, Italic, Infant, Infant Italic, Garamond, Garamond Italic, Upright Cursive, Small Caps, and Unicase) and 5 weights (Light, Regular, Medium, SemiBold, and Bold.) Cormorant was conceived, drawn, spaced, kerned, programmed, interpolated, and produced in its entirety by Christian Thalmann of Catharsis Fonts. For an illustrated presentation and description of the family, please visit its Behance page. While this project was heavily inspired by Claude Garamont's immortal legacy, Christian did not use any specific font as a starting point or direct reference for the designs. Most glyphs were drawn from scratch; when he needed guidance on a specific character, he searched for the term Garamond and skimmed through the results for a general impression. He is grateful to the creative souls on the Typophile, TypeDrawers and Typografie forums, and Github, for a wealth of knowledge about type design, and for providing a large amount of excellent feedback on Cormorant during its development. He also thanks the tireless folks at Glyphs, in particular Rainer Erich Scheichelbauer of Schriftlabor and Georg Seifert. Special thanks go to Dave Crossland and Google Fonts for making the libre release of this font family possible through generous funding of the development process. The Cormorant project is led by Christian Thalmann, a type designer based in Zurich, Switzerland. To contribute, see github.com/CatharsisFonts/Cormorant", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Cormorant SC": { + "name": "Cormorant SC", + "designer": [ + "Christian Thalmann" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Cormorant is a free display type family developed by Christian Thalmann. The project currently comprises a total of 45 font files spanning 9 different visual styles (Roman, Italic, Infant, Infant Italic, Garamond, Garamond Italic, Upright Cursive, Small Caps, and Unicase) and 5 weights (Light, Regular, Medium, SemiBold, and Bold.) Cormorant was conceived, drawn, spaced, kerned, programmed, interpolated, and produced in its entirety by Christian Thalmann of Catharsis Fonts. For an illustrated presentation and description of the family, please visit its B\u0113hance page. While this project was heavily inspired by Claude Garamont's immortal legacy, Christian did not use any specific font as a starting point or direct reference for the designs. Most glyphs were drawn from scratch; when he needed guidance on a specific character, he searched for the term Garamond and skimmed through the results for a general impression. He is grateful to the creative souls on the Typophile, TypeDrawers and Typografie forums, and Github, for a wealth of knowledge about type design, and for providing a large amount of excellent feedback on Cormorant during its development. He also thanks the tireless folks at Glyphs, in particular Rainer Erich Scheichelbauer of Schriftlabor and Georg Seifert. Special thanks go to Dave Crossland and Google Fonts for making the libre release of this font family possible through generous funding of the development process. The Cormorant project is led by Christian Thalmann, a type designer based in Zurich, Switzerland. To contribute, see github.com/CatharsisFonts/Cormorant", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Cormorant Unicase": { + "name": "Cormorant Unicase", + "designer": [ + "Christian Thalmann" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Cormorant is a free display type family developed by Christian Thalmann. The project currently comprises a total of 45 font files spanning 9 different visual styles (Roman, Italic, Infant, Infant Italic, Garamond, Garamond Italic, Upright Cursive, Small Caps, and Unicase) and 5 weights (Light, Regular, Medium, SemiBold, and Bold.) Cormorant was conceived, drawn, spaced, kerned, programmed, interpolated, and produced in its entirety by Christian Thalmann of Catharsis Fonts. For an illustrated presentation and description of the family, please visit its B\u0113hance page. While this project was heavily inspired by Claude Garamont's immortal legacy, Christian did not use any specific font as a starting point or direct reference for the designs. Most glyphs were drawn from scratch; when he needed guidance on a specific character, he searched for the term Garamond and skimmed through the results for a general impression. He is grateful to the creative souls on the Typophile, TypeDrawers and Typografie forums, and Github, for a wealth of knowledge about type design, and for providing a large amount of excellent feedback on Cormorant during its development. He also thanks the tireless folks at Glyphs, in particular Rainer Erich Scheichelbauer of Schriftlabor and Georg Seifert. Special thanks go to Dave Crossland and Google Fonts for making the libre release of this font family possible through generous funding of the development process. The Cormorant project is led by Christian Thalmann, a type designer based in Zurich, Switzerland. To contribute, see github.com/CatharsisFonts/Cormorant", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Cormorant Upright": { + "name": "Cormorant Upright", + "designer": [ + "Christian Thalmann" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Cormorant is a free display type family developed by Christian Thalmann. The project currently comprises a total of 45 font files spanning 9 different visual styles (Roman, Italic, Infant, Infant Italic, Garamond, Garamond Italic, Upright Cursive, Small Caps, and Unicase) and 5 weights (Light, Regular, Medium, SemiBold, and Bold.) Cormorant was conceived, drawn, spaced, kerned, programmed, interpolated, and produced in its entirety by Christian Thalmann of Catharsis Fonts. For an illustrated presentation and description of the family, please visit its B\u0113hance page. While this project was heavily inspired by Claude Garamont's immortal legacy, Christian did not use any specific font as a starting point or direct reference for the designs. Most glyphs were drawn from scratch; when he needed guidance on a specific character, he searched for the term Garamond and skimmed through the results for a general impression. He is grateful to the creative souls on the Typophile, TypeDrawers and Typografie forums, and Github, for a wealth of knowledge about type design, and for providing a large amount of excellent feedback on Cormorant during its development. He also thanks the tireless folks at Glyphs, in particular Rainer Erich Scheichelbauer of Schriftlabor and Georg Seifert. Special thanks go to Dave Crossland and Google Fonts for making the libre release of this font family possible through generous funding of the development process. The Cormorant project is led by Christian Thalmann, a type designer based in Zurich, Switzerland. To contribute, see github.com/CatharsisFonts/Cormorant", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Courgette": { + "name": "Courgette", + "designer": [ + "Karolina Lach" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Courgette is a medium-contrast, brushy, italic-script typeface. The genre is traditionally used at large sizes but Courgette was carefully made for the web, with low stroke contrast that works well in smaller sizes and even in text.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Courier Prime": { + "name": "Courier Prime", + "designer": [ + "Alan Dague-Greene" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "monospace" + ], + "description": "Courier Prime is a new take on IBM's Courier which was designed in 1956 by Howard Kettler. It's a monospaced family, designed specifically for screenplays. Overall the family is more refined than its predecessor. The serifs are crisper and less rounded. The counters are subtly wider. The bold weight is a bit darker and the italics are more cursive. To contribute, see github.com/quoteunquoteapps/CourierPrime", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Cousine": { + "name": "Cousine", + "designer": [ + "Steve Matteson" + ], + "license": "apache2", + "category": "MONOSPACE", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "hebrew", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "monospace" + ], + "description": "Cousine was designed by Steve Matteson as an innovative, refreshing sans serif design that is metrically compatible with Courier New\u2122. Cousine offers improved on-screen readability characteristics and the pan-European WGL character set and solves the needs of developers looking for width-compatible fonts to address document portability across platforms.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Coustard": { + "name": "Coustard", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Coustard is a display and text serif webfont designed to be used freely across the internet by web browsers on desktop computers, laptops and mobile devices. Coustard has been developed from a fork of Tienne, another font in the Google Font Directory, available under the SIL Open Font License which allows for remixing fonts.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Covered By Your Grace": { + "name": "Covered By Your Grace", + "designer": [ + "Kimberly Geswein" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Covered By Your Grace is based on the adorable handwriting of a very sweet teacher friend. The whimsical curves and extensions are wonderful.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Crafty Girls": { + "name": "Crafty Girls", + "designer": [ + "Tart Workshop" + ], + "license": "apache2", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Crafty Girls is inspired by crochet hooks, yarn, button boxes, thread, and glitter. This delightfully playful casual handwriting script font was hand drawn by Crystal Kluge and makes the perfect compliment to all your projects. Use it in your very best creative projects, then blog about them in the same font!", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Creepster": { + "name": "Creepster", + "designer": [ + "Sideshow" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Creepster is a fright-filled font, perfect for all of your grisly graphic needs!", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Crete Round": { + "name": "Crete Round", + "designer": [ + "TypeTogether" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Crete Round is a warm slab serif providing a hint of softness to texts. It started as a tailored version of the original Crete fonts, created specially to serve as corporate typeface for the type design competition Letter2. Crete Round is more independent from the original with modified terminals and serifs to create two new fonts that deliver a more contemporary and functional appearance. The tall x-height, low contrast and sturdy slabs prove to be surprisingly efficient for web use.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Crimson Pro": { + "name": "Crimson Pro", + "designer": [ + "Jacques Le Bailly" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Crimson Pro is a serif typeface family: Contemporary, clear, classic and rounded/open. Something for a college textbook, editorial websites and any reading experience with book-length texts It contributes to the tradition of beautiful Garamond-inspired typefaces, often called \u201cGaralde\u201d or \u201cOld Style,\u201d and has 8 named weights, in Roman and Italic, and is available as a Variable Font with a Weight axis. The first Crimson design was initiated by Sebastian Kosch in 2009, and he later completely redrew a new version called Crimson Prime. Google commissioned Jacques Le Bailly to review both typefaces, and develop Crimson Pro as a new design that synthesises both designs into a final authoritative family, first released in January 2019. All decisions were made to enable better readability for longer texts and the ability to make good and diverse typography. The Crimson Pro project is led by Jacques Le Bailly, a type designer based in Den Haag, Netherlands. To contribute, see github.com/Fonthausen/CrimsonPro", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Crimson Text": { + "name": "Crimson Text", + "designer": [ + "Sebastian Kosch" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Crimson Text is a font family for book production in the tradition of beautiful oldstyle typefaces. There are a lot of great free fonts around, but one kind is missing: those Garamond-inspired types with all the little niceties like oldstyle figures, small caps, fleurons, math characters and the like. In fact, a lot of time is spend developing free knock-offs of ugly \"standards\" like Times and Helvetica. Crimson Text is inspired by the fantastic work of people like Jan Tschichold, Robert Slimbach and Jonathan Hoefler. We hope that the free type community will one day be able to enjoy Crimson Text as a beautiful workhorse. Several important bug fixes have been brought in March 2022, including the harmonisation of the line-spacing across all styles. To contribute, see github.com/googlefonts/Crimson.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Croissant One": { + "name": "Croissant One", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Croissant is a typeface inspired by the Parisian spirit, in the people and the landscapes there. The lowercase letters have smooth round shapes, and a nice long out-stroke to connect nearly every glyph, reminding the reader of elegant French handwriting. The uppercases have a classical structure and soft terminals that embody the spirit of this multi-purpose typeface. To contribute to the project contact Eduardo Tunni.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Crushed": { + "name": "Crushed", + "designer": [ + "Astigmatic" + ], + "license": "apache2", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Crushed was designed in 2010 as a headline and display typeface. Featuring a condensed body width and subtlely tapered vertical strokes, Crushed is a unicase design, tossing aside the traditional lowercase for one that matches the cap height. Though intended for display, Crushed actually looks great and reads well in text usage. The gentle taper of the stems add a certain class and the basic letterforms are modern and fresh.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Cuprum": { + "name": "Cuprum", + "designer": [ + "Jovanny Lemonad" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Cuprum was created in 2006 based on the works Miles Newlyn. Cuprum is a narrow grotesque. It is quite versatile. Mostly how it is now, I do not like myself, because as time passed and since then I have learned to make fonts much better. An interesting history of the appearance of his name: Cuprum is copper, not gold or silver. Copper is too noble, but it is much cheaper and copper is not used for medals \u2013 only pots.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Cute Font": { + "name": "Cute Font", + "designer": [ + "TypoDesign Lab. Inc" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "korean", + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Cute Font is a Korean and Latin font", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "Cutive": { + "name": "Cutive", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SLAB_SERIF", + "classifications": [ + "display" + ], + "description": "The design of Cutive, and this monospace sister family Cutive Mono, is based on a number of classic typewriter typefaces, in particular the faces of IBM's 'Executive,' and the older 'Smith-Premier.' In Cutive these old faces re-emerge as webfonts that are useful for adding character to body texts as well as in larger sizes for headers and display. To contribute to the project see Cutive on GitHub.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Cutive Mono": { + "name": "Cutive Mono", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "monospace" + ], + "description": "The design of Cutive , and this monospace sister family Cutive Mono, is based on a number of classic typewriter typefaces, in particular the faces of IBM's 'Executive,' and the older 'Smith-Premier.' In Cutive these old faces re-emerge as webfonts that are useful for adding character to body texts as well as in larger sizes for headers and display. To contribute to the project see github.com/googlefonts/cutivemono .", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "DM Mono": { + "name": "DM Mono", + "designer": [ + "Colophon Foundry" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "monospace" + ], + "description": "DM Mono is a three weight, three style family designed for DeepMind. DM Mono was loosely based off of DM Sans, with a reduction in contrast and less geometric proportions. The type design and font development was commissioned from Colophon Foundry, with Creative Direction from the DeepMind team. To contribute, see github.com/googlefonts/dm-mono.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "DM Sans": { + "name": "DM Sans", + "designer": [ + "Colophon Foundry" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "DM Sans is a low-contrast geometric sans serif design, intended for use at smaller text sizes. DM Sans supports a Latin Extended glyph set, enabling typesetting for English and other Western European languages. It was designed by Colophon Foundry (UK), who started from the Latin portion of Indian Type Foundry's Poppins. In May 2023 DM Sans is updated, expanding the coverage of the weight range to Thin & ExtraBlack (100\u20131000 weight range) along with a new optical size axis. To contribute, see github.com/googlefonts/dm-fonts", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "DM Serif Display": { + "name": "DM Serif Display", + "designer": [ + "Colophon Foundry" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "DM Serif Display is a high-contrast transitional face. With delicate serifs and fine detailing, the design has been shaped for use in super-sized poster settings. It is accompanied by DM Serif Text, for use in smaller point ranges. DM Serif Display supports a Latin Extended glyph set, enabling typesetting for English and other Western European languages. It was designed by Colophon Foundry (UK), that started from the Latin portion of Adobe Source Serif Pro, by Frank Grie\u00dfhammer. To contribute, see github.com/googlefonts/dm-fonts", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "DM Serif Text": { + "name": "DM Serif Text", + "designer": [ + "Colophon Foundry" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "DM Serif Text is a lower-contrast counterpart to the high-contrast DM Serif Display. While the serifs remain delicate, the DM Serif Text family is a more robust variant of the Display sibling, intended for smaller sub-headings and text sizes. DM Serif Text supports a Latin Extended glyph set, enabling typesetting for English and other Western European languages. It was designed by Colophon Foundry (UK), that started from the Latin portion of Adobe Source Serif Pro, by Frank Grie\u00dfhammer. To contribute, see github.com/googlefonts/dm-fonts", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Dai Banna SIL": { + "name": "Dai Banna SIL", + "designer": [ + "SIL International" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "new-tai-lue" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Dai Banna provides a libre and open font family for the New Tai Lue (Xishuangbanna Dai) script. The New Tai Lue (Xishuangbanna Dai) script is used by approximately 300,000 people who speak the Xishuangbanna Dai language in Yunnan, China. It is a simplification of the Tai Tham (Old Tai Lue) script as used for this language for hundreds of years. To contribute, please see github.com/silnrsi/font-daibannasil.", + "primary_script": "Talu", + "article": null, + "minisite_url": null + }, + "Damion": { + "name": "Damion", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Damion is a casual script face derived from some typical mid C20 casual typefaces such as that drawn by Max Kaufmann in 1936 for American Type Founders. Damion has taken these and similar type forms and also added some of it's own forms to create a casual webfont for Display use on modern web pages. Latest upgrade from April 2024 expands the Latin script language coverage. To contribute, see github.com/googlefonts/damionFont.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Dancing Script": { + "name": "Dancing Script", + "designer": [ + "Impallari Type" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Dancing Script is a lively casual script where the letters bounce and change size slightly. Caps are big, and goes below the baseline. Dancing Script references popular scripts typefaces from the 50's. It relates to Murray Hill (Emil Klumpp. 1956) in his weight distribution, and to Mistral (Roger Excoffon. 1953) in his lively bouncing effect. Use it when you want a friendly, informal and spontaneous look. Updated May 18th 2011 with bold! In November 2019, it was updated with a Variable Font \"Weight\" axis. To contribute, see github.com/impallari/DancingScript.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Danfo": { + "name": "Danfo", + "designer": [ + "Afrotype", + "Seyi Olusanya", + "Eyiyemi Adegbite", + "David Udoh", + "Mirko Velimirovi\u0107" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "Danfo, a variable-axis font, is the result of a collaboration between Afrotype and Abu, a lettering artist from Ojota Bus Stop. It is inspired by the cut-out shapes of vinyl sticker lettering on public transportation buses in Lagos, Nigeria. This font, the first project from Afrotype, is an improved version of the 2018 design, now featuring a richer character set that supports all of Sub-Saharan African Latin. Danfo is the base set of a family of Danfo fonts Afrotype plans to release. To contribute, please see github.com/Afrotype/danfo.", + "minisite_url": "https://www.afrotype.com/danfo" + }, + "Dangrek": { + "name": "Dangrek", + "designer": [ + "Danh Hong" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "khmer", + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Dangrek is a Khmer font for headlines, titles and subtitles, and even banner designs. To contribute, see github.com/danhhong/Dangrek.", + "primary_script": "Khmr", + "article": null, + "minisite_url": null + }, + "Darker Grotesque": { + "name": "Darker Grotesque", + "designer": [ + "Gabriel Lam", + "Vi\u1ec7tAnh Nguy\u1ec5n" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Darker Grotesque is a contemporary grotesque designed by Gabriel Lam, inspired by the post-modern and brutalism typographic trends. This is an original Vietnamese typeface designed by a Vietnamese type designer, Vi\u1ec7tAnh Nguy\u1ec5n. In 2023, an upgrade fixed some issues, taking the opportunity to make the font variable. To contribute, see github.com/bettergui/DarkerGrotesque. Darker Grotesque l\u00e0 b\u1ed9 m\u1eb7t ch\u1eef kh\u00f4ng ch\u00e2n \u0111\u01b0\u01a1ng \u0111\u1ea1i \u0111\u01b0\u1ee3c thi\u1ebft k\u1ebf b\u1edfi Gabriel Lam (Gia L\u00e2m B\u1ea3o) v\u00e0 \u0111\u01b0\u1ee3c truy\u1ec1n c\u1ea3m h\u1ee9ng t\u1eeb phong tr\u00e0o thi\u1ebft k\u1ebf ch\u1eef post-modern v\u00e0 brutalism. C\u1ea3 b\u1ed9 ch\u1eef bao g\u1ed3m 14 ki\u1ec3u, 7 lo\u1ea1i tr\u1ecdng l\u01b0\u1ee3ng kh\u00e1c nhau k\u00e8m theo phi\u00ean b\u1ea3n nghi\u00eang. \u0110\u00e2y l\u00e0 m\u1ed9t thi\u1ebft k\u1ebf m\u1eb7t ch\u1eef Vi\u1ec7t Nam \u0111\u01b0\u1ee3c thi\u1ebft k\u1ebf b\u1edfi ng\u01b0\u1eddi Vi\u1ec7t Nam. N\u0103m 2023 c\u00f3 th\u00eam b\u1ea3n n\u00e2ng c\u1ea5p \u0111\u1ec3 s\u1eeda m\u1ed9t s\u1ed1 l\u1ed7i nh\u1ecf v\u00e0 h\u1ed7 tr\u1ee3 ph\u00f4ng ch\u1eef \u0111a h\u00ecnh. H\u00e3y \u0111\u00f3ng g\u00f3p cho d\u1ef1 \u00e1n c\u1ee7a ch\u00fang t\u00f4i \u1edf github.com/bettergui/DarkerGrotesque.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Darumadrop One": { + "name": "Darumadrop One", + "designer": [ + "Maniackers Design" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Darumdrop is a flavorful handwritten font inspired by Japanese handwriting and \"Daruma Otoshi\" which is a Japanese folk craft game. To contribute to the project, visit github.com/ManiackersDesign/darumadrop", + "primary_script": "Hira", + "article": null, + "minisite_url": null + }, + "David Libre": { + "name": "David Libre", + "designer": [ + "Monotype Imaging Inc.", + "SIL International", + "Meir Sadan" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "hebrew", + "latin", + "latin-ext", + "math", + "symbols", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "David Libre is a Libre David Hebrew, based on David Hadash Formal, released by Monotype Corporation in 2012. David Hadash Formal is a modern digitization made from original large scale technical drawings for the typeface drawn by Ismar David. Google has worked with Monotype to release the 3 book weights (Regular, Medium and Bold) under the SIL Open Font License and create a new version for use by the public. This project includes working with the David Hadash sources to create a new version, that fits the requirements of Israeli instituions, since David is the official font for Israeli correspondence. Some glyphs were updated, such as the Sheqel symbol. It was redesigned to be recognizable by contemporary Hebrew readers, since the original Sheqel symbol is too far from today's standard. Latin characters from the Gentium typeface were derived and integrated to accommodate cases in which Latin and Hebrew characters will be used in tandem. Each font includes OpenType features required for diacritic marks (nikud) and Hebrew-specific uses, including alternative Hebrew-height numerals (available as Stylistic Set 1) an alternative \"Hebrew ampersand\" symbol designed by Ismar David (available in Stylistic Set 2) and an alternative Sheqel symbol designed by Ismar David (available in Stylistic Set 3.) Every effort was made to keep the original designs intact, and the type's original spacing is well preserved. However, several changes have been made to fit with David Libre's goal to be used as a free alternative to the David font commonly installed on PCs. In order to be compatible with documents previously set in the version of David bundled with Microsoft Windows, David Hadash's glyph size has been reduced by 12.5%. This was made to prevent cases in which documents previously typed in Microsoft's David to take up more pages and cause odd line breaks. Please note that this does not guarantee full compatibility with that David, only a close approximation. Diacritic marks have been repositioned. Biblical cantillation marks are not supported. The construction of David Libre was made by Meir Sadan, commissioned by Google for the Google Fonts project. The David Libre project is led by Meir Sadan, a type designer based in Tel Aviv, Israel. To contribute, see github.com/meirsadan/david-libre.", + "primary_script": "Hebr", + "article": null, + "minisite_url": null + }, + "Dawning of a New Day": { + "name": "Dawning of a New Day", + "designer": [ + "Kimberly Geswein" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Dawning of a New Day is based on the handwriting of a friend. The title was chosen by my friend, but also had great meaning to me. I like to think of each new day as a chance to start fresh, free from past mistakes. It is my desire that the light, fluid motions of this script mimic that hopeful feeling.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Days One": { + "name": "Days One", + "designer": [ + "Jovanny Lemonad" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Days One is an experiment, which was established in 2008 by three people: Alexander Kalachev, Ivan Gladkikh, Alexei Maslov. Letterforms are wide, and the strokes are thick. This makes Days One good for headlines. It is similar to the more Regular weight font 'Numans' also available in Google Web Fonts.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Dekko": { + "name": "Dekko", + "designer": [ + "Sorkin Type" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "handwriting" + ], + "description": "Dekko\u2019s personality is both warm and casual. It originated with Modular InfoTech's 4948, and was modified to feel more written and regular in appearance and weight. The inter-letter spacing of the design is now wider, allowing for it to be used at smaller sizes on screens. Dekko also comes with a complete set of Latin which matches the Devanagari in weight and and size, and originates with Short Stack. Both the Devanagari and the Latin are based on written forms, and their stroke contrast has thick horizontals. The pen angles traditionally associated with Devanagari has some diagonal stress, but here the Latin script uses a vertical stress. This project is led by Eben Sorkin at Sorkin Type Co, a type foundry based in Boston, USA. To contribute, visit github.com/EbenSorkin/Dekko Updated: Improvements made to OpenType shaping and vertical metrics in May 2015.", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Dela Gothic One": { + "name": "Dela Gothic One", + "designer": [ + "artakana" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "greek", + "japanese", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "DelaGothic is a flat, very thick Gothic body. Its stability and strength make it ideal for use on posters and packaging. To contribute to the project, visit github.com/syakuzen/DelaGothic", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "Delicious Handrawn": { + "name": "Delicious Handrawn", + "designer": [ + "Agung Rohmat" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Delicious Handrawn is a font inspired by Agung Rohmat's handwriting. He drew all the glyphs on his iPad using the Procreate app. It took a lot of testing to find the perfect design as he felt his handwriting was not neat. To contribute, see github.com/alphArtype/Delicious-Handrawn.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Delius": { + "name": "Delius", + "designer": [ + "Natalia Raices" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Delius is a high quality comic book lettering typeface super-family; it has several families, Delis, Delius Unicase and Delius Swash Caps. A round marker was used to define Delius's stroke: the line gets thicker at both ends to define the beginning and end of the stroke, as a marker line would do, and the ductus imitates the movements of handwriting.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Delius Swash Caps": { + "name": "Delius Swash Caps", + "designer": [ + "Natalia Raices" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Delius Swash Caps is part of a high quality comic book lettering typeface super-family. It has special uppercase letters for special uses, such as in titles and logos. It has companion families, Delius and Delius Unicase. A round marker was used to define Delius's stroke: the line gets thicker at both ends to define the beginning and end of the stroke, as a marker line would do, and the ductus imitates the movements of handwriting.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Delius Unicase": { + "name": "Delius Unicase", + "designer": [ + "Natalia Raices" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display", + "handwriting" + ], + "description": "Delius Unicase is part of a high quality comic book lettering typeface super-family. It has mixed uppercase and lowercase letters for 'unicase' uses, such as in comic strip lettering. It has companion families, Delius and Delius Swash Caps. A round marker was used to define Delius's stroke: the line gets thicker at both ends to define the beginning and end of the stroke, as a marker line would do, and the ductus imitates the movements of handwriting.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Della Respira": { + "name": "Della Respira", + "designer": [ + "Nathan Willis" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Della Respira is a revival of the 1913 Della Robbia typeface by American Type Founders, based on T.M. Cleland\u2019s typeface of the same name. To contribute, see launchpad.net/revivalism-fonts", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Denk One": { + "name": "Denk One", + "designer": [ + "Sorkin Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Denk One is a medium contrast display sans serif. It was inspired by a hand painted German sign. It has been carefully adjusted to the restrictions of the screen. Despite having display characteristics, Denk One can be used in a wide range of sizes. Latest upgrade from February 2023 expands the Latin script language coverage. To contribute, see github.com/SorkinType/Denk-One.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Devonshire": { + "name": "Devonshire", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Devonshire is a non-connecting brush script typeface of medium weight. Its playful brush letterforms are reminiscent of old sign painter scripts, while being restricted to none of the rules of a connecting script font, allowing it to visually dance.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Dhurjati": { + "name": "Dhurjati", + "designer": [ + "Purushoth Kumar Guttula" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "telugu" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Dhurjati is a Telugu font with a square design and round corners. It has ornamental vowel marks that evoke a traditional Indian feeling and is suitable for headlines, invitations, posters and other uses at large sizes. Dhurjati is named after the Telugu poet from the court of the king Krishnadevaraya, and was one of the Astadiggajalu (literally eight legends) there. The Telugu and Latin is designed and developed by Purushoth Kumar Guttula in 2013 and made available by Silicon Andhra under the SIL Open Font License v1.1. The Dhurjati project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India. To contribute, see github.com/appajid/dhurjati", + "primary_script": "Telu", + "article": null, + "minisite_url": null + }, + "Didact Gothic": { + "name": "Didact Gothic", + "designer": [ + "Daniel Johnson", + "Cyreal" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Didact Gothic is a sans-serif font designed to present each letter in the form most often used in elementary classrooms. This makes it suitable for literacy efforts. Initially designed by Daniel Johnson, the entire font was revised by Alexei Vanyashin at Cyreal in 2017. To contribute, see github.com/ossobuffo/didact-gothic", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Diphylleia": { + "name": "Diphylleia", + "designer": [ + "Minha Hyung", + "JAMO" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "korean", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Diphylleia is a typeface based on the motif of the song \"Diphylleia grayi\" by singer Jonghyun of SHINee; designed to better convey his sentimental lyrics. The typeface was inspired by the affectionate expression of the song about how the flower becomes transparent and disappearing, and puts these impressions into the brush style strokes. Diphylleia grayi is a mysterious flower that gets transparent when the water touches its petals. To contribute, please visit github.com/JAMO-TYPEFACE/Diphylleia.", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "Diplomata": { + "name": "Diplomata", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Diplomata started several years ago when a friend in the printing industry who had an old metal typeface wanted it to be digitalized for offset printing. He brought everything the original type offered as a start, a set of upper case characters, numbers, and some punctuation marks. But what he brought in printed form was not enough to meet his needs, and letterforms that did not exist had to be created. It is a fine job to reinterpret a design, to make decisions on what already exists and also have in mind the changes needed for the new technological context where Diplomata will be used. Its style, similar to Bodoni, has a remarkable degree of horizontal expansion; a weight which indicates verticality; areas between serif and stem softened by a curve connecting them, and the light in the main stroke of each glyph is a detail that lightens up and gives prominence to Diplomata. It is a distinct typeface, ideal for composing headlines and small prestigious pieces of text. The February 2023 update features a bigger glyphset, fractions and some minor aesthetic modifications. To improve and expand the use of Diplomata, it was necessary to create small caps and a lower case, which ended up constituting this family that has two variables today. To contribute, see github.com/etunni/diplomata.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Diplomata SC": { + "name": "Diplomata SC", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Diplomata started several years ago when a friend in the printing industry who had an old metal typeface wanted it to be digitalized for offset printing. He brought everything the original type offered as a start, a set of upper case characters, numbers, and some punctuation marks. But what he brought in printed form was not enough to meet his needs, and letterforms that did not exist had to be created. It is a fine job to reinterpret a design, to make decisions on what already exists and also have in mind the changes needed for the new technological context where Diplomata will be used. Its style, similar to Bodoni, has a remarkable degree of horizontal expansion; a weight which indicates verticality; areas between serif and stem softened by a curve connecting them, and the light in the main stroke of each glyph is a detail that lightens up and gives prominence to Diplomata. It is a distinct typeface, ideal for composing headlines and small prestigious pieces of text. The February 2023 update features a bigger glyphset, fractions and some minor aesthetic modifications. To improve and expand the use of Diplomata, it was necessary to create small caps and a lower case, which ended up constituting this family that has two variables today. To contribute, see github.com/etunni/diplomata.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Do Hyeon": { + "name": "Do Hyeon", + "designer": [ + "Woowahan Brothers" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "korean", + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Do Hyeon Is a Korean and Latin font", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "Dokdo": { + "name": "Dokdo", + "designer": [ + "FONTRIX" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "korean", + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Dokdo is a Korean and Latin font.", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "Domine": { + "name": "Domine", + "designer": [ + "Impallari Type" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "From the very first steps in the design process, Domine was designed, tested and optimized for body text on the web. Harmless to the eyes when reading long texts, Domine is a perfect choice for newspapers or magazines websites, where text is the main focus. It shines at px sizes 14 and 16, and can even be used as small as 11 px. Friendly in appearance, it combines the classic elements of familiar typefaces that have been in use from more than 100 years like Clarendon, Century, Cheltenham and Clearface. The rounded letters (b, c, d, e, o, p, q) are a bit squarish on the inside. This feature opens up the counters for better rendering and also make it look a bit more up-to-date than the classic typefaces previously referenced. The serifs are a bit shorter than usual. Another feature that improves the rendering by allowing more \"air\" between each letter pair. The joins of the stems to the branches in letters like h, m, n are deep enough to prevent dark spots, also improving legibility at small sizes. The friendly lowercase 'a', with the curve starting from the bottom of the stem, is reminiscent of Cheltenham and Clearface. That soft curve is also echoed in the curves of the f, j, n, m and r. The spacing is also optimized for body text on the web, clearly more open than that of typefaces made for print or for headlines. To contribute, see github.com/googlefonts/Dominee.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Donegal One": { + "name": "Donegal One", + "designer": [ + "Gary Lonergan" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Donegal One is a text typeface designed to be highly legible and comfortable when reading on screen. The cut interior curves associated with W.A. Dwiggins are one of many features that contribute to the distinctive and pleasing character. This personality is visibile from small text sizes to large headlines.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Dongle": { + "name": "Dongle", + "designer": [ + "Yanghee Ryu" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "korean", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Dongle(\ub3d9\uae00) is a rounded sans-serif typeface for display. It is a modular Hangeul with the de-square frame, creating a playful and rhythmic movement. The name, Dongle(\ub3d9\uae00) comes from a Korean onomatopoeia, meaning 'rounded or curved shape(with adorable impression)\u2019. To contribute to the project, visit https://github.com/yangheeryu/Dongle", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "Doppio One": { + "name": "Doppio One", + "designer": [ + "Szymon Celej" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Doppio One is a robust, low-contrast sans serif typeface with a contemporary feeling. It will work well at small text sizes and large display sizes. Thes boxy style makes it especially suitable for on-screen use.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Dorsa": { + "name": "Dorsa", + "designer": [ + "Santiago Orozco" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "I always been attracted to condensed typefaces, and one of the first I came across was Empire, designed by Morris Benton Fuller for ATF in 1937. I first spotted it in an architecture book at my college's library while doing homework. Dorsa is a modern interpretation of Empire with some personal details. When I start sketching I knew it would be a little less condensed than the original Empire because I wanted it to be used for use in titles, and combined with positive letter spacing it gives an elegant look to text. Although the original hasn't got a lowercase, I studied a lot of skyline typefaces and drew a fully original lowercase. I started with lowercase \u201co\u201d, which isn't completely geometric, it is expanded to the outside, keeping the same whitespace through all weights. And this repeats all over the typeface, because the construction of all the characters was modular, based on that \u201co\u201d; the \u201cf\u201d is designed to not meet any of the diacritics; and uppercase \u201cA\u201d has a traditional form, because I think this is more legible.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Dosis": { + "name": "Dosis", + "designer": [ + "Impallari Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Dosis is a rounded sans-serif type family. It started with the Extra Light style, useful only at size 36pt or upm and the Extended Latin character set included many alternative characters, all designed by Edgar Tolentino and Pablo Impallari. Dosis was expanded into a complete set of weights in September 2011. Dosis was remastered as a variable font in 2019. To contribute updates or file issues, see https://github.com/eliheuer/dosis-vf.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "DotGothic16": { + "name": "DotGothic16", + "designer": [ + "Fontworks Inc." + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Dotgothic 16 is based on the old 16x16 Gothic bitmap font that recreates the feel of pixel fonts from old video games, cell phones and computer screens on print. With its high readability, this font has become more popular in recent years due to the growing popularity of pixel art. To contribute to the project, visit github.com/fontworks-fonts/DotGothic16", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "Doto": { + "name": "Doto", + "designer": [ + "\u00d3liver Lalan" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "Doto is a bit-map inspired, open-source, variable, monospace and geometric typeface family, designed for display purposes. Each glyph is built using a 6x10 reference matrix, and the typeface supports two variable axes: one controlling the size of the dots and another controlling the roundness of the dots. To contribute, see github.com/oliverlalan/Doto.", + "minisite_url": null + }, + "Dr Sugiyama": { + "name": "Dr Sugiyama", + "designer": [ + "Sudtipos" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "The Charles Bluemlein Script Collection is an intriguing reminder of the heady days of hand lettering and calligraphy in the United States. From the early 1930s through World War II, there were about 200 professional hand letterers working in New York City alone. This occupation saw its demise with the advent of photo lettering, and after digital typography it became virtually extinct. The odd way in which the Bluemlein scripts were assembled and created - by collecting different signatures and then building complete alphabets from them - is a fascinating calligraphic adventure. Because the set of constructed designs looked nothing like the original signatures, fictitious names were assigned to the new script typefaces. The typeface styles were then showcased in Higgins Ink catalogs. Alejandro Paul and Sudtipos bring the Bluemlein scripts back to life in a set of expanded digital versions, reflecting the demands of today\u2019s designer. Extreme care has been taken to render the original scripts authentically, keeping the fictitious names originally assigned to them by Bluemlein.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Duru Sans": { + "name": "Duru Sans", + "designer": [ + "Onur Yaz\u0131c\u0131gil" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Duru Sans is a low contrast sans serif, a classic 20th century genre. It is a new take on mixing the humanist urge with the modernist one, that manages to be elegant and a workhorse at the same time. It can be used at a wide range of sizes.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "DynaPuff": { + "name": "DynaPuff", + "designer": [ + "Toshi Omagari", + "Jennifer Daniel" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic-ext", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "Dynapuff\u2019s loveable demeanor and hand-drawn charm makes it well suited for your, \u201czomg\u2019s\u201d and \u201casdfajlskdfjalksdfjkj\u2019s\u201d. \ud83d\ude02\ud83d\ude02\ud83d\ude02\ud83d\ude02\ud83d\ude02 Dynapuff features OpenType code that alternates the vertical position of the letters to make those \u201cnoooooooooo waaaaaaay\u201ds appear hand-drawn and less like a robot texting on a typewriter. Give it a whirl in Google\u2019s keyboard (Gboard) where you can transform text messages into typographic stickers. Plain text \u201chahas\u201d are a thing of the past after you\u2019ve sent an \u201clol\u201d in Dynapuff. What Dynapuff might lack in subtlety, it makes up for it with its playful and flexible typographic energy. Designed by Toshi Omagari, this casual typeface is optimized for legibility in small text environments like stickers or candy packaging. It also manages to be large when displayed in children\u2019s books to shop signage. To contribute see github.com/googlefonts/dynapuff. Have fun making stickers with DynaPuff Create custom text stickers on Android and Pixel phones There\u2019s a new way to make stickers in Android and Pixel phones, with the DynaPuff typeface. Tired of writing \u201cGood night\u201d and \u201cHappy birthday\u201d in boring text-only messages? Perhaps you have fond memories of getting stickers when you were a kid and would like to send stickers as greetings to your friends... But it just takes too long to search for stickers on the keyboard when writing messages. You can make custom text stickers with the DynaPuff typeface on Google\u2019s keyboard, Gboard, running on Android and Pixel devices. Most recently, this project was recognized as a finalist in Fast Company\u2019s Innovation Design Awards. To read more, visit Have fun making stickers with DynaPuff.", + "minisite_url": null + }, + "Dynalight": { + "name": "Dynalight", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Dynalight is a dynamic high speed script inspired by a vintage luggage tag for the Southern Pacific 4449 Daylight steam locomotive. Loaded with curves and soft angles, this connecting script is an attention getter.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "EB Garamond": { + "name": "EB Garamond", + "designer": [ + "Georg Duffner", + "Octavio Pardo" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "EB Garamond is intended to be an excellent, classical, Garamond. It is a community project to create a revival of Claude Garamont\u2019s famous humanist typefaces from the mid-16th century. This digital version reproduces the original design by Claude Garamont closely: The source for the letterforms is a scan of a specimen known as the \u201cBerner specimen,\u201d which was composed in 1592 by Conrad Berner, the son-in-law of Christian Egenolff and his successor at the Egenolff print office. This specimen shows Garamont\u2019s roman and Granjon\u2019s italic types at different sizes. Hence the name of this project: Egenolff-Berner Garamond. Why another Garamond? That typeface is a key moment in the history of typography, and European type designers have been reacting to this work ever since. It is probably the most revived typeface in the world and many are excellent. In the world of free/libre culture, however, only a few Garamond-inspired types exist, and none share the scope of this project. In November 2019, the family has been updated to a variable font family. This project is led by Georg Duffner, and developed at github.com/georgd/EB-Garamond", + "primary_script": null, + "article": null, + "minisite_url": "https://googlefonts.github.io/ebgaramond-specimen/" + }, + "Eagle Lake": { + "name": "Eagle Lake", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "The Eagle Lake typeface is a calligraphic lettering style based on the practical Running Book Hand. It has shorter capitals that create a visually taller x-height lending to high legibility and fluidity.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "East Sea Dokdo": { + "name": "East Sea Dokdo", + "designer": [ + "YoonDesign Inc" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "korean", + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "East Sea Dokdo is a Korean and Latin font", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "Eater": { + "name": "Eater", + "designer": [ + "Typomondo" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Eater is a display font infected by the darkest of rare disease that slowly spreads at night while the webfont user sleeps.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Economica": { + "name": "Economica", + "designer": [ + "Vicente Lam\u00f3naca" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Economica is the first digital typeface created in Montevideo, Uruguay, to be distributed internationally. The development of the typeface took most of 2007 and received the assistance of type design colleagues from all over Latin America. Economica has four basic styles: Regular, Bold, Italic and Bold Italic. It includes a comprehensive character set that lets you work with diverse European languages. This typeface family was designed for the output of inkjet printers. It was inspired by the concept of saving space in publishing texts without loss of height. This means it is a very condensed type. The visual advantage of Econ\u0097omica is that accomplishes this horizontal compression while keeping a strong personality. It is not a typical, neutral, sans serif. The open forms and tendency towards flattened curves allow it to be used in very small spaces while retaining high legibility. To contribute to the project contact Vicente Lam\u00f3naca.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Eczar": { + "name": "Eczar", + "designer": [ + "Rosetta", + "Vaibhav Singh" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "devanagari", + "greek", + "greek-ext", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Eczar started as a student project in 2010\u201311 during Vaibhav Singh\u2019s MA studies in Typeface Design at the University of Reading. Eczar was designed to bring liveliness and vigor to multi-script typesetting in Latin and Devanagari \u2013 with the intention of providing an alternative to existing designs by imparting a strong mix of personality and performance, both at text sizes and in display settings. The family offers a wide expressive range and the display qualities of the design intensify with corresponding increase in weight, making the heaviest weights best suited for headlines and display purposes. To contribute, see github.com/rosettatype/eczar.", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Edu AU VIC WA NT Arrows": { + "name": "Edu AU VIC WA NT Arrows", + "designer": [ + "Tina Anderson", + "Corey Anderson" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "The AU School Handwriting Fonts are an English language, OpenType, variable typeface family designed specifically to meet Australian Education standards. While weights, widths and optical sizes were carefully crafted to work well in an Australian classroom environment, they are just as comfortable to read and work with in the home environment. This font represents the forms used in Victoria, Western Australia and the Northern Territory. To contribute, see github.com/SorkinType/VICWANTSchoolhandAustralia.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Edu AU VIC WA NT Dots": { + "name": "Edu AU VIC WA NT Dots", + "designer": [ + "Tina Anderson", + "Corey Anderson" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "The AU School Handwriting Fonts are an English language, OpenType, variable typeface family designed specifically to meet Australian Education standards. While weights, widths and optical sizes were carefully crafted to work well in an Australian classroom environment, they are just as comfortable to read and work with in the home environment. This font represents the forms used in Victoria, Western Australia and the Northern Territory. To contribute, see github.com/SorkinType/VICWANTSchoolhandAustralia.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Edu AU VIC WA NT Guides": { + "name": "Edu AU VIC WA NT Guides", + "designer": [ + "Tina Anderson", + "Corey Anderson" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "The AU School Handwriting Fonts are an English language, OpenType, variable typeface family designed specifically to meet Australian Education standards. While weights, widths and optical sizes were carefully crafted to work well in an Australian classroom environment, they are just as comfortable to read and work with in the home environment. This font represents the forms used in Victoria, Western Australia and the Northern Territory. To contribute, see github.com/SorkinType/VICWANTSchoolhandAustralia.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Edu AU VIC WA NT Hand": { + "name": "Edu AU VIC WA NT Hand", + "designer": [ + "Tina Anderson", + "Corey Anderson" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "handwriting" + ], + "description": "The AU School handwriting Fonts are an English language, OpenType, variable typeface family designed specifically to meet Australian Education standards. While weights, widths and optical sizes were carefully crafted to work well in an Australian classroom environment, they are just as comfortable to read and work with in the home environment. This font represents the forms used in Victoria, Western Australia and the Northern Territory. To contribute, see github.com/SorkinType/VICWANTSchoolhandAustralia.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Edu AU VIC WA NT Pre": { + "name": "Edu AU VIC WA NT Pre", + "designer": [ + "Tina Anderson", + "Corey Anderson" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "The AU School Handwriting Fonts are an English language, OpenType, variable typeface family designed specifically to meet Australian Education standards. While weights, widths and optical sizes were carefully crafted to work well in an Australian classroom environment, they are just as comfortable to read and work with in the home environment. This font represents the forms used in Victoria, Western Australia and the Northern Territory. To contribute, see github.com/SorkinType/VICWANTSchoolhandAustralia.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Edu NSW ACT Cursive": { + "name": "Edu NSW ACT Cursive", + "designer": [ + "Tina Anderson", + "Corey Anderson" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "The AU School Handwriting Fonts are an English language, OpenType, variable typeface family designed specifically to meet Australian Education standards. While weights, widths and optical sizes were carefully crafted to work well in an Australian classroom environment, they are just as comfortable to read and work with in the home environment. This font represents the forms used in New South Wales an the Australian Capital Territory. To contribute, see github.com/SorkinType/VICWANTSchoolHandAustralia.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Edu NSW ACT Foundation": { + "name": "Edu NSW ACT Foundation", + "designer": [ + "Tina Anderson", + "Corey Anderson" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "The Foundation Fonts for Australian Schools collection is a set of handwriting fonts designed specifically to meet Australian Education standards. While weights, widths and optical sizes were carefully crafted to work well in an Australian classroom environment, they are just as comfortable to read and work with in the home environment. Each Australian state teaches different handwriting styles in lower primary school (although some states do share the same style). There are essentially three stages involved with each state's styles: The foundational stage involves learning basic letter formation. The transitional stage adds joining ligatures to some letters. The cursive stage joins almost all letters (with some exceptions). The NSW ACT School Fonts include both: New South Wales Foundation Print - a simple sloped print for early primary school. New South Wales Foundation Cursive - transitional joining letter alternates (pre-cursive stage). Students in New South Wales and Australian Capital Territory learn Foundation Print from years 1 to 2 and Beginner Cursive from year 3. Google Workspace users are provided standard versions online, however they may download or build the complete OpenType versions from GitHub for local installations. To download the full version, or to contribute, see github.com/MezMerrit/AU-School-Handwriting-Fonts. The handwriting fonts that help Australian students learn how to read and write are now available in Google Workspace Google for Education Australia and Google Fonts partnered to make Foundation Fonts for Australian Schools available on Google Workspace, including Google Workspace for Education. The fonts are also available for download from the Google Fonts website. Australian teachers are required to use state-mandated handwriting styles to teach reading and writing to school children from ages four to nine. Designed by Tina and Corey Anderson, the five Foundation Fonts exemplify proper handwriting for English and other languages using the Latin writing system, and include common math symbols. The regular weight of each font imitates the pencil thickness of handwriting, making the fonts easy for students to recognize as they learn how to write letter shapes. The availability of these fonts on Google Docs, Sheets, and Slides is also important for the adoption of Chromebooks and Google Workspace for Education in Australian schools. To read more, visit The handwriting fonts that help Australian students learn how to read and write are now available in Google Workspace", + "minisite_url": null + }, + "Edu NSW ACT Hand Pre": { + "name": "Edu NSW ACT Hand Pre", + "designer": [ + "Tina Anderson", + "Corey Anderson" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "The AU School Handwriting Fonts are an English language, OpenType, variable typeface family designed specifically to meet Australian Education standards. While weights, widths and optical sizes were carefully crafted to work well in an Australian classroom environment, they are just as comfortable to read and work with in the home environment. This font represents the forms used in New South Wales an the Australian Capital Territory. To contribute, see github.com/SorkinType/VICWANTSchoolHandAustralia.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Edu QLD Beginner": { + "name": "Edu QLD Beginner", + "designer": [ + "Tina Anderson", + "Corey Anderson" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "The Foundation Fonts for Australian Schools collection is a set of handwriting fonts designed specifically to meet Australian Education standards. While weights, widths and optical sizes were carefully crafted to work well in an Australian classroom environment, they are just as comfortable to read and work with in the home environment. Each Australian state teaches different handwriting styles in lower primary school (although some states do share the same style). There are essentially three stages involved with each state's styles: The foundational stage involves learning basic letter formation. The transitional stage adds joining ligatures to some letters. The cursive stage joins almost all letters (with some exceptions). The QLD School Fonts include both: Queensland Beginners Alphabet - a simple sloped print for early primary school. Queensland Beginners Cursive - transitional joining letter alternates (pre-cursive stage). Students in Queensland learn QBeginners from years 1 to 3 and QCursive from year 4. Google Workspace users are provided standard versions online, however they may download or build the complete OpenType versions from GitHub for local installations. To download the full version, or to contribute, see github.com/MezMerrit/AU-School-Handwriting-Fonts. The handwriting fonts that help Australian students learn how to read and write are now available in Google Workspace Google for Education Australia and Google Fonts partnered to make Foundation Fonts for Australian Schools available on Google Workspace, including Google Workspace for Education. The fonts are also available for download from the Google Fonts website. Australian teachers are required to use state-mandated handwriting styles to teach reading and writing to school children from ages four to nine. Designed by Tina and Corey Anderson, the five Foundation Fonts exemplify proper handwriting for English and other languages using the Latin writing system, and include common math symbols. The regular weight of each font imitates the pencil thickness of handwriting, making the fonts easy for students to recognize as they learn how to write letter shapes. The availability of these fonts on Google Docs, Sheets, and Slides is also important for the adoption of Chromebooks and Google Workspace for Education in Australian schools. To read more, visit The handwriting fonts that help Australian students learn how to read and write are now available in Google Workspace", + "minisite_url": null + }, + "Edu QLD Hand": { + "name": "Edu QLD Hand", + "designer": [ + "Tina Anderson", + "Corey Anderson" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "The AU School Handwriting Fonts are an English language, OpenType, variable typeface family designed specifically to meet Australian Education standards. While weights, widths and optical sizes were carefully crafted to work well in an Australian classroom environment, they are just as comfortable to read and work with in the home environment. This font represents the forms used in Queensland. To contribute, see github.com/SorkinType/QLDSchoolHandAustralia.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Edu SA Beginner": { + "name": "Edu SA Beginner", + "designer": [ + "Tina Anderson", + "Corey Anderson" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "The Foundation Fonts for Australian Schools collection is a set of handwriting fonts designed specifically to meet Australian Education standards. While weights, widths and optical sizes were carefully crafted to work well in an Australian classroom environment, they are just as comfortable to read and work with in the home environment. Each Australian state teaches different handwriting styles in lower primary school (although some states do share the same style). There are essentially three stages involved with each state's styles: The foundational stage involves learning basic letter formation. The transitional stage adds joining ligatures to some letters. The cursive stage joins almost all letters (with some exceptions). The SA School Fonts include: South Australia Beginner Alphabet - a simple sloped print for early primary school. Students in South Australia learn the Beginners Alphabet from years 1 and 2, moving on to Pre-Cursive from year 3. Google Workspace users are provided standard versions online, however they may download or build the complete OpenType versions from GitHub for local installations. To download the full version, or to contribute, see github.com/MezMerrit/AU-School-Handwriting-Fonts. The handwriting fonts that help Australian students learn how to read and write are now available in Google Workspace Google for Education Australia and Google Fonts partnered to make Foundation Fonts for Australian Schools available on Google Workspace, including Google Workspace for Education. The fonts are also available for download from the Google Fonts website. Australian teachers are required to use state-mandated handwriting styles to teach reading and writing to school children from ages four to nine. Designed by Tina and Corey Anderson, the five Foundation Fonts exemplify proper handwriting for English and other languages using the Latin writing system, and include common math symbols. The regular weight of each font imitates the pencil thickness of handwriting, making the fonts easy for students to recognize as they learn how to write letter shapes. The availability of these fonts on Google Docs, Sheets, and Slides is also important for the adoption of Chromebooks and Google Workspace for Education in Australian schools. To read more, visit The handwriting fonts that help Australian students learn how to read and write are now available in Google Workspace", + "minisite_url": null + }, + "Edu SA Hand": { + "name": "Edu SA Hand", + "designer": [ + "Tina Anderson", + "Corey Anderson" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "The AU School Handwriting Fonts are an English language, OpenType, variable typeface family designed specifically to meet Australian Education standards. While weights, widths and optical sizes were carefully crafted to work well in an Australian classroom environment, they are just as comfortable to read and work with in the home environment. This font represents the forms used in South Australia. To contribute, see github.com/SorkinType/SASchoolHandAustralia.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Edu TAS Beginner": { + "name": "Edu TAS Beginner", + "designer": [ + "Tina Anderson", + "Corey Anderson" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "The Foundation Fonts for Australian Schools collection is a set of handwriting fonts designed specifically to meet Australian Education standards. While weights, widths and optical sizes were carefully crafted to work well in an Australian classroom environment, they are just as comfortable to read and work with in the home environment. Each Australian state teaches different handwriting styles in lower primary school (although some states do share the same style). There are essentially three stages involved with each state's styles: The foundational stage involves learning basic letter formation. The transitional stage adds joining ligatures to some letters. The cursive stage joins almost all letters (with some exceptions). The TAS School Fonts include: Tasmania Beginners Alphabet - a simple sloped print for early primary school. Students in Tasmania learn the Beginners Alphabet from years 1 and 2, moving on to Pre-Cursive from year 3. Google Workspace users are provided standard versions online, however they may download or build the complete OpenType versions from GitHub for local installations. To download the full version, or to contribute, see github.com/MezMerrit/AU-School-Handwriting-Fonts. The handwriting fonts that help Australian students learn how to read and write are now available in Google Workspace Google for Education Australia and Google Fonts partnered to make Foundation Fonts for Australian Schools available on Google Workspace, including Google Workspace for Education. The fonts are also available for download from the Google Fonts website. Australian teachers are required to use state-mandated handwriting styles to teach reading and writing to school children from ages four to nine. Designed by Tina and Corey Anderson, the five Foundation Fonts exemplify proper handwriting for English and other languages using the Latin writing system, and include common math symbols. The regular weight of each font imitates the pencil thickness of handwriting, making the fonts easy for students to recognize as they learn how to write letter shapes. The availability of these fonts on Google Docs, Sheets, and Slides is also important for the adoption of Chromebooks and Google Workspace for Education in Australian schools. To read more, visit The handwriting fonts that help Australian students learn how to read and write are now available in Google Workspace", + "minisite_url": null + }, + "Edu VIC WA NT Beginner": { + "name": "Edu VIC WA NT Beginner", + "designer": [ + "Tina Anderson", + "Corey Anderson" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "The Foundation Fonts for Australian Schools collection is a set of handwriting fonts designed specifically to meet Australian Education standards. While weights, widths and optical sizes were carefully crafted to work well in an Australian classroom environment, they are just as comfortable to read and work with in the home environment. Each Australian state teaches different handwriting styles in lower primary school (although some states do share the same style). There are essentially three stages involved with each state's styles: The foundational stage involves learning basic letter formation. The transitional stage adds joining ligatures to some letters. The cursive stage joins almost all letters (with some exceptions). The VIC WA NT School Fonts include: Victoria, Western Australia and Northern Territory Label Print Alphabet - a simple sloped print for early primary school. Students in Victoria, Western Australia and Northern Territory learn Label Print from years 1 to 3 and Infant Cursive from year 4. Google Workspace users are provided standard versions online, however they may download or build the complete OpenType versions from GitHub for local installations. To download the full version, or to contribute, see github.com/MezMerrit/AU-School-Handwriting-Fonts. The handwriting fonts that help Australian students learn how to read and write are now available in Google Workspace Google for Education Australia and Google Fonts partnered to make Foundation Fonts for Australian Schools available on Google Workspace, including Google Workspace for Education. The fonts are also available for download from the Google Fonts website. Australian teachers are required to use state-mandated handwriting styles to teach reading and writing to school children from ages four to nine. Designed by Tina and Corey Anderson, the five Foundation Fonts exemplify proper handwriting for English and other languages using the Latin writing system, and include common math symbols. The regular weight of each font imitates the pencil thickness of handwriting, making the fonts easy for students to recognize as they learn how to write letter shapes. The availability of these fonts on Google Docs, Sheets, and Slides is also important for the adoption of Chromebooks and Google Workspace for Education in Australian schools. To read more, visit The handwriting fonts that help Australian students learn how to read and write are now available in Google Workspace", + "minisite_url": null + }, + "Edu VIC WA NT Hand": { + "name": "Edu VIC WA NT Hand", + "designer": [ + "Tina Anderson", + "Corey Anderson" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "The AU School Handwriting Fonts are an English language, OpenType, variable typeface family designed specifically to meet Australian Education standards. While weights, widths and optical sizes were carefully crafted to work well in an Australian classroom environment, they are just as comfortable to read and work with in the home environment. This font represents the forms used in Victoria, Western Australia and the Northern Territory. To contribute, see github.com/SorkinType/VICWANTSchoolHandAustralia.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Edu VIC WA NT Hand Pre": { + "name": "Edu VIC WA NT Hand Pre", + "designer": [ + "Tina Anderson", + "Corey Anderson" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "The AU School Handwriting Fonts are an English language, OpenType, variable typeface family designed specifically to meet Australian Education standards. While weights, widths and optical sizes were carefully crafted to work well in an Australian classroom environment, they are just as comfortable to read and work with in the home environment. This font represents the forms used in Victoria, Western Australia and the Northern Territory. To contribute, see github.com/SorkinType/VICWANTSchoolHandAustralia.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "El Messiri": { + "name": "El Messiri", + "designer": [ + "Mohamed Gaber", + "Jovanny Lemonad" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "arabic", + "cyrillic", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "El Messiri is a modern Arabic typeface family designed by Mohamed Gaber (Arabic) that began with Jovanny Lemonad's Latin and Cyrillic typeface Philosopher. The Arabic started with the concept of a curvy Arabic typeface inspired by the beauty of Naskh and drawn as if with a brush instead of the traditional bamboo pen. The idea took form with wide counters that improve readability at smaller text sizes, and has subtle details that make it a great display face at larger sizes. El Messiri current comes in 4 weights (Light, Regular, SemiBold and Bold) and the Arabic component has a wide glyph set that supports the Arabic, Farsi and Urdu languages. The font has been upgraded to a variable font with a weight axis (Regular to Bold) in August 2021. To contribute, see github.com/Gue3bara/El-Messiri", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Electrolize": { + "name": "Electrolize", + "designer": [ + "Gaslight" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Lettering in a Russian commuter train inspired designer Valery Zaveryaev to create the Electrolize typeface with an accurate techno character. It came out solid enought to work well in any size from body copy to headlines. Electrolize can be best described as a squarish geometric typeface with humanistic proportions. It has an accurate techno character, holds the baseline well because of its rectangular modular-based construction. At display sizes its detailing in terminals become noticeable. It is optimized for screen, and will work well in print thank to its simple and straight outlines.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Elsie": { + "name": "Elsie", + "designer": [ + "Alejandro Inler" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Elsie is inspired by feminine energy. This new typeface was created to celebrate the world of women, glamour and fashion. It combines the strength of Bodoni with the softness of italics. Sensitive, attractive, full of personality, innovative and subtle with both classic and new design features. I aimed to add expressive features to the letters, providing nuances that make this a unique vision of Bodoni type. It provides an option to the type which readers often encounter. The font was developed by Alejandro Inler in conjunction with Ana Sanfelippo. There are two Elsie families, this Regular family and a Swash Caps family, each with a regular weight and a black weight suitable for large display usage.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Elsie Swash Caps": { + "name": "Elsie Swash Caps", + "designer": [ + "Alejandro Inler" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Elsie is inspired by feminine energy. This new typeface was created to celebrate the world of women, glamour and fashion. It combines the strength of Bodoni with the softness of italics. Sensitive, attractive, full of personality, innovative and subtle with both classic and new design features. I aimed to add expressive features to the letters, providing nuances that make this a unique vision of Bodoni type. It provides an option to the type which readers often encounter. The font was developed by Alejandro Inler in conjunction with Ana Sanfelippo. There are two Elsie families, a Regular family and this Swash Caps family, each with a regular weight and a black weight suitable for large display usage.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Emblema One": { + "name": "Emblema One", + "designer": [ + "Riccardo De Franceschi" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Emblema One is inspired by UK Victorian era bold italic display type. It breaks from tradition by using a stenciled kind of construction. The stencil style too is atypical and gives the font its distinctive feeling. Emblema One has been made for display purposes and should be used from medium to large sizes.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Emilys Candy": { + "name": "Emilys Candy", + "designer": [ + "Neapolitan" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Sweet Emily got a quarter from her grandpa for being such a good girl! She took a walk downtown to the local dimestore for some penny candy and loaded up a heaping sackful she'd love to share with you! Enjoy! Designed by Crystal Kluge of Neapolitan (a DBA of Font Diner, Inc.) To contribute to the project, contact Font Diner.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Encode Sans": { + "name": "Encode Sans", + "designer": [ + "Impallari Type", + "Andres Torresi", + "Jacques Le Bailly" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Encode Sans is a versatile workhorse sans-serif superfamily ready for all kinds of typographic challenges, offering a unique blend of warmth and practicality. Its humanist aspects of simple letterforms and open apertures keep it crisp and legible, while its geometric approach of rounded letters with partially-straightened sides delivers a friendly but precise tone. It includes 5 widths from Condensed to Expanded, each with 9 weights from Light to Black. To simplify the use of smallcaps in word processors, there are also small-cap versions of each family. This project was initially designed by Pablo Impallari and Andres Torresi, refined by Jacques Le Bailly, and upgraded as a variable font by Stephen Nixon and Marc Foley. To contribute, see github.com/thundernixon/Encode-Sans", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Encode Sans Condensed": { + "name": "Encode Sans Condensed", + "designer": [ + "Impallari Type", + "Andres Torresi", + "Jacques Le Bailly" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Encode Sans is a versatile workhorse sans serif design, featuring a huge range of weights and widths, ready for all kind of typographic challenges. This is the Condensed family, which is part of the superfamily along with Normal, Semi Condensed, Semi Expanded, and Expanded families, each with 9 weights. This project is led by Impallari Type, a foundry based in Rosario, Argentina. It was initially designed by Pablo Impallari and Andres Torresi. To contribute, see github.com/impallari/Encode-Sans", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Encode Sans Expanded": { + "name": "Encode Sans Expanded", + "designer": [ + "Impallari Type", + "Andres Torresi", + "Jacques Le Bailly" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Encode Sans is a versatile workhorse sans serif design, featuring a huge range of weights and widths, ready for all kind of typographic challenges. This is the Expanded family, which is part of the superfamily along with Normal, Condensed, Semi Condensed, and Semi Expanded, families, each with 9 weights. This project is led by Impallari Type, a foundry based in Rosario, Argentina. It was initially designed by Pablo Impallari and Andres Torresi. To contribute, see github.com/impallari/Encode-Sans", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Encode Sans SC": { + "name": "Encode Sans SC", + "designer": [ + "Impallari Type", + "Andres Torresi", + "Jacques Le Bailly" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Encode Sans is a versatile workhorse sans-serif superfamily ready for all kinds of typographic challenges, offering a unique blend of warmth and practicality. Its humanist aspects of simple letterforms and open apertures keep it crisp and legible, while its geometric approach of rounded letters with partially-straightened sides delivers a friendly but precise tone. It includes 5 widths from Condensed to Expanded, each with 9 weights from Light to Black. To simplify the use of smallcaps in word processors, there are also small-cap versions of each family. This project was initially designed by Pablo Impallari and Andres Torresi, refined by Jacques Le Bailly, and upgraded as a variable font by Stephen Nixon and Marc Foley. To contribute, see github.com/thundernixon/Encode-Sans", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Encode Sans Semi Condensed": { + "name": "Encode Sans Semi Condensed", + "designer": [ + "Impallari Type", + "Andres Torresi", + "Jacques Le Bailly" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Encode Sans is a versatile workhorse sans serif design, featuring a huge range of weights and widths, ready for all kind of typographic challenges. This is the Semi Condensed family, which is part of the superfamily along with Normal, Condensed, Semi Expanded, and Expanded families, each with 9 weights. This project is led by Impallari Type, a foundry based in Rosario, Argentina. It was initially designed by Pablo Impallari and Andres Torresi. To contribute, see github.com/impallari/Encode-Sans", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Encode Sans Semi Expanded": { + "name": "Encode Sans Semi Expanded", + "designer": [ + "Impallari Type", + "Andres Torresi", + "Jacques Le Bailly" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Encode Sans is a versatile workhorse sans serif design, featuring a huge range of weights and widths, ready for all kind of typographic challenges. This is the Semi Expanded family, which is part of the superfamily along with Normal, Condensed, Semi Condensed, and Expanded families, each with 9 weights. This project is led by Impallari Type, a foundry based in Rosario, Argentina. It was initially designed by Pablo Impallari and Andres Torresi. To contribute, see github.com/impallari/Encode-Sans", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Engagement": { + "name": "Engagement", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Semi-formal with a steady hand and soft contours, Engagement is a brush script that dances a line between vintage and modern flair.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Englebert": { + "name": "Englebert", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "handwriting", + "display" + ], + "description": "Englebert draws inspiration from the title screen of the 1930's film titled Der blue Engel, starring Marlene Dietrich. It is casual and playful in a mild manner, yet striking enough to catch the eye. To contribute, see github.com/librefonts/englebert.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Enriqueta": { + "name": "Enriqueta", + "designer": [ + "FontFuror" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Enriqueta is a serif typeface designed to meet the technical demands of silkscreen printing. Since that is a grid system, this makes it an excellent candidate for digital display applications too since they are built in pixels. Its a slab serif type with clear, direct and not so subtle features, that was conceived as a hybrid that takes from the Egyptian style some robustness and strong serifs, and from Roman fonts the proportions and soft humanist tones, resulting in a harmonic and legible typeface for texts. Enriqueta was selected to be exhibit at Tipos Latinos 2010, fourth Latin-american tipography biennial and to be part of the German editorial project Typodarium 2012.In July 2019, the family was updated to include Medium and SemiBold styles.To contribute, see github.com/vv-monsalve/Enriqueta_2019.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ephesis": { + "name": "Ephesis", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Ephesis is a contemporary script great for casual invitations, cards, tubes, scrapbooking. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/ephesis.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Epilogue": { + "name": "Epilogue", + "designer": [ + "Tyler Finck", + "ETC" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Epilogue is a sans serif variable font with a weight axis. 9 weights, upright and italic. It supports a wide range of languages in the latin script scope. The Epilogue project is led by Tyler Finck \u2014 type designer running Etcetera Type Co in Ithaca, New-York, USA. To contribute, see github.com/Etcetera-Type-Co/Epilogue", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Erica One": { + "name": "Erica One", + "designer": [ + "Miguel Hernandez" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Erica is a voluptuous contemporary tribute to the sans serif work of Eric Gill that is mixed with the painter Botero.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Esteban": { + "name": "Esteban", + "designer": [ + "Ang\u00e9lica D\u00edaz" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Esteban is a typeface intended to be used in texts, specially literature and poetry. Its a serif font with medium contrast, tall x height, medium compression, and robust serifs. It offers personality, readability and economy. One of the most important features of Esteban is its stroke, that loses or gains weight in the stems. This feature was defined from the manuscripts of Jorge Alfredo D\u00edaz Esteban, a writer who used a tool that can generate modulated strokes. This means the stroke width varies due to the pressure of the pen on the paper, and this quality allows the font to have a presence on the page that makes texts more dynamic. The precise level of contrast was decided by experimenting with various 'colors' of density that emerge in text settings. This allows Esteban to achieve good performance even in medium and low quality prints and as a web font.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Estonia": { + "name": "Estonia", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Estonia is based on the calligraphic style found in the east European country of Estonia. The swash stylistic sets are designed to be used in conjunction with the regular version. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/estonia.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Euphoria Script": { + "name": "Euphoria Script", + "designer": [ + "Sabrina Mariela Lopez" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Euphoria Script is an informal script type. It began with letterform sketches made by hand with a copperplate nib, which were redrawn digitally with the stroke endings of a brush script. This makes the type seem playful, which is important in casual scripts. It has very fast curves, thanks to the slight slant angle, but it remains highly legible. It will be perfect for titles and short phrases in branding, magazines, content about food, fashion, music - anything which is as lively as the font itself.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ewert": { + "name": "Ewert", + "designer": [ + "Johan Kallas", + "Mihkel Virkus" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Ewert is slab serif wood type inspired by and loosely based on the collection of cultural infographic maps by Estonian graphic artist Olev Soans. Ewert has been higly simplified for screen usage yet still includes the characteristic \"ornamental leg\" of the letterform. Ewert was designed by Johan Kallas and Mihkel Virkus.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Exile": { + "name": "Exile", + "designer": [ + "Bart\u0142omiej R\u00f3zga" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "Exile is a display stencil font inspired by music and iconic logo of The Rolling Stones. The author saw it as a great challenge to design custom fonts for bands as a personal project. Their idea was to create a stencil typeface due to its practicality. It needed to be bold and loud, without compromising on design &emdash; making an all-caps approach essential. The contrast between swashy, soft, tongue-like elements and sharp, heavy slab serifs gave it the unique look the author envisioned. Its name was inspired by one of the author\u2019s favorite Rolling Stones albums, Exile on Main St. To contribute, please see github.com/rozgatype/Exile.", + "minisite_url": null + }, + "Exo": { + "name": "Exo", + "designer": [ + "Natanael Gama", + "Robin Mientjes" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Exo is a contemporary geometric sans serif typeface that tries to convey a technological/futuristic feeling while keeping an elegant design. Exo was meant to be a very versatile font, so it has 9 weights (the maximum on the web) each with a true italic version. It works great as a display face but it also works good for small to intermediate size texts. Update December 2013: Exo was completely redrawn and published as Exo 2, with a more organic look that will perform much better at small text sizes and in long texts. Update April 2020: The family has been updated to a variable font family. To contribute, see github.com/NDISCOVER/Exo-1.0.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Exo 2": { + "name": "Exo 2", + "designer": [ + "Natanael Gama" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Exo 2 is a complete redrawing of Exo, a contemporary geometric sans serif typeface that tries to convey a technological/futuristic feeling while keeping an elegant design. Exo is a very versatile font, so it has 9 weights (the maximum on the web) and each with a true italic version. Exo 2 has a more organic look that will perform much better at small text sizes and in long texts. In March 2020, the family has been updated to a variable font family. To contribute, see github.com/googlefonts/Exo-2.0.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Expletus Sans": { + "name": "Expletus Sans", + "designer": [ + "Designtown" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "Expletus Sans is a display typeface, which means that it is not recommended for long pieces of text. However, it's very effective for setting headers and other large sized text, due to it's way of pulling in the reader. It comes in 4 weights and will include italics from May 2011. Expletus Sans has been upgraded to a variable font in November 2021. Line spacing has also been adjusted to improve user experience. To contribute, see github.com/googlefonts/Expletus-Sans. Jasper de Waard, born in 1996, first came in contact with the beauty of type design when he was 10, and developed his skills as a type and graphic designer ever since. He was born and raised in Rotterdam, the Netherlands, and went to a bilingual high school there, training him to read and write English fluently and have a more international focus. He is currently in his third year, three years before his exam. He hopes to continue his practices in the fields of type and graphic design after he finishes school and release many more typefaces in the future. His love for the tiny details, balance in proportions and urge for perfection made him into what he is today. However, the great support and feedback from people on several forums can't be denied as a great source of inspiration and evaluation material, giving him a greater understanding of the method behind type design. He is also available for custom type work and identity design. To learn more, visit Introducing Expletus Sans.", + "minisite_url": null + }, + "Explora": { + "name": "Explora", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "cherokee", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Explora is a beautiful calligraphic typeface with swash forms. Its light and delicate strokes contribute to its elegance. In addition, it features one of the few fonts that contains the entire Cherokee Nation language glyphs. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/explora.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Faculty Glyphic": { + "name": "Faculty Glyphic", + "designer": [ + "Koto Studio" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Latn", + "article": "Faculty Glyphic is a typeface that captures the essence of Faculty, a global leader in applied AI. Designed at Koto London in 2024, it reflects London\u2019s rich history and innovative legacy in computing, drawing inspiration from carved typography and the works of Berthold Wolpe and Edward Johnston. This typeface is a modern tribute to Wolpe's iconic Albertus, which appears on the street signs of the City of London, becoming a defining symbol of the City\u2019s identity after World War II. By marrying timeless design with contemporary digital optimization, Faculty Glyphic pays homage to its home city while seamlessly merging tradition and modernity. To contribute, see github.com/DylanYoungKoto/FacultyGlyphic.", + "minisite_url": null + }, + "Fahkwang": { + "name": "Fahkwang", + "designer": [ + "Cadson Demak" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "thai", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Fahkwang is a Thai and Latin san serif family which features a high contrast. It has been inspired by headlines in old Thai newspapers.", + "primary_script": "Thai", + "article": null, + "minisite_url": null + }, + "Familjen Grotesk": { + "name": "Familjen Grotesk", + "designer": [ + "Familjen STHLM AB" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Familjen Grotesk is a sans serif typeface with a contemporary appearance intended for both text and display. Large notches known as \"ink traps\" add style to headlines and clarity to small size text. The large x-height, closed apertures and sturdy upper-case letters relate to the grotesque subgenre of sans serifs. To contribute, see github.com/Familjen-Sthlm/Familjen-Grotesk.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Fanwood Text": { + "name": "Fanwood Text", + "designer": [ + "Barry Schwartz" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Fanwood Text is a revival of Fairfield, the typeface first published in 1940 and designed by Rudolph Ruzicka, a famous Czech-American type designer. The roman and italic are slightly darker and reduced in contrast than the original; this was tailored for increased readability on the Amazon Kindle 3 e-book reader hardware. To learn more, see bitbucket.org/sortsmill/sortsmill-fonts and the theleagueofmoveabletype.com/fanwood", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Farro": { + "name": "Farro", + "designer": [ + "Grayscale" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Farro is an artsy, four-weighted, display typeface that has a peculiar personality flowing through its European humanist silhouette. To contribute, see github.com/grayscaleltd/farro>.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Farsan": { + "name": "Farsan", + "designer": [ + "Pooja Saxena" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "gujarati", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "handwriting" + ], + "description": "Farsan is a single-weight typeface that supports the Gujarati and Latin scripts. The Farsan project is led by Pooja Saxena, a type designer based in Bangalore, India. To contribute, see github.com/anexasajoop/farsan", + "primary_script": "Gujr", + "article": null, + "minisite_url": null + }, + "Fascinate": { + "name": "Fascinate", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Fascinate and Fascinate Inline are nods to Art Deco yesteryear and typefaces like Broadway, yet they have an exaggerated x-height and softness that give them a friendly yet sophisticated vibe. Even with their high contrast weighting, the Fascinate family is cleanly legible at small sizes, although the Inline version is better visible at larger display sizes.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Fascinate Inline": { + "name": "Fascinate Inline", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Fascinate and Fascinate Inline are nods to Art Deco yesteryear and typefaces like Broadway, yet they have an exaggerated x-height and softness that give them a friendly yet sophisticated vibe. Even with their high contrast weighting, the Fascinate family is cleanly legible at small sizes, although the Inline version is better visible at larger display sizes.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Faster One": { + "name": "Faster One", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Faster One was developed from a sans serif italics. In order to create an impression of velocity, the horizontal and gradual lines generate the idea of the image of the wind. Ideal for writing headlines where efficiency and speed are priorities. Updated September 2015: Internal metadata corrected. The February 2023 update features a bigger glyphset, fractions and some minor aesthetic modifications. To contribute, see github.com/etunni/faster.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Fasthand": { + "name": "Fasthand", + "designer": [ + "Danh Hong", + "Neapolitan" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "khmer", + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Fasthand is a Khmer font for body text. The Khmer design is inspired by a popular style of Khmer handwriting letterforms that are written quickly. The Latin design is a copy of Seaweed Script, by Neapolitan. To contribute, see github.com/danhhong/Fasthand", + "primary_script": "Khmr", + "article": null, + "minisite_url": null + }, + "Fauna One": { + "name": "Fauna One", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Fauna is a modern typeface with low contrast strokes and soft terminals that form traditional serifs. Its structure is soft and slightly condensed. It reads clearly in paragraph composition and looks beautiful in headlines. The January 2023 update features a bigger glyphset, fractions and some minor aesthetic modifications. To contribute, see github.com/etunni/fauna-one.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Faustina": { + "name": "Faustina", + "designer": [ + "Omnibus-Type" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Faustina is part of the Omnibus-Type Press Series, designed by Alfonso Garcia for editorial typography (books, newspapers and magazines) in print and online. In September 2019, the family has been converted into a variable font family. To contribute to the project, visit github.com/Omnibus-Type", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Federant": { + "name": "Federant", + "designer": [ + "Cyreal" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Federant revives the Reklameschrift typeface Feder Antiqua by Otto Ludwig N\u00e4gele (1911). The main challenge of designing a modern interpretation was to balance between applying visual corrections for overall consistency and staying close to the original source. In certain cases the historical authenticy was sacrificed in favour of an even typographic color. This project required research of historic type specimens in search for the missing letterforms. The unusual interpretation of the Yen currency symbol can be found in typefaces of that period. Designed by Olexa M.Volochay, Alexei Vanyashin for Cyreal. To contribute to the project, visit github.com/cyrealtype/Federant", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Federo": { + "name": "Federo", + "designer": [ + "Cyreal" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Federo is a display webfont that references Jakob Erbar's Feder Grotesk. The goal was to keep the typeface as close as possible to the original 1909 design while adapting it for crisp web typography. Details were refined and contrast was slightly reduced for consistency. Figures obtained regular proportions and counters were increased for better legibility. Designed by Olexa Volochay in 2011.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Felipa": { + "name": "Felipa", + "designer": [ + "Fontstage" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Felipa is a carefully written calligraphic font based on a traditional Italian chancery cursive, though reinterpreted with a contemporary feeling.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Fenix": { + "name": "Fenix", + "designer": [ + "Fernando D\u00edaz" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Fenix is a serif typeface designed for use in both display and long text. Very inspired by calligraphy, it has strong serifs and rough strokes. Its proportions are designed to gain space savings in text, both in height and width. It is elegant at large sizes and legible at the same time, with a lot of rhythm in small sizes.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Festive": { + "name": "Festive", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "It's Festive! But don't let the name fool you\u2026 It's a fun script font (that includes a Roman stylistic set) accompanied by an assortment of exciting ornamental dingbats suitable for any occasion where festivities abound from New Years to Graduation, Baby & Wedding Showers, Thanksgiving, and much more, even Sports. The base font works well with bodies of copy, while the alternate glyphs can be used to swap out individual characters to give a custom, hand written look. Be sure to scroll thru to see all the stylistic sets. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/festive.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Figtree": { + "name": "Figtree", + "designer": [ + "Erik Kennedy" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Figtree is a clean yet friendly geometric sans serif font for usage in web and mobile apps. It's light-hearted and crisp when used for text, yet still retains some punch when used in uppercase \u2013 perfect for buttons and short labels. The thicker weights have a distinctly friendlier character, great for headlines of more personable brands. Figtree comes as a variable font with 7 legacy weights, light through black, and supports 280+ Latin languages. In November 2022, the italic style is added to complete the family. To contribute, see github.com/erikdkennedy/figtree.", + "minisite_url": "https://www.erikdkennedy.com/projects/figtree.html" + }, + "Finger Paint": { + "name": "Finger Paint", + "designer": [ + "Carrois Apostrophe" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Finger Paint began as an experiment with artistic brush effects and then became a real typeface. Learn more at carrois.com", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Finlandica": { + "name": "Finlandica", + "designer": [ + "Helsinki Type Studio", + "Niklas Ekholm", + "Juho Hiilivirta", + "Jaakko Suomalainen" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "The official typeface of Finland commissioned by the Prime ministers office and Business Finland for the promotion of Finnish exports. Its strong and compressed shapes embody a traditional virtue in Finnish culture: honest and resilient determination - \"Sisu\". Ink traps like cuts from a blunt ax, makes the typeface reliable in small sizes and gives it character in large headlines. Like the Finnhorse it's a breed suitable both as riding horse and workhorse. To contribute, see github.com/HelsinkiTypeStudio/Finlandica.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Fira Code": { + "name": "Fira Code", + "designer": [ + "The Mozilla Foundation", + "Telefonica S.A.", + "Nikita Prokopov" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext", + "symbols2" + ], + "stroke": null, + "classifications": [ + "monospace" + ], + "description": "Programmers use a lot of symbols, often encoded with several characters. For the human brain, sequences like ->, <= or := are single logical tokens, even if they take two or three characters on the screen. Your eye spends a non-zero amount of energy to scan, parse and join multiple characters into a single logical one. Ideally, all programming languages should be designed with full-fledged Unicode symbols for operators, but that\u2019s not the case yet. Fira Code is an extension of the Fira Mono font containing a set of ligatures for common programming multi-character combinations. This is just a font rendering feature: underlying code remains ASCII-compatible. This helps to read and understand code faster. For some frequent sequences like .. or //, ligatures allow us to correct spacing. To contribute, see https://github.com/tonsky/FiraCode.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Fira Mono": { + "name": "Fira Mono", + "designer": [ + "Carrois Apostrophe" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext", + "symbols2" + ], + "stroke": null, + "classifications": [ + "monospace" + ], + "description": "Designed to integrate with the character of the FirefoxOS, the Fira typefaces also aim to cover the legibility needs for a large range of handsets varying in screen quality and rendering. The Fira font family comes in a Sans Serif with 4 weights (Light, Regular, Medium and Bold) all accompanied by italic styles. The package also includes this Mono Spaced variant with 3 weights (Regular, Medium, Bold.) See the Mozilla FirefoxOS Style Guide for more details.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Fira Sans": { + "name": "Fira Sans", + "designer": [ + "Carrois Apostrophe" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Designed to integrate with the character of the Mozilla FirefoxOS, the Fira typefaces also aim to cover the legibility needs for a large range of handsets varying in screen quality and rendering. The Fira font family comes in 3 widths, all accompanied by italic styles. The package also includes a Mono Spaced variant. This project is led by Carrois, a type foundry based in Berlin. To contribute, see github.com/mozilla/Fira", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Fira Sans Condensed": { + "name": "Fira Sans Condensed", + "designer": [ + "Carrois Apostrophe" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Designed to integrate with the character of the Mozilla FirefoxOS, the Fira typefaces also aim to cover the legibility needs for a large range of handsets varying in screen quality and rendering. The Fira font family comes in 3 widths, all accompanied by italic styles. The package also includes a Mono Spaced variant. This project is led by Carrois, a type foundry based in Berlin. To contribute, see github.com/mozilla/Fira", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Fira Sans Extra Condensed": { + "name": "Fira Sans Extra Condensed", + "designer": [ + "Carrois Apostrophe" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Designed to integrate with the character of the Mozilla FirefoxOS, the Fira typefaces also aim to cover the legibility needs for a large range of handsets varying in screen quality and rendering. The Fira font family comes in 3 widths, all accompanied by italic styles. The package also includes a Mono Spaced variant. This project is led by Carrois, a type foundry based in Berlin. To contribute, see github.com/mozilla/Fira", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Fjalla One": { + "name": "Fjalla One", + "designer": [ + "Sorkin Type", + "Irina Smirnova" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Fjalla One is a medium contrast display sans serif. Fjalla One has been carefully adjusted to the restrictions of the screen. Despite having display characteristics Fjalla One can be used in a wide range of sizes. Latest upgrade from March 2023 expands the Latin script language coverage and improves the overhall horizontal space for a better readability. To contribute, see github.com/SorkinType/FjallaOne.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Fjord One": { + "name": "Fjord One", + "designer": [ + "Viktoriya Grabowska" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Fjord One is a serif typeface designed with printed books in mind, and particularly intended for long texts in small print sizes. It features sturdy construction, prominent serifs, low-contrast modulation and long elegant ascenders and descenders relative to the x height. Fjord performs well at text sizes and because of the careful detailing it can also be a distinctive choice for headlines and in corporate design. It is inspired by both renaissance and contemporary typeface designs.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Flamenco": { + "name": "Flamenco", + "designer": [ + "LatinoType" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Flamenco is a semi-serif slab typeface. It is inspired by the bird of the same name; its long ascenders and descenders provide elegance and a classic touch, while it is monolinear humanist structure and rounded terminals give it a kind and smooth feeling.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Flavors": { + "name": "Flavors", + "designer": [ + "Sideshow" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Does your blog taste bland? Is you website cooked up from the same old recipe? Ladies and gentlemen, we have the missing ingredient! With Flavors you'll get the zest and zing not found in those boring vanilla fonts. Another tasty typeface designed by Squid and brought to you by Dave 'Squid' Cohen of Sideshow", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Fleur De Leah": { + "name": "Fleur De Leah", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Fleur De Leah is a formal script with a floral flavour. One of the first fonts to incorporate embellishment design elements within the letterforms. Use it sparingly for captions and short phrases and as with any script font, but never use it in all caps. Enjoy! It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/fleurdeleah.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Flow Block": { + "name": "Flow Block", + "designer": [ + "Dan Ross" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "symbols", + "display" + ], + "description": null, + "primary_script": null, + "article": "Flow is a font family built for abstracting content and code for design mockups, wireframing, presentations, and websites. It's not perfect, but neither are your wireframes. Flow has sub-pixels, artifacts, overlaps and other imperfections. Flow comes in three styles: Circular, Rounded and Block. Check out danross.co/flow/. To contribute, see github.com/HYPD/flow-typeface. Flow and Redacted: Check out these new options for wireframes and other early-stage designs Give your simulated text a realistic look while making it easy to add copy later on with Dan Ross\u2019s Flow Fonts and Christian Naths\u2019s Redacted. Showing text in an early-stage wireframe can be distracting, even if it\u2019s just Lorem ipsum placeholder copy. After all, a successful wireframe is clean and simple, with just enough information to communicate an idea. But how do you convey \u201cthis is text\u201d without showing text? One popular technique is to draw shapes that resemble a block of redacted text. (Redacted text is usually used as a security or privacy measure in a document to make certain words unreadable.) Another technique is to use handwritten scribbles. This creates a sketch-like look that\u2019s especially suited to quick concepting. To learn more, visit Flow and Redacted: Check out these new options for wireframes and other early-stage designs", + "minisite_url": null + }, + "Flow Circular": { + "name": "Flow Circular", + "designer": [ + "Dan Ross" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "symbols", + "display" + ], + "description": null, + "primary_script": null, + "article": "Flow is a font family built for abstracting content and code for design mockups, wireframing, presentations, and websites. It's not perfect, but neither are your wireframes. Flow has sub-pixels, artifacts, overlaps and other imperfections. Flow comes in three styles: Circular Rounded and Block. Check out danross.co/flow/. To contribute, see github.com/HYPD/flow-typeface. Flow and Redacted: Check out these new options for wireframes and other early-stage designs Give your simulated text a realistic look while making it easy to add copy later on with Dan Ross\u2019s Flow Fonts and Christian Naths\u2019s Redacted. Showing text in an early-stage wireframe can be distracting, even if it\u2019s just Lorem ipsum placeholder copy. After all, a successful wireframe is clean and simple, with just enough information to communicate an idea. But how do you convey \u201cthis is text\u201d without showing text? One popular technique is to draw shapes that resemble a block of redacted text. (Redacted text is usually used as a security or privacy measure in a document to make certain words unreadable.) Another technique is to use handwritten scribbles. This creates a sketch-like look that\u2019s especially suited to quick concepting. To learn more, visit Flow and Redacted: Check out these new options for wireframes and other early-stage designs", + "minisite_url": null + }, + "Flow Rounded": { + "name": "Flow Rounded", + "designer": [ + "Dan Ross" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "symbols", + "display" + ], + "description": null, + "primary_script": null, + "article": "Flow is a font family built for abstracting content and code for design mockups, wireframing, presentations, and websites. It's not perfect, but neither are your wireframes. Flow has sub-pixels, artifacts, overlaps and other imperfections. Flow comes in three styles: Circular, Rounded and Block. Check out danross.co/flow/. To contribute, see github.com/HYPD/flow-typeface. Flow and Redacted: Check out these new options for wireframes and other early-stage designs Give your simulated text a realistic look while making it easy to add copy later on with Dan Ross\u2019s Flow Fonts and Christian Naths\u2019s Redacted. Showing text in an early-stage wireframe can be distracting, even if it\u2019s just Lorem ipsum placeholder copy. After all, a successful wireframe is clean and simple, with just enough information to communicate an idea. But how do you convey \u201cthis is text\u201d without showing text? One popular technique is to draw shapes that resemble a block of redacted text. (Redacted text is usually used as a security or privacy measure in a document to make certain words unreadable.) Another technique is to use handwritten scribbles. This creates a sketch-like look that\u2019s especially suited to quick concepting. To learn more, visit Flow and Redacted: Check out these new options for wireframes and other early-stage designs", + "minisite_url": null + }, + "Foldit": { + "name": "Foldit", + "designer": [ + "Sophia Tai" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Foldit is a variable-gradient COLRv1 font which uses gradients to play with dimensions and give a sense of space. The concept of this design was, as the name suggests, based on a folded paper strip. This font uses the COLRv1 and CPAL tables. Please visit the gf-guide color page to learn more about Color Fonts technology. To contribute, see https://github.com/SophiaDesign/Foldit.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Fondamento": { + "name": "Fondamento", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Fondamento and Fondamento Italic are calligraphic lettering styles based on the traditional Foundational Hand, a basic teaching style created by Edward Johnston in the early 20th century. The letterforms are clear and cleanly legible, basic and formal.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Fontdiner Swanky": { + "name": "Fontdiner Swanky", + "designer": [ + "Font Diner" + ], + "license": "apache2", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Atomic Age science meets ultra cool with this swingin' retro latin sharp serif font we call Fontdiner Swanky! Like the older much hipper brother of it's Loungy counterpart, Swanky brings his bolder style and charming good looks when it's time to really let the neighbors know you mean business!", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Forum": { + "name": "Forum", + "designer": [ + "Denis Masharov" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Forum has antique, classic \"Roman\" proportions. It can be used to set body texts and works well in titles and headlines too. It is truly multilingual, with glyphs for Central and Eastern Europe, Baltics, Cyrillic and Asian Cyrillic communities.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Fragment Mono": { + "name": "Fragment Mono", + "designer": [ + "Wei Huang", + "URW Design Studio" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "cyrillic-ext", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "monospace" + ], + "description": "Fragment Mono is a monospaced coding version of Helvetica created by modifying and extending Nimbus Sans by URW Design Studio. Fragment Mono is designed by Wei Huang based on Nimbus Sans by URW Design Studio, based on Helvetica by Max Miedinger. To contribute, see github.com/weiweihuanghuang/fragment-mono/", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Francois One": { + "name": "Francois One", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Francois One is a reworking of many traditional sans serif gothic display typeface forms. These letterforms have been reshaped for use on the web, such as opening up the counters a little and optimizing the stems for use in bold display typography. Slanted stem terminals have been added to give a hint of playfulness to the design.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Frank Ruhl Libre": { + "name": "Frank Ruhl Libre", + "designer": [ + "Yanek Iontef" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "hebrew", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Frank Ruhl Libre is an open source version of the classic Hebrew typeface Frank R\u00fchl, the most ubiquitous Hebrew typeface in print. Frank R\u00fchl was designed in 1908 by Rafael Frank in collaboration with Auto R\u00fchl of the C. F. R\u00fchl foundry of Leipzig. A final version was released in 1910. Many Israeli books, newspapers and magazines use Frank R\u00fchl as their main body text typeface. Made to accommodate the growing need for typefaces in secular Hebrew writings, the typeface was fitted to modern printing demands and designed to be readable in longform text, with and without vowel marks. Frank R\u00fchl has Sephardi proportions (mem-height is approximately 4\u00bd stroke widths), and is based roughly on Venetian typefaces used by printer Daniel Bomberg. Frank wrote of his design that he wishes to combine the simpleness of Antiqua with the \"pleasantness\" of Fraktur, leading him to \"quieten\" the letterforms by reducing the contrast between its thin and thick strokes. This newly designed revival by Yanek Iontef is a family of 7 weights, Light to Black (the original typeface had only one) and in November 2022, it became variable and offers a larger choice of weights. To contribute, see github.com/fontef/frankruhllibre.", + "primary_script": "Hebr", + "article": null, + "minisite_url": null + }, + "Fraunces": { + "name": "Fraunces", + "designer": [ + "Undercase Type", + "Phaedra Charles", + "Flavia Zimbardi" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Fraunces is a display, \"Old Style\" soft-serif typeface inspired by the mannerisms of early 20th century typefaces such as Windsor, Souvenir, and the Cooper Series. Fraunces was designed by Phaedra Charles and Flavia Zimbardi, partners at Undercase Type. Fraunces is a Variable Font with four axes: Weight (wght), Optical Size (opsz), Softness (SOFT), and Wonky (WONK). The Softness axis controls the \u201cwetness\u201d or \u201cinkiness\u201d of the typeface. The Wonky axis controls the manual substitution of \u201cwonky\u201d characters, such as the lean of the h, n, and m glyphs in the Roman, and the flagged ball terminals of the b, d, h, k, l, v, and w glyphs of the Italic. To contribute, please see github.com/undercasetype/Fraunces. Wonky, goofy, playful, elegant and a workhorse: Meet a new breed of \u201cOld Style\u201d typeface Fraunces is a variable font that offers a variety of styles for text and display typography. In 2018, Google Fonts commissioned Flavia Zimbardi and Phaedra Charles of Undercase Type to make a new display typeface that would demonstrate the power and promise of variable fonts with a sense of humor. Their solution to this challenge is inspired by the early 20th century typefaces such as Windsor, Souvenir, and the Cooper Series. Fraunces Black Soft Wonky at 14pt \u201cFraunces probably leans a little more (pun intended) towards the mannerism in Windsor than any of the others, but they all have some qualities common with each other. Those typefaces were meant to evoke a hand-drawn quality more appropriate for display advertising. The leaning \u2018n\u2019 in Windsor is a very distinctive characteristic of this style and is probably the most direct comparison. Fraunces does something unique by creating a design space that incorporates both heavy inky qualities, as well as thinner, more refined and delicate qualities seen in the lighter weights of Windsor. The italic pairing for Fraunces is also very distinct and draws influences from Cooper Nouveau, which blends Art Nouveau influences,\u201d said Phaedra Charles. Using variable font technology gives more flexibility; Fraunces embraces the new variable font technology with four axes\u2013softness, weight, wonk, and optical size\u2013making it much more versatile and customizable than any typeface released in the 1970\u2019s. To learn more, read Wonky, goofy, playful, elegant and a workhorse: Meet a new breed of \u201cOld Style\u201d typeface.", + "minisite_url": "https://fraunces.undercase.xyz" + }, + "Freckle Face": { + "name": "Freckle Face", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Freckle Face draws its inspiration from Pillbury's Funny Face drink mix packages. I loved these drink mixes when I was a kid, not only because of the great flavors, but also the fun packaging. Who knew I'd renew the love affair later by finding myself loving the lettering too! Designed by Brian J. Bonislawsky for Astigmatic (AOETI). To contribute to the project contact Brian J. Bonislawsky.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Fredericka the Great": { + "name": "Fredericka the Great", + "designer": [ + "Tart Workshop" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Fredericka recalls my college days of nights spent creating handdrawn presentation boards, architectural sketches and student union posters. She's fun, she's casual, she's preppy, she's classic, she's Great! Designed by Crystal Kluge of Tart Workshop.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Fredoka": { + "name": "Fredoka", + "designer": [ + "Milena Brand\u00e3o", + "Hafontia" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "hebrew", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Fredoka is a big, round, bold font that is perfect for adding a little fun to any headline or large text. The initial Latin component was designed by Milena Brand\u00e3o. The later Hebrew component was designed by Ben Nathan. Fredoka is a variable font with a width and weight axes. The Fredoka project is led by Ben Nathan, a type design foundry based in Israel. To contribute, see github.com/hafontia/Fredoka-One.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Freehand": { + "name": "Freehand", + "designer": [ + "Danh Hong" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "khmer", + "latin" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Freehand is a Khmer font for body text. The design is inspired by a popular style of Khmer handwriting letterforms. To contribute, see github.com/danhhong/Freehand.", + "primary_script": "Khmr", + "article": null, + "minisite_url": null + }, + "Freeman": { + "name": "Freeman", + "designer": [ + "Rodrigo Fuenzalida", + "Aoife Mooney", + "Vernon Adams" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Freeman is a re-interpretation of the traditional display sans serif gothic typeface where some elements of the handwritten style are added to give a bit more personality to the design. In Freeman, the counters have opened up a little, and the stems are optimized for use as a bold display font in modern web browsers. Sloped stem terminals have been added to give the face added visual play. Freeman language support now includes African Latin and full coverage of Vietnamese, in addition to all Western, Central, and South-Eastern European languages. To contribute, see github.com/rfuenzalida/Freeman.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Fresca": { + "name": "Fresca", + "designer": [ + "Fontstage" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "A very friendly font for display use with a fresh atmosphere, Fresca gives the text an alternative to comic settings.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Frijole": { + "name": "Frijole", + "designer": [ + "Sideshow" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Frijole is bold, spicy and satisfying!", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Fruktur": { + "name": "Fruktur", + "designer": [ + "Viktoriya Grabowska", + "Eben Sorkin" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Fruktur initially appears to be a playful and powerful black letter type with a warm friendly feeling. However its construction is closer to that of an upright italic. Fruktur offers some of the feeling of a black letter but with higher legibility and greater utility than is typical of black letter type. Fruktur will be most useful from medium to large sizes. To contribute to the project, visit github.com/EbenSorkin/Fruktur Updated: January 2016, to v1.004 with additional language support, improved hinting (visible in Windows browsers at smaller font sizes) and other minor fixes. August 2022, expanded glyph set, better language support. Italic style has been added to complement Roman.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Fugaz One": { + "name": "Fugaz One", + "designer": [ + "LatinoType" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Fugaz One is a sans serif with very geometric features and gestural characteristics, which brings it away from its formal beginnings. Combined with its italic inclination, Fugaz One has become a very dynamic font.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Fuggles": { + "name": "Fuggles", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Take a little Inspiration, mix in some Sassy Frass and a splash of Waterfall; add hundreds of alternate forms and you have the recipe for a versatile handwriting font. This fun, scribbly little font can fool you. At first glance it looks crude and simple. But, with over 1600 glyphs, combine the right character pairs and suddenly Fuggles is a powerful script that can be used for sophisticated commercial design. Some characters are quirky, some are swashy, some are scribbly and others are elegant. Fuggles comes with Latin Character sets including Western, Central, and Vietnamese language support. The name comes from classic English beer brewing, a kind of aroma hop cultivated in 1875 by Mr Richard Fuggle. To contribute, see github.com/googlefonts/fuggles", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Funnel Display": { + "name": "Funnel Display", + "designer": [ + "NORD ID", + "Kristian M\u00f6ller" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "Funnel Sans and Funnel Display are modern sans-serif typefaces with both clarity and character, originally developed by NORD ID and Kristian M\u00f6ller for Funnel. The typefaces are inspired by the movement and shapes of data points. In Funnel Display, certain parts of the stems are shifted to further enhance the sense of movement. To contribute, see github.com/Dicotype/Funnel.", + "minisite_url": null + }, + "Funnel Sans": { + "name": "Funnel Sans", + "designer": [ + "NORD ID", + "Kristian M\u00f6ller" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Funnel Sans and Funnel Display are modern sans-serif typefaces with both clarity and character, originally developed by NORD ID and Kristian M\u00f6ller for Funnel. The typefaces are inspired by the movement and shapes of data points. Funnel Sans is a functional yet personal sans-serif, featuring both square and circular shapes in its letterforms. To contribute, see github.com/Dicotype/Funnel.", + "minisite_url": null + }, + "Fustat": { + "name": "Fustat", + "designer": [ + "Mohamed Gaber", + "Laura Garcia Mut", + "Khaled Hosny" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "arabic", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Fustat Arabic designed by Mohamed Gaber and engineered by Khaled Hosny, draws its inspiration from the traditional manuscript Kufi style. The typeface uniquely balances modernization with the authentic elements of Arabic script. It supports a large number of languages that use Arabic script, and includes a number of OpenType features for finer typography, including stylistic sets, proportional and tabular digits, super/subscripts, and fractions. Additionally, Fustat is a variable that providing dynamic flexibility for various design applications, and includes seven pre-defined weight instances: ExtraLight, Light, Regular, Medium, SemiBold, Bold, and ExtraBold. Fustat Latin designed by Laura Garcia Mut, was developed to match the Arabic script, implementing features and subtle details from the Arabic strokes and flows. With a mix of simple grotesque structure and other geometric forms, it is a very low-contrast sans serif family with a neutral and kind texture. With a high x-height, it works in many sizes and purposes, allowing compact consistency. It supports a Latin Extended glyph set, and includes many OpenType features and Stylistic Sets with alternate geometric forms and tailed ends, looking for a more connected feeling. Fustat is optimized for web usage, offering an authentic yet contemporary presence online. It is ideal for titles due to its distinct style, yet it also performs well in body text, ensuring readability. This makes it perfect for creating a strong, authentic brand identity with a modern twist. The typeface supports both Arabic and Latin scripts, making it versatile for bilingual design projects. Its extensive character set and the manuscript-inspired modern approach to Kufi style ensure that it meets diverse design needs. Published under the Open Font License (OFL), Fustat promotes free and open use while ensuring quality and consistency. Embrace the rich heritage of the Kufi manuscript style with the modern versatility of Fustat, the go-to typeface for authentic and contemporary Arabic design. To contribute, see github.com/Kief-Type-Foundry/Fustat .", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Fuzzy Bubbles": { + "name": "Fuzzy Bubbles", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Fuzzy Bubbles is a cute juvenile style. Playful and loose, its innocence is perfect for children's parties. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/fuzzy-bubbles.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "GFS Didot": { + "name": "GFS Didot", + "designer": [ + "Greek Font Society" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "greek", + "greek-ext", + "latin", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Under the influence of the neoclassical ideals of the late 18th century, the famous French typecutter Firmin Didot in Paris designed a new Greek typeface (1805) which was immediately used in the publishing programme of Adamantios Korais, the prominent intellectual figure of the Greek diaspora and leading scholar of the Greek Enligntment. The typeface eventually arrived in Greece, with the field press which came with Didot\u2019s grandson Ambroise Firmin Didot, during the Greek Revolution in 1821. Since then the typeface enjoyed an unrivaled success as the type of choice for almost every kind of publication, until the last decades of the 20th century. Didot\u2019s type was the base for a new font, GFS Didot (1994), which was designed by Takis Katsoulidis, and digitised by George Matthiopoulos, of the Greek Font Society. The typeface is accompanied by a matching Latin design, inspired by Hermann Zapf\u2019s Palatino.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "GFS Neohellenic": { + "name": "GFS Neohellenic", + "designer": [ + "Greek Font Society" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "greek", + "greek-ext", + "latin", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "The design of new Greek typefaces always followed the growing needs of the Classical Studies in the major European Universities. Furthermore, by the end of the 19th century bibliology had become an established section of Historical Studies, and, as John Bowman commented, the prevailing attitude was that Greek types should adhere to a lost idealized, yet undefined, greekness of yore. Especially in Great Britain this tendency remained unchallenged in the first decades of the 20th century, both by Richard Proctor, curator of the incunabula section in the British Museum Library and his successor Victor Scholderer. In 1927, Scholderer, on behalf of the Society for the Promotion of Greek Studies, got involved in choosing and consulting the design and production of a Greek type called New Hellenic cut by the Lanston Monotype Corporation. He chose the revival of a round, and almost monoline type which had first appeared in 1492 in the edition of Macrobius, ascribable to the printing shop of Giovanni Rosso (Joannes Rubeus) in Venice. New Hellenic was the only successful typeface in Great Britain after the introduction of Porson Greek well over a century before. The type, since to 1930\u2019s, was also well received in Greece, albeit with a different design for \u039e and \u03a9. GFS digitized the typeface (1993-1994) funded by the Athens Archeological Society with the addition of a new set of epigraphical symbols. Later (2000) more weights were added (italic, bold and bold italic) as well as a latin version.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ga Maamli": { + "name": "Ga Maamli", + "designer": [ + "Afotey Clement Nii Odai", + "Ama Diaka", + "David Abbey-Thompson" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "Inspired by the historic handwritten posters found in the vibrant coastal communities of Accra, Ga Maamli is a font that embodies the spirited essence of the Ga people. Originally used to announce social events like concerts, boxing matches, and parties, these original posters exuded a distinct flair and vivacity. Ga Maamli has been adapted and reworked into an extended character set that preserves the dynamism and allure of its traditional counterpart. This font\u2019s variations and nuances exude a charm that pays homage to its vernacular origins while embracing modern typographic standards. Ga Maamli is more than just a font \u2013 it captures and celebrates the lively culture of the people of Accra. To contribute, see github.com/SorkinType/GaMaamli/.", + "minisite_url": "https://aayalolo.com/fonts/ga-maamli" + }, + "Gabarito": { + "name": "Gabarito", + "designer": [ + "Naipe Foundry", + "Leandro Assis", + "\u00c1lvaro Franca", + "Felipe Casaprima" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "Gabarito is a light-hearted geometric sans typeface with 6 weights ranging from Regular to Black originally designed for an online learning platform in Brazil. Named after the Brazilian Portuguese work for an answer sheet, Gabarito was made to help young people learn and overcome the university entry exams known as \"vestibular\", and it did that by packing lots of high-school level symbols and figures into a very friendly voice that was equal parts functional and engaging. Beyond the Google Fonts Latin Core Character set which supports over several latin alphabet languages, Gabarito also includes things like Logic and Set Theory symbols, scientific inferiors and superiors, extensive math operators, roman numerals and anything else a high-schooler may need for their homework. The initial design was comissioned in 2017, started by Leandro Assis and \u00c1lvaro Franca, it then got developed and improved further in 2020 by \u00c1lvaro Franca and Felipe Casaprima, and finally in 2023 it got a little bit of a makeover in order for it's debut in the commons, that last part with a lot of help from Henrique Beier of Harbor Type. To contribute, please see github.com/naipefoundry/gabarito.", + "minisite_url": null + }, + "Gabriela": { + "name": "Gabriela", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Gabriela is a Latin and Cyrillic serif typeface with soft shapes, and special terminal forms which are shaped like curls. They connect each letter to create attractive word shapes and text blocks with a fine texture. In small bodies of text it works well for reading, and in headlines provides interesting details to catch the eye. In 2015, the design was extended to the Devanagari writing system and published as Kurale. It was updated in 2023 with additional Latin language support and a bigger glyphset, proper fractions, and minor aesthetic improvements. To contribute, see github.com/etunni/Gabriela", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Gaegu": { + "name": "Gaegu", + "designer": [ + "JIKJI SOFT" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "korean", + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Gaegu is a Korean and Latin font", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "Gafata": { + "name": "Gafata", + "designer": [ + "Lautaro Hourcade" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Gafata is a font designed for small sizes in medium-long text, mixing elegance and readability which is why it has great applicability in books, magazines and web pages. In the process of finding the finest legibility, particular features emerged making this whimsical sans serif different from the rest, creating an original mark to the text it's applied to.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Gajraj One": { + "name": "Gajraj One", + "designer": [ + "Saurabh Sharma" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Gajraj (the king of elephants) is a Latin display typeface with Devanagari language support, designed for use in large hoardings, signage, and print materials for branding and advertising. It is a single variant display typeface, created as the designer's first attempt at designing in the Devanagari script. To contribute, see github.com/xconsau/GajrajOne.", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Galada": { + "name": "Galada", + "designer": [ + "Black Foundry" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "bengali", + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Galada is a Bengali and Latin font that started with the famous Latin Lobster font, and extended the design to Bengali. The Bengali was developed as a studio collaboration by Jeremie Hornus, Yoann Minet, and Juan Bruce. The Galada project is led by Black Foundry, a type design foundry based in Paris, France. To contribute, see github.com/TypefactoryNet/Galada", + "primary_script": "Beng", + "article": null, + "minisite_url": null + }, + "Galdeano": { + "name": "Galdeano", + "designer": [ + "Dario Manuel Muhafara" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Galdeano is a humanist san serif typeface with strong variation in its stroke weight. The general form is slightly condensed. It has soft variation in its contrast, diagonal stress and open forms to improve legibility. The relation between x-height, ascender and descenders gives the text a bright color on the screen. It has only the necessary curves and it is a little darker for better rasterization. The typeface works smooth at text sizes and shows strong personality in larger sizes too. It is best recommended for short text and headlines, but it is also comfortable for reading on screen. Designed by Dario Muhafara for tipo foundry.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Galindo": { + "name": "Galindo", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "The Galindo typeface is an inspired spin off light-hearted animated fonts with geometric counters.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Gamja Flower": { + "name": "Gamja Flower", + "designer": [ + "YoonDesign Inc" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "korean", + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Gamja Flower is a Korean and Latin font.", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "Gantari": { + "name": "Gantari", + "designer": [ + "Lafontype" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Gantari is a sans serif font with a geometric touch, designed by Anugrah Pasau from Lafontype. Gantari is not purely geometric, proportions have been designed so that all characters can look harmonious. The font was originally designed for large sizes, but it also reads well at small sizes. To contribute, see github.com/Lafontype/Gantari.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Gasoek One": { + "name": "Gasoek One", + "designer": [ + "Jiashuo Zhang", + "JAMO" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "korean", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "When people mention \"Soek\" in South Korea, they will think of the Chinese character. This word gives the impression of being as thick and hard as a stone. Ga means \"to add\" in Korean. So this typeface, Gasoek, is a much thicker typeface than usual typefaces. The thick strokes fill up the embox, but by giving the right angle at the end of stroke to match with Hangeul characteristics, the font has natural counter spaces with good legibility. So, Gasoek is not just a thick font but a font that has a character and gives a unique impression. To contribute, please visit github.com/JAMO-TYPEFACE/Gasoek.", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "Gayathri": { + "name": "Gayathri", + "designer": [ + "SMC", + "Binoy Dominic" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "malayalam" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "A gentle and modern Malayalam display typeface. Available in three weights, Gayathri is best suited for headlines, posters, titles and captions. Unicode compliant and libre licensed. To contribute, see gitlab.com/smc/fonts/gayathri.", + "primary_script": "Mlym", + "article": null, + "minisite_url": null + }, + "Geist": { + "name": "Geist", + "designer": [ + "Andr\u00e9s Briganti", + "Mateo Zaragoza", + "Guillermo Rauch", + "Evil Rabbit", + "Jos\u00e9 Rago", + "Facundo Santana" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Latn", + "article": "Geist Sans is a sans-serif typeface designed to complement its monospace counterpart, Geist Mono. This geometric typeface offers a clean, modern aesthetic that is ideal for headlines, logos, posters, and other large display sizes. Created by Vercel in collaboration with Basement Studio, it embodies their design principles of simplicity, minimalism, and speed, drawing inspiration from the renowned Swiss design movement. With precision, clarity, and functionality at its core, Geist enhances the visual experience of developers and designers, empowering them to effectively communicate their ideas. To contribute, see github.com/vercel/geist-font.", + "minisite_url": "https://vercel.com/font" + }, + "Geist Mono": { + "name": "Geist Mono", + "designer": [ + "Andr\u00e9s Briganti", + "Mateo Zaragoza", + "Guillermo Rauch", + "Evil Rabbit", + "Jos\u00e9 Rago", + "Facundo Santana" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "cyrillic", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "monospace" + ], + "description": null, + "primary_script": "Latn", + "article": "Geist Mono is a monospace typeface that prioritizes readability and seamless integration into coding environments. It is complemented by its sans-serif counterpart, Geist. Created by Vercel in collaboration with Basement Studio, Geist fonts embody their design principles of simplicity, minimalism, and speed, drawing inspiration from the renowned Swiss design movement. With precision, clarity, and functionality at its core, Geist enhances the visual experience of developers and designers, empowering them to effectively communicate their ideas. To contribute, see github.com/vercel/geist-font.", + "minisite_url": "https://vercel.com/font" + }, + "Gelasio": { + "name": "Gelasio", + "designer": [ + "Eben Sorkin" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Gelasio is an original typeface that is metrics compatible with Georgia in its Regular, Bold, Italic and Bold Italic weights. Its design was inspired by an original printed sample of a French Transitional typeface which follows the Romain Du Roi typeface introduced in 1702. As a transitional type, it is marked by an interest in rational planning and it has a tension between rigor and expression. It feels generally formal and rational but its rounded terminals make it more contemporary and friendly. It also offers an occasional flourish, especially in the italics. The June 2022 update offers an major language support update. In March 2024, the glyph set for GF Africa Pri has been enhanced with improved diacritics, along with the addition of some other basic language support from the 'Beyond' glyph set. Updates were also made to currency symbols, other symbols, spaces, and NSM localization. To contribute, see github.com/SorkinType/Gelasio.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Gemunu Libre": { + "name": "Gemunu Libre", + "designer": [ + "Mooniak" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "sinhala" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Gemunu Libre is the Unicode compliant version of the popular Sinhala typeface \u2018FM Gemunu\u2019 and includes Latin support as well. This font family has been improved in many ways over FM Gemunu during the Unicode adaptation process by acquiring more breathing space, bigger counters and smooth uniformity in curves. What sets Gemunu Libre apart from all the other Sinhala typefaces currently in use is the distinctive smooth and square edge, which was perfected whilst completely redrawing the set of characters in order to cater to the requirements of web and screens. Gemunu Libre comes in 7 weights from Extra Light to Extra Bold, and each weight contains the complete Sinhala script and a matching Latin characters. The project is led by Mooniak in collaboration with Pushpananda Ekanayake. Latin set is designed by Sol Matas. Initial development and release was funded by Google Fonts in 2015. Project sources are hosted and developed on Github and Mooniak welcomes suggestions and contributions to the development.", + "primary_script": "Sinh", + "article": null, + "minisite_url": null + }, + "Genos": { + "name": "Genos", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cherokee", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Genos is a modern display font with a futuristic feel. Within the Genos family are fourteen variations ranging from Thin to Black. Whether it be futuristic, industrial, or technical, Genos may be what you're looking for. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/genos.", + "primary_script": "Cher", + "article": null, + "minisite_url": null + }, + "Gentium Book Plus": { + "name": "Gentium Book Plus", + "designer": [ + "SIL International" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Gentium Book Plus is the new version of the reduced character set families, Gentium Book Basic. This 'Basic' familie only cover a limited range of Latin, and none of Gentium Book Plus's Ext Latin, Cyrillic, or Greek (both modern and ancient). Gentium Book Plus now extends the same 4 styles/weights of the previous Gentium Book Basic and to the full character set that complete Gentium Plus (also on github). This update brings many other improvements, including a very significant improvement in hinting for Windows users and WOFF2 versions. These fonts cover a far greater character set than the Gentium Book Basic, so are larger, but since GF subsets the difference won't affect users. You can find here the Gentium Plus, a very similar family that has a slightly lighter weight. To contribute, see github.com/silnrsi/font-gentium.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Gentium Plus": { + "name": "Gentium Plus", + "designer": [ + "SIL International" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Gentium Plus is the new version of the two reduced character set families, Gentium Basic and Gentium Book Basic. Those 'Basic' families only cover a limited range of Latin, and none of Gentium Plus's Ext Latin, Cyrillic, or Greek (both modern and ancient). Gentium Plus now extends the same 8 styles/weights of the previous Gentium Basic and to the full character set, packaged as two R B I BI families: Gentium Plus and Gentium Book Plus (also on github). This update brings many other improvements, including a very significant improvement in hinting for Windows users and WOFF2 versions. These fonts cover a far greater character set than the Gentium Basic, so are larger, but since GF subsets the difference won't affect users. The Gentium Book Plus family is very similar but has a slightly darker weight. To contribute, see github.com/silnrsi/font-gentium.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Geo": { + "name": "Geo", + "designer": [ + "Ben Weiner" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Geo is a simple geometric typeface in the mould of some of the experimental faces designed during the 1920s by well-known modernists such as Theo van Doesberg and Herbert Bayer. It expresses both the directness of the 1920s faces and the rather disingenuous consumerist thrust of their 80s and 90s descendants.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Geologica": { + "name": "Geologica", + "designer": [ + "Monokrom", + "Sindre Bremnes", + "Frode Helland" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Geologica is grounded in the humanist genre, but leans assertively into geometric, constructed letterforms to find its stability. The wide stance, generous spacing, large apertures and even colour makes Geologica a serious text typeface. The stylistic \u201cSharpness\u201d axis adds a rational interpretation of calligraphic pen strokes - a modernist echo of the roots of writing. Variable axes: Cursive (CRSV) Sharpness (SHRP) Weight (wght) Slant (slnt) To contribute, please see https://github.com/googlefonts/geologica.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Georama": { + "name": "Georama", + "designer": [ + "Production Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Georama is an original typeface available in several widths and weights. It supports Google Fonts Latin Plus glyph set, enabling the typesetting of English, Western European languages as well as Vietnamese and 130+ other languages. To contribute, please see github.com/productiontype/Georama.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Geostar": { + "name": "Geostar", + "designer": [ + "Joe Prince" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Geostar is a great font for large headlines on websites. Its single weight allows for easy legibility and captivates the audience at first glance. Because Geostar is so symmetrical, it is a fantastic option to add charisma and sophistication to any web page.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Geostar Fill": { + "name": "Geostar Fill", + "designer": [ + "Joe Prince" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Geostar is a great font for large headlines on websites. Its single weight allows for easy legibility and captivates the audience at first glance. Because Geostar is so symmetrical, it is a fantastic option to add charisma and sophistication to any web page.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Germania One": { + "name": "Germania One", + "designer": [ + "John Vargas Beltr\u00e1n" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Germania One is a hybrid between two historical and functional concepts found in German typography, the old fraktur and the simplified geometric sans serif forms from the Bauhaus. I sought to create a new font that mixes these two styles to provide a new and original typeface. Something modern and at the same time old, reworking the geometric forms in a contemporary and expressive way.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Gideon Roman": { + "name": "Gideon Roman", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Based on a Roman character set, Gideon is a traditional typeface with classic forms. Perfect for uses from invitations, greeting cards and menus, to display advertising. The upper case letters have a tradition Roman feel that adds warmth and sophistication to text while the legibility allows for larger blocks of copy to be easily read. Gideon comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/gideon.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Gidole": { + "name": "Gidole", + "designer": [ + "Andreas Larsen" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "greek", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Gidole is a small, beautiful mountain town in southern Ethiopia where the font\u2019s author grew up. The font, his first, is a humanist and minimal variation of the original DIN 1451 design. The author wishes that you thank him for the design by donating to the Ethiopian Red Cross Society. To contribute, see https://github.com/googlefonts/gidole.", + "minisite_url": null + }, + "Gidugu": { + "name": "Gidugu", + "designer": [ + "Purushoth Kumar Guttula" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "telugu" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Gidugu is a Telugu font suitable for headlines, invitations and posters and is best used at large sizes. Gidugu is named after Gidugu Venkata Ramamurthy, who championed using Telugu as a language for everyone, not only a scholastic language. The Telugu is designed and developed by Purushoth Kumar Guttula, and made available under the SIL Open Font License v1.1 by Silicon Andhra. The Latin is newly designed for this project by Eduardo Tunni, a type designer in Buenos Aires, Argentina. The Gidugu project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India. To contribute, see github.com/googlefonts/gidugu", + "primary_script": "Telu", + "article": null, + "minisite_url": null + }, + "Gilda Display": { + "name": "Gilda Display", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Gilda Display is a font of classic proportions, in which we can see the finest treatment of curves, strokes and serifs. The high stroke contrast has especially smooth transitions, making this type perfect for the world of fashion, jewelry and luxury items. Gilda Display typically contributes all its glamor to headlines, but the considered design of this font gives it potential for use in longer texts with a fine page texture. Since Junuary 2023, the glyphset is completed and and the font has a bigger language support To contribute, see github.com/etunni/gilda-display.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Girassol": { + "name": "Girassol", + "designer": [ + "Liam Spradlin" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Girassol is a display typeface inspired by the hand-painted street signs in and around Carcavelos, Portugal. It attempts to collect, synthesize, and lovingly evoke the identity and spirit of the region in which the original forms were encountered, while acknowledging my own relationship to and presence in the place and the design. The primary characteristics that define Girassol include its condensed proportions, moderate contrast following the expansion model, a thorny, decorative serif construction that pierces the baseline and cap height, and playful flourishes that mimic the decoration possible in hand-painted signage. Numerous discretionary ligatures play on the typeface's angular and thorny construction to evoke a sense of improvisation in the signs on which the forms are based. The smallcaps are the result of my effort to capture the secondary style found in the Carcavelos signs. My approach to the smallcaps lead to a set of letters that perfectly complements the main caps but which simultaneously becomes softer and more gentle because of its more square proportion. Girassol feels at home set in large, striking titles and smaller graphical vignettes. To contribute, see github.com/liamspradlin/Girassol-Display.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Give You Glory": { + "name": "Give You Glory", + "designer": [ + "Kimberly Geswein" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "This mixed-case font is a quirky, fun font infused with that special \u201csomething\u201d that makes it feel authentic. I love that it isn\u2019t perfect or traditional but that it has the flow of real handwriting \u2013 complete with the mixed-case style so many of us use in our daily writing.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Glass Antiqua": { + "name": "Glass Antiqua", + "designer": [ + "Denis Masharov" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "handwriting" + ], + "description": "This is revival of the 1913 typeface \"Glass Antiqua\" by \"Genzsch & Heyse\" found in the Taschen book \"Type: A Visual History of Typefaces and Graphic Styles, 1901-1938.\" A magnificent and unique design with a Jugenstile fleur, combining Slab Serif and Antiqua, plus elements of cursive calligraphy. It is suitable for any purpose, giving a text a retro feel and soft informal look. The character set is extended but the originals are carefully restored, and all are patiently spaced and kerned.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Glegoo": { + "name": "Glegoo", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SLAB_SERIF", + "classifications": [], + "description": "Glegoo, a truly modern slab serif. It has a precise balance of shapes, counterforms and strokes. Glegoo is slightly condensed, has a large x-height, short ascenders/descenders and large counterforms. These attributes all add up to help reading text, even in very small sizes. Its careful design and proper choice of weight generate a nice texture in paragraphs of text, but the design is also intended to work well when composing headlines with presence and elegance. Large usage will show off the delicate modulation of strokes that are in this font. Updated August 2014: A Bold style was added, the family was hinted with ttfautohint, and a Devanagari subset was included. Contribute to the project at github.com/etunni/glegoo", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Gloock": { + "name": "Gloock", + "designer": [ + "Duarte Pinto" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic-ext", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Gloock is a contemporary high-contrast serif typeface intended for display use. It draws inspiration from newspaper's headlines but with a contemporary approach. Its main focus is the smooth relationship between the thin and thick strokes. It's a perfect typeface for headlines and has a great performance anywhere in big sizes. To contribute, see github.com/duartp/gloock.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Gloria Hallelujah": { + "name": "Gloria Hallelujah", + "designer": [ + "Kimberly Geswein" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "This font is based on the handwriting of a Korean high school student. It is fun and reminds me of a comic style writing. It looks great in all caps and is easy to read.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Glory": { + "name": "Glory", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Glory is a modern sans serif font. The rounded corners give it a soft, contemporary feel. While the characters are slightly condensed, this semi mono-weight sans features subtly curved vertical strokes. It was created with graphic design in mind. It is suitable for logos, headlines and body text with the available six weights. Combine Glory with other script styles to give your work warmth and contrast. Glory comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/glory.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Gluten": { + "name": "Gluten", + "designer": [ + "Tyler Finck", + "ETC" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Gluten is a delicious font! It's also slightly loud, very round, and 100% fun. Gluten is filling, we'll put it that way. Hope you're hungry. To contribute see github.com/Etcetera-Type-Co/Gluten.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Goblin One": { + "name": "Goblin One", + "designer": [ + "Riccardo De Franceschi" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Goblin One belongs to the category of display types called \"Latin\". This is because of its sharp triangular serifs. Goblin One was inspired by a hand painted sign above a pub in the town of Reading (UK). Goblin One is a somewhat wide medium contrast design with a large x-height. Goblin One is both attention-getting and fun. Goblin is suitable for use in medium to large sizes including headlines. This font was made specifically to be web type.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Gochi Hand": { + "name": "Gochi Hand", + "designer": [ + "Huerta Tipogr\u00e1fica" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Gochi Hand is a typographic interpretation of the handwriting of a teenager. The style is fresh, not like the letters made by a calligrapher, but those of an ordinary person. The text line is spontaneous but solid and consistent, expressive and works well on screen, even in small sizes. The glyphs were carefully designed with a good curve quality that makes it able to look good when printed too. Designed by Juan Pablo del Peral for Huerta Tipogr\u00e1fica. To contribute, see github.com/huertatipografica/gochi-hand.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Goldman": { + "name": "Goldman", + "designer": [ + "Jaikishan Patel" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Goldman is a Latin display typeface designed by Jaikishan Patel. It was exclusively designed for posters of Genre: Passion, Science Fiction, Sports, Drama, Thriller genres. The Goldman font family includes two weights. Regular, designed for the large headers or titles, and Bold, designed for heavyweight title designs. Each font includes 640 glyphs that covers Western, Central and South Latin as well as Vietnamese. To contribute, see https://github.com/magictype/goldman", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Golos Text": { + "name": "Golos Text", + "designer": [ + "Alexandra Korolkova", + "Vitaly Kuzmin" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Golos is a versatile closed sans-serif commissioned by Smena and AIC Media for state and social service websites. Golos Text suits perfectly for continuous reading on screen. It includes five weights from Regular to Black. Golos was designed by Alexandra Korolkova and Vitaly Kuzmin and released by Paratype in 2019. To contribute, see github.com/googlefonts/golos-text.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Gorditas": { + "name": "Gorditas", + "designer": [ + "Gustavo Dipre" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Gorditas is a fun and funky display slab serif typeface family, with heart details - cute like a newborn puppy! Designed by Brenda Gallo and Gustavo Dipre.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Gothic A1": { + "name": "Gothic A1", + "designer": [ + "HanYang I&C Co" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "korean", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Gothic A1 is a Korean and Latin font.", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "Gotu": { + "name": "Gotu", + "designer": [ + "Ek Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Rotund curves, large loops and voluminous counters. Gotu reimagines Devanagari calligraphy while at the same time reinterprets what high contrast Latin typefaces can be. Though the Devanagari is penned with a traditional canted nib, the structures are improvised with an expressive whim that belies conventions of structure and challenges notions of consistency. Swooping calligraphic strokes inspire forms that are lyrical without being too opulent. The same spirit resonates within a modulated sans serif style Latin as letters retain a calligraphic stress and keep the delicate typographic quirks. Furnished with such typographic subtleties, Gotu can lend its distinct style to a quaint monograph, a striking headline, an ornate invite or even a chic brand. This project is led by Ek Type, a collective of type designers based in Mumbai focused on designing contemporary Indian typefaces. To contribute, see github.com/EkType/Gotu", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Goudy Bookletter 1911": { + "name": "Goudy Bookletter 1911", + "designer": [ + "Barry Schwartz" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Based on Frederic Goudy\u2019s Kennerley Oldstyle. A few words on why I think Kennerley Oldstyle is beautiful: In making this font, I discovered that Kennerley fits together tightly and evenly with almost no kerning. Thus the following words from Monotype specimen books are just: \u201c[W]hen composed into words the characters appear to lock into one another with a closeness common in early types, but not so often seen in later-day creations.\u201d These are letters that take command of the space around them; notice, for instance, the bowed shapes of the v and w.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Gowun Batang": { + "name": "Gowun Batang", + "designer": [ + "Yanghee Ryu" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "korean", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Gowun Batang(\uace0\uc6b4\ubc14\ud0d5) is a serif text typeface inspired by neat, pencil-written handwriting letterforms. Gowun means \u2018neat and delicate\u2019 in Korean and this typeface has a warm and friendly impression. Batang is the style name for serif Hangeul text typeface. To contribute to the project, visit github.com/yangheeryu/Gowun-Batang", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "Gowun Dodum": { + "name": "Gowun Dodum", + "designer": [ + "Yanghee Ryu" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "korean", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Gowun Dodum(\uace0\uc6b4\ub3cb\uc6c0) is a humanist sans-serif typeface with a touch of hand movement. Gowun means \u2018neat and delicate\u2019 in Korean and this typeface has a warm and friendly impression. Dodum is the style name for sans-serif Hangeul text typeface. To contribute to the project, visit https://github.com/yangheeryu/Gowun-Dodum", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "Graduate": { + "name": "Graduate", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SLAB_SERIF", + "classifications": [ + "display" + ], + "description": "Graduate is a high quality example of the classic college block style of lettering used across very campus in the USA. To contribute to the project contact Eduardo Tunni.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Grand Hotel": { + "name": "Grand Hotel", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Grand Hotel finds its inspiration from the title screen of the 1937 film \"Cafe Metropole\" starring Tyrone Power. This condensed upright connecting script has a classic vibe to it. It has a wonderful weight to it that feels subtly tied to Holiday and Bakery themed designs, even though it can work outside that genre. Designed by Brian J. Bonislawsky and Jim Lyles for Astigmatic (AOETI). To contribute to the project contact Brian J. Bonislawsky.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Grandiflora One": { + "name": "Grandiflora One", + "designer": [ + "Haesung Cho", + "JAMO" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "korean", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display", + "handwriting" + ], + "description": "Grandiflora, or in its original language, Neungsohwa is a decorative Hangeul typeface inspired by the Art Nouveau style of the 20th century. It is presented exclusively in hairline weight to highlight the elegant curves and ornamental characteristics of Hangeul. As Art Nouveau is commonly represented by vines and florals, the typeface was named after the most beloved summer vines of Korea, Campsis grandiflora (Neungsohwa). To contribute, please visit github.com/JAMO-TYPEFACE/Grandiflora.", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "Grandstander": { + "name": "Grandstander", + "designer": [ + "Tyler Finck", + "ETC" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Grandstander is a display variable font with a weight axis. 9 weights, upright and italic. It supports a wide range of languages in the latin script scope. The Grandstander project is led by Tyler Finck \u2014 type designer running Etcetera Type Co in Ithaca, New-York, USA. To contribute, see github.com/Etcetera-Type-Co/Grandstander", + "primary_script": null, + "article": null, + "minisite_url": "https://etceteratype.co/grandstander" + }, + "Grape Nuts": { + "name": "Grape Nuts", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Grape Nuts is a simple handwritten casual font. The name is derived from a well-known breakfast cereal that dates back to the late 1800s. This cute style can be used for any casual or even humorous situation. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/grapenuts.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Gravitas One": { + "name": "Gravitas One", + "designer": [ + "Riccardo De Franceschi" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Gravitas One is modeled on the \"UK fat face\" which is a kind of very heavy advertising type created during the industrial revolution in England. The letter forms are characterized by an attention getting and strong contrast between the very heavy vertical shapes and the thin horizontal ones. The contrast of the design means that it will be most useful when set from medium to large sizes.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Great Vibes": { + "name": "Great Vibes", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Great Vibes is a beautifully flowing script with casual uppercase forms combined with more formal lowercase letters. It has over 2000 glyphs, with smooth connecting ligatures and alternate characters. In March 2024, Great Vibes was updated to provide extended language support, including Sub-Saharan Latin and Cyrillic. To contribute, see github.com/googlefonts/great-vibes.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Grechen Fuemen": { + "name": "Grechen Fuemen", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Grechen Fuemen is a playful font with an unorthodox use of thick and thin weights. Don't take this font too seriously because there's not a serious stroke in the font. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/grechen-fuemen.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Grenze": { + "name": "Grenze", + "designer": [ + "Omnibus-Type" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Grenze is a large text family which features nine weights with matching italics. It draws inspiration from Roman and Blackletter typefaces. It was originally designed to be used in magazines. To contribute, see github.com/Omnibus-Type/Grenze.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Grenze Gotisch": { + "name": "Grenze Gotisch", + "designer": [ + "Omnibus-Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Grenze Gotisch is a Blackletter version of Grenze, which has more dramatic details in certain letters. To contribute, see github.com/Omnibus-Type/Grenze-Gotisch.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Grey Qo": { + "name": "Grey Qo", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "A contemporary calligraphic script, Grey Qo combines traditional uppercase calligraphics with more stylized script lowercase forms. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/grey-qo.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Griffy": { + "name": "Griffy", + "designer": [ + "Neapolitan" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "He's one cool customer with that crazy casual beatnik outfit, a long silky goatee and a touch of spooky just to give you the creeps... They call him Griffy! Dig this fun and wacky hip new font from Squid and Neapolitan and turn your L7 designs into way out masterpieces! Designed by Dave 'Squid' Cohen of Neapolitan (a DBA of Font Diner, Inc)", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Gruppo": { + "name": "Gruppo", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Gruppo was conceived as a display typeface for style conscious, laid-back branding where 'little is more', or, in Jasper Morrison's words, \"Special is generally less useful than normal\". The Mai 2023 update features a bigger glyphset and some minor aesthetic modifications. To contribute, see github.com/googlefonts/GruppoFont.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Gudea": { + "name": "Gudea", + "designer": [ + "Agustina Mingote" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Gudea is a readable, clear and functional typeface family, with a simple and condensed structure that brings a pleasant feeling when used at any size. Inspired by engineering documentation, it expresses the technical feeling of graphic information enjoyed by those who are interested in areas such as engineering, land surveying and architecture. Initially this type was developed for use in labels and maps, but it is now a versatile family that seamlessly suits any piece of design.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Gugi": { + "name": "Gugi", + "designer": [ + "TAE System & Typefaces Co." + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "korean", + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Gugi is a Korean and Latin font.", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "Gulzar": { + "name": "Gulzar", + "designer": [ + "Borna Izadpanah", + "Fiona Ross", + "Alice Savoie", + "Simon Cozens" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "arabic", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": "Arab", + "article": "Gulzar is a contemporary Urdu Nasta\u2019liq typeface \u2013 and its Latin counterpart \u2013 designed and developed through a collaboration by Borna Izadpanah (Principal Designer and Project Leader), Simon Cozens (Font Engineering), Alice Savoie (Designer, Gulzar Latin), Fiona Ross (Consultant, Gulzar Urdu), Amir Mahdi Moslehi (Calligraphic adviser, Gulzar Urdu) and Martin Dodds (Consultant, Gulzar Urdu). This typeface was designed to provide an effective textual communication tool primarily for Urdu readers on digital platforms and in print. In Gulzar, the aim has been to produce a typeface which is legible at text sizes and suitable for sustained reading. The first phase of this project involved conducting research into the history of Urdu digital typefaces from the early 1980s. The design of Gulzar was inspired by carefully collected specimens of Urdu calligraphy and lettering which were closely studied to achieve an accurate representation of the Urdu flavour of the Nasta\u2019liq style. Once the Nasta\u2019liq design was firmly established, a proposal was made for a Latin counterpart that took inspiration from two eminent humanistic references: the versatile and sturdy proportions of Robert Granjon\u2019s types, coupled with the sharp and distinctive feel of Hendrik van den Keere\u2019s work. The Latin letterforms thus feature some subtle references to their calligraphic roots and echo the contrast present in the Nasta\u2019liq, while remaining embedded in their classical typographic proportions. Gulzar is not the first OpenType Nasta\u2019liq typeface, but it is the first Nasta\u2019liq type for which an original Latin counterpart was designed. It covers all the required transliterations characters to transcribe Arabic, Persian and Urdu languages. You can read more about the inspiration, design, and engineering of Gulzar at gulzarfont.org. To contribute, see github.com/googlefonts/Gulzar/. Gulzar: Expanding the variety of Urdu Nasta'liq options Making of Gulzar To give Urdu speakers more typeface choices, in July 2022, Google Fonts added Gulzar, a new Nasta'liq Urdu typeface. 1. Gulzar Nasta'liq 2. Gulzar Latin \"All human beings are born free and equal in terms of rights and dignity.\" In Urdu (Gulzar Nasta'liq) and transliterated in Latin (Gulzar Latin). Simon Cozens, Dr. Borna Izadpanah, and Dr. Fiona Ross conducted their own research and consulted with Urdu language specialists in Pakistan and the United Kingdom to create the Gulzar Urdu Nasta'liq typeface project. Gulzar means \"flower meadow\" in Urdu. Izadpanah is a native Persian speaker from Tehran, Iran. He learned Nasta'liq as a model for Persian handwriting in primary school. \"Designing a digital Nasta'liq typeface was my long-held dream,\" Izadpanah stated. As the principal Gulzar designer, he conducted the preliminary research and drew the glyphs. Ross was familiar with the Urdu language and type design from her language studies and earlier work on two Nasta'liq typefaces, Sheeraz and Qalmi, for which Linotype acquired a patent. To make a modern digital font based on the Urdu flavor of the Nasta'liq style, Izadpanah studied the proportions, stroke modulation, and character features in calligraphy manuals and a collection of lettering specimens To learn more, visit \"Gulzar: Expanding the variety of Urdu Nasta'liq options\" (English, Urdu) and \"Why are there so few Urdu fonts?\" (English, Urdu).", + "minisite_url": "https://gulzarfont.org" + }, + "Gupter": { + "name": "Gupter", + "designer": [ + "Octavio Pardo" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Gupter is a condensed serif font inspired by early 20th century English fonts such as Times New Roman. The family excels in small spaces due to its large x-height and condensed letterforms. The light stems and subtle details give it a gentle personality and a nice color balance on the page. To contribute, see github.com/octaviopardo/GUPTER", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Gurajada": { + "name": "Gurajada", + "designer": [ + "Purushoth Kumar Guttula" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "telugu" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Gurajada is Telugu handwriting font, suitable for headings, posters, and invitations. The Telugu is designed and developed by Purushoth Kumar Guttula in 2013 and made available by Silicon Andhra under the SIL Open Font License v1.1. The Latin is developed by Juan Pablo del Peral at Huerta Tipografia, a type foundry in Argentina, and originally published as Alegreya Sans. The Gurajada project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India. To contribute, see github.com/appajid/gurajada", + "primary_script": "Telu", + "article": null, + "minisite_url": null + }, + "Gwendolyn": { + "name": "Gwendolyn", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "This is a charming semi-formal script style. Need an enchanting look to go with a fantasy-like bedtime story? Gwendolyn will work beautifully. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/gwendolyn.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Habibi": { + "name": "Habibi", + "designer": [ + "Magnus Gaarde" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Habibi is a high contrast serifed text face. Habibi is easy to read and offers a certain elegance to go with this. Habibi draws both on the qualities of 15th and 16th century text faces and on crisp contenporary ones. Habibi can be used from small sizes to larger display settings.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Hachi Maru Pop": { + "name": "Hachi Maru Pop", + "designer": [ + "Nonty" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "cyrillic", + "japanese", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "HachiMaruPop is a cute font that was popular among young Japanese girls in the 1970s and 1980s. It has an informal handwritten appearance which works well at larger sizes. To contribute to the project, visit github.com/noriokanisawa/HachiMaruPop", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "Hahmlet": { + "name": "Hahmlet", + "designer": [ + "Hypertype" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "korean", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Hahmlet is inspired by a poster for the Korean \u2018Hamlet\u2019 movie from the 1940\u2019s, created by an unknown letterer. The distinct and sharp, quirky and attention seeking details inspired Minjoo Ham to use it for a rather uncommon revival project and turn it into a robust, contemporary typeface. Once the Hangeul was finished, Mark Fr\u00f6mberg took on the challenge to translate the characteristics to the Latin design. A lively exploration into the possible and impossible began. Hahmlet is great for any kind of typesetting, print or screen but also a perfect eyecatcher for signage and poster designs. We highly recommend to use it for Hangeul and Latin bilingual typography. To contribute to the project, visit https://github.com/hyper-type/hahmlet/", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "Halant": { + "name": "Halant", + "designer": [ + "Indian Type Foundry" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Halant is a typeface family supporting the Devanagari and Latin scripts. This is an Open Source font family, first published by the Indian Type Foundry in 2014. The Devanagari glyphs in the Halant project were designed by Vivek Sadamate and Ninad Kale. The Latin is by Jonny Pinhorn. The Indian Type Foundry first published Halant in 2014.", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Hammersmith One": { + "name": "Hammersmith One", + "designer": [ + "Nicole Fally" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Foundry: Sorkin Type Co Hammersmith One is a very low contrast typeface inspired by the Johnston UK lettering tradition. Hammersmith One shows the quirks of a somewhat naive, handmade, brush written letters including a wider than normal \"e\" and \"s\" as well as dark joins between stroke which are normally compensated for in type. The sources for this design have been adapted not just for type but specifically for use as a web type. This font works well to even smaller sizes than was originally expected. Source files are available from Google Code. To contribute to the project contact Eben Sorkin.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Hanalei": { + "name": "Hanalei", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Hanalei is for the Polynesian fan. Inspired by the bamboo lettering of the iconic Mai Kai restaurant logo, Hanalei has all the flavor of the genre without compromise. Great for titling and larger typesetting. Hanalei Fill is a compliment to Hanalei. Designed by Brian J. Bonislawsky for Astigmatic (AOETI). To contribute to the project contact Brian J. Bonislawsky.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Hanalei Fill": { + "name": "Hanalei Fill", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Hanalei Fill is for the Polynesian fan. Inspired by the bamboo lettering of the iconic Mai Kai restaurant logo, Hanalei Fill has all the flavor of the genre without compromise. Great for titling and larger typesetting. Hanalei Fill is a compliment to Hanalei (the outline version.) Designed by Brian J. Bonislawsky for Astigmatic (AOETI). To contribute to the project contact Brian J. Bonislawsky.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Handjet": { + "name": "Handjet", + "designer": [ + "Rosetta", + "David B\u0159ezina" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "arabic", + "armenian", + "cyrillic", + "cyrillic-ext", + "greek", + "hebrew", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Handjet is an element-based variable font (aka pixel font, modular font, \u2026) where every glyph is composed using multiple copies of the same element. Each element can take one of 23 shapes and transition smoothly between them while creating various effects. The font currently supports these scripts: Arabic, Armenian, Cyrillic, Greek, Hebrew, and Latin. Due to rendering issues specific to Mac OS, the font may show aberrations and visual artifacts, resulting in an unusual appearance. Handjet is designed by David B\u0159ezina with the contribution of Johannes Neumeier, Borna Izadpanah, Khajag Apelian and Meir Sadan. To contribute see github.com/rosettatype/handjet.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Handlee": { + "name": "Handlee", + "designer": [ + "Joe Prince" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "handwriting" + ], + "description": "Handlee is loosely based on the handwriting of typographer Joe Prince. Its inconsistent curves give it a nice, human-like quality that is reflected in the characters. Each glyph is stationed at a different position in respect to the baseline, and ascenders and descenders vary, which all contribute to the human-like qualities of the font. Handlee is a great font for any web page looking to add some personality and charisma. There was careful attention to detail in removing unnecessary overlap between letters, which allows Handlee to be scaled down to very small sizes while still maintaining legibility. The diaritics were purposefully designed at a slightly larger scale than normal to add to the ability to be scaled down. Also, the accents on the accented characters were not automatically generated but were rather hand placed individually to portray asymmetry and inconsistency that is typically found in handwriting. All of the little details and careful considerations in Handlee make it the perfect font for any project.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Hanken Grotesk": { + "name": "Hanken Grotesk", + "designer": [ + "Alfredo Marco Pradil", + "Hanken Design Co." + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Hanken Grotesk is a sans serif typeface inspired by the classic grotesques. Geometry, metrics, punctuations and OpenType features have been updated to support a wide range of projects such as environmental signage, textface for books and magazines, Interface, Websites and Mobile Applications. The Hanken Grotesk project is led by Alfredo Marco Pradil. To contribute, see github.com/marcologous/hanken-grotesk", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Hanuman": { + "name": "Hanuman", + "designer": [ + "Danh Hong" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "khmer", + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Hanuman is a Khmer font for body text, that pairs well with Latin serif fonts. To contribute, see github.com/danhhong/Hanuman.", + "primary_script": "Khmr", + "article": null, + "minisite_url": null + }, + "Happy Monkey": { + "name": "Happy Monkey", + "designer": [ + "Brenda Gallo" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Happy Monkey is a display sans serif typeface family, with thin and rounded strokes. Suitable for informal headlines and all your fun typography! Designed by Brenda Gallo and Gustavo Dipre.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Harmattan": { + "name": "Harmattan", + "designer": [ + "SIL International" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "arabic", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Harmattan, named after the trade winds that blow during the winter in West Africa, is designed in a Warsh style to suit the needs of languages using the Arabic script in West Africa. This font provides a simplified rendering of Arabic script, using basic connecting glyphs but not including a wide variety of additional ligatures or contextual alternates (only the required lam-alef ligatures.) Harmattan Version 2.000 (released in June 2020) now includes a Bold style and contains near complete coverage of all the characters defined in Unicode 13.0 for Arabic script (excluding the Arabic Presentation Forms blocks, which are not recommended for normal use). It has full support for the Arabic and Arabic Supplement Unicode blocks, and the Arabic Extended-A block with the exception of U+08D3..U+08E2. In 2023 an additional two weights for this typeface family were added for a total of four weights now. The glyphset was expanded to support all of the Unicode 15.0 character set. Support for the Kyrgyz language was added. Bob Hallissy does Graphite, OpenType, and TypeTuner code, and build support. Becca Hirsbrunner is the Lead Designer. George W. Nuss is the Original Designer. Iska Routamaa is a Contributing Designer. The Harmattan project is maintained by SIL International. Harmattan is released under the SIL Open Font License. Harmattan is a trademark of SIL International. For further information about this font, including Unicode ranges supported, Graphite and OpenType font features and how to use them, and licensing, please see the documentation on the website software.sil.org/Harmattan. To contribute, see github.com/silnrsi/font-harmattan.", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Headland One": { + "name": "Headland One", + "designer": [ + "Gary Lonergan" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Headland One is a text typeface designed to be highly legible and comfortable when reading screens. Headland One is useful from very small sizes to headlines. Headland One's personality recalls the geniality of the UK private press movement types made at the turn of the 20th century. Headland One's eccentric details contribute to the distinctive feeling of the type at smaller sizes but do not become obvious until the type becomes much larger.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Hedvig Letters Sans": { + "name": "Hedvig Letters Sans", + "designer": [ + "Kanon Foundry", + "Alexander \u00d6rn", + "Tor Weibull", + "Hedvig" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Hedvig is a digital insurance company that is challenging the traditional insurance industry by providing a predictable insurance experience. The Hedvig typeface family was created by Kanon Foundry in collaboration with Hedvig\u2019s in-house design department. The typface reflects Hedvig\u2019s brand philosophy \u201cStuff happens\u201d \u2013 embracing all the things that happen in life, without worry or fear. The typeface family Hedvig Letters consists of two fonts: Hedvig Letters Serif is designed to balance punchy and honest copy with responsibility and comfort. Hedvig Letters Sans takes the role of the work-horse typeface in Hedvig\u2019s visual toolbox. The concept for the typeface was developed by approaching a \u201cnon-type-designer\u201d point of view. Optical corrections are usually applied to a typeface to fool the eye that certain shapes are balanced or aligned, when in reality they are not. For this typeface, the imperfections were embraced instead of corrected. The result is a typeface where some letters have a slightly odd, yet characteristic look that effectively communicates Hedvig\u2019s brand and design philosophy. To contribute, please see github.com/KanonFoundry/HedvigLetters.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Hedvig Letters Serif": { + "name": "Hedvig Letters Serif", + "designer": [ + "Kanon Foundry", + "Alexander \u00d6rn", + "Tor Weibull", + "Hedvig" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Hedvig is a digital insurance company that is challenging the traditional insurance industry by providing a predictable insurance experience. The Hedvig typeface family was created by Kanon Foundry in collaboration with Hedvig\u2019s in-house design department. The typface reflects Hedvig\u2019s brand philosophy \u201cStuff happens\u201d \u2013 embracing all the things that happen in life, without worry or fear. The typeface family Hedvig Letters consists of two fonts: Hedvig Letters Serif is designed to balance punchy and honest copy with responsibility and comfort. Hedvig Letters Sans takes the role of the work-horse typeface in Hedvig\u2019s visual toolbox. The concept for the typeface was developed by approaching a \u201cnon-type-designer\u201d point of view. Optical corrections are usually applied to a typeface to fool the eye that certain shapes are balanced or aligned, when in reality they are not. For this typeface, the imperfections were embraced instead of corrected. The result is a typeface where some letters have a slightly odd, yet characteristic look that effectively communicates Hedvig\u2019s brand and design philosophy. To contribute, please see github.com/KanonFoundry/HedvigLetters.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Heebo": { + "name": "Heebo", + "designer": [ + "Oded Ezer" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "hebrew", + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Heebo is a Hebrew and Latin typeface family, which extends Christian Roberton's Roboto Latin to Hebrew. The Hebrew was drawn by Oded Ezer and the font files were mastered by Meir Sadan. Since the Hebrew design of this family is primary, the vertical metrics are different to the original Roboto family. This family is auto-hinted, whereas Roboto is hand-hinted, so the rendering quality of Roboto may be better on older Windows machines. In May 2020, the family has been updated to a variable font family. The November 2023 update fixed some Hebrew bugs and improve the language support. The Heebo project is led by Oded Ezer, a type designer based in Tel Aviv, Israel. To contribute, see github.com/OdedEzer/heebo", + "primary_script": "Hebr", + "article": null, + "minisite_url": null + }, + "Henny Penny": { + "name": "Henny Penny", + "designer": [ + "Brownfox" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Henny Penny is an offbeat display font with loads of personality, named in honour of the fairy-tale character chicken Henny Penny. It is a friendly and playful decorative typeface. Its classical nature is successfully hidden behind its very informal structure: There is no common baseline, no common character size and no common slope of the letters. This makes the typeface very amusing. HennyPenny is a headline typeface for use in large size fonts. It may be used for childrens books, magazines and websites. Designed by Olga Umpeleva for Brownfox. To contribute to the project contact Gayaneh Bagdasaryan.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Hepta Slab": { + "name": "Hepta Slab", + "designer": [ + "Mike LaGattuta" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SLAB_SERIF", + "classifications": [], + "description": "Hepta Slab is a slab-serif revival based on specimens of antique genre types from Bruce and Co., primarily Antique 307. The family is a variable font which consists of 10 weights with the extremes intended for display use and the middle weights for setting text. To contribute, see github.com/mjlagattuta/Hepta-Slab.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Herr Von Muellerhoff": { + "name": "Herr Von Muellerhoff", + "designer": [ + "Sudtipos" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "The Charles Bluemlein Script Collection is an intriguing reminder of the heady days of hand lettering and calligraphy in the United States. From the early 1930s through World War II, there were about 200 professional hand letterers working in New York City alone. This occupation saw its demise with the advent of photo lettering, and after digital typography it became virtually extinct. The odd way in which the Bluemlein scripts were assembled and created - by collecting different signatures and then building complete alphabets from them - is a fascinating calligraphic adventure. Because the set of constructed designs looked nothing like the original signatures, fictitious names were assigned to the new script typefaces. The typeface styles were then showcased in Higgins Ink catalogs. Alejandro Paul and Sudtipos bring the Bluemlein scripts back to life in a set of expanded digital versions, reflecting the demands of today\u2019s designer. Extreme care has been taken to render the original scripts authentically, keeping the fictitious names originally assigned to them by Bluemlein.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Hi Melody": { + "name": "Hi Melody", + "designer": [ + "YoonDesign Inc" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "korean", + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Hi Melody is a Korean and Latin font.", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "Hina Mincho": { + "name": "Hina Mincho", + "designer": [ + "Satsuyako" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "japanese", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Hina Mincho is old-fashined and cute Japanese font. It includes Google Latin Plus, hiragana, katakana, JIS level 1 and 2 kanji glyphs. This font is licensed under the SIL Open Font License, Version 1.1. To contribute to the project, visit github.com/satsuyako/Hina-Mincho", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "Hind": { + "name": "Hind", + "designer": [ + "Indian Type Foundry" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Hind is an Open Source typeface supporting the Devanagari and Latin scripts. Developed explicitly for use in User Interface design, the Hind font family includes five styles. Hind\u2019s letterforms have a humanist-style construction, which is paired with seemingly monolinear strokes. Most of these strokes have flat endings: they either terminate with a horizontal or a vertical shear, rather than on a diagonal. This helps create clear-cut counter forms between the characters. In addition to this, Hind\u2019s letterforms feature open apertures. The entire typeface family feels very legible when used to set text. The Devanagari and Latin script components are scaled in relation to each other so that the Devanagari headline falls just below the Latin capital-height. In other words, the Devanagari base characters are 94% as tall as the Latin uppercase. Text set in the Devanagari script sits nicely alongside the Latin lowercase, too. Hind\u2019s Devanagari vowel marks take forms that tends toward the traditional end of the design spectrum, while the knotted terminals inside of the base characters feature a treatment that appears more contemporary. Each font in the Hind family has 1146 glyphs, which include hundreds of unique Devanagari conjuncts. These ensure full support for the major languages written with the Devanagari script. The Latin component\u2019s character set is a basic western one, which enables typesetting in English and the other Western European languages. Hind is a solid choice for UI design, and a wise selection for electronic display embedding. Manushi Parikh designed Hind for the Indian Type Foundry, who first published the fonts in 2014. The Hind project is led by Indian Type Foundry, a type design foundry based in Ahmedabad, India. To contribute, see github.com/itfoundry/hind", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Hind Guntur": { + "name": "Hind Guntur", + "designer": [ + "Indian Type Foundry" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "telugu" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Hind Guntur is a family of five Telugu fonts, which are part of the Indian Type Foundry\u2019s larger Open Source Hind Multi-Script project. In addition to Telugu, the Hind Guntur fonts also include Latin-script characters. Developed explicitly for use in User Interface design, Hind Guntur\u2019s letterforms have a humanist-style construction, paired with seemingly monolinear strokes. Most strokes have flat endings: they either terminate with a horizontal or a vertical shear, rather than on a diagonal. This helps create clear-cut counter forms between the characters. Additionally, Hind Guntur\u2019s letterforms feature open apertures and counterforms. The entire family feels very legible when used to set text. Hind Guntur is a solid alternate when choosing typefaces for UI design, and a wise selection for electronic display embedding. Hind Guntur is named after Guntur, a city where Telugu is used. The Hind Guntur project is led by Indian Type Foundry, a type design foundry based in Ahmedabad, India. To contribute, see github.com/itfoundry/hind-guntur", + "primary_script": "Telu", + "article": null, + "minisite_url": null + }, + "Hind Madurai": { + "name": "Hind Madurai", + "designer": [ + "Indian Type Foundry" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "tamil" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Hind Madurai is a family of five Tamil fonts, which are part of the Indian Type Foundry\u2019s larger Open Source Hind Multi-Script project. In addition to Tamil, the Hind Madurai fonts also include Latin-script characters. Developed explicitly for use in User Interface design, Hind\u2019s letterforms have a humanist-style construction, paired with seemingly monolinear strokes. Most of these strokes have flat endings: they either terminate with a horizontal or a vertical shear, rather than on a diagonal. This helps create clear-cut counter forms between the characters. Additionally, Hind\u2019s letterforms feature open apertures and counterforms. The entire family feels very legible when used to set text. The Tamil and Latin script components are scaled in relation to each other so that the head of the Tamil characters falls just below the Latin capital-height. Depending in the font weight, Tamil letters appear to be about 80\u201385% of the height of the Latin uppercase. Text set in the Tamil script sits nicely alongside the Latin\u2019s lowercase, too. Although Hind Madurai is a \u201cmonolinear sans\u201d face, much of its design features tends toward the traditional end of the design spectrum. Each font in the Hind Madurai family has 552 glyphs, which includes all of the characters needed to write Tamil. The Latin character set is Adobe Latin 3, enabling typesetting for English and other Western European languages. Hind Madurai is a solid alternate when choosing typefaces for UI design, and a wise selection for electronic display embedding. Jyotish Sonowal designed Hind Madurai for ITF, who first published the fonts in 2015. Hind Madurai is named after Madurai, a city in Tamil Nadu, India. The Hind Madurai project is led by Indian Type Foundry, a type design foundry based in Ahmedabad, India. To contribute, see github.com/itfoundry/hind-madurai", + "primary_script": "Taml", + "article": null, + "minisite_url": null + }, + "Hind Mysuru": { + "name": "Hind Mysuru", + "designer": [ + "Indian Type Foundry" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "kannada", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Hind Mysuru is a family of five Kannada fonts, which are part of the Indian Type Foundry\u2019s larger Open Source Hind Multi-Script project. Hind Multi-Script is a type system providing nine stylistically-matching font families \u2013 one for each of the following writing systems used in Bangladesh, India, Nepal, and Sri Lanka: Bengali, Devanagari, Gujarati, Gurmukhi, Kannada, Malayalam, Tamil, Telugu, and Sinhala. In addition to Kannada, the Hind Mysuru fonts also include Latin-script characters. Developed explicitly for use in User Interface design, Hind\u2019s letterforms have a humanist-style construction, paired with seemingly monolinear strokes. Most of these strokes have flat endings: they either terminate with a horizontal or a vertical shear, rather than on a diagonal. This helps create clear-cut counter forms between the characters. Additionally, Hind\u2019s letterforms feature open apertures and counterforms. The entire family feels very legible when used to set text. Hind Mysuru\u2019s Kannada and Latin script components are scaled in relation to each other so that multi-script texts will sits nicely alongside each other. Since Hind Mysuru\u2019s Kannada characters are monolinear, they have a nice, fresh feeling, and appear very modern. Aside from the Latin glyphs, each of the five Hind Mysuru fonts has 444 Kannada glyphs, including many unique conjuncts. These ensure full support for the writing of the Kannada language. The Latin script\u2019s character set is Adobe Latin 3, enabling the typesetting of English and other Western European languages. Hind Mysuru is a solid alternate when choosing typefaces for UI design, and a wise selection for electronic display embedding. Manushi Parikh designed Hind Mysuru for ITF, who first published the fonts in 2015. Hind Mysuru is named after Mysuru, a city in Karnataka, India. The Hind Mysuru project is led by Indian Type Foundry, a type design foundry based in Ahmedabad, India. To contribute, see github.com/itfoundry/hind-mysuru", + "primary_script": "Knda", + "article": null, + "minisite_url": null + }, + "Hind Siliguri": { + "name": "Hind Siliguri", + "designer": [ + "Indian Type Foundry" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "bengali", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Hind Siliguri is a family of five Bengali fonts, which are part of the Indian Type Foundry\u2019s larger Open Source Hind Multi-Script project. Hind Multi-Script is a type system providing nine stylistically-matching font families \u2013 one for each of the following writing systems used in Bangladesh, India, Nepal, and Sri Lanka: Bengali, Devanagari, Gujarati, Gurmukhi, Kannada, Malayalam, Tamil, Telugu, and Sinhala. In addition to Bengali, the Hind Siliguri fonts also include Latin-script characters. Developed explicitly for use in User Interface design, Hind\u2019s letterforms have a humanist-style construction, paired with seemingly monolinear strokes. Most of these strokes have flat endings: they either terminate with a horizontal or a vertical shear, rather than on a diagonal. This helps create clear-cut counter forms between the characters. Additionally, Hind\u2019s letterforms feature open apertures. The entire family feels very legible when used to set text. The Bengali and Latin script components are scaled in relation to each other so that the Bengali headline is more or less at the same visual height as the Latin capital letters share. The exact height of the Bengali headline increases vis \u00e0 vis the capital height as the family increases in weight, just as the Latin lowercase does. Each font in the Hind Siliguri family has 820 glyphs, including many unique Bengali conjuncts. These ensure support for the languages written with the Bengali script. The Latin component\u2019s character set is Adobe Latin 3, which enables typesetting in English and the other Western European languages. Hind Siliguri is a solid alternate when choosing typefaces for UI design, and a wise selection for electronic display embedding. Jyotish Sonowal designed Hind Siliguri for ITF, who first published the fonts in 2015. Hind Siliguri is named after Siliguri, a city in West Bengal, India. The Hind Siliguri project is led by Indian Type Foundry, a type design foundry based in Ahmedabad, India. To contribute, see github.com/itfoundry/hind-siliguri", + "primary_script": "Beng", + "article": null, + "minisite_url": null + }, + "Hind Vadodara": { + "name": "Hind Vadodara", + "designer": [ + "Indian Type Foundry" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "gujarati", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Hind Vadodara is a family of five Gujarati fonts, which are part of the Indian Type Foundry\u2019s larger Open Source Hind Multi-Script project. Hind Multi-Script is a type system providing nine stylistically-matching font families \u2013 one for each of the following writing systems used in Bangladesh, India, Nepal, and Sri Lanka: Bengali, Devanagari, Gujarati, Gurmukhi, Kannada, Malayalam, Tamil, Telugu, and Sinhala. In addition to Gujarati, the Hind Vadodara fonts also include Latin-script characters. Developed explicitly for use in User Interface design, Hind\u2019s letterforms have a humanist-style construction, paired with seemingly monolinear strokes. Most of these strokes have flat endings: they either terminate with a horizontal or a vertical shear, rather than on a diagonal. This helps create clear-cut counter forms between the characters. Additionally, Hind\u2019s letterforms feature open apertures and counterforms. The entire family feels very legible when used to set text. The Gujarati and Latin script components are scaled in relation to each other so that the height of the Gujarati base characters is more or less at the same visual height that the Latin capital letters share. The exact height of the Gujarati characters increases vis \u00e0 vis the capital height as the family increases in weight, just as the Latin lowercase does. Each font in the Hind Vadodara family has 851 glyphs, which include many unique Gujarati conjuncts. These ensure full support for the writing of the Gujarati language. The Latin component\u2019s character set is Adobe Latin 3, which enables typesetting in English and the other Western European languages. Hind Vadodara is a solid alternate when choosing typefaces for UI design, and a wise selection for electronic display embedding. Hitesh Malaviya designed Hind Vadodara for ITF, who first published the fonts in 2015. Hind Vadodara is named after Vadodara, a city in Gujarat, India. The Hind Vadodara project is led by Indian Type Foundry, a type design foundry based in Ahmedabad, India. To contribute, see github.com/itfoundry/hind-vadodara", + "primary_script": "Gujr", + "article": null, + "minisite_url": null + }, + "Holtwood One SC": { + "name": "Holtwood One SC", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SLAB_SERIF", + "classifications": [ + "display" + ], + "description": "Holtwood is a bold display font developed for use with modern web browsers. It has a lot of the look of some traditional woodblock poster typefaces of the Nineteenth Century but updated for the Twenty First. Holtwood was envisioned to be used in big and bold text sizes, but it still works well when running as smaller headlines too. To contribute, see github.com/googlefonts/HoltwoodFont.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Homemade Apple": { + "name": "Homemade Apple", + "designer": [ + "Font Diner" + ], + "license": "apache2", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Nothing says down-home goodness like a delicious Homemade Apple pie. For a good one, you have to make it yourself. Should you find yourself lacking in the recipe department, use this beautifully drawn cursive handwriting script font to give a personal touch.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Homenaje": { + "name": "Homenaje", + "designer": [ + "Constanza Artigas Preller", + "Agustina Mingote" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Homenaje is inspired by the bronze cemetery art found in the Recoleta and Chacaritas districts of Buenos Aires, Argentina. A grotesque and narrow type, it provides economy in text setting without losing its strong, straight and steady features. The name \u201cHomenaje\u201d means tribute in Spanish, a modest way to honor the patient and accurate work of the lettering artists whose bronze letters honor a lifetime. Designed by Constanza Artigas Preller and Agustina Mingote.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Honk": { + "name": "Honk", + "designer": [ + "Ek Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "math", + "symbols", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Loud, bright, and exuberantly fun! Honk is a variable colour font from Ek Type. It is a riotous digital interpretation of the bold and boisterous lettering seen on Indian trucks. An extravaganza of form and colour, Honk is a modular system with ten distinct styles, shadows, and colour palettes. An embodiment of India's colourful complexity, it effortlessly oscillates between simple and subtle to over-the-top and ornate. It's the kind of font that doesn't just speak; it shouts, honks, and sings with its varied styles, dynamic shape-shifting and use of colorv1 technology. Honk reflects the essence of India's vibrant spirit, and it does so with an audacious flair. So, the next time you need a font that's as lively as an Indian street corner, give Honk a try. It is a typographic adventure you won't forget! This project is designed, engineered and maintained by Ek Type; a collective of type designers focused on designing contemporary Indian typefaces. Honk is designed by Noopur Datye and Yesha Goshar, and engineered by Sidharth Jaishankar and Girish Dalvi, emojis are designed by Athul Jayaraman and testing is done by Taresh Vohra and team Ek Type. A big honk to all the amazing designers who helped by open sourcing their color/element-based variable fonts. This font uses the COLRv1 and CPAL tables. Please visit the gf-guide color page to learn more about Color Fonts technology. To contribute, see github.com/EkType/Honk", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Host Grotesk": { + "name": "Host Grotesk", + "designer": [ + "Element Type", + "Do\u011fukan Karap\u0131nar", + "\u0130brahim Ka\u00e7t\u0131o\u011flu" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Latn", + "article": "Host Grotesk is a uniwidth sans serif variable font tailored by Element Type for modern user interfaces. It features uniform letter widths and spacing across all weights and corresponding italics, ensuring seamless adaptability without compromising layout consistency. To contribute, see github.com/Element-Type/HostGrotesk A uniwidth typeface As a uniwidth typeface, Host Grotesk allows for smooth transitions between font weights without disrupting overall design and layouts. For instance, a button's size remains constant even when the font weight increases during a hover state. Similarly, making a part of a sentence bolder will not push the letters to the next line. Calibrated for both display and text applications, Host Grotesk has low contrast stroke modulation and closed terminals that complement the straightforward construction of its letterforms, making it an excellent choice for digital media. The proportions are balanced between a generous geometric sans and a compact grotesque, suitable for both display sizes and small body copy. The Host Grotesk family is built on Jonny Pinhorn's beloved Poppins (Indian Type Foundry, 2020). While most letters are reworked and modified for the new look and duplexed proportions, Poppins' soft and approachable essence remains visible. A reliable and cohesive type family for user interfaces, branding, and communication materials, combining the contemporary workhorse category with the elevated functionality of uni-width proportions.", + "minisite_url": "https://elementtype.co/host-grotesk" + }, + "Hubballi": { + "name": "Hubballi", + "designer": [ + "Erin McLaughlin" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "kannada", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Hubballi is a Kannada and Latin typeface designed by Erin McLaughlin. Hubballi is a monolinear typeface with an informal, friendly appearance. To contribute to the project, visit github.com/erinmclaughlin/Hubballi", + "primary_script": "Knda", + "article": null, + "minisite_url": null + }, + "Hubot Sans": { + "name": "Hubot Sans", + "designer": [ + "Tobias Bjerrome Ahlin", + "Github", + "Degarism Studio", + "Sebastian Carewe" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Latn", + "article": "Hubot Sans is Mona Sans\u2019s robotic sidekick. The typeface is designed with more geometric accents to lend a technical and idiosyncratic feel\u2014perfect for headers and pull-quotes. Made together with Degarism. Hubot Sans is a variable font. Variable fonts enable different variations of a typeface to be incorporated into one single file, and are supported by all major browsers. To contribute, see github.com/github/hubot-sans.", + "minisite_url": "https://github.com/mona-sans" + }, + "Huninn": { + "name": "Huninn", + "designer": [ + "Justfont" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "chinese-traditional", + "cyrillic", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Hant", + "article": "Huninn is an open-source Traditional Chinese round typeface based on the Kosugi Maru and Varela Round fonts, specially designed for better use in Taiwan. The font includes commonly used characters in Taiwan, Zhuyin (Bopomofo) symbols, and even adds Taigi and Hokkien phonetic symbols and characters to meet local requirements.Besides creating more than 2,000 new characters, the designers also refined the typographic settings and improved the grayscale quality of the original sources. To contribute to this font, please visit the font github repository: github.com/justfont/Huninn", + "minisite_url": null + }, + "Hurricane": { + "name": "Hurricane", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "A storm has been brewing. It\u2019s Hurricane. Flair and excitement abounds with this fast moving spirited brush script. There are three regular styles incorporated into the PRO version of the this font, plus graphics to add an extra breeze to your work. The Script stylistic set swaps the caps out for the more flourished uppercase. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/hurricane.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "IBM Plex Mono": { + "name": "IBM Plex Mono", + "designer": [ + "Mike Abbink", + "Bold Monday" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "monospace" + ], + "description": "IBM Plex\u00ae is the corporate typeface for IBM worldwide and an open-source project developed by the IBM Brand & Experience team (BX&D). Plex is an international typeface family designed to capture IBM\u2019s brand spirit and history and to illustrate the unique relationship between mankind and machine\u2014a principal theme for IBM since the turn of the century. The result is a neutral yet friendly Grotesque style typeface that balances design with the engineered details that make Plex distinctly IBM. The family includes a Sans, Sans Condensed, Mono, and Serif and has excellent legibility in print, web, and mobile interfaces. Plex\u2019s three designs work well independently and even better together. Use the Sans as a contemporary compadre, the Serif for editorial storytelling, or the Mono to show code snippets. The unexpectedly expressive nature of the italics gives you even more options for your designs. Currently, IBM Plex Sans supports Extended Latin, Arabic, Cyrillic, Devanagari, Greek, Hebrew, Japanese, Korean and Thai.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "IBM Plex Sans": { + "name": "IBM Plex Sans", + "designer": [ + "Mike Abbink", + "Bold Monday" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "IBM Plex\u2122 is an international typeface family designed by Mike Abbink, IBM BX&D, in collaboration with Bold Monday, an independent Dutch type foundry. Plex was designed to capture IBM\u2019s spirit and history, and to illustrate the unique relationship between mankind and machine\u2014a principal theme for IBM since the turn of the century. The result is a neutral, yet friendly Grotesque style typeface that includes a Sans, Sans Condensed, Mono, Serif, and several other styles for several languages, and has excellent legibility in print, web and mobile interfaces. Plex\u2019s three designs work well independently, and even better together. Use the Sans as a contemporary compadre, the Serif for editorial storytelling, or the Mono to show code snippets. The unexpectedly expressive nature of the italics give you even more options for your designs. To contribute, see github.com/googlefonts/plex.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "IBM Plex Sans Arabic": { + "name": "IBM Plex Sans Arabic", + "designer": [ + "Mike Abbink", + "Bold Monday" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "arabic", + "cyrillic-ext", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "IBM Plex\u2122 is an international typeface family designed by Mike Abbink, IBM BX&D, in collaboration with Bold Monday, an independent Dutch type foundry. Plex was designed to capture IBM\u2019s spirit and history, and to illustrate the unique relationship between mankind and machine\u2014a principal theme for IBM since the turn of the century. The result is a neutral, yet friendly Grotesque style typeface that includes a Sans, Sans Condensed, Mono, Serif, and several other styles for several languages, and has excellent legibility in print, web and mobile interfaces. Plex\u2019s three designs work well independently, and even better together. Use the Sans as a contemporary compadre, the Serif for editorial storytelling, or the Mono to show code snippets. The unexpectedly expressive nature of the italics give you even more options for your designs.", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "IBM Plex Sans Condensed": { + "name": "IBM Plex Sans Condensed", + "designer": [ + "Mike Abbink", + "Bold Monday" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "IBM Plex\u00ae is the corporate typeface for IBM worldwide and an open-source project developed by the IBM Brand & Experience team (BX&D). Plex is an international typeface family designed to capture IBM\u2019s brand spirit and history and to illustrate the unique relationship between mankind and machine\u2014a principal theme for IBM since the turn of the century. The result is a neutral yet friendly Grotesque style typeface that balances design with the engineered details that make Plex distinctly IBM. The family includes a Sans, Sans Condensed, Mono, and Serif and has excellent legibility in print, web, and mobile interfaces. Plex\u2019s three designs work well independently and even better together. Use the Sans as a contemporary compadre, the Serif for editorial storytelling, or the Mono to show code snippets. The unexpectedly expressive nature of the italics gives you even more options for your designs. Currently, IBM Plex Sans supports Extended Latin, Arabic, Cyrillic, Devanagari, Greek, Hebrew, Japanese, Korean and Thai.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "IBM Plex Sans Devanagari": { + "name": "IBM Plex Sans Devanagari", + "designer": [ + "Mike Abbink", + "Bold Monday" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic-ext", + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "IBM Plex\u00ae is the corporate typeface for IBM worldwide and an open-source project developed by the IBM Brand & Experience team (BX&D). Plex is an international typeface family designed to capture IBM\u2019s brand spirit and history and to illustrate the unique relationship between mankind and machine\u2014a principal theme for IBM since the turn of the century. The result is a neutral yet friendly Grotesque style typeface that balances design with the engineered details that make Plex distinctly IBM. The family includes a Sans, Sans Condensed, Mono, and Serif and has excellent legibility in print, web, and mobile interfaces. Plex\u2019s three designs work well independently and even better together. Use the Sans as a contemporary compadre, the Serif for editorial storytelling, or the Mono to show code snippets. The unexpectedly expressive nature of the italics gives you even more options for your designs. Currently, IBM Plex Sans supports Extended Latin, Arabic, Cyrillic, Devanagari, Greek, Hebrew, Japanese, Korean and Thai.", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "IBM Plex Sans Hebrew": { + "name": "IBM Plex Sans Hebrew", + "designer": [ + "Mike Abbink", + "Bold Monday" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic-ext", + "hebrew", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "IBM Plex\u00ae is the corporate typeface for IBM worldwide and an open-source project developed by the IBM Brand & Experience team (BX&D). Plex is an international typeface family designed to capture IBM\u2019s brand spirit and history and to illustrate the unique relationship between mankind and machine\u2014a principal theme for IBM since the turn of the century. The result is a neutral yet friendly Grotesque style typeface that balances design with the engineered details that make Plex distinctly IBM. The family includes a Sans, Sans Condensed, Mono, and Serif and has excellent legibility in print, web, and mobile interfaces. Plex\u2019s three designs work well independently and even better together. Use the Sans as a contemporary compadre, the Serif for editorial storytelling, or the Mono to show code snippets. The unexpectedly expressive nature of the italics gives you even more options for your designs. Currently, IBM Plex Sans supports Extended Latin, Arabic, Cyrillic, Devanagari, Greek, Hebrew, Japanese, Korean and Thai.", + "primary_script": "Hebr", + "article": null, + "minisite_url": null + }, + "IBM Plex Sans JP": { + "name": "IBM Plex Sans JP", + "designer": [ + "Mike Abbink", + "Bold Monday" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "IBM Plex\u00ae is the corporate typeface for IBM worldwide and an open-source project developed by the IBM Brand & Experience team (BX&D). Plex is an international typeface family designed to capture IBM\u2019s brand spirit and history and to illustrate the unique relationship between mankind and machine\u2014a principal theme for IBM since the turn of the century. The result is a neutral yet friendly Grotesque style typeface that balances design with the engineered details that make Plex distinctly IBM. The family includes a Sans, Sans Condensed, Mono, and Serif and has excellent legibility in print, web, and mobile interfaces. Plex\u2019s three designs work well independently and even better together. Use the Sans as a contemporary compadre, the Serif for editorial storytelling, or the Mono to show code snippets. The unexpectedly expressive nature of the italics gives you even more options for your designs. Currently, IBM Plex Sans supports Extended Latin, Arabic, Cyrillic, Devanagari, Greek, Hebrew, Japanese, Korean and Thai.", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "IBM Plex Sans KR": { + "name": "IBM Plex Sans KR", + "designer": [ + "Mike Abbink", + "Bold Monday" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "korean", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "IBM Plex\u00ae is the corporate typeface for IBM worldwide and an open-source project developed by the IBM Brand & Experience team (BX&D). Plex is an international typeface family designed to capture IBM\u2019s brand spirit and history and to illustrate the unique relationship between mankind and machine\u2014a principal theme for IBM since the turn of the century. The result is a neutral yet friendly Grotesque style typeface that balances design with the engineered details that make Plex distinctly IBM. The family includes a Sans, Sans Condensed, Mono, and Serif and has excellent legibility in print, web, and mobile interfaces. Plex\u2019s three designs work well independently and even better together. Use the Sans as a contemporary compadre, the Serif for editorial storytelling, or the Mono to show code snippets. The unexpectedly expressive nature of the italics gives you even more options for your designs. Currently, IBM Plex Sans supports Extended Latin, Arabic, Cyrillic, Devanagari, Greek, Hebrew, Japanese, Korean and Thai.", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "IBM Plex Sans Thai": { + "name": "IBM Plex Sans Thai", + "designer": [ + "Mike Abbink", + "Bold Monday" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic-ext", + "latin", + "latin-ext", + "thai" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "IBM Plex\u00ae is the corporate typeface for IBM worldwide and an open-source project developed by the IBM Brand & Experience team (BX&D). Plex is an international typeface family designed to capture IBM\u2019s brand spirit and history and to illustrate the unique relationship between mankind and machine\u2014a principal theme for IBM since the turn of the century. The result is a neutral yet friendly Grotesque style typeface that balances design with the engineered details that make Plex distinctly IBM. The family includes a Sans, Sans Condensed, Mono, and Serif and has excellent legibility in print, web, and mobile interfaces. Plex\u2019s three designs work well independently and even better together. Use the Sans as a contemporary compadre, the Serif for editorial storytelling, or the Mono to show code snippets. The unexpectedly expressive nature of the italics gives you even more options for your designs. Currently, IBM Plex Sans supports Extended Latin, Arabic, Cyrillic, Devanagari, Greek, Hebrew, Japanese, Korean and Thai.", + "primary_script": "Thai", + "article": null, + "minisite_url": null + }, + "IBM Plex Sans Thai Looped": { + "name": "IBM Plex Sans Thai Looped", + "designer": [ + "Mike Abbink", + "Bold Monday" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic-ext", + "latin", + "latin-ext", + "thai" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "IBM Plex\u00ae is the corporate typeface for IBM worldwide and an open-source project developed by the IBM Brand & Experience team (BX&D). Plex is an international typeface family designed to capture IBM\u2019s brand spirit and history and to illustrate the unique relationship between mankind and machine\u2014a principal theme for IBM since the turn of the century. The result is a neutral yet friendly Grotesque style typeface that balances design with the engineered details that make Plex distinctly IBM. The family includes a Sans, Sans Condensed, Mono, and Serif and has excellent legibility in print, web, and mobile interfaces. Plex\u2019s three designs work well independently and even better together. Use the Sans as a contemporary compadre, the Serif for editorial storytelling, or the Mono to show code snippets. The unexpectedly expressive nature of the italics gives you even more options for your designs. Currently, IBM Plex Sans supports Extended Latin, Arabic, Cyrillic, Devanagari, Greek, Hebrew, Japanese, Korean and Thai.", + "primary_script": "Thai", + "article": null, + "minisite_url": null + }, + "IBM Plex Serif": { + "name": "IBM Plex Serif", + "designer": [ + "Mike Abbink", + "Bold Monday" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "IBM Plex\u00ae is the corporate typeface for IBM worldwide and an open-source project developed by the IBM Brand & Experience team (BX&D). Plex is an international typeface family designed to capture IBM\u2019s brand spirit and history and to illustrate the unique relationship between mankind and machine\u2014a principal theme for IBM since the turn of the century. The result is a neutral yet friendly Grotesque style typeface that balances design with the engineered details that make Plex distinctly IBM. The family includes a Sans, Sans Condensed, Mono, and Serif and has excellent legibility in print, web, and mobile interfaces. Plex\u2019s three designs work well independently and even better together. Use the Sans as a contemporary compadre, the Serif for editorial storytelling, or the Mono to show code snippets. The unexpectedly expressive nature of the italics gives you even more options for your designs. Currently, IBM Plex Sans supports Extended Latin, Arabic, Cyrillic, Devanagari, Greek, Hebrew, Japanese, Korean and Thai.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "IM Fell DW Pica": { + "name": "IM Fell DW Pica", + "designer": [ + "Igino Marini" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "STANLEY MORISON, in his \u201cTHE ROMAN ITALIC & BLACK LETTER bequeathed to the University of Oxford by Dr. JOHN FELL\u201d (Oxford University Press, Oxford, 1951), began this way the description of the FELL TYPES: \"The Oxford Printing house holds the oldest punches and matrices surviving in England, material not only treasured but used; types cast therefrom being employed for the composition of books and other printed matter.\"It\u2019s essentially the inheritance of the will of John Fell, D.D. who died on 10 July 1686, aged 61, Bishop of Oxford and Dean of Christ Church. Since 1668 he spent his life creating a \u2018learned press\u2019 in Oxford, endowed with invaluable equipment, setting a high standard for the future of his publishing. He wrote: \"The foundation of all successe must be layd in doing things well, and I am sure that will not be don with English letters\" (to Jenkins, 2 Dec. 1672). So he collectected types available in the foreign market: mainly France, Holland and Germany. Fell decided to develop types in its own \u2018workhouse\u2019 too.Peter De Walpergen became his personal type-founder. Says Harry Carter in \u201cTHE FELL TYPES. What has been done in and about them\u201d (Oxford University Press, New York, 1968): \"He was born at Frankfurt am Main, descended from a Protestant refugee from Antwerp. He was engaged by the Dutch East India Company in 1671 to work as a type-founder and printer in Java. The comparative crudity of his letter design makes it seems unlikely that he had been trained to cut punches.\"John Fell entrusted him with the cut of the larger bodies: Great Primer Roman and Italic; Double Pica Roman and Italic; French Canon Roman and Italic; Three Lines Pica Roman. De Walpergen cut other types and letters for existing types to be harmonized with the larger bodies. Commented Morison: \"The design of these large Fell Types is difficult to characterize and impossible wholly to approve. It has some affinity with the Dutch work of the second half of the seventeenth century, especially with the bigger size of type shown in the Widow Elsevier\u2019s specimen-sheet of types attributed to Christoffel van Dyck; but De Walpergen went much further in the contrasting weight of thick and thin strokes and his design has crudities about it of which Van Dyck would not have been capable.\"In 1686 John Fell died. In his \u201cwill\u201d he bequeathed the entire collection of type to the University of Oxford. Remembers Morison: \"This entire collection of \u2018founding Materialls of Punchions Matrices Moulds\u2019 was \u2018got together\u2019 by John Fell \u2018and others at great expense\u2019. Fell\u2019s instructions that they \u2018be carefully kept together\u2019 by his executors were duly observed. The Chancellor, Masters, and Scholars of the University of Oxford honourably played their part in sustaining the interests of \u2018learning and printing\u2019 and thus the collection was not dissipated but manteined entire.\"", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "IM Fell DW Pica SC": { + "name": "IM Fell DW Pica SC", + "designer": [ + "Igino Marini" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "STANLEY MORISON, in his \u201cTHE ROMAN ITALIC & BLACK LETTER bequeathed to the University of Oxford by Dr. JOHN FELL\u201d (Oxford University Press, Oxford, 1951), began this way the description of the FELL TYPES: \"The Oxford Printing house holds the oldest punches and matrices surviving in England, material not only treasured but used; types cast therefrom being employed for the composition of books and other printed matter.\"It\u2019s essentially the inheritance of the will of John Fell, D.D. who died on 10 July 1686, aged 61, Bishop of Oxford and Dean of Christ Church. Since 1668 he spent his life creating a \u2018learned press\u2019 in Oxford, endowed with invaluable equipment, setting a high standard for the future of his publishing. He wrote: \"The foundation of all successe must be layd in doing things well, and I am sure that will not be don with English letters\" (to Jenkins, 2 Dec. 1672). So he collectected types available in the foreign market: mainly France, Holland and Germany. Fell decided to develop types in its own \u2018workhouse\u2019 too.Peter De Walpergen became his personal type-founder. Says Harry Carter in \u201cTHE FELL TYPES. What has been done in and about them\u201d (Oxford University Press, New York, 1968): \"He was born at Frankfurt am Main, descended from a Protestant refugee from Antwerp. He was engaged by the Dutch East India Company in 1671 to work as a type-founder and printer in Java. The comparative crudity of his letter design makes it seems unlikely that he had been trained to cut punches.\"John Fell entrusted him with the cut of the larger bodies: Great Primer Roman and Italic; Double Pica Roman and Italic; French Canon Roman and Italic; Three Lines Pica Roman. De Walpergen cut other types and letters for existing types to be harmonized with the larger bodies. Commented Morison: \"The design of these large Fell Types is difficult to characterize and impossible wholly to approve. It has some affinity with the Dutch work of the second half of the seventeenth century, especially with the bigger size of type shown in the Widow Elsevier\u2019s specimen-sheet of types attributed to Christoffel van Dyck; but De Walpergen went much further in the contrasting weight of thick and thin strokes and his design has crudities about it of which Van Dyck would not have been capable.\"In 1686 John Fell died. In his \u201cwill\u201d he bequeathed the entire collection of type to the University of Oxford. Remembers Morison: \"This entire collection of \u2018founding Materialls of Punchions Matrices Moulds\u2019 was \u2018got together\u2019 by John Fell \u2018and others at great expense\u2019. Fell\u2019s instructions that they \u2018be carefully kept together\u2019 by his executors were duly observed. The Chancellor, Masters, and Scholars of the University of Oxford honourably played their part in sustaining the interests of \u2018learning and printing\u2019 and thus the collection was not dissipated but manteined entire.\"", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "IM Fell Double Pica": { + "name": "IM Fell Double Pica", + "designer": [ + "Igino Marini" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "STANLEY MORISON, in his \u201cTHE ROMAN ITALIC & BLACK LETTER bequeathed to the University of Oxford by Dr. JOHN FELL\u201d (Oxford University Press, Oxford, 1951), began this way the description of the FELL TYPES: \"The Oxford Printing house holds the oldest punches and matrices surviving in England, material not only treasured but used; types cast therefrom being employed for the composition of books and other printed matter.\"It\u2019s essentially the inheritance of the will of John Fell, D.D. who died on 10 July 1686, aged 61, Bishop of Oxford and Dean of Christ Church. Since 1668 he spent his life creating a \u2018learned press\u2019 in Oxford, endowed with invaluable equipment, setting a high standard for the future of his publishing. He wrote: \"The foundation of all successe must be layd in doing things well, and I am sure that will not be don with English letters\" (to Jenkins, 2 Dec. 1672). So he collectected types available in the foreign market: mainly France, Holland and Germany. Fell decided to develop types in its own \u2018workhouse\u2019 too.Peter De Walpergen became his personal type-founder. Says Harry Carter in \u201cTHE FELL TYPES. What has been done in and about them\u201d (Oxford University Press, New York, 1968): \"He was born at Frankfurt am Main, descended from a Protestant refugee from Antwerp. He was engaged by the Dutch East India Company in 1671 to work as a type-founder and printer in Java. The comparative crudity of his letter design makes it seems unlikely that he had been trained to cut punches.\"John Fell entrusted him with the cut of the larger bodies: Great Primer Roman and Italic; Double Pica Roman and Italic; French Canon Roman and Italic; Three Lines Pica Roman. De Walpergen cut other types and letters for existing types to be harmonized with the larger bodies. Commented Morison: \"The design of these large Fell Types is difficult to characterize and impossible wholly to approve. It has some affinity with the Dutch work of the second half of the seventeenth century, especially with the bigger size of type shown in the Widow Elsevier\u2019s specimen-sheet of types attributed to Christoffel van Dyck; but De Walpergen went much further in the contrasting weight of thick and thin strokes and his design has crudities about it of which Van Dyck would not have been capable.\"In 1686 John Fell died. In his \u201cwill\u201d he bequeathed the entire collection of type to the University of Oxford. Remembers Morison: \"This entire collection of \u2018founding Materialls of Punchions Matrices Moulds\u2019 was \u2018got together\u2019 by John Fell \u2018and others at great expense\u2019. Fell\u2019s instructions that they \u2018be carefully kept together\u2019 by his executors were duly observed. The Chancellor, Masters, and Scholars of the University of Oxford honourably played their part in sustaining the interests of \u2018learning and printing\u2019 and thus the collection was not dissipated but manteined entire.\"", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "IM Fell Double Pica SC": { + "name": "IM Fell Double Pica SC", + "designer": [ + "Igino Marini" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "STANLEY MORISON, in his \u201cTHE ROMAN ITALIC & BLACK LETTER bequeathed to the University of Oxford by Dr. JOHN FELL\u201d (Oxford University Press, Oxford, 1951), began this way the description of the FELL TYPES: \"The Oxford Printing house holds the oldest punches and matrices surviving in England, material not only treasured but used; types cast therefrom being employed for the composition of books and other printed matter.\"It\u2019s essentially the inheritance of the will of John Fell, D.D. who died on 10 July 1686, aged 61, Bishop of Oxford and Dean of Christ Church. Since 1668 he spent his life creating a \u2018learned press\u2019 in Oxford, endowed with invaluable equipment, setting a high standard for the future of his publishing. He wrote: \"The foundation of all successe must be layd in doing things well, and I am sure that will not be don with English letters\" (to Jenkins, 2 Dec. 1672). So he collectected types available in the foreign market: mainly France, Holland and Germany. Fell decided to develop types in its own \u2018workhouse\u2019 too.Peter De Walpergen became his personal type-founder. Says Harry Carter in \u201cTHE FELL TYPES. What has been done in and about them\u201d (Oxford University Press, New York, 1968): \"He was born at Frankfurt am Main, descended from a Protestant refugee from Antwerp. He was engaged by the Dutch East India Company in 1671 to work as a type-founder and printer in Java. The comparative crudity of his letter design makes it seems unlikely that he had been trained to cut punches.\"John Fell entrusted him with the cut of the larger bodies: Great Primer Roman and Italic; Double Pica Roman and Italic; French Canon Roman and Italic; Three Lines Pica Roman. De Walpergen cut other types and letters for existing types to be harmonized with the larger bodies. Commented Morison: \"The design of these large Fell Types is difficult to characterize and impossible wholly to approve. It has some affinity with the Dutch work of the second half of the seventeenth century, especially with the bigger size of type shown in the Widow Elsevier\u2019s specimen-sheet of types attributed to Christoffel van Dyck; but De Walpergen went much further in the contrasting weight of thick and thin strokes and his design has crudities about it of which Van Dyck would not have been capable.\"In 1686 John Fell died. In his \u201cwill\u201d he bequeathed the entire collection of type to the University of Oxford. Remembers Morison: \"This entire collection of \u2018founding Materialls of Punchions Matrices Moulds\u2019 was \u2018got together\u2019 by John Fell \u2018and others at great expense\u2019. Fell\u2019s instructions that they \u2018be carefully kept together\u2019 by his executors were duly observed. The Chancellor, Masters, and Scholars of the University of Oxford honourably played their part in sustaining the interests of \u2018learning and printing\u2019 and thus the collection was not dissipated but manteined entire.\"", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "IM Fell English": { + "name": "IM Fell English", + "designer": [ + "Igino Marini" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "STANLEY MORISON, in his \u201cTHE ROMAN ITALIC & BLACK LETTER bequeathed to the University of Oxford by Dr. JOHN FELL\u201d (Oxford University Press, Oxford, 1951), began this way the description of the FELL TYPES: \"The Oxford Printing house holds the oldest punches and matrices surviving in England, material not only treasured but used; types cast therefrom being employed for the composition of books and other printed matter.\"It\u2019s essentially the inheritance of the will of John Fell, D.D. who died on 10 July 1686, aged 61, Bishop of Oxford and Dean of Christ Church. Since 1668 he spent his life creating a \u2018learned press\u2019 in Oxford, endowed with invaluable equipment, setting a high standard for the future of his publishing. He wrote: \"The foundation of all successe must be layd in doing things well, and I am sure that will not be don with English letters\" (to Jenkins, 2 Dec. 1672). So he collectected types available in the foreign market: mainly France, Holland and Germany. Fell decided to develop types in its own \u2018workhouse\u2019 too.Peter De Walpergen became his personal type-founder. Says Harry Carter in \u201cTHE FELL TYPES. What has been done in and about them\u201d (Oxford University Press, New York, 1968): \"He was born at Frankfurt am Main, descended from a Protestant refugee from Antwerp. He was engaged by the Dutch East India Company in 1671 to work as a type-founder and printer in Java. The comparative crudity of his letter design makes it seems unlikely that he had been trained to cut punches.\"John Fell entrusted him with the cut of the larger bodies: Great Primer Roman and Italic; Double Pica Roman and Italic; French Canon Roman and Italic; Three Lines Pica Roman. De Walpergen cut other types and letters for existing types to be harmonized with the larger bodies. Commented Morison: \"The design of these large Fell Types is difficult to characterize and impossible wholly to approve. It has some affinity with the Dutch work of the second half of the seventeenth century, especially with the bigger size of type shown in the Widow Elsevier\u2019s specimen-sheet of types attributed to Christoffel van Dyck; but De Walpergen went much further in the contrasting weight of thick and thin strokes and his design has crudities about it of which Van Dyck would not have been capable.\"In 1686 John Fell died. In his \u201cwill\u201d he bequeathed the entire collection of type to the University of Oxford. Remembers Morison: \"This entire collection of \u2018founding Materialls of Punchions Matrices Moulds\u2019 was \u2018got together\u2019 by John Fell \u2018and others at great expense\u2019. Fell\u2019s instructions that they \u2018be carefully kept together\u2019 by his executors were duly observed. The Chancellor, Masters, and Scholars of the University of Oxford honourably played their part in sustaining the interests of \u2018learning and printing\u2019 and thus the collection was not dissipated but manteined entire.\"", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "IM Fell English SC": { + "name": "IM Fell English SC", + "designer": [ + "Igino Marini" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "STANLEY MORISON, in his \u201cTHE ROMAN ITALIC & BLACK LETTER bequeathed to the University of Oxford by Dr. JOHN FELL\u201d (Oxford University Press, Oxford, 1951), began this way the description of the FELL TYPES: \"The Oxford Printing house holds the oldest punches and matrices surviving in England, material not only treasured but used; types cast therefrom being employed for the composition of books and other printed matter.\"It\u2019s essentially the inheritance of the will of John Fell, D.D. who died on 10 July 1686, aged 61, Bishop of Oxford and Dean of Christ Church. Since 1668 he spent his life creating a \u2018learned press\u2019 in Oxford, endowed with invaluable equipment, setting a high standard for the future of his publishing. He wrote: \"The foundation of all successe must be layd in doing things well, and I am sure that will not be don with English letters\" (to Jenkins, 2 Dec. 1672). So he collectected types available in the foreign market: mainly France, Holland and Germany. Fell decided to develop types in its own \u2018workhouse\u2019 too.Peter De Walpergen became his personal type-founder. Says Harry Carter in \u201cTHE FELL TYPES. What has been done in and about them\u201d (Oxford University Press, New York, 1968): \"He was born at Frankfurt am Main, descended from a Protestant refugee from Antwerp. He was engaged by the Dutch East India Company in 1671 to work as a type-founder and printer in Java. The comparative crudity of his letter design makes it seems unlikely that he had been trained to cut punches.\"John Fell entrusted him with the cut of the larger bodies: Great Primer Roman and Italic; Double Pica Roman and Italic; French Canon Roman and Italic; Three Lines Pica Roman. De Walpergen cut other types and letters for existing types to be harmonized with the larger bodies. Commented Morison: \"The design of these large Fell Types is difficult to characterize and impossible wholly to approve. It has some affinity with the Dutch work of the second half of the seventeenth century, especially with the bigger size of type shown in the Widow Elsevier\u2019s specimen-sheet of types attributed to Christoffel van Dyck; but De Walpergen went much further in the contrasting weight of thick and thin strokes and his design has crudities about it of which Van Dyck would not have been capable.\"In 1686 John Fell died. In his \u201cwill\u201d he bequeathed the entire collection of type to the University of Oxford. Remembers Morison: \"This entire collection of \u2018founding Materialls of Punchions Matrices Moulds\u2019 was \u2018got together\u2019 by John Fell \u2018and others at great expense\u2019. Fell\u2019s instructions that they \u2018be carefully kept together\u2019 by his executors were duly observed. The Chancellor, Masters, and Scholars of the University of Oxford honourably played their part in sustaining the interests of \u2018learning and printing\u2019 and thus the collection was not dissipated but manteined entire.\"", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "IM Fell French Canon": { + "name": "IM Fell French Canon", + "designer": [ + "Igino Marini" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "STANLEY MORISON, in his \u201cTHE ROMAN ITALIC & BLACK LETTER bequeathed to the University of Oxford by Dr. JOHN FELL\u201d (Oxford University Press, Oxford, 1951), began this way the description of the FELL TYPES: \"The Oxford Printing house holds the oldest punches and matrices surviving in England, material not only treasured but used; types cast therefrom being employed for the composition of books and other printed matter.\"It\u2019s essentially the inheritance of the will of John Fell, D.D. who died on 10 July 1686, aged 61, Bishop of Oxford and Dean of Christ Church. Since 1668 he spent his life creating a \u2018learned press\u2019 in Oxford, endowed with invaluable equipment, setting a high standard for the future of his publishing. He wrote: \"The foundation of all successe must be layd in doing things well, and I am sure that will not be don with English letters\" (to Jenkins, 2 Dec. 1672). So he collectected types available in the foreign market: mainly France, Holland and Germany. Fell decided to develop types in its own \u2018workhouse\u2019 too.Peter De Walpergen became his personal type-founder. Says Harry Carter in \u201cTHE FELL TYPES. What has been done in and about them\u201d (Oxford University Press, New York, 1968): \"He was born at Frankfurt am Main, descended from a Protestant refugee from Antwerp. He was engaged by the Dutch East India Company in 1671 to work as a type-founder and printer in Java. The comparative crudity of his letter design makes it seems unlikely that he had been trained to cut punches.\"John Fell entrusted him with the cut of the larger bodies: Great Primer Roman and Italic; Double Pica Roman and Italic; French Canon Roman and Italic; Three Lines Pica Roman. De Walpergen cut other types and letters for existing types to be harmonized with the larger bodies. Commented Morison: \"The design of these large Fell Types is difficult to characterize and impossible wholly to approve. It has some affinity with the Dutch work of the second half of the seventeenth century, especially with the bigger size of type shown in the Widow Elsevier\u2019s specimen-sheet of types attributed to Christoffel van Dyck; but De Walpergen went much further in the contrasting weight of thick and thin strokes and his design has crudities about it of which Van Dyck would not have been capable.\"In 1686 John Fell died. In his \u201cwill\u201d he bequeathed the entire collection of type to the University of Oxford. Remembers Morison: \"This entire collection of \u2018founding Materialls of Punchions Matrices Moulds\u2019 was \u2018got together\u2019 by John Fell \u2018and others at great expense\u2019. Fell\u2019s instructions that they \u2018be carefully kept together\u2019 by his executors were duly observed. The Chancellor, Masters, and Scholars of the University of Oxford honourably played their part in sustaining the interests of \u2018learning and printing\u2019 and thus the collection was not dissipated but manteined entire.\"", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "IM Fell French Canon SC": { + "name": "IM Fell French Canon SC", + "designer": [ + "Igino Marini" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "STANLEY MORISON, in his \u201cTHE ROMAN ITALIC & BLACK LETTER bequeathed to the University of Oxford by Dr. JOHN FELL\u201d (Oxford University Press, Oxford, 1951), began this way the description of the FELL TYPES: \"The Oxford Printing house holds the oldest punches and matrices surviving in England, material not only treasured but used; types cast therefrom being employed for the composition of books and other printed matter.\"It\u2019s essentially the inheritance of the will of John Fell, D.D. who died on 10 July 1686, aged 61, Bishop of Oxford and Dean of Christ Church. Since 1668 he spent his life creating a \u2018learned press\u2019 in Oxford, endowed with invaluable equipment, setting a high standard for the future of his publishing. He wrote: \"The foundation of all successe must be layd in doing things well, and I am sure that will not be don with English letters\" (to Jenkins, 2 Dec. 1672). So he collectected types available in the foreign market: mainly France, Holland and Germany. Fell decided to develop types in its own \u2018workhouse\u2019 too.Peter De Walpergen became his personal type-founder. Says Harry Carter in \u201cTHE FELL TYPES. What has been done in and about them\u201d (Oxford University Press, New York, 1968): \"He was born at Frankfurt am Main, descended from a Protestant refugee from Antwerp. He was engaged by the Dutch East India Company in 1671 to work as a type-founder and printer in Java. The comparative crudity of his letter design makes it seems unlikely that he had been trained to cut punches.\"John Fell entrusted him with the cut of the larger bodies: Great Primer Roman and Italic; Double Pica Roman and Italic; French Canon Roman and Italic; Three Lines Pica Roman. De Walpergen cut other types and letters for existing types to be harmonized with the larger bodies. Commented Morison: \"The design of these large Fell Types is difficult to characterize and impossible wholly to approve. It has some affinity with the Dutch work of the second half of the seventeenth century, especially with the bigger size of type shown in the Widow Elsevier\u2019s specimen-sheet of types attributed to Christoffel van Dyck; but De Walpergen went much further in the contrasting weight of thick and thin strokes and his design has crudities about it of which Van Dyck would not have been capable.\"In 1686 John Fell died. In his \u201cwill\u201d he bequeathed the entire collection of type to the University of Oxford. Remembers Morison: \"This entire collection of \u2018founding Materialls of Punchions Matrices Moulds\u2019 was \u2018got together\u2019 by John Fell \u2018and others at great expense\u2019. Fell\u2019s instructions that they \u2018be carefully kept together\u2019 by his executors were duly observed. The Chancellor, Masters, and Scholars of the University of Oxford honourably played their part in sustaining the interests of \u2018learning and printing\u2019 and thus the collection was not dissipated but manteined entire.\"", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "IM Fell Great Primer": { + "name": "IM Fell Great Primer", + "designer": [ + "Igino Marini" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "STANLEY MORISON, in his \u201cTHE ROMAN ITALIC & BLACK LETTER bequeathed to the University of Oxford by Dr. JOHN FELL\u201d (Oxford University Press, Oxford, 1951), began this way the description of the FELL TYPES: \"The Oxford Printing house holds the oldest punches and matrices surviving in England, material not only treasured but used; types cast therefrom being employed for the composition of books and other printed matter.\"It\u2019s essentially the inheritance of the will of John Fell, D.D. who died on 10 July 1686, aged 61, Bishop of Oxford and Dean of Christ Church. Since 1668 he spent his life creating a \u2018learned press\u2019 in Oxford, endowed with invaluable equipment, setting a high standard for the future of his publishing. He wrote: \"The foundation of all successe must be layd in doing things well, and I am sure that will not be don with English letters\" (to Jenkins, 2 Dec. 1672). So he collectected types available in the foreign market: mainly France, Holland and Germany. Fell decided to develop types in its own \u2018workhouse\u2019 too.Peter De Walpergen became his personal type-founder. Says Harry Carter in \u201cTHE FELL TYPES. What has been done in and about them\u201d (Oxford University Press, New York, 1968): \"He was born at Frankfurt am Main, descended from a Protestant refugee from Antwerp. He was engaged by the Dutch East India Company in 1671 to work as a type-founder and printer in Java. The comparative crudity of his letter design makes it seems unlikely that he had been trained to cut punches.\"John Fell entrusted him with the cut of the larger bodies: Great Primer Roman and Italic; Double Pica Roman and Italic; French Canon Roman and Italic; Three Lines Pica Roman. De Walpergen cut other types and letters for existing types to be harmonized with the larger bodies. Commented Morison: \"The design of these large Fell Types is difficult to characterize and impossible wholly to approve. It has some affinity with the Dutch work of the second half of the seventeenth century, especially with the bigger size of type shown in the Widow Elsevier\u2019s specimen-sheet of types attributed to Christoffel van Dyck; but De Walpergen went much further in the contrasting weight of thick and thin strokes and his design has crudities about it of which Van Dyck would not have been capable.\"In 1686 John Fell died. In his \u201cwill\u201d he bequeathed the entire collection of type to the University of Oxford. Remembers Morison: \"This entire collection of \u2018founding Materialls of Punchions Matrices Moulds\u2019 was \u2018got together\u2019 by John Fell \u2018and others at great expense\u2019. Fell\u2019s instructions that they \u2018be carefully kept together\u2019 by his executors were duly observed. The Chancellor, Masters, and Scholars of the University of Oxford honourably played their part in sustaining the interests of \u2018learning and printing\u2019 and thus the collection was not dissipated but manteined entire.\"", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "IM Fell Great Primer SC": { + "name": "IM Fell Great Primer SC", + "designer": [ + "Igino Marini" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "STANLEY MORISON, in his \u201cTHE ROMAN ITALIC & BLACK LETTER bequeathed to the University of Oxford by Dr. JOHN FELL\u201d (Oxford University Press, Oxford, 1951), began this way the description of the FELL TYPES: \"The Oxford Printing house holds the oldest punches and matrices surviving in England, material not only treasured but used; types cast therefrom being employed for the composition of books and other printed matter.\"It\u2019s essentially the inheritance of the will of John Fell, D.D. who died on 10 July 1686, aged 61, Bishop of Oxford and Dean of Christ Church. Since 1668 he spent his life creating a \u2018learned press\u2019 in Oxford, endowed with invaluable equipment, setting a high standard for the future of his publishing. He wrote: \"The foundation of all successe must be layd in doing things well, and I am sure that will not be don with English letters\" (to Jenkins, 2 Dec. 1672). So he collectected types available in the foreign market: mainly France, Holland and Germany. Fell decided to develop types in its own \u2018workhouse\u2019 too.Peter De Walpergen became his personal type-founder. Says Harry Carter in \u201cTHE FELL TYPES. What has been done in and about them\u201d (Oxford University Press, New York, 1968): \"He was born at Frankfurt am Main, descended from a Protestant refugee from Antwerp. He was engaged by the Dutch East India Company in 1671 to work as a type-founder and printer in Java. The comparative crudity of his letter design makes it seems unlikely that he had been trained to cut punches.\"John Fell entrusted him with the cut of the larger bodies: Great Primer Roman and Italic; Double Pica Roman and Italic; French Canon Roman and Italic; Three Lines Pica Roman. De Walpergen cut other types and letters for existing types to be harmonized with the larger bodies. Commented Morison: \"The design of these large Fell Types is difficult to characterize and impossible wholly to approve. It has some affinity with the Dutch work of the second half of the seventeenth century, especially with the bigger size of type shown in the Widow Elsevier\u2019s specimen-sheet of types attributed to Christoffel van Dyck; but De Walpergen went much further in the contrasting weight of thick and thin strokes and his design has crudities about it of which Van Dyck would not have been capable.\"In 1686 John Fell died. In his \u201cwill\u201d he bequeathed the entire collection of type to the University of Oxford. Remembers Morison: \"This entire collection of \u2018founding Materialls of Punchions Matrices Moulds\u2019 was \u2018got together\u2019 by John Fell \u2018and others at great expense\u2019. Fell\u2019s instructions that they \u2018be carefully kept together\u2019 by his executors were duly observed. The Chancellor, Masters, and Scholars of the University of Oxford honourably played their part in sustaining the interests of \u2018learning and printing\u2019 and thus the collection was not dissipated but manteined entire.\"", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Iansui": { + "name": "Iansui", + "designer": [ + "But Ko" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "chinese-traditional", + "latin", + "latin-ext", + "symbols2" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": "Hant", + "article": "Iansui is based on Fontworks' Klee Semibold font, which is a script font handwritten by pencil or pen. Its quiet design has an elegant and slightly feminine look that sets itself apart from traditional script and textbook fonts. Ideal for body text. Iansui further modifies the existing design to meet the Ministry of Education's requirements for Taiwanese use. To contribute, see https://github.com/ButTaiwan/iansui", + "minisite_url": null + }, + "Ibarra Real Nova": { + "name": "Ibarra Real Nova", + "designer": [ + "Jos\u00e9 Mar\u00eda Ribagorda", + "Octavio Pardo" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "In 2007, The Calcograf\u00eda Nacional Espa\u00f1ola organized a project directed by Jos\u00e9 Mar\u00eda Ribagorda with the objective of divulging the invaluable typographic heritage produced in Spain in the 18th century through the \"Imprenta Real\". This project included the recovery of the types designed by Geronimo Gil for the edition of the most beautiful \"Quixote\" never edited, printed by Joaqu\u00edn Ibarra for the \u201cReal Academia de la Lengua\u201d in 1780. This font was called \u201cIbarra Real\u201d. Jos\u00e9 Mar\u00eda Ribagorda decided in 2015 that Octavio Pardo would be the first collaborator to play the design. Octavio was the first student of the University of Reading MA Typeface Design program to study this project. The Ornaments made by celebrated Latin American and Spanish designers would not be included until their authors allow them to be distributed under the SIL Open Source License. To contribute, see Ibarra Real GitHub", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Iceberg": { + "name": "Iceberg", + "designer": [ + "Cyreal" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Iceberg is a slim condensed decorative webfont by Victor Kharyk suitable for medium to large sizes. It is monolinear and mostly monospaced, has long ascenders and descenders, and a modular construction that builds a rhythm. These features improve overall readability. Its monolinear strokes and 45 degree cuts echo letters made from folded tape.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Iceland": { + "name": "Iceland", + "designer": [ + "Cyreal" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "The idea of geometric typefaces with a look reminiscent of the machinery, technology, and interior design of the 1950s originated in Eurostile family by Aldo Novarese and Alessandro Butti (1952). Iceland is a modular square-shaped webfont by Victor Kharyk with a cold brutal character designed with the intention to perform well on screen starting from low resolutions. For this purpose the strokes are deliberatly kept vertical and diagonal cuts have a 45\u00b0 angle, outlines are rounded. Features like wide proportions and generous x-height are introduced for better legibility. Unconventional and simplified letterforms like k, f, r aid readability at small sizes. While at display sizes they add a crisp and sharp impression. Uppercase letters are decently heavier compared to lowercase as a tribute to the old typographic tradition. This way uppercase is easily distinguished from lowercase, and allows scaling down to be used as Small Caps. Because of its ascetic modular character and squarish proportions Iceland webfont is easily integrated in modular grids and logotypes.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Imbue": { + "name": "Imbue", + "designer": [ + "Tyler Finck", + "ETC" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Imbue is a variable condensed didone made for your special occasion. The result is something crisp and curvy with two variable axes: weight and optical size. Imbue was designed by Tyler Finck. To contribute, see github.com/Etcetera-Type-Co/Imbue", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Imperial Script": { + "name": "Imperial Script", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Imperial Script is a formal script font with clean connections and an elegant look. The thin connectors combined with the heavier shade strokes makes Imperial perfect for invitations, formal events and seasonal settings. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/imperial-script.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Imprima": { + "name": "Imprima", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Imprima looks excellent even on cheap home printers because it has broad counters, strong joins between stems and inktraps that enable it to perform well in very small sizes. Professionally printed documents will make it look even better, especially in large sizes, because there the details of its design that are distinctive become clearly visible. The design of this typeface family is cared for as one cares for your own family. Each component has been treated humanely, by hand. The February 2023 update features a bigger glyphset, fractions and some minor aesthetic modifications. To contribute, see github.com/etunni/imprima.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Inclusive Sans": { + "name": "Inclusive Sans", + "designer": [ + "Olivia King" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Inclusive Sans is a text font designed for accessibility and readability. It is inspired by the friendly personality of contemporary neo-grotesques while incorporating key features to make it highly legible in all uses. To contribute, see github.com/LivKing/Inclusive-Sans.", + "primary_script": "Zinh", + "article": null, + "minisite_url": null + }, + "Inconsolata": { + "name": "Inconsolata", + "designer": [ + "Raph Levien" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "monospace" + ], + "description": "Inconsolata was Raph Levien's first serious original font release. It is a monospace font, designed for printed code listings and the like. There are a great many \u201cprogrammer fonts,\u201d designed primarily for use on the screen, but in most cases do not have the attention to detail for high resolution rendering. Inconsolata draws from many inspirations and sources. I was particularly struck by the beauty of Luc(as) de Groot's Consolas, which is his monospaced design for Microsoft's Vista release. This font, similar to his earlier TheSansMono, demonstrated clearly to me that monospaced fonts do not have to suck. The development of the Regular style by Raph Levien was started in 2006 using his own Spiro-based tools and FontForge. The Bold style was designed by Kirill Tkachev and the Cyreal foundry in 2012. Updated September 2015: Internal metadata corrected. Updated April 2020: Family has been upgraded to a variable font family. To contribute, see github.com/googlefonts/inconsolata.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Inder": { + "name": "Inder", + "designer": [ + "Sorkin Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Inder is a low contrast workhorse sans serif text face design. It was inspired by German art noveau style lettering and the Amsterdam School of architecture. Inder has been carefully adjusted to the restrictions of the screen. Inder can be used in a wide range of sizes.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Indie Flower": { + "name": "Indie Flower", + "designer": [ + "Kimberly Geswein" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "This handwriting font feels carefree and open to me with the bubbly, rounded edges. It is easy to read and a bit bolder than some of my other fonts.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ingrid Darling": { + "name": "Ingrid Darling", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Ingrid Darling is a cute script font originally created for greeting cards. It is based on a cursive hand writing style that has a playful, whimsical appeal. It would be best served as a display font and should be used sparingly rather than in larger bodies of type. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/ingrid-darling.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Inika": { + "name": "Inika", + "designer": [ + "Constanza Artigas" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Inspired by Easter Island and its Rapa Nui language and culture, this typeface captures the essence of an island located in Chile, South America, full of mystery, sacred places and stories of the past. \u201cInika\u201d means \u201cink\u201d in the Rapa Nui language, and it represents the tradition of the rongo-rongo writing, used by people on the island thousands of years ago. The tiki style was worked into the characters with a light touch while developing the upper and lowercase letters forms to evoke the spirit of the island. Inika is useful for both long text setting, document titles, and even large display sizes.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Inknut Antiqua": { + "name": "Inknut Antiqua", + "designer": [ + "Claus Eggers S\u00f8rensen" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "\u00bbInknut Antiqua\u00ab is an Antiqua typeface for literature and long-form text. Approaching the idea of web-publishing as a modern day private press, it is designed to evoke Venetian incunabula and humanist manuscripts, but with the quirks and idiosyncrasies of the kinds of typefaces you find in this artisanal tradition. It comes with a complement of typographical sorts and OpenType features for the purpose. The proportions of Inknut Antiqua make it well suited for low-resolution screens. The Inknut (Terminalia Chebula), called \u00bbharad\u00ab in Hindi, is a nut-like fruit that can be used for ink making and is purported to cure blindness. The tree it grows from is native to the Indian sub-continent and south-east Asia. The Inknut Antiqua project is led by Claus Eggers S\u00f8rensen, a type designer based in Amsterdam. To contribute, see github.com/clauseggers/Inknut-Antiqua", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Inria Sans": { + "name": "Inria Sans", + "designer": [ + "Gr\u00e9gori Vincens", + "J\u00e9r\u00e9mie Hornus" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Inria Sans and Inria Serif are the two members of a type family design for the communication of Inria, a national institute dedicated to numeric research. The Institute needed a font showing its values at the crossroad of humanity, technology, excellence and creativity. Black[Foundry] created a humanist typeface with a unapologetically contemporary design as the Sans-Serif part and a more rational drawing for the Serif. Both members come in 3 weights with matching Italics. To contribute, see github.com/BlackFoundryCom/InriaFonts.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Inria Serif": { + "name": "Inria Serif", + "designer": [ + "Gr\u00e9gori Vincens", + "J\u00e9r\u00e9mie Hornus" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Inria Sans and Inria Serif are the two members of a type family design for the communication of Inria, a national institute dedicated to numeric research. The Institute needed a font showing its values at the crossroad of humanity, technology, excellence and creativity. Black[Foundry] created a humanist typeface with a unapologetically contemporary design as the Sans-Serif part and a more rational drawing for the Serif. Both members come in 3 weights with matching Italics. To contribute, see github.com/BlackFoundryCom/InriaFonts.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Inspiration": { + "name": "Inspiration", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Have a party with Inspiration. A fun, script font with a less-than-serious bounce. You may have seen the use of Inspiration in the logo for Michaels craft stores. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/inspiration.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Instrument Sans": { + "name": "Instrument Sans", + "designer": [ + "Rodrigo Fuenzalida", + "Jordan Egstad" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Instrument Sans is a font designed for the Instrument brand. It's a variable sans-serif which balances an abundance of precision with subtle notes of playfulness. Inspiration was drawn from our enduring interest in neo-grotesques. In a way, this family of weights, widths, and italics represent an orchestration of all of our favorite qualities in a sans-serif while featuring contemporary characteristics that make this typeface distinctly our own. Featuring 12 unique stylistic sets, commonly-used characters can be replaced with alternate glyphs in a variety of combinations to tailor the appearance and legibility of messaging. This flexibility allows for a wide range of expressive styles, making it easy to mold it to perfectly suit whatever style of expression is needed. To contribute, see github.com/Instrument/instrument-sans.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Instrument Serif": { + "name": "Instrument Serif", + "designer": [ + "Rodrigo Fuenzalida", + "Jordan Egstad" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Instrument Serif is a condensed display font designed for the Instrument brand. It is intended for use at large sizes and offers a contemporary take on some of the time-tested characteristics found in old-style serifs. To contribute, please see github.com/Instrument/instrument-serif.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Inter": { + "name": "Inter", + "designer": [ + "Rasmus Andersson" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Inter is a variable font family carefully crafted & designed for computer screens. Inter features a tall x-height to aid in readability of mixed-case and lower-case text. Several OpenType features are provided as well, like contextual alternates that adjusts punctuation depending on the shape of surrounding glyphs, slashed zero for when you need to disambiguate \"0\" from \"o\", tabular numbers, etc. The Inter project is led by Rasmus Andersson, a Swedish maker\u2013of\u2013software living in San Francisco. To contribute, see github.com/rsms/inter", + "primary_script": null, + "article": null, + "minisite_url": "https://rsms.me/inter" + }, + "Inter Tight": { + "name": "Inter Tight", + "designer": [ + "Rasmus Andersson" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "This is a specialized version of Inter with tighter spacing, for display usage. This version also has Roman and Italic styles. To contribute, see github.com/rsms/inter-gf-tight.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Irish Grover": { + "name": "Irish Grover", + "designer": [ + "Sideshow" + ], + "license": "apache2", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Presenting Irish Grover! No, it's not a coveted new AKC breed. No, it's not a tasty seasonal pilsner. It's a fun, flamboyant, new display font by Squid that's way better than any of those possibilities. Sure and it's free for Pete's sake! And you can't say that about dogs or beer.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Island Moments": { + "name": "Island Moments", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Take a trip to a tropical paradise. This brush style font has an exotic appeal with alternate uppercase characters borrowed from the font, Babylonica. This OpenType Pro version offers extra alternate characters. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/island-moments.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Istok Web": { + "name": "Istok Web", + "designer": [ + "Andrey V. Panov" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Istok Web is an original typeface, in development since 2008. At first some basic letters were based on specially modified METAFONT sources from the CM Bright font family from the TeX community. (METAFONT is very flexible technology.) But in fact Istok fonts are now very far from this origin. Contours of the font are designed in the freely distributable font editor, FontForge. Most glyphs are manually hinted with the aim to be rendered on LCD displays. I used xgridfit as a tool for programming truetype instructions. Less frequently utilized symbols have automatic instructions produced by FontForge autohinting, until manual hinting can be done. Manual and automatic instructions are intended to look homogeneous. The original sources and truetype fonts are available at code.google.com/p/istok and this 'Web' version has modified vertical metrics. Updated: June 2014 to version 1.0.2g", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Italiana": { + "name": "Italiana", + "designer": [ + "Santiago Orozco" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Italiana was designed for use in the headlines of newspapers and magazines. Italiana is inspired by the calligraphy of the Italian masters. It is suitable for design solutions that require elegance and sophistication. It was conceived with modern proportions that make it great for economical typesetting both on paper and on screen. The Italiana family is in progress and is being regularly improved. If you have a request, wish to contribute improvements or even fund specific features, simply contact Santiago Orozco. You can follow Santiago on Twitter, @Typemade.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Italianno": { + "name": "Italianno", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Italianno is an elegant, calligraphic script. It's clean connecting strokes distinguish itself from other classic forms which makes it perfect for invitations, scrap-booking, and packaging. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/italianno.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Itim": { + "name": "Itim", + "designer": [ + "Cadson Demak" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "thai", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Itim is a new Thai + Latin handwriting typeface, with an informal looped + semiserif design. It has 2 stylistic set alternate glyph designs and intelligent OpenType features to recreate the impression of handwriting. Thanks to Pablo Impallari for the initial OpenType handwriting feature development. The Itim project is led by Cadson Demak, a type foundry in Thailand. To contribute, see github.com/cadsondemak/itim", + "primary_script": "Thai", + "article": null, + "minisite_url": null + }, + "Jacquard 12": { + "name": "Jacquard 12", + "designer": [ + "Sarah Cadigan-Fried" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Jacquard is an expanded revival typeface from a Victorian needlepoint alphabet designed in Berlin by Heinrich Kuehn circa 1880. The Soft Type is a collection of typefaces designed for knitting color-work. Designing typefaces for knitting is essentially the same as creating pixel types. However, in practice, the pixel size is determined by the properties of the yarn in use. Scale is determined by the weight of the yarn as well as the number of pixels that make up the height of each letter. In this collection, the number following the typeface's name indicates the height of the capital letters for that typeface. These typefaces were designed with machine knitting in mind, but could be used for hand knitting, needlework, bedazzling, or many other textile crafts. Note: For Fair Isle knitting, you need to beware of floats and plan accordingly, as always. Each typeface has a \u201cRegular\u201d and \u201cCharted\u201d version, and some include multiple scales so you can fit type on your knits, no matter the project's size. Check out the charted version Jacquard 12 Charted. To contribute, please see github.com/scfried/soft-type-jacquard.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Jacquard 12 Charted": { + "name": "Jacquard 12 Charted", + "designer": [ + "Sarah Cadigan-Fried" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Jacquard is an expanded revival typeface from a Victorian needlepoint alphabet designed in Berlin by Heinrich Kuehn circa 1880. Designing typefaces for knitting is essentially the same as creating pixel types. However, in practice, the pixel size is determined by the properties of the yarn in use. Scale is determined by the weight of the yarn as well as the number of pixels that make up the height of each letter. In this collection, the number following the typeface's name indicates the height of the capital letters for that typeface. These typefaces were designed with machine knitting in mind, but could be used for hand knitting, needlework, bedazzling, or many other textile crafts. Note: For Fair Isle knitting, you need to beware of floats and plan accordingly, as always. Each typeface has a \u201cRegular\u201d and \u201cCharted\u201d version, and some include multiple scales so you can fit type on your knits, no matter the project's size. Check out the non-charted version Jacquard 12. To contribute, please see github.com/scfried/soft-type-jacquard.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Jacquard 24": { + "name": "Jacquard 24", + "designer": [ + "Sarah Cadigan-Fried" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Jacquard is an expanded revival typeface from a Victorian needlepoint alphabet designed in Berlin by Heinrich Kuehn circa 1880. Designing typefaces for knitting is essentially the same as creating pixel types. However, in practice, the pixel size is determined by the properties of the yarn in use. Scale is determined by the weight of the yarn as well as the number of pixels that make up the height of each letter. In this collection, the number following the typeface's name indicates the height of the capital letters for that typeface. These typefaces were designed with machine knitting in mind, but could be used for hand knitting, needlework, bedazzling, or many other textile crafts. Note: For Fair Isle knitting, you need to beware of floats and plan accordingly, as always. Each typeface has a \u201cRegular\u201d and \u201cCharted\u201d version, and some include multiple scales so you can fit type on your knits, no matter the project's size. Check out the charted version Jacquard 24 Charted. To contribute, please see github.com/scfried/soft-type-jacquard.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Jacquard 24 Charted": { + "name": "Jacquard 24 Charted", + "designer": [ + "Sarah Cadigan-Fried" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Jacquard is an expanded revival typeface from a Victorian needlepoint alphabet designed in Berlin by Heinrich Kuehn circa 1880. Designing typefaces for knitting is essentially the same as creating pixel types. However, in practice, the pixel size is determined by the properties of the yarn in use. Scale is determined by the weight of the yarn as well as the number of pixels that make up the height of each letter. In this collection, the number following the typeface's name indicates the height of the capital letters for that typeface. These typefaces were designed with machine knitting in mind, but could be used for hand knitting, needlework, bedazzling, or many other textile crafts. Note: For Fair Isle knitting, you need to beware of floats and plan accordingly, as always. Each typeface has a \u201cRegular\u201d and \u201cCharted\u201d version, and some include multiple scales so you can fit type on your knits, no matter the project's size. Check out the non-charted version Jacquard 24 . To contribute, please see github.com/scfried/soft-type-jacquard .", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Jacquarda Bastarda 9": { + "name": "Jacquarda Bastarda 9", + "designer": [ + "Sarah Cadigan-Fried" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "The Soft Type Collection is designed for knitters to chart out their typographic projects. Jacquarda Bastarda is an expanded revival typeface from a bastarda-esque Victorian needlepoint alphabet designed in Berlin by Heinrich Kuehn circa 1880. Each typeface has a \u201cRegular\u201d and \u201cCharted\u201d version, and some include multiple scales so you can fit type on your knits, no matter the project's size. Check out the charted version Jacquarda Bastarda 9 Charted. In this collection, the number following the typeface's name indicates the height of the capital letters for that typeface. To contribute, see github.com/scfried/soft-type-jacquarda-bastarda.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Jacquarda Bastarda 9 Charted": { + "name": "Jacquarda Bastarda 9 Charted", + "designer": [ + "Sarah Cadigan-Fried" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "The Soft Type Collection is designed for knitters to chart out their typographic projects. Jacquarda Bastarda is an expanded revival typeface from a bastarda-esque Victorian needlepoint alphabet designed in Berlin by Heinrich Kuehn circa 1880. Each typeface has a \u201cRegular\u201d and \u201cCharted\u201d version, and some include multiple scales so you can fit type on your knits, no matter the project's size. Check out the non-charted version Jacquarda Bastarda 9. In this collection, the number following the typeface's name indicates the height of the capital letters for that typeface. To contribute, see github.com/scfried/soft-type-jacquarda-bastarda.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Jacques Francois": { + "name": "Jacques Francois", + "designer": [ + "Cyreal" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Jacques Francois is a revival of the 1760 Ensched\u00e9 no. 811 type specimen by Jacques Fran\u00e7ois Rosart (1714-1774) made for Ensched\u00e9 Printing House. It was designed to give an even typographic color while preserving the essential historic peculiarities of the original. It has an expanded glyph set, and to improve readability on the web the x-height is increased and the thinnest parts of letterforms are more sturdy. Jacques Francois is designed for medium to small size usage. Old style figures are included. There is also Jacques Francois Shadow, an incised variant. Jacques Francois was designed by Manvel Shmavonyan and Alexei Vanyashin. To contribute, see github.com/cyrealtype/Jacques-Francois", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Jacques Francois Shadow": { + "name": "Jacques Francois Shadow", + "designer": [ + "Cyreal" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Jacques Francois Shadow is a revival of the 1760 Ensched\u00e9 no. 811 type specimen by Jacques Fran\u00e7ois Rosart (1714-1774) made for Ensched\u00e9 Printing House. It was designed to give an even typographic color while preserving the essential historic peculiarities of the original. It has an expanded glyph set, and to improve readability on the web the x-height is increased and the thinnest parts of letterforms are more sturdy. Jacques Francois Shadow is designed for large sizes and manually hinted for better screen performance starting from 24 ppem. This means that on Windows machines it will work best from 18pt (at 96ppi) or 15pt (at 120ppi) and from 24pt on Mac (at 72ppi.) Old style figures are included. There is also Jacques Francois, a text variant. Jacques Francois was designed by Manvel Shmavonyan and Alexei Vanyashin. To contribute, see github.com/cyrealtype/Jacques-Francois-Shadow", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Jaini": { + "name": "Jaini", + "designer": [ + "Ek Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Jaini and Jaini Purva (both Devanagari) are typefaces based on the calligraphic style of the Jain Kalpasutra manuscripts, particularly referencing a manuscript from 1503 CE. The manuscript style has several unique features not seen in the commonly observed Balbodh style. These include a disconnected shirorekha with triangular wedges, short upper matras, squarish letters with large kana height, heavy knots, and the integration of lower matras within the kana height. It also contains some letter-shapes that have evolved over time and are not familiar to current readers. In an attempt to revive the distinct calligraphic style for contemporary use, Jaini adapts visual features of the manuscript style to contemporary letter-structures. Jaini and Jaini Purva differ in their treatment of conjuncts; Jaini adheres to contemporary conventions of horizontal conjuncts, whereas Jaini Purva stays true to vertically stacked conjuncts as seen in manuscripts. While Jaini Devanagari references past manuscripts, its Latin companion draws inspiration from a hand-lettering style seen in present-day India. In regions where Devanagari is predominantly used, it is not uncommon to see Latin letterforms drawn with a Devanagari pen angle (which is almost perpendicular to the Latin pen angle) with a subtle hint of a shirorekha. Jaini (Latin) draws inspiration from this street style while visually matching it with the wavy stems and squarish counters of Jaini Devanagari. Jaini Devanagari was designed in 2016 by Girish Dalvi and Maithili Shingre. Jaini Latin was designed in 2023 by Taresh Vohra. This project is led by Ek Type, a collective of type designers based in Mumbai focused on designing contemporary Indian typefaces. To contribute to the project, see github.com/EkType/Jaini", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Jaini Purva": { + "name": "Jaini Purva", + "designer": [ + "Ek Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Jaini Purva and Jaini (both Devanagari) are typefaces based on the calligraphic style of the Jain Kalpasutra manuscripts, particularly referencing a manuscript from 1503 CE. The manuscript style has several unique features not seen in the commonly observed Balbodh style. These include a disconnected shirorekha with triangular wedges, short upper matras, squarish letters with large kana height, heavy knots, and the integration of lower matras within the kana height. It also contains some letter-shapes that have evolved over time and are not familiar to current readers. In an attempt to revive the distinct calligraphic style for contemporary use, Jaini adapts visual features of the manuscript style to contemporary letter-structures. Jaini and Jaini Purva differ in their treatment of conjuncts; Jaini adheres to contemporary conventions of horizontal conjuncts, whereas Jaini Purva stays true to vertically stacked conjuncts as seen in manuscripts. While Jaini Devanagari references past manuscripts, its Latin companion draws inspiration from a hand-lettering style seen in present-day India. In regions where Devanagari is predominantly used, it is not uncommon to see Latin letterforms drawn with a Devanagari pen angle (which is almost perpendicular to the Latin pen angle) with a subtle hint of a shirorekha. Jaini (Latin) draws inspiration from this street style while visually matching it with the wavy stems and squarish counters of Jaini Devanagari. Jaini Devanagari was designed in 2016 by Girish Dalvi and Maithili Shingre. Jaini Latin was designed in 2023 by Taresh Vohra. This project is led by Ek Type, a collective of type designers based in Mumbai focused on designing contemporary Indian typefaces. To contribute to the project, see github.com/EkType/Jaini", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Jaldi": { + "name": "Jaldi", + "designer": [ + "Omnibus-Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Jaldi is the Hindi word for soon, and the typeface family is a contemporary sans-serif Devanagari with subtle rounded corners. Designed by Nicolas Silva and Pablo Cosgaya, Jaldi is developed to match with the Latin design of the Asap family, named after the acronym \"As Soon As Possible.\" This family is specially developed for screen reading and use as a webfont, and like Asap is has a special twist: Jaldi offers a standardised character width on all styles, which means that lines of text always remain the same length. This useful feature allows users to change type styles on-the-go without reflowing text bodies. Asap is based on Ancha, designed by Pablo Cosgaya and Hector Gatti in collaboration with Andres Torresi. This project is led by Omnibus Type, a type foundry based in Argentina. To contribute, visit github.com/Omnibus-Type/Jaldi.", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Jaro": { + "name": "Jaro", + "designer": [ + "Agyei Archer", + "C\u00e9line Hurka", + "Mirko Velimirovi\u0107" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "Jaro, a global display typeface crafted by Agyei Archer, draws its inspiration from the artistic legacy of Jaroslav Benda. With a nod to Benda's renowned work, this font stands as a testament to his influence on modern design. Distinctive in its versatility, Jaro boasts a variable style, offering a spectrum of possibilities for creative expression. Its optical size axis ensures legibility across a range of scales, from grand displays to fine print. In the realm of typography, Jaro emerges as a bridge between tradition and innovation, embodying the timeless elegance of Benda's craftsmanship while embracing the technological advancements of today. With each stroke, Jaro invites users to explore the intersection of artistry and functionality, making it a cherished asset for designers worldwide. To contribute, please see github.com/agyeiarcher/Jaro.", + "minisite_url": null + }, + "Jersey 10": { + "name": "Jersey 10", + "designer": [ + "Sarah Cadigan-Fried" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "The Soft Type Collection is designed for knitters to chart out their typographic projects. Jersey is a sporty, versitile sans-serif typeface, knittable at various sizes. Each typeface has a \u201cRegular\u201d and \u201cCharted\u201d version, and some include multiple scales so you can fit type on your knits, no matter the project's size. Check out the charted version Jersey 10 Charted. In this collection, the number following the typeface's name indicates the height of the capital letters for that typeface. To contribute, please see github.com/scfried/soft-type-jersey.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Jersey 10 Charted": { + "name": "Jersey 10 Charted", + "designer": [ + "Sarah Cadigan-Fried" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "The Soft Type Collection is designed for knitters to chart out their typographic projects. Jersey is a sporty, versitile sans-serif typeface, knittable at various sizes. Each typeface has a \u201cRegular\u201d and \u201cCharted\u201d version, and some include multiple scales so you can fit type on your knits, no matter the project's size. Check out the non-charted version Jersey 10. In this collection, the number following the typeface's name indicates the height of the capital letters for that typeface. To contribute, please see github.com/scfried/soft-type-jersey.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Jersey 15": { + "name": "Jersey 15", + "designer": [ + "Sarah Cadigan-Fried" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "The Soft Type Collection is designed for knitters to chart out their typographic projects. Jersey is a sporty, versitile sans-serif typeface, knittable at various sizes. Each typeface has a \u201cRegular\u201d and \u201cCharted\u201d version, and some include multiple scales so you can fit type on your knits, no matter the project's size. Check out the charted version Jersey 15 Charted. In this collection, the number following the typeface's name indicates the height of the capital letters for that typeface. To contribute, please see github.com/scfried/soft-type-jersey.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Jersey 15 Charted": { + "name": "Jersey 15 Charted", + "designer": [ + "Sarah Cadigan-Fried" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "The Soft Type Collection is designed for knitters to chart out their typographic projects. Jersey is a sporty, versitile sans-serif typeface, knittable at various sizes. Each typeface has a \u201cRegular\u201d and \u201cCharted\u201d version, and some include multiple scales so you can fit type on your knits, no matter the project's size. Check out the non-charted version Jersey 15. In this collection, the number following the typeface's name indicates the height of the capital letters for that typeface. To contribute, please see github.com/scfried/soft-type-jersey.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Jersey 20": { + "name": "Jersey 20", + "designer": [ + "Sarah Cadigan-Fried" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "The Soft Type Collection is designed for knitters to chart out their typographic projects. Jersey is a sporty, versitile sans-serif typeface, knittable at various sizes. Each typeface has a \u201cRegular\u201d and \u201cCharted\u201d version, and some include multiple scales so you can fit type on your knits, no matter the project's size. Check out the charted version Jersey 20 Charted. In this collection, the number following the typeface's name indicates the height of the capital letters for that typeface. To contribute, please see github.com/scfried/soft-type-jersey.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Jersey 20 Charted": { + "name": "Jersey 20 Charted", + "designer": [ + "Sarah Cadigan-Fried" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "The Soft Type Collection is designed for knitters to chart out their typographic projects. Jersey is a sporty, versitile sans-serif typeface, knittable at various sizes. Each typeface has a \u201cRegular\u201d and \u201cCharted\u201d version, and some include multiple scales so you can fit type on your knits, no matter the project's size. Check out the non-charted version Jersey 20. In this collection, the number following the typeface's name indicates the height of the capital letters for that typeface. To contribute, please see github.com/scfried/soft-type-jersey.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Jersey 25": { + "name": "Jersey 25", + "designer": [ + "Sarah Cadigan-Fried" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "The Soft Type Collection is designed for knitters to chart out their typographic projects. Jersey is a sporty, versitile sans-serif typeface, knittable at various sizes. Each typeface has a \u201cRegular\u201d and \u201cCharted\u201d version, and some include multiple scales so you can fit type on your knits, no matter the project's size. Check out the charted version Jersey 25 Charted. In this collection, the number following the typeface's name indicates the height of the capital letters for that typeface. To contribute, please see github.com/scfried/soft-type-jersey.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Jersey 25 Charted": { + "name": "Jersey 25 Charted", + "designer": [ + "Sarah Cadigan-Fried" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "The Soft Type Collection is designed for knitters to chart out their typographic projects. Jersey is a sporty, versatile sans-serif typeface, knittable in various sizes. Each typeface has a \u201cRegular\u201d and \u201cCharted\u201d version, and some include multiple scales so you can fit type on your knits, no matter the project's size. Check out the non-charted version Jersey 25. In this collection, the number following the typeface's name indicates the height of the capital letters for that typeface. For this particular style, it's best to use a minimum of 30pt font size to ensure that it's clear, legible, and visually appealing across different platforms and mediums. To contribute, please see github.com/scfried/soft-type-jersey.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "JetBrains Mono": { + "name": "JetBrains Mono", + "designer": [ + "JetBrains", + "Philipp Nurullin", + "Konstantin Bulenkov" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "monospace" + ], + "description": "JetBrains Mono is a typeface made for the specific needs of developers. Find more informations about font features, design and language support on www.jetbrains.com/. JetBrains Mono is designed by Philipp Nurullin and Konstantin Bulenkov. To contribute, see github.com/JetBrains/JetBrainsMono", + "primary_script": null, + "article": null, + "minisite_url": "https://www.jetbrains.com/lp/mono/" + }, + "Jim Nightshade": { + "name": "Jim Nightshade", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Certain calligraphic pen styles have always had a mysterious and almost dark vibe to them from my viewpoint. Jim Nightshade is one of those styles. Named after a character from the story, \"Something Wicked This Way Comes\", Jim Nightshade is a flat nib calligraphic typestyle with charisma and a dark flair. Letterforms follow that of a traditional italic hand but with more angular strokes to accentuate the look.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Joan": { + "name": "Joan", + "designer": [ + "Paolo Biagini" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Inspired by the roman cut by Francesco Griffo, it is a tribute to the Italian style, a model to follow even in the 15th century. Joan is characterized by neat serifs as well as sharp terminals and is intended for books and magazines. At the moment, only the roman is available. The italic variant is under development. To contribute, see github.com/PaoloBiagini/Joan.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Jockey One": { + "name": "Jockey One", + "designer": [ + "TypeTogether" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Jockey One is a new sans serif, designed by TypeTogether - Veronika Burian and Jos\u00e9 Scaglione.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Jolly Lodger": { + "name": "Jolly Lodger", + "designer": [ + "Font Diner" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Wherever your travels may take you, you'll always find a confortable host off the interstate at the Jolly Lodger! Air conditioning, cable television and the freshest assortment of baked goods delivered fresh to your room each morning! So grab a roll of quarters and enjoy a relaxing Magic Fingers massage as you head into the mid-century with this nifty typeface! Designed by Stuart Sandler of Font Diner, Inc. To contribute to the project contact the Font Diner.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Jomhuria": { + "name": "Jomhuria", + "designer": [ + "KB Studio" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Jomhuria is a dark Persian/Arabic and Latin display typeface, suitable for headline and other display usage. The name means 'republic,' and the spark of inspiration for the design was a stencil of \u201cShablon\u201d showing just a limited character set just for the Persian language without any marks, vowels or Latin glyphs. Shablon was designed 30 years ago in Iran, and is reinterpreted by Kourosh to incorporate contemporary techniques, aesthetics and of course some personal taste. While inspired by the spirit of Shablon, Jomhuria is a new typeface that stands on its own. The typeface designer Kourosh created an additional original Latin design that is tailored to harmonize with the aesthetics of the Persian/Arabic design. Being made for big sizes means details matter. The positions of the dots remains faithful to their locations in Persian/Arabic calligraphy; this is an important factor of beauty in the writing system and is key to readability. The Arabic script was designed by Kourosh Beigpour, and the Latin was designed by Eben Sorkin. The font is engineered by Lasse Fister, and the technicalities build upon those developed by Khaled Hosny for his \u201cAmiri.\u201d The Latin is scaled to work best with the Arabic component. The Jomhuria project is led by KB Studio, a type design foundry based in Los Angelese, USA. To contribute, see github.com/Tarobish/Jomhuria", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Jomolhari": { + "name": "Jomolhari", + "designer": [ + "Christopher J. Fynn" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "tibetan" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Jomolhari is a free, Unicode compatible, Tibetan script font named after Mt Jomolhari on the border of Bhutan and Tibet. This font can be used for Tibetan and Dzongkha text. It was inspired by Bhutanese manuscript examples and was originally designed for use in publishing traditional Buddhist texts.", + "primary_script": "Tibt", + "article": null, + "minisite_url": null + }, + "Josefin Sans": { + "name": "Josefin Sans", + "designer": [ + "Santiago Orozco" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "The idea of this typeface is to be geometric, elegant, with a vintage feeling, for use at larger sizes. It is inspired by geometric sans serif designs from the 1920s. The x-height is half way from baseline to cap height, an unusual proportion. There is a sister family, Josefin Slab In December 2019, it was updated with a Variable Font \"Weight\" axis. To contribute, see github.com/googlefonts/josefinsans.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Josefin Slab": { + "name": "Josefin Slab", + "designer": [ + "Santiago Orozco" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SLAB_SERIF", + "classifications": [ + "display" + ], + "description": "Josefin Slab was the first typeface\u2013at least in my mind\u2013I designed! But I decided to start simple with Josefin Sans. Following the 1930s trend for geometric typefaces, it just came to me that something between Kabel and Memphis with modern details will look great. I wanted to stick to the idea of Scandinavian style, so I put a lot of attention to the diacritics, especially to \"\u00e6\" which has loops connecting in a continuous way, so the \"e\" slope was determined by this character. It also has some typewriter style attributes, because I've liked the Letter Gothic typeface since I was in high school, and that's why I decided to make a Slab version of Josefin Sans.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Jost": { + "name": "Jost", + "designer": [ + "Owen Earl" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Jost is an original font created by indestructible type*. It is inspired by 1920s German sans-serifs. This is version 3.7. Jost is designed and maintained by Owen Earl, who is the creator of the font foundry indestructible type*. in 2020 Owen Earl, and Mirko Velimirovic worked together to make Jost a variable font. If you have questions or want to help out, please contribute at github.com/indestructible-type/Jost.", + "primary_script": null, + "article": null, + "minisite_url": "https://indestructibletype.com/Jost.html" + }, + "Joti One": { + "name": "Joti One", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "I enjoyed designing this typeface because it was inspired by my little son \"Jonah,\" who is called by his friends \"Joti.\" The type has the informality and style of the cartoons which children watch. Its primary concept is top-heavy stems with a slight sense of movement to further enhance the style. Joti is ideal for composing headlines and short texts in sizes larger than 14 points. The March 2023 update features a bigger glyphset, fractions and some minor aesthetic modifications. To contribute, see github.com/etunni/joti.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Jua": { + "name": "Jua", + "designer": [ + "Woowahan Brothers" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "korean", + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Jua is a Korean and Latin font", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "Judson": { + "name": "Judson", + "designer": [ + "Daniel Johnson" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Judson is a serif font designed for African literacy. It contains as many glyphs and precomposed combinations that I know of for all African languages written in Latin-derived alphabets. It uses OpenType tables for correct placement of diacritical marks, including stacked marks. Care has been taken so that all characters are easily distinguished, even in the italic face. The medium roman face has support for the International Phonetic Alphabet (IPA.) Currently Judson is only available in medium roman, italic and bold roman faces; at this time there is no bold italic.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Julee": { + "name": "Julee", + "designer": [ + "Juli\u00e1n Tunni" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "The peculiarity of this typography lies in its curved structures and strokes, which are developed on it by getting thinner and sharper as if they were being typed using a metallic and bevel-edged point. The visual mark characteristic of Julee is a casual cursive-like type, yet balanced due to the tidy proportions of its signs. The March 2023 update features a bigger glyphset, fractions and some minor aesthetic modifications. More documentation can be found at www.tipo.net.ar To contribute, see github.com/etunni/julee.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Julius Sans One": { + "name": "Julius Sans One", + "designer": [ + "Luciano Vergara" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Julius Sans One is a sans serif typeface family from Chilean type foundry LatinoType. Updated, April 2015: hinting was applied (with ttfautohint) and the non-breaking space glyph was adjusted to be the same width as space.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Junge": { + "name": "Junge", + "designer": [ + "Cyreal" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [ + "handwriting" + ], + "description": "Junge is an elegant and slim text typeface inspired by the calligraphy of G\u00fcnther Junge. Thanks to a combination of features it performs equally well in most ranges. At small sizes it builds the impression of flittering strokes. In large headlines its refined detailing become visible. It is not as strictly structured as a text typeface, and has subtle irregularities reminiscent of its calligraphic origin. Junge is designed by Alexei Vanyashin (@avanyashin)", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Jura": { + "name": "Jura", + "designer": [ + "Daniel Johnson", + "Cyreal" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "kayah-li", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Jura is a family of sans-serif fonts in the Eurostile vein. It was originally inspired by some work I was doing for the FreeFont project in designing a Kayah Li range for FreeMono. The Latin alphabet is using the same kinds of strokes and curves as the Kayah Li glyphs, and thus Jura was born. It has been expanded to include glyphs for the Cyrillic and Greek alphabets as well. The original Kayah Li glyphs have been included in this font. Note that glyphs for writing mainstream Burmese are not and never have been a part of this font. The Jura family has an unfortunate name clash with Ed Merritt\u2019s Jura serif font. To contribute, see github.com/ossobuffo/jura.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Just Another Hand": { + "name": "Just Another Hand", + "designer": [ + "Astigmatic" + ], + "license": "apache2", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "My personal handwriting has changed a number of times over the years. Just Another Hand is a narrow brush drawn handwriting font, inspired by the handwriting of my high school days. There's a little artistic license taken with Just Another Hand in the sense that while I never really wrote with a brush in high school, I wanted a cleaner stroke for this interpretation. A little personality, a little restraint... a style that works for all sorts of projects across the board.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Just Me Again Down Here": { + "name": "Just Me Again Down Here", + "designer": [ + "Kimberly Geswein" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Just Me Again Down Here was created a few weeks after my family and I moved to China, using a Wacom Tablet and Adobe Illustrator. This is my \u201cmessy\u201d handwriting with mixed capitals and irregularities. After moving to China and finding myself without the ability to communicate in my new home country\u2019s language, creating a font was something that reminded me that I did know how to do something and I would survive those first confusing weeks abroad.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "K2D": { + "name": "K2D", + "designer": [ + "Cadson Demak" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "thai", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "K2D is a Thai and Latin family which has a modern appearance but features Thai's traditional looped letterforms.", + "primary_script": "Thai", + "article": null, + "minisite_url": null + }, + "Kablammo": { + "name": "Kablammo", + "designer": [ + "Vectro Type Foundry", + "Travis Kochel", + "Lizy Gershenzon", + "Daria Cohen", + "Ethan Cohen" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "emoji", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Kablammo is an experimental variable font, taking inspiration from maximalist curly doodad designs from the \u201990s, the Memphis Design movement, as well as cartoons and toys from those eras. Kablammo has one variable axis, Morph(MORF), which makes the glyphs dance. The decorative elements fly all over the place, along with shifting weight and contrast. This lends itself particularly well to animations. Each glyph has four primary states that be morphed between, and can be considered the most stable and considered forms. Each of these are accessible as instances (styles) in font menus that properly support variable fonts. This offers a quick alternative for accessing the alternate forms, and can be handy if you don\u2019t need all the variety, and in-between states of the full variable font. Kablammo was designed by Vectro Type Foundry and released in 2023. To contribute, please see github.com/Vectro-Type-Foundry/kablammo.", + "primary_script": null, + "article": null, + "minisite_url": "https://fonts.withgoogle.com/kablammo" + }, + "Kadwa": { + "name": "Kadwa", + "designer": [ + "Sol Matas" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "devanagari", + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Kadwa is a Devanagari typeface family designed by Sol Matas. It is based on the original Latin typeface Bitter, a slab serif typeface for text. People read and interact with text on screens more and more each day. What happens on screen ends up being more important than what comes out of the printer. With the accelerating popularity of electronic books, type designers are working hard to seek out the ideal designs for reading on screen. Motivated by Sol's love for the pixel she designed Bitter, and later Kadwa. A \"contemporary\" slab serif typeface for text, it is specially designed for comfortably reading on any computer or device. The robust design started from the austerity of the pixel grid, based on rational rather than emotional principles. It combines the large x-heights and legibility of the humanistic tradition with subtle characteristics in the characters that inject a certain rhythm to flowing texts. It has little variation in stroke weight and the Regular is darker than a typical typeface intended for use in print. This generates an intense color in paragraphs, accentuated by the serifs that are as thick as strokes, with square terminals. Each glyph is carefully designed with an excellent curve quality added to the first stage of the design, that was entirely made in a pixel grid. The typeface is balanced and manually spaced to use very few kerning pairs, especially important for web font use since most browsers do not currently support this feature. The Kadwa project is led by Sol Matas, a type designer based in Berlin, Germany. To contribute, see github.com/solmatas/Kadwa", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Kaisei Decol": { + "name": "Kaisei Decol", + "designer": [ + "Font-Kai" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Kaisei Decol is designed with the same element in Kanji, the little dot at the end of the stroke. When typesetted, because of this dot elements, it makes less stimulus to eyes and also gives a cute and fun impression. Best suited for a short sentence, preferably title. Good to use together with Kaisei Opti. To contribute to the project, visit https://github.com/FontKai-Kaisei/Kaisei", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "Kaisei HarunoUmi": { + "name": "Kaisei HarunoUmi", + "designer": [ + "Font-Kai" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Kaisei Haru No Umi's Kana is an organic wavy design that gives natural and friendly look. Katakana is designed slightly smaller to give more old-style typesetting impression. Better when set in text size. To contribute to the project, visit https://github.com/FontKai-Kaisei/Kaisei", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "Kaisei Opti": { + "name": "Kaisei Opti", + "designer": [ + "Font-Kai" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Kaisei Opti is a modern style Japanese typeface. When typesetted, it gives a cheerful and breezy impression. To contribute to the project, visit https://github.com/FontKai-Kaisei/Kaisei", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "Kaisei Tokumin": { + "name": "Kaisei Tokumin", + "designer": [ + "Font-Kai" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Kaisei Tokumin is a shorten word for Tokudai Mincho Kana, meaning \"Extra Bold Serif Kana,\" intended for the strong title usage. Extra bold typefaces sometimes become unbalanced when having heavier density in the glyph, and loses the breathe of words. Kaisei Tokumin is designed to keep the legibility and still have power as an extra bold typeface. To contribute to the project, visit https://github.com/FontKai-Kaisei/Kaisei", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "Kalam": { + "name": "Kalam", + "designer": [ + "Indian Type Foundry" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Kalam is a handwriting-style typeface supporting the Devanagari and Latin scripts. This is an Open Source font family first published by the Indian Type Foundry in 2014. Even though Kalam's letterforms derive from handwriting, the fonts have each been optimised for text on screen. All in all, the typeface is a design that feels very personal. Like many informal handwriting-style fonts, it appears rather fresh and new when seen on screen or printed on the page. Kalam's letterforms feature a very steep slant from the top right to the bottom left. They are similar to letters used in everyday handwriting, and look like they might have been written with either a thin felt-tip pen, or a ball-point pen. In the Devanagari letterforms, the knotted-terminals are open, but some other counter forms are closed. Features like these strengthen the feeling that text set in this typeface has been written very quickly, in a rapid manner. Kalam is available in three weights: Light, Regular and Bold. Each font contains 1,025 glyphs, which includes many unique Devanagari conjuncts. These ensure full support for the major languages written with the Devanagari script. The Latin component's character set is a basic western one, which enables typesetting in English and the other Western European languages. Lipi Raval and Jonny Pinhorn developed the family for ITF; Raval designed the Devanagari component while she and Pinhorn worked together on the Latin. The Kalam project is led by Indian Type Foundry, a type design foundry based in Ahmedabad, India. To contribute, see github.com/itfoundry/kalam Updated July 2015: Updated to v2.001 with improved OpenType features.", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Kalnia": { + "name": "Kalnia", + "designer": [ + "Frida Medrano" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "math" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "Kalnia is a variable font with weight and width axes designed with high contrast and refined terminals, drawing inspiration from the Victorian era. This historical period marked a transition from manual to machine production, and the 'fat face' style emerged\u2014a bold and attention-grabbing typography used for poster headlines to stand out from traditional typefaces. Kalnia embodies the delicate and the boldness, bridging the gap between the old and the new. This display font family comprises a total of eight styles, making it a versatile choice for poster headlines and expressive design projects. To contribute, see github.com/fridamedrano/Kalnia-Typeface", + "minisite_url": null + }, + "Kalnia Glaze": { + "name": "Kalnia Glaze", + "designer": [ + "Frida Medrano" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "Kalnia Glaze is the color font version of Kalnia Typeface also available at Google Fonts. Inspired by the Victorian era, Kalnia Glaze features high contrast and refined terminals. Much like the Victorian Sash windows that were meticulously glazed to capture a timeless charm, Kalnia Glaze takes the essence of this historical craftsmanship into its letterforms. It incorporate their structural elegance, volume, and lighting nuances, to enhance the original structure of Kalnia typeface with added complexity and decoration. To contribute, see github.com/fridamedrano/Kalnia-Glaze. Step into the World of Color. A new gradient variable font to take the most out of the COLRv1 format Kalnia Glaze is a new typeface commissioned by Google Fonts, that experiments with the new color font technology in variable fonts, inviting you to step into a world of color and add vibrancy and depth to your projects. Kalnia Glaze is the result of an broad exploration of the latest COLRv1 format and it's integration with the variable font technology. The objective was not only to create a complex layered design to explore the possibilities of the format but also to streamline and expedite the process, minimizing the need for manual adjustments through software and emphasizing the automation of processes using paintcompiler, a program by Simon Cozens. COLRv1 is the latest version of the color font format combining transparency, gradients, and variable font technology. As one of the advantages of the format, it's possible to change the color palettes in code. Kalnia Glaze is designed for both light and dark modes color palettes, with easily accessible palettes through CSS. CSS also offers easy and powerful customization options using the \"override-colors\" property This font uses the COLRv1 and CPAL tables. Please visit the gf-guide color page to learn more about Color Fonts technology. Kalnia Glaze also has four main icons with the option of using them solo or with a frame.", + "minisite_url": "https://www.fridamedrano.com/kalniaglaze" + }, + "Kameron": { + "name": "Kameron", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SLAB_SERIF", + "classifications": [], + "description": "Kameron is a reworking and fusing of several classic Slab Serif and Egyptian type forms from the early to mid Twentieth Century. The September 2023 update features a bigger glyphset, some minor aesthetic modifications and a variable replacement. To contribute, see github.com/googlefonts/kameronFont.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Kanchenjunga": { + "name": "Kanchenjunga", + "designer": [ + "Becca Hirsbrunner Spalinger" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "kirat-rai", + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Krai", + "article": "The Kirat Rai script is used to write the Bantawa language in the Sikkim state of India. Kanchenjunga is the first Unicode font family for this script of South Asia and The Kirat Rai script was officially encoded in the Unicode Standard version 16.0. The font is named after the third highest mountain in the world, located on the border between Sikkim state in northeast India and eastern Nepal. This peak represents the geographical distribution of the Bantawa language. The design of the font is loosely based on the handwriting style of Kirat Rai which was used in some of the early reading primers for Kirat Rai. Kirat Rai script is also called \u201cKhambu Rai Lipi\u201d in West Bengal. This font was developed by SIL, and you can learn more about it at software.sil.org/kanchenjunga. To contribute, see github.com/silnrsi/font-kanchenjunga.", + "minisite_url": null + }, + "Kanit": { + "name": "Kanit", + "designer": [ + "Cadson Demak" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "thai", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Kanit means mathematics in Thai, and the Kanit typeface family is a formal Loopless Thai and Sans Latin design. It is a combination of concepts, mixing a Humanist Sans Serif motif with the curves of Capsulated Geometric styles that makes it suitable for various uses, contemporary and futuristic. A notable detail is that the stroke terminals have flat angles, which allows the design to enjoy decreased spacing between letters while preserving readability and legibility at smaller point sizes. In Thai typeface design the formal loopless Thai typefaces have more simple forms than the conservative looped Thai designs, and this simplification has to be done properly in order to preserve the essential character of each letter. Sizes and positions of vowels and tone marks need to be managed carefully because they are all relevant to readability, legibility, and overall textures. When designing Kanit, special care was taken with some groups of letters such as \u0e01 \u0e16 \u0e20 \u0e24 \u0e26, \u0e0e \u0e0f, \u0e1a \u0e1b, and \u0e02 \u0e0a to ensure they are distinct and legible, because it might lead to confusion if each glyph is not clear enough. Kanit is the first Thai font family to be hinted with TTFAutohint, an easy-to-use hinting tool that is highly recommended. The Kanit project is led by Cadson Demak, a type foundry in Thailand. To contribute, see github.com/cadsondemak/kanit", + "primary_script": "Thai", + "article": null, + "minisite_url": null + }, + "Kantumruy Pro": { + "name": "Kantumruy Pro", + "designer": [ + "Tep Sovichet", + "Wei Huang" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "khmer", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Kantumruy Pro is a newly redrawn design of the first Kantumruy (published in 2013) which is a modern display Khmer typeface that is being used by small and big brands in Cambodia, as well as many non-profit organizations for their visual identities. In the new version, the design direction mostly remains the same, however, there are major changes in vertical metrics and proportions, some letterforms, and the Italic set is also included. The Latin set in Kantumruy Pro is from Work Sans, with modified width and weight. To contribute, see github.com/sovichet/kantumruy-pro", + "primary_script": "Khmr", + "article": null, + "minisite_url": null + }, + "Kapakana": { + "name": "Kapakana", + "designer": [ + "Kousuke Nagai" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "japanese", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Kapakana is a Kana typeface designed with the concept of a copperplate script, including Hiragana, Katakana, and Latin glyphs (for pinyin use). It is a two weight font and available both as static instances and as a variable font. To contribute to the project, visit github.com/nagamaki008/kapakana", + "primary_script": "Hira", + "article": null, + "minisite_url": null + }, + "Karantina": { + "name": "Karantina", + "designer": [ + "Rony Koch" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "hebrew", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Karantina is a Hebrew and Latin typeface family. It was created by Rony Koch during the long days of COVID-19 quarantine. Karantina is a three weight family that includes - Light, Regular and Bold. To contribute, see github.com/ronykoch/Karantina", + "primary_script": "Hebr", + "article": null, + "minisite_url": null + }, + "Karla": { + "name": "Karla", + "designer": [ + "Jonny Pinhorn" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Karla is a grotesque sans serif family which has been expanded now to a variable font with a weight axis ranging from ExtraLight to ExtraBold plus full support of Western, Central, and South-Eastern European languages. To contribute, see github.com/googlefonts/karla.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Karla Tamil Inclined": { + "name": "Karla Tamil Inclined", + "designer": [ + "Jonathan Pinhorn" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "tamil" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Karla is a grotesque sans serif typeface family that supports languages that use the Latin script and the Tamil script. This is the Tamil script part of the family, with Inclined styles in two weights, Regular and Bold. The Latin part is available from the Karla specimen page. Karla Tamil does not currently work on iPhones and iPads, because iOS doesn't render OpenType Layout shaping, only AAT shaping. Mac OS X, Windows and GNU+Linux all render OpenType Layout shaping. These Tamil fonts do not have AAT shaping, so they won't render correctly, but the iOS system font does. To contribute to the project contact Jonathan Pinhorn.", + "primary_script": "Taml", + "article": null, + "minisite_url": null + }, + "Karla Tamil Upright": { + "name": "Karla Tamil Upright", + "designer": [ + "Jonathan Pinhorn" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "tamil" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Karla is a grotesque sans serif typeface family that supports languages that use the Latin script and the Tamil script. This is the Tamil script part of the family, with Upright styles in two weights, Regular and Bold. The Latin part is available from the Karla specimen page. Karla Tamil does not currently work on iPhones and iPads, because iOS doesn't render OpenType Layout shaping, only AAT shaping. Mac OS X, Windows and GNU+Linux all render OpenType Layout shaping. These Tamil fonts do not have AAT shaping, so they won't render correctly, but the iOS system font does. To contribute to the project contact Jonathan Pinhorn.", + "primary_script": "Taml", + "article": null, + "minisite_url": null + }, + "Karma": { + "name": "Karma", + "designer": [ + "Indian Type Foundry" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Karma is an Open Source multi-script typeface supporting both the Devanagari and the Latin script. The family was developed for use in body text on screen, and five fonts are available. The characters for both scripts feature a construction style that tends toward the monolinear. The Latin script component has serif letters. Both these, and the stroke terminals in the Devanagari letterforms are generally rounded in Karma\u2019s design. Karma\u2019s characters are economic in width, and the Latin sports a tall x-height. Although the knotted terminals in the Devanagari letterforms are closed, the general feeling of the Devanagari character set is open and airy. See the design of the \u0916 (kha), \u091b (cha) and \u0927 (dha), for example. Joana Correia designed Karma for the Indian Type Foundry, who first published the fonts in 2014.", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Katibeh": { + "name": "Katibeh", + "designer": [ + "KB Studio" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "arabic", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Katibeh is a headline font based on the Naskh script, infused with some qualities of the Thuluth script. The small serif-like outstrokes make Katibeh remind us of archaic designs, but other aspects of the design are very contemporary touches. The result is something between tradition and today. Katibeh has ligatures that Arabic and Persian readers are familiar with, to make it comfortable for reading longer texts. Unlike many other Arabic fonts, Katibeh includes a Latin typeface designed for harmony with the Arabic to make it useful for multilingual texts. The Latin is scaled to work best with the Arabic component. The Katibeh project is led by KB Studio, a design studio in Los Angeles. To contribute, see github.com/Tarobish/Katibeh", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Kaushan Script": { + "name": "Kaushan Script", + "designer": [ + "Impallari Type" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "When making digital typefaces, the more you refine the shapes of the letters, the more energy you take away from them. Because of that, Kaushan Script is unrefined - and carries a lot of energy. By avoiding typographical perfection, it stays more natural. The angles of the vertical strokes vary a little, and the positioning along the baseline jumps around, giving it a more rustic and natural feeling. Most script fonts have long ascenders and descenders, and this means they look too small when used at normal sizes on the web. This font is optimized in such details to be very readable as a web font, even when used as small as 16 px. It was funded by people like you, via Kickstarter. Special thanks to the project backers! The name \"Kaushan\" was suggested by Vyacheslav Kaushan, one of the project backers.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Kavivanar": { + "name": "Kavivanar", + "designer": [ + "Tharique Azeez" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "tamil" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Kavivanar is a unique handwriting font that supports the Tamil and Latin scripts. It is somewhat bold, and slightly slanted, a typical Tamil handwriting style where an incline is popular. The letterforms show a calligraphic pen stress that brings an aliveliness to the letters, and provides texture in body text settings. It works well with both body text and display text because of the intriguing rhythm. The slanted letterforms for Tamil are inspired from a manuscript by Kavivanar M. A. Azeez (1948-2002), a Tamil poet and educator who lived in the east coast of Sri Lanka. The Kavivanar project is led by Tharique Azeez, a type designer based in Sri Lanka. To contribute, see github.com/enathu/kavivanar", + "primary_script": "Taml", + "article": null, + "minisite_url": null + }, + "Kavoon": { + "name": "Kavoon", + "designer": [ + "Viktoriya Grabowska" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Foundry: Sorkin Type Co Kavoon is a display face based on experiments with brush and ink. Kavoon's expressive features make words vivid and powerfully draw the reader in. Kavoon may be used from medium to large sizes. To contribute to the project, visit github.com/EbenSorkin/Kavoon Updated: February 2016, to v1.004 with additional language support, improved hinting, and other minor fixes.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Kay Pho Du": { + "name": "Kay Pho Du", + "designer": [ + "SIL International" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "kayah-li", + "latin", + "latin-ext" + ], + "stroke": "SLAB_SERIF", + "classifications": [], + "description": "Kay Pho Du is a font family for the Kayah Li script, based initially on the design of Karenni, although the glyphs have been redrawn and a new Latin set has been added. It supports the full Kayah Li range of Unicode characters. To contribute, please see github.com/silnrsi/font-kayphodu.", + "primary_script": "Kali", + "article": null, + "minisite_url": null + }, + "Kdam Thmor Pro": { + "name": "Kdam Thmor Pro", + "designer": [ + "Tep Sovichet", + "Hak Longdey" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "khmer", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Kdam Thmor Pro is a revised design of \"Kdam Thmor\" which is one of Sovichet Tep's typefaces designed and published back in 2013 on Google Fonts. Kdam Thmor Pro is a modern display Khmer typeface based on the writing style of a brush used on a wall. It has an edgy style, a medium size and is suitable for headings and large typography. Gemunu Libre's Latin is used as the Latin counterpart in the project. To contribute, see github.com/sovichet/kdam-thmor-pro", + "primary_script": "Khmr", + "article": null, + "minisite_url": null + }, + "Keania One": { + "name": "Keania One", + "designer": [ + "Julia Petretta" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Keania is a re-development of Kenia. As a stencil font its idea stems from experiences of travel and life in Kenya, especially from the large lettering seen on shop fronts and market stands. The shapes play with sharp and soft corners and create a rhythmic pattern of black and white. This font is great for magazine headings, adverts and sporty content. To contribute to the project contact Julia Petretta.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Kelly Slab": { + "name": "Kelly Slab", + "designer": [ + "Denis Masharov" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Kelly Slab is a new geometric, modern-looking slab-serif font. Created under the influence of popular geometric fonts from the 1930s with square slabserifs, such as \"City\" by Georg Trump. It is designed for attention and impact in advertising, headings, major labels and logotypes. It can also work well in larger point size text blocks. Its unusual shapes provide an interesting rhythm to the textline, a distinctive, rectangular design that can give a sporty, urban feeling.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Kenia": { + "name": "Kenia", + "designer": [ + "Julia Petretta" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Inspired by travel and my stay in Kenya, I would fill my days with sketches and lettering. From there Kenia evolved as a stencil display font. With its text appearance in small point sizes resembling an old German gothic sort of font, modern-feel Kenia works for headlines, introductory paragraphs, and in small text setting. Its playful and friendly character makes it suitable for happy typography in magazines, blogs, online games and other on-screen and print-based text.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Khand": { + "name": "Khand", + "designer": [ + "Indian Type Foundry" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Khand is a family of compact mono-linear fonts with very open counter forms. Developed for display typography, the family is primarily intended for headline usage. Its letterforms are dynamic, and everything is designed according to a modular system. All of its shapes bear a strong commonality to one another, but the typeface strikes a good balancing act and avoids too much repetitiveness. The lighter styles are suitable for short paragraphs of running text, while the heavier styles have been optimized for headlines or single word settings. The base character height in the Khand fonts is \u2018big on the body.\u2019 Across a line of text, the consonantal forms take up the majority of vertical space. Vowel marks above and below have been shortened \u2013 keeping these to a minimum allows for lines of text to be set more closely together vertically. The reduction of interlinear space is paramount for successful headline typesetting, and Khand performs much better in display applications than similar fonts with more elongated vowel marks. Because of their reduced height, the typeface\u2019s vowel mark forms have been simplified somewhat out of necessity, but this stylistic reduction is in-keeping with the modular feeling of the typeface\u2019s overall design. Dot-shaped marks appear rounded in order to help maintain their differentiation from other marks. Khand\u2019s Devanagari component was designed by Sanchit Sawaria and Jyotish Sonowal. The Latin component was designed by Satya Rajpurohit. To contribute, see github.com/itfoundry/khand", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Khmer": { + "name": "Khmer", + "designer": [ + "Danh Hong" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "khmer" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "The Khmer fonts are designed for readable and beautiful rendering of text in the Khmer script, the national language of Cambodia. The designer, Danh Hong, has many years of experience creating fonts for Khmer and other Southeast Asian languages, and is actively involved in the KhmerOS project, dedicated to a vision where Cambodians can learn and use computers in their own language.", + "primary_script": "Khmr", + "article": null, + "minisite_url": null + }, + "Khula": { + "name": "Khula", + "designer": [ + "Erin McLaughlin" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Khula (\u0916\u0941\u0932\u093e) is a contemporary text Devanagari typeface family designed by Erin McLaughlin as a compliment to Open Sans, a Latin family designed by Steve Matteson. Currently it has 5 weights and supports Hindi. Thank you to Dave Crossland, Liang Hai, Vaishnavi Murthy, Sarang Kulkarni, Pablo Impallari, and all of the other Google Web Fonts contributors for your help with this project. Continued thanks to Fiona Ross and Tobias Frere-Jones for your guidance and training. Thanks to Miguel Sousa, Tal Leming, the RoboFont team, and the other font tool-makers who made this possible. Thank you to AM, Cailin, and my family for their support. This project is led by Erin McLaughlin, a type designed based in Wichita, USA. To contribute, see Khula on GitHub.", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Kings": { + "name": "Kings", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Imagine a damsel in distress. The only hope is for the Kings Knights to rescue her from certain death. Kings Family is based on the three set font family (Kings Honor, Kings Quest and Kings Dominion). Combined to make a pro font, use this blackletter font with enchantment. To contribute, see github.com/googlefonts/kings.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Kirang Haerang": { + "name": "Kirang Haerang", + "designer": [ + "Woowahan Brothers" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "korean", + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Kirang Haerang is a Korean and Latin font", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "Kite One": { + "name": "Kite One", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Kite One is a rounded, monoline, humanist sans serif typeface. With an inclination of 7 degrees, it gives a fluid reading experience. Long ascenders and descenders, soft shapes, open counterforms and soft terminals, make Kite One a typeface that is very suitable for long texts, especially those associated with the natural world or children\u2019s tales. The February 2023 update features a bigger glyphset, fractions and some minor aesthetic modifications. To contribute, see github.com/etunni/Kite-One.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Kiwi Maru": { + "name": "Kiwi Maru", + "designer": [ + "Hiroki-Chan" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Kiwi Maru was created mainly for use in digital devices, and I hope you will use it experimentally in your papers and reports. The basic vocabulary of the Japanese language is divided into three categories: \"everyday words\", which are used freely in everyday conversation, articles and novels, \"written words\", which are used in official situations and sentences, and \"slang\", which is more informal in style. Kiwi Maru Regular is a typeface for visualization and sharing of everyday and slang expressions in the digital age. Nowadays, in 2020, Mincho and Gothic typefaces are exclusively used in smart phones, tablets and PC environment. We hope that the introduction of a round font will change the way people express their emotions and feelings, which have been missing from the analog and digital worlds, and the painful feeling of having too many Chinese characters in a font. There are three weights, L, R and M. These vary only slightly in weight as we wanted to provide you with the ability to account for the difference in weight between different OS, browsers, and devices. To contribute to the project, visit github.com/Kiwi-KawagotoKajiru/Kiwi-Maru", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "Klee One": { + "name": "Klee One", + "designer": [ + "Fontworks Inc." + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "cyrillic", + "greek-ext", + "japanese", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Klee is a script font handwritten by pencil or pen. Its quiet design has an elegant look that sets itself apart from traditional script and textbook fonts. Ideal for body text. To contribute to the project, visit github.com/fontworks-fonts/Klee", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "Knewave": { + "name": "Knewave", + "designer": [ + "Tyler Finck" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Knewave is a new font by Tyler Finck.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "KoHo": { + "name": "KoHo", + "designer": [ + "Cadson Demak" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "thai", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "KoHo is a Thai and Latin family inspired by geometric and humanist san serifs. The letterforms appear neither too mechanical or too calligraphic. Such a juxtaposition has resulted in a unique family which works well for both text and display purposes.", + "primary_script": "Thai", + "article": null, + "minisite_url": null + }, + "Kodchasan": { + "name": "Kodchasan", + "designer": [ + "Cadson Demak" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "thai", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Kodchasan is a Thai and Latin family inspired by teenage handwriting. It has a casual appearance which works well for content aimed at adolescents.", + "primary_script": "Thai", + "article": null, + "minisite_url": null + }, + "Kode Mono": { + "name": "Kode Mono", + "designer": [ + "Isa Ozler" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "monospace" + ], + "description": "A custom-designed typeface explicitly created for the developer community. This typeface is designed to enhance the user experience and reflect our principles of functionality and timelessness. To contribute, see github.com/isaozler/kode-mono.", + "primary_script": null, + "article": null, + "minisite_url": "https://kodemono.com" + }, + "Koh Santepheap": { + "name": "Koh Santepheap", + "designer": [ + "Danh Hong" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "khmer", + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Koh Santepheap is a Khmer font for body text, that pairs well with Latin serif fonts and for bilingual (English - Khmer) text. To contribute, see github.com/danhhong/KohSantepheap.", + "primary_script": "Khmr", + "article": null, + "minisite_url": null + }, + "Kolker Brush": { + "name": "Kolker Brush", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Kolker Brush is a weighty hand lettered brush script. As with any script, it is never recommended to use all caps when editing copy. Use Kolker Brush for situations that require a bit of punch. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/kolker-brush.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Konkhmer Sleokchher": { + "name": "Konkhmer Sleokchher", + "designer": [ + "Suon May Sophanith" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "khmer", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Konkhmer Sleokchher is created and released in 2015 by Suon May Sophanith. It is a modern display Khmer font, inspired by the brush strokes used for writing on walls, but expressed as leaves. With a medium size, it is ideal for use as headings or in large typography. To contribute, see github.com/suonmaysophanith7/KonKhmer_SleokChher.", + "primary_script": "Khmr", + "article": null, + "minisite_url": null + }, + "Kosugi": { + "name": "Kosugi", + "designer": [ + "MOTOYA" + ], + "license": "apache2", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Kosugi is a Gothic design, with low stroke contrast and monospaced metrics. Initially developed by MOTOYA and released for the Android platform under the Apache license, the typeface is based on a design from the 1950s. It aims for beauty and readability, and evokes the Japanese cedar trees that have straight and thick trunks and branches. Originally available as \"MotoyaLCedar W3 mono\", it is now available under the name Kosugi. A Rounded version is available as Kosugi Maru.", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "Kosugi Maru": { + "name": "Kosugi Maru", + "designer": [ + "MOTOYA" + ], + "license": "apache2", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Kosugi Maru is a Gothic Rounded design, with low stroke contrast and monospaced metrics, and rounded terminals. Initially developed by MOTOYA and released for the Android platform under the Apache license, the typeface is based on a design from the 1950s. It aims for beauty and readability, and evokes the Japanese cedar trees that have straight and thick trunks and branches. Originally available as \"MotoyaLMaru W3 mono\", it is now available under the name Kosugi Maru. A regular gothic version is available as Kosugi.", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "Kotta One": { + "name": "Kotta One", + "designer": [ + "Ania Kruk" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Kotta One is a new and unusual text typeface that mixes the characteristics of an italic with legibility of a roman. Kotta uses a true calligraphic construction, with a structure based on a real italic hand, not simple mechanical slanted forms. Like Renaissance typefaces it is an independent style, not merely an accompaniment for a roman. Kotta One is also a modern style, angular and geometric, exploring the ideas of American typographer Williams Addison Dwiggins and his M-Formula. Sharp lines and strong horizontal strokes give it a rhythm that reads well in long texts.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Koulen": { + "name": "Koulen", + "designer": [ + "Danh Hong" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "khmer", + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Koulen is a Khmer font for headlines, titles and subtitles, and even banner designs. To contribute, see github.com/danhhong/Koulen.", + "primary_script": "Khmr", + "article": null, + "minisite_url": null + }, + "Kranky": { + "name": "Kranky", + "designer": [ + "Sideshow" + ], + "license": "apache2", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Kranky is a hand-crafted, fun-filled font.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Kreon": { + "name": "Kreon", + "designer": [ + "Julia Petretta" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Kreon targets text typesetting for magazines and news sites. With a slight slab-serif look and the low contrast design, it is a sturdy typeface for your website, blog or online magazine. Its friendly feel will soon be accompanied by a sans serif as well as italics. Enjoy.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Kristi": { + "name": "Kristi", + "designer": [ + "Birgit Pulk" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Kristi is a calligraphy font inspired by old chancery typefaces. It is made with a basic felt-pen by using bold and quick moves while writing. The name of the font is a common Estonian girls name. The most distinctive characteristics of this type are tall ascenders and descenders, slim vertical lines and little twists like the letter \"g\" in the text. Kristi can be used large size, for example as in logotype or headlines.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Krona One": { + "name": "Krona One", + "designer": [ + "Yvonne Sch\u00fcttler" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Krona is a low contrast semi-extended style sans serif. Krona is both readable and full of personality. Krona can be used from small sizes to larger display settings. Krona was inspired by hand lettering on early 20th century Swedish posters.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Krub": { + "name": "Krub", + "designer": [ + "Cadson Demak" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "thai", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Krub is a Thai and Latin text face with a twist. It uses the modern structure of Thai's traditional looped letterforms and blends it seamlessly with elements taken from the metal type era. It's one of the most popular choices among graphic designers who are looking for a less dusty traditional Thai typeface.", + "primary_script": "Thai", + "article": null, + "minisite_url": null + }, + "Kufam": { + "name": "Kufam", + "designer": [ + "Original Type", + "Wael Morcos", + "Artur Schmal" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "arabic", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Kufam is an Arabic-Latin bilingual typeface intended for contemporary information design such as signage and wayfinding systems. Kufam Arabic is inspired by 7th-century Kufi inscriptions. The dark, condensed shapes of this early Kufi script also served as an inspiration for Kufam's Latin lowercase, as where the Latin capitals find their roots in lettering as frequently seen in signage and shop lettering in Amsterdam at the beginning of the twentieth century. All these inspirations from sources in different periods in history of the Arabic and Latin world cumulate in a contemporary, legible and aesthetically rich design for use across different media. Kufam Arabic is designed by Wael Morcos and Kufam Latin by Artur Schmal and originally conceived within the framework of The Khatt Foundations\u2019 Typographic Matchmaking in the City project. To contribute or to read more about the design and history of Kufam, see github.com/originaltype/kufam.", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Kulim Park": { + "name": "Kulim Park", + "designer": [ + "Dale Sattler" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Kulim Park is a sans serif typeface, with high x-height, open counter 'a', minimal degrees of contrast in stem width, inviting bowls and a design language aimed at encapsulating openness. This typeface is the result of an exploration of how a local park redevelopment can inform a typographic design. The Kulim Park project is led by Dale Sattler, a type designer based in New Zealand. To contribute, see github.com/noponies/Kulim-Park", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Kumar One": { + "name": "Kumar One", + "designer": [ + "Indian Type Foundry" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "gujarati", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Kumar is a series of matching Open Source display fonts. They each support the Gujarati and Latin scripts. The two Kumar fonts may be used together, or entirely on their own. Kumar One Outline is a vertical-contrast design, in which both the downstrokes as well as the left and right-hand sides of each letterform are built up out of two parallel lines and the whites space in-between them. The upstrokes and typeface\u2019s horizontals are just thin, single lines. Kumar One itself fills in all of the thicker empty spaces in the downstrokes/horizontals, offering letterforms that are very dark and full of contrast. The Kumar design is made entirely out of straight lines; all elements that would usually be drawn with soft curves are faceted, built up out of several shorter straightened-out elements. Text in either Kumar font shimmers like a jewel; the effect of both fonts is quite decorative. The Gujarati and Latin script components are scaled in relation to each other so that the Gujarati base characters are 85% as tall as the Latin uppercase. Text set in the Gujarati script sits nicely alongside the Latin lowercase, too. Kumar\u2019s Gujarati vowel marks are all single-line, rather than double-line. Indeed, Kumar\u2019s Gujarati is a very unique design; there are simply no other options like it currently available! Each of the Kumar fonts has 870 glyphs, including hundreds of unique Gujarati conjuncts. The Latin component\u2019s character set is an extended one, which enables typesetting in English and the other Western, Central, and Eastern European languages. Parimal Parmar designed Kumar for Indian Type Foundry in 2016. The Kumar project is led by Indian Type Foundry, a type design foundry based in Ahmedabad, India. To contribute, see github.com/itfoundry/kumar", + "primary_script": "Gujr", + "article": null, + "minisite_url": null + }, + "Kumar One Outline": { + "name": "Kumar One Outline", + "designer": [ + "Indian Type Foundry" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "gujarati", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Kumar is a series of matching Open Source display fonts. They each support the Gujarati and Latin scripts. The two Kumar fonts may be used together, or entirely on their own. Kumar One Outline is a vertical-contrast design, in which both the downstrokes as well as the left and right-hand sides of each letterform are built up out of two parallel lines and the whites space in-between them. The upstrokes and typeface\u2019s horizontals are just thin, single lines. Kumar One itself fills in all of the thicker empty spaces in the downstrokes/horizontals, offering letterforms that are very dark and full of contrast. The Kumar design is made entirely out of straight lines; all elements that would usually be drawn with soft curves are faceted, built up out of several shorter straightened-out elements. Text in either Kumar font shimmers like a jewel; the effect of both fonts is quite decorative. The Gujarati and Latin script components are scaled in relation to each other so that the Gujarati base characters are 85% as tall as the Latin uppercase. Text set in the Gujarati script sits nicely alongside the Latin lowercase, too. Kumar\u2019s Gujarati vowel marks are all single-line, rather than double-line. Indeed, Kumar\u2019s Gujarati is a very unique design; there are simply no other options like it currently available! Each of the Kumar fonts has 870 glyphs, including hundreds of unique Gujarati conjuncts. The Latin component\u2019s character set is an extended one, which enables typesetting in English and the other Western, Central, and Eastern European languages. Parimal Parmar designed Kumar for Indian Type Foundry in 2016. The Kumar project is led by Indian Type Foundry, a type design foundry based in Ahmedabad, India. To contribute, see github.com/itfoundry/kumar", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Kumbh Sans": { + "name": "Kumbh Sans", + "designer": [ + "Saurabh Sharma" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Kumbh Sans is a Geometric Sans Serif font envisioned to serve as a multi-purpose and workhorse font in modern web and mobile applications. The anatomy is geometric with slight contrast. The font's cap-height vs x-height ratio is kept as 3:2 for optimum legibility at any point size. After initial release in three weights, the typeface has been converted into a variable font in June 2021 with a weight axis (100 to 900). To contribute, see github.com/xconsau/KumbhSans", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Kurale": { + "name": "Kurale", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Kurale is a Latin, Cyrillic and Devanagari typeface derived from Gabriela. The Latin and Cyrillic serif typeface with soft shapes, and special terminal forms which are shaped like curls. They connect each letter to create attractive word shapes and text blocks with a fine texture. The Devanagari is a modulated design that harmonises with the Latin original. In small bodies of text it works well for reading, and in headlines provides interesting details to catch the eye. This project is led by Eduardo Tunni, a type designer based in Buenos Aires. To contribute, see github.com/etunni/kurale", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "LXGW Marker Gothic": { + "name": "LXGW Marker Gothic", + "designer": [ + "LXGW" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "chinese-traditional", + "cyrillic", + "cyrillic-ext", + "greek", + "latin", + "latin-ext", + "symbols2", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Hant", + "article": "Marker Gothic is a Chinese adaptation of the Japanese font \"Tanugo\". The design is intended to be easy to use and easy to read, with a fun, cute character. It contains over 13,000 characters intended to cover the display needs of daily use for traditional and simplified Chinese applications. To contribute, see github.com/lxgw/LxgwMarkerGothic.", + "minisite_url": null + }, + "LXGW WenKai Mono TC": { + "name": "LXGW WenKai Mono TC", + "designer": [ + "LXGW" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "chinese-traditional", + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext", + "lisu", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "monospace" + ], + "description": null, + "primary_script": "Hant", + "article": "This project is the Traditional Chinese version of \"\u971e\u9da9\u6587\u6977\". Initially, it utilized AFDKO in conjunction with the legacy glyph shapes provided by the Zonz community to convert the characters contained in Klee One into old character forms, and supplemented the old version of \"\u971e\u9da9\u6587\u6977\" with modifications. Some components and characters were further manually modified. Subsequently, reference was made to the \"Inherited Glyph Standardization Documents\" from Yidianzifang to modify most components, making it more suitable for Traditional Chinese users and enthusiasts of legacy glyph forms. To contribute, see github.com/lxgw/LxgwWenkaiTC.", + "minisite_url": null + }, + "LXGW WenKai TC": { + "name": "LXGW WenKai TC", + "designer": [ + "LXGW" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "chinese-traditional", + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext", + "lisu", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": "Hant", + "article": "This project is the Traditional Chinese version of \"\u971e\u9da9\u6587\u6977\". Initially, it utilized AFDKO in conjunction with the legacy glyph shapes provided by the Zonz community to convert the characters contained in Klee One into old character forms, and supplemented the old version of \"\u971e\u9da9\u6587\u6977\" with modifications. Some components and characters were further manually modified. Subsequently, reference was made to the \"Inherited Glyph Standardization Documents\" from Yidianzifang to modify most components, making it more suitable for Traditional Chinese users and enthusiasts of legacy glyph forms. To contribute, see github.com/lxgw/LxgwWenkaiTC.", + "minisite_url": null + }, + "La Belle Aurore": { + "name": "La Belle Aurore", + "designer": [ + "Kimberly Geswein" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "This whimsical, romantic handwriting is inspired by the romance of Casablanca. It is not a true script, but has many curls and tendrils similar to a script font.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Labrada": { + "name": "Labrada", + "designer": [ + "Mercedes J\u00e1uregui", + "Omnibus-Type" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Labrada is a typeface family designed by Mercedes J\u00e1uregui that expresses the communicative richness of the conversations and discourses of the indigenous cultures of oral tradition, at the same time that it dialogues with the classic forms to function in immersive reading texts. This project began in the Master of Typeface Design, MT-UBA, at the Universidad of Buenos Aires, Argentina. To contribute, see github.com/Omnibus-Type/Labrada.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Lacquer": { + "name": "Lacquer", + "designer": [ + "Niki Polyocan", + "Eli Block" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Lacquer is an expressive display font featuring heavy drips and dozens of alternate glyphs. Lacquer was hand drawn using a paint pen by Niki Polyocan and was extrapolated and finished by Eli Block at Google Creative Lab. You can see all of Lacquer\u2019s glyphs on the font\u2019s web specimen. To contribute, see github.com/Lacquer-Font/Lacquer.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Laila": { + "name": "Laila", + "designer": [ + "Indian Type Foundry" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Laila is an informal sans serif design with brush terminals. It has a very contemporary, 21st century appearance. Text set in Laila appears friendly, or even cute! Laila looks especially good in headlines. It is a display typeface, but it may also be used to set shorter passages of text, too. Laila\u2019s Latin component has a high x-height and open counter forms. In terms of the thickness of its strokes, everything is mostly monolinear. The Devanagari component is even more fluid, appearing lively and graceful. The height is between the Latin x-height and capital height. The strokes thickness is a little lighter than in the Latin; in text blocks, texts set in each script will have similar color. Hitesh Malaviya designed the Devanagari, and the Latin is by Jonny Pinhorn. To contribute, see github.com/itfoundry/laila", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Lakki Reddy": { + "name": "Lakki Reddy", + "designer": [ + "Appaji Ambarisha Darbha" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "telugu" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Lakki Reddy is a Telugu display typeface, mainly suitable for headings, posters and decorative invitations. Use it anywhere you want to use a handwriting style to add informality and personality to your text. The Telugu is designed by Appaji Ambarisha Darbha in 2013 and made available by Silicon Andhra under the SIL Open Font License v1.1. The Latin is designed by Font Diner, a type foundry in the USA, and originally published as Irish Grover. The Lakki Reddy project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India. To contribute, see github.com/appajid/lakkireddy", + "primary_script": "Telu", + "article": null, + "minisite_url": null + }, + "Lalezar": { + "name": "Lalezar", + "designer": [ + "Borna Izadpanah" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "arabic", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Lalezar is an Arabic and Latin display typeface for popular culture. During the 1960s and 1970s a genre of filmmaking emerged in Iran which was commonly known as Film-Farsi. The main focus of the films produced in this period was on popular subjects such as romances, musicals and unrealistic heroic characters. The movie posters designed to represent these films were also intended to exaggerate these elements by the use of provocative imagery and a particular type of display lettering. These bold and dynamic letterforms were so popular and widely used that perhaps one can consider them the most significant component of film posters in that period. Lalezar is an attempt to revive the appealing qualities in this genre of lettering and transform them into a modern Arabic display typeface and a suitable Latin companion. Although the main inspiration comes from a style of lettering that was used to represent the Persian language, here the objective is to design a typeface that can be used for most of the languages that use the Arabic script for their written communication. The Lalezar project is led by Borna Izadpanah, a type designer based in London, UK. To contribute, see github.com/BornaIz/Lalezar", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Lancelot": { + "name": "Lancelot", + "designer": [ + "Marion Kadi" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Lancelot is a new ornate serif type based on French traditions. It has two sets of capitals, swash and classical.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Langar": { + "name": "Langar", + "designer": [ + "Typeland", + "Alessia Mazzarella" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "gurmukhi", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Langar is a one-weight Latin/Gurmukhi display font based on informal, playful letterforms. It broadly follows the \u2018upright-italic\u2019 style of Latin fonts, experimenting with and introducing a similar style for the Gurmukhi script. Langar\u2019s harmonised Latin/Gurmukhi design aims to expand the possibilities for both the general user and the specialised designer working with bilingual texts by providing a good quality display option. The design specifically caters to characterful display at larger sizes, providing a contrasting secondary style to most text typefaces generally available for Latin/Gurmukhi texts. To contribute, please see github.com/typeland/Langar.", + "primary_script": "Guru", + "article": null, + "minisite_url": null + }, + "Lateef": { + "name": "Lateef", + "designer": [ + "SIL International" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "arabic", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Lateef, an extended Arabic font, is named after Shah Abdul Lateef Bhitai, the famous Sindhi mystic and poet. It is intended to be an appropriate style for use in Sindhi and other languages of the South Asian region. The July 2022 update brings to the font six new styles: ExtraLight, Light, Medium, SemiBold, Bold, and ExtraBold. This font was developed by SIL, and you can learn more about it at scripts.sil.org/Lateef", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Lato": { + "name": "Lato", + "designer": [ + "\u0141ukasz Dziedzic" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Lato means \u201cSummer\u201d in Polish, and it is a sans serif typeface family started in the summer of 2010 by Warsaw-based designer \u0141ukasz Dziedzic. Originally conceived as part of a corporate identity for a large client, the family became available for a public release when they decided to go in different stylistic direction. \u0141ukasz tried to carefully balance some potentially conflicting priorities in the design; to create a typeface that seems \u201ctransparent\u201d when used in body text but also displays original traits in larger size use. Classical proportions, particularly in the uppercase, give the letterforms familiar harmony and elegance, and combine with a sleek treatement that feels contemporary without being trendy. Semi-rounded details feel warm, while the underlying structure provides stability and seriousness. \u201cSerious but friendly, with the feeling of the Summer,\u201d said \u0141ukasz. Learn more at latofonts.com", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Lavishly Yours": { + "name": "Lavishly Yours", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "One of the first fonts to use ornately embellished capital forms, Lavishly Yours is a charming calligraphic script. Its nearly upright style along with looped lowercase miniscules gives this font a fairly tale look. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/lavishly-yours.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "League Gothic": { + "name": "League Gothic", + "designer": [ + "Tyler Finck", + "Caroline Hadilaksono", + "Micah Rich" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "League Gothic is a revival of an old classic: Alternate Gothic. It was originally designed by Morris Fuller Bentonfor the American Type Founders Company in 1903. The League Of Moveable Type decided to make their own version, and contribute it to the Open Source Type Movement. Thanks to a commission from the fine & patient folks over at WND.com, it\u2019s been revised and updated with contributions from Micah Rich, Tyler Finck, Dannci and Mirko Velimirovic. To contribute, see github.com/sursly/league-gothic.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "League Script": { + "name": "League Script", + "designer": [ + "Haley Fiege" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "This ain\u2019t no Lucida. League Script is a modern, coquettish script font that sits somewhere between your high school girlfriend\u2019s love notes and handwritten letters from the \u201920s. Designed for the League of Moveable Type, it includes ligatures and will act as the framework for future script designs.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "League Spartan": { + "name": "League Spartan", + "designer": [ + "Matt Bailey", + "Tyler Finck" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "League Spartan is The League Of Moveable Type's interpretation of Matt Bailey's Spartan, a typeface based on early 20th century American geometric sans serifs. To contribute, see github.com/theleagueof/league-spartan.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Leckerli One": { + "name": "Leckerli One", + "designer": [ + "Gesine Todt" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Leckerli is your new fat friend for any display-fun! Its irregular brush shapes indulge you with their sweet character and cheering loops. It is also useful for shorter texts.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ledger": { + "name": "Ledger", + "designer": [ + "Denis Masharov" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "The austere and concise personality and flexibility make it a real multiple-purpose typeface. The letter forms are distinguished by a large x-height, sufficient stroke contrast, robust but elegant wedge-like serifs and terminals. These features have been specially designed to reach maximum of quality and readability when used in unfavorable print and display processes - such as in newspapers, laser printed documents and on low resolution screens. The typeface can be qualified as matched to modern trends of type design and of enhanced legibility. These characteristics provide an undeniable distinction to the typeface, making it suitable for editorial use in newspapers and magazines, corporate ID, advertising and display typography.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Lekton": { + "name": "Lekton", + "designer": [ + "ISIA Urbino" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "monospace" + ], + "description": "Lekton has been designed at ISIA Urbino, Italy, and is inspired by some of the typefaces used on the Olivetti typewriters. It was designed by: Paolo Mazzetti, Luciano Perondi, Raffaele Fla\u00f9to, Elena Papassissa, Emilio Macchia, Michela Povoleri, Tobias Seemiller, Riccardo Lorusso, Sabrina Campagna, Elisa Ansuini, Mariangela Di Pinto, Antonio Cavedoni, Marco Comastri, Luna Castroni, Stefano Faoro, Daniele Capo, and Jan Henrik Arnold. The typeface has been initially designed at ISIA Urbino by the students Luna Castroni, Stefano Faoro, Emilio Macchia, Elena Papassissa, Michela Povoleri, Tobias Seemiller, and the teacher Luciano Perondi (aka galacticus ineffabilis). This typeface has been designed in 8 hours, and was inspired by some of the typefaces used on the Olivetti typewriters. The glyphs are 'trispaced.' It means that the space are modular, 250, 500, 750, this allow a better spacing between characters, but allow also a vertical alignment similar to the one possible with a monospaced font. We were thinking it was a bright new idea, but we discovered that was usual for Olivetti typewriters working with 'Margherita.' Find out more at lektongroups.blogspot.co.uk. Updated in November 2012: As one of the earlier families published in Google Web Fonts, Lekton lacked proper subsetting, so this update introduces a default 'latin' subset that contains less characters but loads faster. To use the full character set, update your API link to include the latin-ext subset.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Lemon": { + "name": "Lemon", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Lemon is a display typeface with soft and fluid shapes that come from painted street shop signage. The dark weight is ideal for headlines and short texts, and a future release of a lighter weight could be useful for longer text. The uppercase letters are very carefully drawn, making an attractive and unique design for text in all caps, compound words in capital letters, and acronyms. The same dynamic is inherent in the lowercase and numbers! The March 2023 update features a bigger glyphset, fractions and some minor aesthetic modifications. To contribute, see github.com/etunni/lemon.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Lemonada": { + "name": "Lemonada", + "designer": [ + "Mohamed Gaber", + "Eduardo Tunni" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "arabic", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "handwriting" + ], + "description": "Lemonada is a modern Arabic and Latin typeface family designed by Mohamed Gaber and Eduardo Tunni. It started with the Latin design Lemon, which Eduardo Tunni expanded to four weights. The Arabic was designed by Mohamed Gaber. The Arabic design is contemporary, starting with Naskh and introducing influences of Diwani. It has wide and open counters that improve readability at smaller text sizes, while its more subtle details make it a great display face at larger sizes. Lemonada is currently available as a variable font with a weight axis, four static fonts (Light, Regular, SemiBold, Bold), and a wide character set that supports the Arabic, Farsi, and Urdu languages. The Lemonada project is led by Mohamed Gaber, a type designer based in Cairo, Egypt. To contribute, see github.com/Gue3bara/Lemonada", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Lexend": { + "name": "Lexend", + "designer": [ + "Bonnie Shaver-Troup", + "Thomas Jockin", + "Santiago Orozco", + "H\u00e9ctor G\u00f3mez", + "Superunion" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Lexend fonts are intended to reduce visual stress and so improve reading performance. Initially they were designed with dyslexia and struggling readers in mind, but Bonnie Shaver-Troup, creator of the Lexend project, soon found out that these fonts are also great for everyone else. The first set of Lexend fonts by Thomas Jockin ( Deca, Exa, Giga, Mega, Peta, Tera, Zetta) becomes wider and more openly spaced (also known as \"tracked out\"). This new version of Lexend is a variable font with a weight axis. Please note that the initial release of this font had a lighter Regular weight. It has been decided for the update of July 2021 to align the Regular weight with the one of Lexend Deca which is slightly bolder. Lexend and Lexend Deca are therefore the same (for now\u2026). Ultimately this version will offer a HyperExpansion axis which will allow variation of inner and outer space of letterforms. True to Bonnie\u2019s vision, Lexend fonts are freely available for all since 2019 in Google Fonts. To contribute, see github.com/googlefonts/lexend. For more information, see lexend.com. Clean and clear: making reading easier with Lexend A key factor in reading problems might be hiding in plain sight. Learn how changing fonts can change comprehension. A child struggles to read and understand their homework assignment. An adult re-reads a news article and still doesn\u2019t understand what it\u2019s about. Both readers end up frustrated and feeling like there is something wrong with them. Thankfully there might be a simple answer. Dr. Bonnie Shaver-Troup thinks fonts are part of the problem and the solution to many reading problems. \u201cWe have a global reading crisis and we can change much of it by delivering fonts that are optimized for the visual field and for the individual. The answer is hidden in plain sight. It\u2019s the font,\u201d said Shaver-Troup. Change the font, change the outcome While working as an educational therapist in Silicon Valley, Shaver-Troup helped students with dyslexia and other reading problems to learn to read. She experimented by changing the spacing between certain letters in their reading assignments, and found that it improved their reading and comprehension. According to Shaver-Troup, the issue wasn\u2019t in her students\u2019 minds, it was with the letterforms they saw on the screen or paper. \u201cThe majority of the reading problems, including dyslexia, are not cognitive or phonological. They are visual or perceptual. Our testing has a built-in design flaw. We use fonts to deliver text for reading that are too tight for efficient or successful visual processing. Then we get poor results, suggesting the reading issue is phonological or cognitive. If we change the font to the tested optimized font fit, then we change the outcome,\u201d she explained. To learn more, read: Clean and clear: making reading easier with Lexend (English) Partnering to change how the world reads (English) Eine Partnerschaft mit dem Ziel, das Leseerlebnis weltweit zu ver\u00e4ndern: Erweiterung von Lexend um verschiedene Schriftst\u00e4rken (German)", + "minisite_url": "https://www.lexend.com/" + }, + "Lexend Deca": { + "name": "Lexend Deca", + "designer": [ + "Bonnie Shaver-Troup", + "Thomas Jockin", + "Santiago Orozco", + "H\u00e9ctor G\u00f3mez", + "Superunion" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Lexend is a collection of seven font families intended to improve reading proficiency. As prescription eyeglasses achieve proficiency for persons with short-sightedness, Lexend's families were developed using Shaver-Troup Formulations. All the Lexend fonts have been upgraded to variable fonts with a weight axis (from Thin to Black) in June 2021, thanks to the efforts of Font Bureau. To contribute, see github.com/googlefonts/lexend. For more information, see lexend.com. Clean and clear: making reading easier with Lexend A key factor in reading problems might be hiding in plain sight. Learn how changing fonts can change comprehension. A child struggles to read and understand their homework assignment. An adult re-reads a news article and still doesn\u2019t understand what it\u2019s about. Both readers end up frustrated and feeling like there is something wrong with them. Thankfully there might be a simple answer. Dr. Bonnie Shaver-Troup thinks fonts are part of the problem and the solution to many reading problems. \u201cWe have a global reading crisis and we can change much of it by delivering fonts that are optimized for the visual field and for the individual. The answer is hidden in plain sight. It\u2019s the font,\u201d said Shaver-Troup. Change the font, change the outcome While working as an educational therapist in Silicon Valley, Shaver-Troup helped students with dyslexia and other reading problems to learn to read. She experimented by changing the spacing between certain letters in their reading assignments, and found that it improved their reading and comprehension. According to Shaver-Troup, the issue wasn\u2019t in her students\u2019 minds, it was with the letterforms they saw on the screen or paper. \u201cThe majority of the reading problems, including dyslexia, are not cognitive or phonological. They are visual or perceptual. Our testing has a built-in design flaw. We use fonts to deliver text for reading that are too tight for efficient or successful visual processing. Then we get poor results, suggesting the reading issue is phonological or cognitive. If we change the font to the tested optimized font fit, then we change the outcome,\u201d she explained. To learn more, read: Clean and clear: making reading easier with Lexend (English) Partnering to change how the world reads (English) Eine Partnerschaft mit dem Ziel, das Leseerlebnis weltweit zu ver\u00e4ndern: Erweiterung von Lexend um verschiedene Schriftst\u00e4rken (German)", + "minisite_url": null + }, + "Lexend Exa": { + "name": "Lexend Exa", + "designer": [ + "Bonnie Shaver-Troup", + "Thomas Jockin", + "Santiago Orozco", + "H\u00e9ctor G\u00f3mez", + "Superunion" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Lexend is a collection of seven font families intended to improve reading proficiency. As prescription eyeglasses achieve proficiency for persons with short-sightedness, Lexend's families were developed using Shaver-Troup Formulations. All the Lexend fonts have been upgraded to variable fonts with a weight axis (from Thin to Black) in June 2021, thanks to the efforts of Font Bureau. To contribute, see github.com/googlefonts/lexend. For more information, see lexend.com. Clean and clear: making reading easier with Lexend A key factor in reading problems might be hiding in plain sight. Learn how changing fonts can change comprehension. A child struggles to read and understand their homework assignment. An adult re-reads a news article and still doesn\u2019t understand what it\u2019s about. Both readers end up frustrated and feeling like there is something wrong with them. Thankfully there might be a simple answer. Dr. Bonnie Shaver-Troup thinks fonts are part of the problem and the solution to many reading problems. \u201cWe have a global reading crisis and we can change much of it by delivering fonts that are optimized for the visual field and for the individual. The answer is hidden in plain sight. It\u2019s the font,\u201d said Shaver-Troup. Change the font, change the outcome While working as an educational therapist in Silicon Valley, Shaver-Troup helped students with dyslexia and other reading problems to learn to read. She experimented by changing the spacing between certain letters in their reading assignments, and found that it improved their reading and comprehension. According to Shaver-Troup, the issue wasn\u2019t in her students\u2019 minds, it was with the letterforms they saw on the screen or paper. \u201cThe majority of the reading problems, including dyslexia, are not cognitive or phonological. They are visual or perceptual. Our testing has a built-in design flaw. We use fonts to deliver text for reading that are too tight for efficient or successful visual processing. Then we get poor results, suggesting the reading issue is phonological or cognitive. If we change the font to the tested optimized font fit, then we change the outcome,\u201d she explained. To learn more, read: Clean and clear: making reading easier with Lexend (English) Partnering to change how the world reads (English) Eine Partnerschaft mit dem Ziel, das Leseerlebnis weltweit zu ver\u00e4ndern: Erweiterung von Lexend um verschiedene Schriftst\u00e4rken (German)", + "minisite_url": null + }, + "Lexend Giga": { + "name": "Lexend Giga", + "designer": [ + "Bonnie Shaver-Troup", + "Thomas Jockin", + "Santiago Orozco", + "H\u00e9ctor G\u00f3mez", + "Superunion" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Lexend is a collection of seven font families intended to improve reading proficiency. As prescription eyeglasses achieve proficiency for persons with short-sightedness, Lexend's families were developed using Shaver-Troup Formulations. All the Lexend fonts have been upgraded to variable fonts with a weight axis (from Thin to Black) in June 2021, thanks to the efforts of Font Bureau. To contribute, see github.com/googlefonts/lexend. For more information, see lexend.com. Clean and clear: making reading easier with Lexend A key factor in reading problems might be hiding in plain sight. Learn how changing fonts can change comprehension. A child struggles to read and understand their homework assignment. An adult re-reads a news article and still doesn\u2019t understand what it\u2019s about. Both readers end up frustrated and feeling like there is something wrong with them. Thankfully there might be a simple answer. Dr. Bonnie Shaver-Troup thinks fonts are part of the problem and the solution to many reading problems. \u201cWe have a global reading crisis and we can change much of it by delivering fonts that are optimized for the visual field and for the individual. The answer is hidden in plain sight. It\u2019s the font,\u201d said Shaver-Troup. Change the font, change the outcome While working as an educational therapist in Silicon Valley, Shaver-Troup helped students with dyslexia and other reading problems to learn to read. She experimented by changing the spacing between certain letters in their reading assignments, and found that it improved their reading and comprehension. According to Shaver-Troup, the issue wasn\u2019t in her students\u2019 minds, it was with the letterforms they saw on the screen or paper. \u201cThe majority of the reading problems, including dyslexia, are not cognitive or phonological. They are visual or perceptual. Our testing has a built-in design flaw. We use fonts to deliver text for reading that are too tight for efficient or successful visual processing. Then we get poor results, suggesting the reading issue is phonological or cognitive. If we change the font to the tested optimized font fit, then we change the outcome,\u201d she explained. To learn more, read: Clean and clear: making reading easier with Lexend (English) Partnering to change how the world reads (English) Eine Partnerschaft mit dem Ziel, das Leseerlebnis weltweit zu ver\u00e4ndern: Erweiterung von Lexend um verschiedene Schriftst\u00e4rken (German)", + "minisite_url": null + }, + "Lexend Mega": { + "name": "Lexend Mega", + "designer": [ + "Bonnie Shaver-Troup", + "Thomas Jockin", + "Santiago Orozco", + "H\u00e9ctor G\u00f3mez", + "Superunion" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Lexend is a collection of seven font families intended to improve reading proficiency. As prescription eyeglasses achieve proficiency for persons with short-sightedness, Lexend's families were developed using Shaver-Troup Formulations. All the Lexend fonts have been upgraded to variable fonts with a weight axis (from Thin to Black) in June 2021, thanks to the efforts of Font Bureau. To contribute, see github.com/googlefonts/lexend. For more information, see lexend.com. Clean and clear: making reading easier with Lexend A key factor in reading problems might be hiding in plain sight. Learn how changing fonts can change comprehension. A child struggles to read and understand their homework assignment. An adult re-reads a news article and still doesn\u2019t understand what it\u2019s about. Both readers end up frustrated and feeling like there is something wrong with them. Thankfully there might be a simple answer. Dr. Bonnie Shaver-Troup thinks fonts are part of the problem and the solution to many reading problems. \u201cWe have a global reading crisis and we can change much of it by delivering fonts that are optimized for the visual field and for the individual. The answer is hidden in plain sight. It\u2019s the font,\u201d said Shaver-Troup. Change the font, change the outcome While working as an educational therapist in Silicon Valley, Shaver-Troup helped students with dyslexia and other reading problems to learn to read. She experimented by changing the spacing between certain letters in their reading assignments, and found that it improved their reading and comprehension. According to Shaver-Troup, the issue wasn\u2019t in her students\u2019 minds, it was with the letterforms they saw on the screen or paper. \u201cThe majority of the reading problems, including dyslexia, are not cognitive or phonological. They are visual or perceptual. Our testing has a built-in design flaw. We use fonts to deliver text for reading that are too tight for efficient or successful visual processing. Then we get poor results, suggesting the reading issue is phonological or cognitive. If we change the font to the tested optimized font fit, then we change the outcome,\u201d she explained. To learn more, read: Clean and clear: making reading easier with Lexend (English) Partnering to change how the world reads (English) Eine Partnerschaft mit dem Ziel, das Leseerlebnis weltweit zu ver\u00e4ndern: Erweiterung von Lexend um verschiedene Schriftst\u00e4rken (German)", + "minisite_url": null + }, + "Lexend Peta": { + "name": "Lexend Peta", + "designer": [ + "Bonnie Shaver-Troup", + "Thomas Jockin", + "Santiago Orozco", + "H\u00e9ctor G\u00f3mez", + "Superunion" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Lexend is a collection of seven font families intended to improve reading proficiency. As prescription eyeglasses achieve proficiency for persons with short-sightedness, Lexend's families were developed using Shaver-Troup Formulations. All the Lexend fonts have been upgraded to variable fonts with a weight axis (from Thin to Black) in June 2021, thanks to the efforts of Font Bureau. To contribute, see github.com/googlefonts/lexend. For more information, see lexend.com. Clean and clear: making reading easier with Lexend A key factor in reading problems might be hiding in plain sight. Learn how changing fonts can change comprehension. A child struggles to read and understand their homework assignment. An adult re-reads a news article and still doesn\u2019t understand what it\u2019s about. Both readers end up frustrated and feeling like there is something wrong with them. Thankfully there might be a simple answer. Dr. Bonnie Shaver-Troup thinks fonts are part of the problem and the solution to many reading problems. \u201cWe have a global reading crisis and we can change much of it by delivering fonts that are optimized for the visual field and for the individual. The answer is hidden in plain sight. It\u2019s the font,\u201d said Shaver-Troup. Change the font, change the outcome While working as an educational therapist in Silicon Valley, Shaver-Troup helped students with dyslexia and other reading problems to learn to read. She experimented by changing the spacing between certain letters in their reading assignments, and found that it improved their reading and comprehension. According to Shaver-Troup, the issue wasn\u2019t in her students\u2019 minds, it was with the letterforms they saw on the screen or paper. \u201cThe majority of the reading problems, including dyslexia, are not cognitive or phonological. They are visual or perceptual. Our testing has a built-in design flaw. We use fonts to deliver text for reading that are too tight for efficient or successful visual processing. Then we get poor results, suggesting the reading issue is phonological or cognitive. If we change the font to the tested optimized font fit, then we change the outcome,\u201d she explained. To learn more, read: Clean and clear: making reading easier with Lexend (English) Partnering to change how the world reads (English) Eine Partnerschaft mit dem Ziel, das Leseerlebnis weltweit zu ver\u00e4ndern: Erweiterung von Lexend um verschiedene Schriftst\u00e4rken (German)", + "minisite_url": null + }, + "Lexend Tera": { + "name": "Lexend Tera", + "designer": [ + "Bonnie Shaver-Troup", + "Thomas Jockin", + "Santiago Orozco", + "H\u00e9ctor G\u00f3mez", + "Superunion" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Lexend is a collection of seven font families intended to improve reading proficiency. As prescription eyeglasses achieve proficiency for persons with short-sightedness, Lexend's families were developed using Shaver-Troup Formulations. All the Lexend fonts have been upgraded to variable fonts with a weight axis (from Thin to Black) in June 2021, thanks to the efforts of Font Bureau. To contribute, see github.com/googlefonts/lexend. For more information, see lexend.com. Clean and clear: making reading easier with Lexend A key factor in reading problems might be hiding in plain sight. Learn how changing fonts can change comprehension. A child struggles to read and understand their homework assignment. An adult re-reads a news article and still doesn\u2019t understand what it\u2019s about. Both readers end up frustrated and feeling like there is something wrong with them. Thankfully there might be a simple answer. Dr. Bonnie Shaver-Troup thinks fonts are part of the problem and the solution to many reading problems. \u201cWe have a global reading crisis and we can change much of it by delivering fonts that are optimized for the visual field and for the individual. The answer is hidden in plain sight. It\u2019s the font,\u201d said Shaver-Troup. Change the font, change the outcome While working as an educational therapist in Silicon Valley, Shaver-Troup helped students with dyslexia and other reading problems to learn to read. She experimented by changing the spacing between certain letters in their reading assignments, and found that it improved their reading and comprehension. According to Shaver-Troup, the issue wasn\u2019t in her students\u2019 minds, it was with the letterforms they saw on the screen or paper. \u201cThe majority of the reading problems, including dyslexia, are not cognitive or phonological. They are visual or perceptual. Our testing has a built-in design flaw. We use fonts to deliver text for reading that are too tight for efficient or successful visual processing. Then we get poor results, suggesting the reading issue is phonological or cognitive. If we change the font to the tested optimized font fit, then we change the outcome,\u201d she explained. To learn more, read: Clean and clear: making reading easier with Lexend (English) Partnering to change how the world reads (English) Eine Partnerschaft mit dem Ziel, das Leseerlebnis weltweit zu ver\u00e4ndern: Erweiterung von Lexend um verschiedene Schriftst\u00e4rken (German)", + "minisite_url": null + }, + "Lexend Zetta": { + "name": "Lexend Zetta", + "designer": [ + "Bonnie Shaver-Troup", + "Thomas Jockin", + "Santiago Orozco", + "H\u00e9ctor G\u00f3mez", + "Superunion" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Lexend is a collection of seven font families intended to improve reading proficiency. As prescription eyeglasses achieve proficiency for persons with short-sightedness, Lexend's families were developed using Shaver-Troup Formulations. All the Lexend fonts have been upgraded to variable fonts with a weight axis (from Thin to Black) in June 2021, thanks to the efforts of Font Bureau. To contribute, see github.com/googlefonts/lexend. For more information, see lexend.com. Clean and clear: making reading easier with Lexend A key factor in reading problems might be hiding in plain sight. Learn how changing fonts can change comprehension. A child struggles to read and understand their homework assignment. An adult re-reads a news article and still doesn\u2019t understand what it\u2019s about. Both readers end up frustrated and feeling like there is something wrong with them. Thankfully there might be a simple answer. Dr. Bonnie Shaver-Troup thinks fonts are part of the problem and the solution to many reading problems. \u201cWe have a global reading crisis and we can change much of it by delivering fonts that are optimized for the visual field and for the individual. The answer is hidden in plain sight. It\u2019s the font,\u201d said Shaver-Troup. Change the font, change the outcome While working as an educational therapist in Silicon Valley, Shaver-Troup helped students with dyslexia and other reading problems to learn to read. She experimented by changing the spacing between certain letters in their reading assignments, and found that it improved their reading and comprehension. According to Shaver-Troup, the issue wasn\u2019t in her students\u2019 minds, it was with the letterforms they saw on the screen or paper. \u201cThe majority of the reading problems, including dyslexia, are not cognitive or phonological. They are visual or perceptual. Our testing has a built-in design flaw. We use fonts to deliver text for reading that are too tight for efficient or successful visual processing. Then we get poor results, suggesting the reading issue is phonological or cognitive. If we change the font to the tested optimized font fit, then we change the outcome,\u201d she explained. To learn more, read: Clean and clear: making reading easier with Lexend (English) Partnering to change how the world reads (English) Eine Partnerschaft mit dem Ziel, das Leseerlebnis weltweit zu ver\u00e4ndern: Erweiterung von Lexend um verschiedene Schriftst\u00e4rken (German)", + "minisite_url": null + }, + "Libre Barcode 128": { + "name": "Libre Barcode 128", + "designer": [ + "Lasse Fister" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "symbols", + "display" + ], + "description": "Libre Barcode fonts enable you to write barcodes in the Code 39, Code 128 and EAN-13/UPC-12 formats, with or without text below the code. A number of fonts are available. For usage instructions and further information vist the documentation of the Code 128 format. The Libre Barcode project is led by Lasse Fister, a font and web developer based in Nuremberg, Germany. To contribute, see github.com/graphicore/librebarcode.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Libre Barcode 128 Text": { + "name": "Libre Barcode 128 Text", + "designer": [ + "Lasse Fister" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "symbols", + "display" + ], + "description": "Libre Barcode fonts enable you to write barcodes in the Code 39, Code 128 and EAN-13/UPC-12 formats, with or without text below the code. A number of fonts are available. For usage instructions and further information vist the documentation of the Code 128 format. The Libre Barcode project is led by Lasse Fister, a font and web developer based in Nuremberg, Germany. To contribute, see github.com/graphicore/librebarcode.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Libre Barcode 39": { + "name": "Libre Barcode 39", + "designer": [ + "Lasse Fister" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "symbols", + "display" + ], + "description": "Libre Barcode fonts enable you to write barcodes in the Code 39, Code 128 and EAN-13/UPC-12 formats, with or without text below the code. A number of fonts are available. For usage instructions and further information vist the documentation of the Code 39 format. The Libre Barcode project is led by Lasse Fister, a font and web developer based in Nuremberg, Germany. To contribute, see github.com/graphicore/librebarcode.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Libre Barcode 39 Extended": { + "name": "Libre Barcode 39 Extended", + "designer": [ + "Lasse Fister" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "symbols", + "display" + ], + "description": "Libre Barcode fonts enable you to write barcodes in the Code 39, Code 128 and EAN-13/UPC-12 formats, with or without text below the code. A number of fonts are available. For usage instructions and further information vist the documentation of the Code 39 format. The Libre Barcode project is led by Lasse Fister, a font and web developer based in Nuremberg, Germany. To contribute, see github.com/graphicore/librebarcode.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Libre Barcode 39 Extended Text": { + "name": "Libre Barcode 39 Extended Text", + "designer": [ + "Lasse Fister" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "symbols", + "display" + ], + "description": "Libre Barcode fonts enable you to write barcodes in the Code 39, Code 128 and EAN-13/UPC-12 formats, with or without text below the code. A number of fonts are available. For usage instructions and further information vist the documentation of the Code 39 format. The Libre Barcode project is led by Lasse Fister, a font and web developer based in Nuremberg, Germany. To contribute, see github.com/graphicore/librebarcode.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Libre Barcode 39 Text": { + "name": "Libre Barcode 39 Text", + "designer": [ + "Lasse Fister" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "symbols", + "display" + ], + "description": "Libre Barcode fonts enable you to write barcodes in the Code 39, Code 128 and EAN-13/UPC-12 formats, with or without text below the code. A number of fonts are available. For usage instructions and further information vist the documentation of the Code 39 format. The Libre Barcode project is led by Lasse Fister, a font and web developer based in Nuremberg, Germany. To contribute, see github.com/graphicore/librebarcode.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Libre Barcode EAN13 Text": { + "name": "Libre Barcode EAN13 Text", + "designer": [ + "Lasse Fister" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "symbols", + "display" + ], + "description": "Libre Barcode fonts enable you to write barcodes in the Code 39, Code 128 and EAN-13/UPC-12 formats, with or without text below the code. A number of fonts are available. For usage instructions and further information vist the documentation of the EAN-13 format. The Libre Barcode project is led by Lasse Fister, a font and web developer based in Nuremberg, Germany. To contribute, see github.com/graphicore/librebarcode.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Libre Baskerville": { + "name": "Libre Baskerville", + "designer": [ + "Impallari Type" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Libre Baskerville is a web font optimized for body text (typically 16px.) It is based on the American Type Founder's Baskerville from 1941, but it has a taller x-height, wider counters and a little less contrast, that allow it to work well for reading on-screen. Join the project at github.com/impallari/Libre-Baskerville", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Libre Bodoni": { + "name": "Libre Bodoni", + "designer": [ + "Pablo Impallari", + "Rodrigo Fuenzalida" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "The Libre Bodoni fonts are based on the 19th century Morris Fuller Benton's ATF design, but specifically adapted for today's web requirements. They are a perfect choice for everything related to elegance, style, luxury and fashion. Libre Bodoni currently features four styles: Regular, Italic, Bold and Bold Italic. To contribute, see github.com/googlefonts/Libre-Bodoni.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Libre Caslon Display": { + "name": "Libre Caslon Display", + "designer": [ + "Impallari Type" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Libre Caslon Display is the display version of Libre Caslon Text. The family is optimized for web headlines. There are already lots of digital Caslon's revivals, and lots of Caslon-esque fonts. Some are very good. But none of them was truly made for the web. While they look very good when printed on paper, they render very small when used for web body text on the screen. Another big difference is that pretty much all other digital Caslons revivals are based on 18th Century specimens by William Caslon I and William Caslon II. Libre Caslon, instead, is based on hand lettering artist Caslon interpretations typical of 1950s advertising. Kerning by Igino Marini with iKern. Libre Caslon Display also include some nice, extra Open Type features (available in the downloadable files), and a big Pro character-set covering 103 Latin languages: Afar, Afrikaans, Albanian, Azerbaijani, Basque, Belarusian, Bislama, Bosnian, Breton, Catalan, Chamorro, Chichewa, Comorian, Czech, Danish, Dutch, English, Esperanto, Estonian, Faroese, Fijian, Filipino/Tagalog, Finnish, Flemish, French, Gaelic (Irish/Manx/Scottish), Gagauz, German, Gikuyu, Gilbertese/Kiribati, Greenlandic, Guarani, Haitian_Creole, Hawaiian, Hungarian, Icelandic, Igo/Igbo, Indonesian, Irish, Italian, Javanese, Kashubian, Kinyarwanda, Kirundi, Latin, Latvian, Lithuanian, Luba/Ciluba/Kasai, Luxembourgish, Malagasy, Malay, Maltese, Maori, Marquesan, Marshallese, Moldovan/Moldovian/Romanian, Montenegrin, Nauruan, Ndebele, Norwegian, Oromo, Palauan/Belauan, Polish, Portuguese, Quechua, Romanian, Romansh, Sami, Samoan, Sango, Serbian, Sesotho, Setswana/Sitswana/Tswana, Seychellois_Creole, SiSwati/Swati/Swazi, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swedish, Tahitian, Tetum, Tok_Pisin, Tongan, Tsonga, Tswana, Tuareg/Berber, Turkish, Turkmen, Tuvaluan, Uzbek/Usbek, Wallisian, Walloon, Welsh, Xhosa, Yoruba, Zulu.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Libre Caslon Text": { + "name": "Libre Caslon Text", + "designer": [ + "Impallari Type" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Libre Caslon Text is optimized for web body text (typically set at 16px), whilst the companion family Libre Caslon Display is optimized for web headlines. Libre Caslon Text was specifically tailored to be used for web body text (typically set at 16px). It can be used at very small sizes and will still be readable on your website. Another big difference is that pretty much all other digital Caslons revivals are based on 18th Century specimens by William Caslon I and William Caslon II. Libre Caslon, instead, is based on hand lettering artist Caslon interpretations typical of 1950s advertising. This font was upgraded in early 2020 and is now available as a variable font. To contribute, see github.com/thundernixon/Libre-Caslon", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Libre Franklin": { + "name": "Libre Franklin", + "designer": [ + "Impallari Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Libre Franklin is an interpretation and expansion of the 1912 Morris Fuller Benton classic. The Libre Franklin project is led by Impallari Type, a type design foundry based in Rosario, Argentina. To contribute, see github.com/googlefonts/Libre-Franklin", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Licorice": { + "name": "Licorice", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Licorice is a playful handwritten font that is perfect scrapbooking, cards, invitations and fun events. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/licorice.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Life Savers": { + "name": "Life Savers", + "designer": [ + "Impallari Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Do you remember the \"Life Savers\" candies adds from the 50s? That was a time when Ad Agencies actually hired Lettering Artist for they advertising text. Before the advent of Photo Typesetting, all the text was beautifully drawn by hand. We are going to put some love to work and bring back the Life Savers hand-lettered Typewriter/Stymie mix. Probably drawn originally by Frazier Purdy for the Sam Marsh Studio. Updated June 2019 to v3.001. The Bold weight was drawn in 2012 and added in December, and the ExtraBold weight was drawn in August 2013, and finally added to Google Fonts in June 2019 with minor technical adjustments. To contribute, see github.com/googlefonts/life-savers.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Lilita One": { + "name": "Lilita One", + "designer": [ + "Juan Montoreano" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Lilita One is a display typeface with a fat look, ideal for headlines and short texts. With a slightly condensed structure and some eye-catching details, it adds personal and soft looks to any page.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Lily Script One": { + "name": "Lily Script One", + "designer": [ + "Julia Petretta" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Lily script is a sturdy display script with a playful, bold texture. It's soft, but clear shapes come with romantic connotations. Still its bold personality make it well-suited for charming looking headlines and texts. To contribute to the project contact Julia Petretta.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Limelight": { + "name": "Limelight", + "designer": [ + "Nicole Fally", + "Sorkin Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Limelight is a sensitive rendition of the classic high contrast art deco style geometric sans serif. This style is often used to suggest the 1920's time period as well as the theatre generally and hollywood filmmaking in particular. Because of the extreme contrast of the design it will perform most reliably on web pages at medium and large font sizes.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Linden Hill": { + "name": "Linden Hill", + "designer": [ + "Barry Schwartz" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Linden Hill is a revival of Frederic Goudy\u2019s Deepdene with roman and italic styles. To learn more, see bitbucket.org/sortsmill/sortsmill-fonts and theleagueofmoveabletype.com/linden-hill", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Linefont": { + "name": "Linefont", + "designer": [ + "Dmitry Ivanov" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [], + "stroke": null, + "classifications": [ + "symbols", + "display" + ], + "description": "Linefont is a variable font with Weight and Width axes for rendering small to medium-scale line charts. Linefont values span from 0 to 100, assigned to different characters: 0-9 chars are for simplified manual input with step 10 (bar height = number). a-z/A-Z for manual input with step 2, softened at edges a and Z (bar height = number of letter). U+0100-017F for 0..127 values with step 1. The axis range values are compatible with Wavefont by the same author, so the families can be used together with visual coherency. To contribute, see github.com/dy/linefont.", + "primary_script": null, + "article": null, + "minisite_url": "https://dy.github.io/linefont/scripts/" + }, + "Lisu Bosa": { + "name": "Lisu Bosa", + "designer": [ + "SIL International" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "lisu" + ], + "stroke": "SERIF", + "classifications": [], + "description": "This project is intended to provide a libre and open font family for all current languages and writing systems that use the Lisu (Fraser) script. The design is based on LisuTzimu, designed by David Morse. To contribute, please see github.com/silnrsi/font-lisu-bosa.", + "primary_script": "Lisu", + "article": null, + "minisite_url": null + }, + "Liter": { + "name": "Liter", + "designer": [ + "Anton Skugarov", + "Aleksandr Ivanin" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Liter is a modern Neo-grotesque typeface designed for digital screens and inspired by the principles of the Swiss design school. The font is optimized for use at 13, 16, and 19 point sizes. It features low contrast, minimal differences in the heights of uppercase and lowercase letters, and balanced proportions, making it versatile for interfaces, text, and navigation. The typeface supports multiple languages using Latin and Cyrillic scripts. To contribute, see github.com/skugiz/liter.", + "minisite_url": null + }, + "Literata": { + "name": "Literata", + "designer": [ + "TypeTogether" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Now in its third version, Literata is a distinct variable font family for digital text. Originally created as the brand typeface for Google Play Books, it exceeds the strict needs of a comfortable reading experience on any device, screen resolution, or font size. The family has matured into a full-fledged digital publishing toolbox \u2014 headline, paragraph, and caption text. Type Together redesigned it from the ground up as a variable font. Its tiny file size and infinite adjustability make it perfect for developers, mobile apps, and every screen imaginable. It\u2019s the \u201cevery-device font\u201d. Get the entire type family for FREE! Literata was designed by TypeTogether: Veronika Burian & Jos\u00e9 Scaglione (Latin), Irene Vlachou (Greek), Vera Evstafieva (Cyrillic) and Elena Novoselova (Cyrillic). The family won the GOLD Indigo Awards in 2021 and is the Modern Cyrillic 2021 winner. Two versions of the family exist, one for print and the other for Ebooks. This is the print version of the family. To contribute, see github.com/googlefonts/literata", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Liu Jian Mao Cao": { + "name": "Liu Jian Mao Cao", + "designer": [ + "Liu Zhengjiang", + "Kimberly Geswein", + "ZhongQi" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "chinese-simplified", + "latin" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Liu Jian Mao Cao is a grass script font based on the work of calligrapher Liu Zhengjiang. Like most grass scripts, LiuJian is boundless and expressive, but is also tempered with mellow approachability. Like water, its flow is full and gentle, restoring a still image to movement. The latin script included in the font was designed by Kimberly Geswein. To contribute, see github.com/googlefonts/liujianmaocao.", + "primary_script": "Hans", + "article": null, + "minisite_url": null + }, + "Livvic": { + "name": "Livvic", + "designer": [ + "LV=", + "Jacques Le Bailly" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Livvic is a custom corporate typeface designed by Jacques Le Bailly for LV=, an insurance company based in the UK. The typeface is part of a brand redesign. Livvic was designed to capture LV=\u2019s brand values and uniqueness. It is an open, friendly and somewhat quirky design. Corporate, yet still fresh and personal. The Roman is an upright Italic, with some inspirations from handwriting. This gives livvic a strong, yet accessible character. The Italic has matching metrics to the Roman. Although the Italic and Roman share a lot of similarities, the construction is different. It is gives the Italic some more panache. To contribute, see github.com/Fonthausen/Livvic.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Lobster": { + "name": "Lobster", + "designer": [ + "Impallari Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "The Lobster font took a different approach. The new OpenType format gives us the possibility to have multiple versions of each letter, and that's exactly what we are doing: Instead of compromising the design of our letters to force connections, we do what lettering artist do. We draw many versions of each letter and a lot of different letter-pairs (aka \"ligatures\") so we always use the best possible variation of each letter depending of the context of the letter inside each word. All this happens automatically in any browser that supports ligatures.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Lobster Two": { + "name": "Lobster Two", + "designer": [ + "Impallari Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Lobster Two is a family version of the original Lobster.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Londrina Outline": { + "name": "Londrina Outline", + "designer": [ + "Marcelo Magalh\u00e3es" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "The Londrina super-family is composed of 4 family styles: Londrina Solid, Londrina Shadow, Londrina Outline, and Londrina Sketch. You can combine the main style, Solid, with the others to create different effects. The origins of the Londrina typeface project is in the streets of Sao Paulo, Brazil: Urban confusion. Initially I designed the \"New Folk\" for use in a poster, with only uppercase letters. I saw at the start some potential for a typeface that could recall the feelings of the writing used day-to-day in my city's informal communication, and developed it into a typeface family with lowercases too. To contribute to the project, please see github.com/marcelommp/Londrina-Typeface", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Londrina Shadow": { + "name": "Londrina Shadow", + "designer": [ + "Marcelo Magalh\u00e3es" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "The Londrina super-family is composed of 4 family styles: Londrina Solid, Londrina Shadow, Londrina Solid, and Londrina Outline. You can combine the main style, Solid, with the others to create different effects. The origins of the Londrina typeface project is in the streets of Sao Paulo, Brazil: Urban confusion. Initially I designed the \"New Folk\" for use in a poster, with only uppercase letters. I saw at the start some potential for a typeface that could recall the feelings of the writing used day-to-day in my city's informal communication, and developed it into a typeface family with lowercases too. To contribute to the project, please see github.com/marcelommp/Londrina-Typeface", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Londrina Sketch": { + "name": "Londrina Sketch", + "designer": [ + "Marcelo Magalh\u00e3es" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "The Londrina super-family is composed of 4 family styles: Londrina Solid, Londrina Shadow, Londrina Outline. and Londrina Sketch. You can combine the main style, Solid, with the others to create different effects. The origins of the Londrina typeface project is in the streets of Sao Paulo, Brazil: Urban confusion. Initially I designed the \"New Folk\" for use in a poster, with only uppercase letters. I saw at the start some potential for a typeface that could recall the feelings of the writing used day-to-day in my city's informal communication, and developed it into a typeface family with lowercases too. To contribute to the project, please see github.com/marcelommp/Londrina-Typeface", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Londrina Solid": { + "name": "Londrina Solid", + "designer": [ + "Marcelo Magalh\u00e3es" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "The Londrina super-family is composed of 4 family styles: Londrina Solid, Londrina Shadow, Londrina Solid, and Londrina Outline. You can combine the main style, Solid, with the others to create different effects. The origins of the Londrina typeface project is in the streets of Sao Paulo, Brazil: Urban confusion. Initially I designed the \"New Folk\" for use in a poster, with only uppercase letters. I saw at the start some potential for a typeface that could recall the feelings of the writing used day-to-day in my city's informal communication, and developed it into a typeface family with lowercases too. To contribute to the project, please see github.com/marcelommp/Londrina-Typeface", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Long Cang": { + "name": "Long Cang", + "designer": [ + "Chen Xiaomin" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "chinese-simplified", + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Based on modern calligrapher Chen Xiaomin's handwritten script. LongCang features textured strokes of middling thickness that are raw and primal, yet refined.", + "primary_script": "Hans", + "article": null, + "minisite_url": null + }, + "Lora": { + "name": "Lora", + "designer": [ + "Cyreal" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "math", + "symbols", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Lora is a well-balanced contemporary serif with roots in calligraphy. It is a text typeface with moderate contrast well suited for body text. A paragraph set in Lora will make a memorable appearance because of its brushed curves in contrast with driving serifs. The overall typographic voice of Lora perfectly conveys the mood of a modern-day story, or an art essay. Technically Lora is optimised for screen appearance, and works equally well in print. In March 2019, the family has been updated to a variable font family. To contribute, see github.com/cyrealtype/Lora-Cyrillic.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Love Light": { + "name": "Love Light", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Adopted from an original hand lettered work, Love Light is an adaptation of another font. Its heart embellishments add a bit of romantic fantasy to this beautiful calligraphic script. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/love-light.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Love Ya Like A Sister": { + "name": "Love Ya Like A Sister", + "designer": [ + "Kimberly Geswein" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "My older sister Emily and I have been inseparable best friends for years. As children, we signed notes to each other with 'Love Ya Like a Sister' and then giggled at the irony of writing that when we were, in actuality, sisters. This nerdy habit has continued for years. I created this font to honor my friendship with Emily and the many ways she has inspired me and taught me in life.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Loved by the King": { + "name": "Loved by the King", + "designer": [ + "Kimberly Geswein" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "A skinny font that fits in little places. This is one of my first fonts I released online.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Lovers Quarrel": { + "name": "Lovers Quarrel", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "A playful calligraphic style, Lovers Quarrel is great for scrapbooking, cards, invitations and other fun things. Lovers Quarrel has exceptionally clean lowercase forms and beautifully ornate capital letters. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/lovers-quarrel.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Luckiest Guy": { + "name": "Luckiest Guy", + "designer": [ + "Astigmatic" + ], + "license": "apache2", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Luckiest Guy is a friendly heavyweight sans serif typeface inspired by 1950s advertisements with custom hand lettering.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Lugrasimo": { + "name": "Lugrasimo", + "designer": [ + "The DocRepair Project", + "Astigmatic" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "handwriting" + ], + "description": "Lugrasimo is a DocRepair font, intended to improve compliance with the ISO/IEC 29500 standard by providing fallback for Lucida Calligraphy that minimizes text reflow in Office Open XML documents. Lugrasimo is based on Fondamento, a typeface in calligraphic lettering style based on the traditional Foundational Hand, a basic teaching style created by Edward Johnston in the early 20th century. The letterforms are clear and cleanly legible, basic and formal. To contribute, please visit github.com/docrepair-fonts/lugrasimo-fonts.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Lumanosimo": { + "name": "Lumanosimo", + "designer": [ + "The DocRepair Project", + "Eduardo Tunni" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "handwriting" + ], + "description": "Lumanosimo is a DocRepair font, intended to improve compliance with the ISO/IEC 29500 standard by providing fallback for Lucida Handwriting that minimizes text reflow in Office Open XML documents. Lumanosimo is based on Paprika, which is an expressive typeface. To contribute, please visit github.com/docrepair-fonts/lumanosimo-fonts.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Lunasima": { + "name": "Lunasima", + "designer": [ + "The DocRepair Project", + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "hebrew", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Lunasima is a DocRepair font, intended to improve compliance with the ISO/IEC 29500 standard by providing fallback for Lucida Grande that minimizes text reflow in Office Open XML documents. Lunasima is based on Noto Sans, which is an unmodulated (\u201csans serif\u201d) design. To contribute, please visit github.com/docrepair-fonts/lunasima-fonts.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Lusitana": { + "name": "Lusitana", + "designer": [ + "Ana Paula Megda" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Lusitana is inspired by the type found in the 1572 first edition of \"The Lusiads\", a Portuguese epic poem by Lu\u00eds Vaz de Cam\u00f5es. This typeface is made for long texts at small sizes.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Lustria": { + "name": "Lustria", + "designer": [ + "MADType" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Lustria is a rounded-serif text typeface with details that make it interesting to use at larger display sizes as well. Started in 1999, this typeface has been aged to perfection and is finally ready for public consumption.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Luxurious Roman": { + "name": "Luxurious Roman", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Luxurious Roman is a semi-hand lettered font with inconsistent serifs and a subtle bouncy look to create that 'imperfect' hand calligraphed feel. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/luxurious-roman.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Luxurious Script": { + "name": "Luxurious Script", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Luxurious \u2014 the perfect description for this stunning formal script. It has cursive forms, with highly slanted and condensed characters, giving continuity to the over all feel of bodies of text. The added flourishing available enhances the beauty of the forms, making display images exude the richness of royalty. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/luxurious.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "M PLUS 1": { + "name": "M PLUS 1", + "designer": [ + "Coji Morishita" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "japanese", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "M+ FONTS is a little nifty font family for everyday usage. Mplus 1 is a Sans Serif font with nine weights from Thin to Black, supporting 5,700+ Kanjis for Japanese with GF Latin Plus. With the harmony of comfortable curves and straight lines, this font gives modern and generous impression, suiting for any occasions including small texts to big titles. To contribute to the project, visit https://github.com/coz-m/MPLUS_FONTS", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "M PLUS 1 Code": { + "name": "M PLUS 1 Code", + "designer": [ + "Coji Morishita" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "japanese", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "monospace" + ], + "description": "M+ FONTS is a little nifty font family for everyday usage. Mplus 1 Code is a Sans Serif font with seven weights from Thin to Bold, supporting 5,700+ Kanjis for Japanese with GF Latin Plus. Because this font is for programming usage, it has high readability even in small sizes, and letterforms are designed to avoid misreadings as much as possible. This font is a combination of Mplus 1 full-width Japanese with new half-width monospaced Latin alphabet and figures. To contribute to the project, visit https://github.com/coz-m/MPLUS_FONTS", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "M PLUS 1p": { + "name": "M PLUS 1p", + "designer": [ + "Coji Morishita", + "M+ Fonts Project" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "hebrew", + "japanese", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "The M+ Outline Fonts Project develops a superfamily set of several families: 4 families with proportional Latin, 3 with fixed-halfwidth Latin, and 2 with fixed-fullwidth Japanese Kana variations. The Rounded M+ Project develops versions of the M+ Fonts with rounded terminals. This set, M+ 1p, are fonts with proportional Latin and fixed-fullwidth Japanese, and 7 weights from Thin to Black. The Kana have contrasting straight lines and hand-drawn curves. The Latin is aimed to be a sophisticated and relaxed design. 8,676 glyphs. This is Version 1.061g, released upstream on 2016-04-12, and slightly modified by Google Fonts. Now released under the SIL Open Font License.", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "M PLUS 2": { + "name": "M PLUS 2", + "designer": [ + "Coji Morishita" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "japanese", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "M+ FONTS is a little nifty font family for everyday usage. Mplus 2 is a Sans Serif font with nine weights from Thin to Black, supporting 5,700+ Kanjis for Japanese with GF Latin Plus. With the somewhat classic letterforms, this font pursues new standard of classic modern. To contribute to the project, visit https://github.com/coz-m/MPLUS_FONTS", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "M PLUS Code Latin": { + "name": "M PLUS Code Latin", + "designer": [ + "Coji Morishita" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "monospace" + ], + "description": "M+ FONTS is a little nifty font family for everyday usage. Mplus Code Latin is a Sans Serif font with seven weights from Thin to Bold, supporting GF Latin Plus. Because this font is for programming usage, it has high readability even in small sizes, and letterforms are designed to avoid misreadings as much as possible. There are two styles\u2014Mplus Code Latin 50 and Mplus Code Latin 60, each having 50% and 60% character width. To contribute to the project, visit https://github.com/coz-m/MPLUS_FONTS", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "M PLUS Rounded 1c": { + "name": "M PLUS Rounded 1c", + "designer": [ + "Coji Morishita", + "M+ Fonts Project" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "hebrew", + "japanese", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "The M+ Outline Fonts Project develops a superfamily set of several families: 4 families with proportional Latin, 3 with fixed-halfwidth Latin, and 2 with fixed-fullwidth Japanese Kana variations. The Rounded M+ Project develops versions of the M+ Fonts with rounded terminals. This set, Rounded M+ 1c, are fonts with proportional Latin and fixed-fullwidth Japanese, and 7 weights from Thin to Black. The Kana have traditional slightly curved strokes. The Latin is optimized to be well-proportioned for text typesetting. 8,546 glyphs. This is Version v1.059g, released upstream on 2015-05-29, and slightly modified by Google Fonts. Now released under the SIL Open Font License.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ma Shan Zheng": { + "name": "Ma Shan Zheng", + "designer": [ + "Ma ShanZheng" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "chinese-simplified", + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "This script is reminiscent of fonts used to display \"yinglian,\" the short poems and blessings traditionally posted on either side of the entryway to a home or temple. MaShanZheng is heavy and majestic, vital and expansive.", + "primary_script": "Hans", + "article": null, + "minisite_url": null + }, + "Macondo": { + "name": "Macondo", + "designer": [ + "John Vargas Beltr\u00e1n" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Macondo. The first purpose of this typeface was to provide an original and systematized style of calligraphy adapted into a modern digital font. The forms are inspired by some illustrations created for a tarot card game, itself inspired by the work of Colombian literature Nobel prize winning author, Gabriel Garc\u00eda M\u00e1rquez, \u00abCien A\u00f1os de Soledad\u00bb. Early versions of this font were made in 1997, but recently in 2009 it was substantially improved. Macondo includes several cap swashes and other stylish alternates, and a sister family Macondo Swash Caps is also available.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Macondo Swash Caps": { + "name": "Macondo Swash Caps", + "designer": [ + "John Vargas Beltr\u00e1n" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Macondo. The first purpose of this typeface was to provide an original and systematized style of calligraphy adapted into a modern digital font. The forms are inspired by some illustrations created for a tarot card game, itself inspired by the work of Colombian literature Nobel prize winning author, Gabriel Garc\u00eda M\u00e1rquez, \u00abCien A\u00f1os de Soledad\u00bb. Early versions of this font were made in 1997, but recently in 2009 it was substantially improved. Macondo includes several cap swashes and other stylish alternates, and this is a sister family, Macondo Swash Caps.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Mada": { + "name": "Mada", + "designer": [ + "Khaled Hosny", + "Paul D. Hunt" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "arabic", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Mada is a modernist, unmodulted Arabic typeface inspired by road signage seen around Cairo, Egypt, by Khaled Hosny. The Arabic component is characterized by low descenders, open contours, and low contrast forms, making it suitable for signage, small point sizes, and user interfaces. However Mada can work also as a display typeface, with a modernist and simplistic feeling. The Latin component is a slightly modified version of Source Sans Pro, led by Paul Hunt at Adobe Type. To contribute, see github.com/aliftype/mada", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Madimi One": { + "name": "Madimi One", + "designer": [ + "Taurai Valerie Mtake", + "Mirko Velimirovi\u0107" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Madimi is a rounded sans with a mixed geometric and organic design. The design covers all of Google Latin Core. Madimi takes inspiration from the gentle curved geometry of certain Southern Afrikan graphic symbols. Circles are a main feature, the circle being a shape that represents the womb of a woman in KiNtu symbologies. The idea behind Madimi is to enact the subtle visual subtext of Afrikan visual traditions. Madimi is simple, clean and round edged but still remains clear and easy to read. To contribute, see github.com/TaVaTake/madimi.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Magra": { + "name": "Magra", + "designer": [ + "FontFuror" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Magra is a sans serif typeface designed for contexts in which both spatial economy and multiple composition styles are required. Its neutral personality and humanist features makes it a perfect candidate for corporate uses too. Its large x-height and robust stems provide good legibility and economy, plus great behavior in smaller sizes. Magra was selected to be part of the German editorial project Typodarium 2012.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Maiden Orange": { + "name": "Maiden Orange", + "designer": [ + "Astigmatic" + ], + "license": "apache2", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SLAB_SERIF", + "classifications": [ + "display" + ], + "description": "Maiden Orange is a light and festive slab serif font inspired by custom hand lettered 1950s advertisements. Clean and legible, while also being offbeat and friendly, this font lends itself to a wide variety of uses. From children's stories to the retro inspired, take Maiden Orange for a spin.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Maitree": { + "name": "Maitree", + "designer": [ + "Cadson Demak" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "thai", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Maitree means \u201cfriendliness\u201d in Thai. Maitree is a serif Latin and looped Thai typeface with wide proportions. It is characterized by its bigger-than-usual looped terminal in Thai, and long serifs in Latin, that balance out the whole structure. Maitree offers 6 weights, and its asymmetrically curved terminals are well-suited for both formal and casual usage, especially for works that require an antique and historical manner. A similarity between some glyphs such as \u0e01 \u0e16 \u0e20 \u0e24 \u0e26, \u0e0e \u0e0f, \u0e1a \u0e1b, or \u0e02 \u0e0a is something to take into consideration because it might lead to confusion when typesetting very short texts. Sizes and positions of Thai vowels and tone marks have been managed carefully, because they are all relevant to readability, legibility, and overall texture. The Maitree project is led by Cadson Demak, a type foundry in Thailand. To contribute, see github.com/cadsondemak/maitree", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Major Mono Display": { + "name": "Major Mono Display", + "designer": [ + "Emre Parlak" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display", + "monospace" + ], + "description": "Maj\u00f6r Mono Display is a monospaced geometric sans serif all-uppercase typeface which also has a complete set of constructivist display characters with a playful attitude. It has many OpenType features, but the basic stylistic sets, serious sans serif, and playful display designs, are encoded as lowercase and uppercase characters. This makes it a great choice for playful web typography, especially at large point-sizes. To contribute, see github.com/googlefonts/majormono", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Mako": { + "name": "Mako", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Mako is a minimal sans serif designed to be used freely across the internet by web browsers on desktop computers, laptops and mobile devices. The July 2023 update features a bigger glyphset and some minor aesthetic modifications. To contribute, see github.com/googlefonts/MakoFont.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Mali": { + "name": "Mali", + "designer": [ + "Cadson Demak" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "thai", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Mali is a Thai and Latin family which was inspired by a 6th graders' handwriting. It exudes a carefree and naive appearance.", + "primary_script": "Thai", + "article": null, + "minisite_url": null + }, + "Mallanna": { + "name": "Mallanna", + "designer": [ + "Purushoth Kumar Guttula" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "telugu" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Mallanna is a Telugu font with round letterforms and a uniform thickness that reminds us of the round pearls Hyderabad is famous for. It looks very crisp even at small point sizes, which helps publishers make beautiful designs, and includes complex Telugu conjunct letters. Mallanna is named after the Telugu poet from the court of the king Krishnadevaraya, and was one of the Astadiggajalu (literally eight legends) there. The Telugu is designed and developed by Purushoth Kumar Guttula in 2013 and made available by Silicon Andhra under the SIL Open Font License v1.1. The Latin is designed by Vernon Adams and originally published as Nunito. The Mallanna project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India. To contribute, see github.com/appajid/mallanna", + "primary_script": "Telu", + "article": null, + "minisite_url": null + }, + "Maname": { + "name": "Maname", + "designer": [ + "Pathum Egodawatta", + "Mooniak" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "sinhala", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Sinh", + "article": "Maname is a text typeface made for Sinhala script with quirky stroke modulation. Maname Latin is informed by the modulation of Sinhala companion and takes a versatile lively form. This project was orignally conceptualised and prototyped by Pathum Egodawatta as a superfamily with many styles and scripts in partial fulfilment for the requirements for the Master of Arts in Typeface Design (MATD) at the University of Reading, Department of Typography and Graphic Communication in 2016. Since then selected Latin and Sinhala components from the academic project were extended to include support for wider Latin character set and full Sinhala support under the name Maname. To contribute, please see github.com/mooniak/maname-font.", + "minisite_url": null + }, + "Mandali": { + "name": "Mandali", + "designer": [ + "Purushoth Kumar Guttula" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "telugu" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Mandali is a Telugu font developed for use in news publications and has many unique Telugu conjunct letters. It is named after Mandali Venkata Krishna Rao, who successfully organised the first World Telugu Conference in 1975. He and his family have worked for the well being of Telugu people. The Telugu is designed and developed by Purushoth Kumar Guttula in 2013 and made available by Silicon Andhra under the SIL Open Font License v1.1. The Latin is designed by Vernon Adams and originally published as Nunito. The Mandali project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India. To contribute, see github.com/appajid/mandali", + "primary_script": "Telu", + "article": null, + "minisite_url": null + }, + "Manjari": { + "name": "Manjari", + "designer": [ + "Santhosh Thottingal" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "malayalam" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Manjari is a Malayalam and Latin family whose name means pearl in Malayalam. It's also the name of a poetic metre. This family is suitable for body text and titles. To contribute, see github.com/smc/manjari", + "primary_script": "Mlym", + "article": null, + "minisite_url": null + }, + "Manrope": { + "name": "Manrope", + "designer": [ + "Mikhail Sharanda" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Manrope is an open-source modern sans-serif font family, designed by Mikhail Sharanda in 2018. In 2019, Mirko Velimirovic worked with Mikhail Sharanda to convert Manrope into a variable font. To contribute, see github.com/sharanda/manrope.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Mansalva": { + "name": "Mansalva", + "designer": [ + "Carolina Short" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "greek", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Mansalva is a script font that works well for notes and informal text passages. It presents two alternates for each letter and number to provide a natural, handwritten, less mechanical look. It also features good legibility for a handwriting typeface and is perfect for a casual-looking annotation. Latest upgrade from October 2022 includes a Latin Plus language coverage currently supporting most Latin-based languages. The vertical metrics have been harmonised for a better cross-platform experience; as a result existing users may notice a visible increase of the line spacing in webpages and documents on Mac. To contribute, see github.com/carolinashort/mansalva.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Manuale": { + "name": "Manuale", + "designer": [ + "Omnibus-Type" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Manuale is part of the Omnibus-Type Press Series, designed by Pablo Cosgaya and Eduardo Tunni for editorial typography (books, newspapers and magazines) in print and online. In September 2019, the family has been converted into a variable font family. To contribute to the project, visit github.com/omnibus-Type/Manuale.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Marcellus": { + "name": "Marcellus", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Marcellus and Marcellus SC (small caps) are a set of flared serif typeface families, inspired by classic Roman inscription letterforms. While the SC family leans more towards the titling style of Trajan, the Regular version lends itself to a wider range of usage. These elegant typefaces, when combined in use, exude clarity and beauty for both on screen and printed materials. Marcellus is a Unicode typeface family that supports languages that use the Latin script and its variants, and could be expanded to support other scripts. More specifically, this release supports the following Unicode ranges: Latin-1, Latin-2, Turkish, and Windows Baltic. To contribute to the project contact Brian J. Bonislawsky.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Marcellus SC": { + "name": "Marcellus SC", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Marcellus and Marcellus SC (small caps) are a set of flared serif typeface families, inspired by classic Roman inscription letterforms. While the SC family leans more towards the titling style of Trajan, the Regular version lends itself to a wider range of usage. These elegant typefaces, when combined in use, exude clarity and beauty for both on screen and printed materials. Marcellus is a Unicode typeface family that supports languages that use the Latin script and its variants, and could be expanded to support other scripts. More specifically, this release supports the following Unicode ranges: Latin-1, Latin-2, Turkish, and Windows Baltic. To contribute to the project contact Brian J. Bonislawsky.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Marck Script": { + "name": "Marck Script", + "designer": [ + "Denis Masharov" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "cyrillic", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Marck Script is based on freehand lettering with felt-tip pen by Marck Fogel. The main advantage over other similar fonts is the lack of connections between characters, that allows wide variety of spacing between letters. It can be used for logotypes, headlines and for short pieces of text, wherever you want to create an informal, confident relationship - it is readable, comfortable and welcoming.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Margarine": { + "name": "Margarine", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Margarine draws its roots loosely from various inspirations, with a thick marker weight and deliberate carrying of rounds into regularly straightened lowercase characters, this typeface has that warm and fuzzy feeling to it. To contribute to the project contact Brian J. Bonislawsky.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Marhey": { + "name": "Marhey", + "designer": [ + "Nur Syamsi", + "Bustanul Arifin" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "arabic", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Marhey is a playful Display typeface, custom hand lettering with contrast strokes that makes dynamic and expressive impression. It comes with Latin Character sets including Western, Central, and Arabic language support (Kurdish, Persian, Urdu and Jawi). To contribute, see github.com/namelatype/Marhey.", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Markazi Text": { + "name": "Markazi Text", + "designer": [ + "Borna Izadpanah", + "Florian Runge", + "Fiona Ross" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "arabic", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "This typeface design was inspired by Tim Holloway's Markazi typeface, with his encouragement, and initiated by Gerry Leonidas as a joint University of Reading and Google project. The Arabic glyphs were designed by Borna Izadpanah and design directed by Fiona Ross, they feature a moderate contrast. It takes its cues from the award-winning Markazi typeface, affording a contemporary and highly readable typeface. The complementary Latin glyphs were designed by Florian Runge. It keeps in spirit with its Arabic counterpart, echoing key design characteristics while being rooted in established Latin traditions. It is an open and clear design with a compact stance and an evenly flowing rhythm. The family is available in four weights with extended language support suited for print and screen. To contribute, see github.com/BornaIz/markazitext.", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Marko One": { + "name": "Marko One", + "designer": [ + "Cyreal" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Marko One is a typeface designed for children's literature. The initial idea was to create a typeface-companion for Marko the Sparrow - a cartoon character by illustrator and type designer Zhenya Spizhovyi. Marko One is simple and smooth, has special inner tension and eye-catchy detailing. The letterforms are based on calligraphy and sketches - this is what makes Marko lively, enchanting, and amiable. Marko One typeface will work best in medium to large sizes and captivating headlines. It is technically optimized for better performance on screen, while carefully adjusted outlines promise good quality in print too.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Marmelad": { + "name": "Marmelad", + "designer": [ + "Cyreal", + "Manvel Shmavonyan" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Marmelad is designed specifically for medium to large-size headlines and remains well-balanced for long text setting because of its regular proportions and medium contrast. Ascenders and descenders are elegant and details refined. The name and overall feel refers to marmalade sweets - soft and ductile. All vertical strokes are rounded towards the baseline, which is why technically there is no sense for overshoots in rounded letters like O. Marmelad performs well on screen because of its soft rounded features and generous x-height. The font supports Latin and Cyrillic. In 2022, the kerning is improved and the Latin language coverage expanded. To contribute, see github.com/cyrealtype/Marmelad-Cyrillic.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Martel": { + "name": "Martel", + "designer": [ + "Dan Reynolds" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Martel is a libre font development project. Begun in 2008 in the Department of Typography & Graphic Communication at the University of Reading, the first weights of the font family (Martel UltraLight, Light, Regular, DemiBold, Bold, ExtraBold and Heavy) were released in 2014. The Devanagari glyphs to-date have all been designed by Dan Reynolds, whereas the Latin script\u2019s glyphs are based on the Merriweather fonts. Check out the Martel Sans project, too. The Martel Devanagari typeface is designed for typesetting immersive-style documents. It may be be used to set long passages of text in languages that are written in the Devanagari script, including Hindi, Marathi, Nepali, Sanskrit, etc. Martel Devanagari is a readable typeface whose glyph proportions are inspired by traditional writing and calligraphic styles. Its high-contrast strokes have a diagonal axis, in keeping with the pen-angle most often used for the Devanagari writing system. The Martel project is led by Dan Reynolds, a type designer in Berlin. To contribute, visit github.com/typeoff/martel", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Martel Sans": { + "name": "Martel Sans", + "designer": [ + "Dan Reynolds", + "Mathieu R\u00e9guer" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "The Martel Sans typeface is designed for typesetting immersive documents. It may be be used to set long passages of text in languages that are written in the Devanagari script, including Hindi, Marathi, Nepali, Sanskrit, and others. The Martel Devanagari design is a readable typeface whose glyph proportions are inspired by traditional writing and calligraphic styles. Its high-contrast strokes have a diagonal axis, in keeping with the pen-angle most often used for the Devanagari writing system. This Sans design is a low contrast design based on the initial Martel Devanagari. The Latin character set is an original design. Both character sets are the work of Dan Reynolds and Mathieu R\u00e9guer. The Martel Sans project is led by Dan Reynolds, a type designer based in Berlin, Germany. To contribute, see github.com/typeoff/martel_sans Updated November 2015: Internal metadata corrected.", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Martian Mono": { + "name": "Martian Mono", + "designer": [ + "Roman Shamin", + "Evil Martians" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "monospace" + ], + "description": "Martian Mono is a monospaced version of the Martian Grotesk font for code style design. It inherits Grotesk's brutal and eye-catching aesthetics as well as all of its benefits-metrics equilibrium, readability and intelligibility, and convenience for web developers and designers who believe in a systematic approach to design. Martian Mono consists of a variable font with a width (Condensed to SemiExpanded) and weight axes (Thin to ExtraBold). In January 2023, the basic Cyrillic script is added and the font supports now Ukrainian, Belarusian, and Russian languages. To contribute, see github.com/evilmartians/mono.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Marvel": { + "name": "Marvel", + "designer": [ + "Carolina Trebol" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Marvel is a contemporary and multipurpose sans serif typeface family. It can be used in headlines as well as text settings in websites, books and magazines. It was designed to look sharp, modern and even technical while keeping a unique personality. Typography has always been very important in my graphic design work, and some time ago I started working on experimental type, designing typefaces for use in my own projects so that I could give more personality to them.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Matangi": { + "name": "Matangi", + "designer": [ + "The Graphic Ant" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Deva", + "article": "Matangi is a semi-condensed sans-serif variable typeface that supports both Latin and Devanagari scripts. It includes seven static weights \u2014 Light, Regular, Medium, Bold, SemiBold, ExtraBold, and Black \u2014 offering a flexible range suitable for titles, headings, logos, and small body text. Started as a personal challenge and a love for typography, this project was a journey of exploration and self-learning, designed to offer a flexible, functional tool for multilingual design. It is also the first variable font project from Nepal, with the hope of benefiting users worldwide. The design is based on simple geometric shapes, primarily squares and circles, giving the letterforms a structured, rational character. Subtle inktraps are applied at stroke joints for aesthetic purposes, ensuring even typographic color across various sizes and weights. The x-height of the Latin script and the base character height of the Devanagari script are carefully aligned to create visual harmony when typesetting both scripts together. Matangi includes over 1,700 glyphs and provides extensive language support, covering more than 150 (Devanagari & Latin Based) languages, primarily including Nepali, Sanskrit, Hindi, Marathi, Awadhi, Dotyali and Latin-based languages. It seamlessly renders extended Sanskrit ligatures and complex Devanagari matras. To contribute, please see github.com/thegraphicant/Matangi", + "minisite_url": null + }, + "Mate": { + "name": "Mate", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Simple in its structure; sharp and generous counter-shapes which create a medium texture that calls for good page color, in addition to offering a more relaxed reading experience for each line of text: Mate. The italics that accompany the regular style show their quality in the shading of strokes, in the counters and the unusual shapes for this style as well as the calligraphic reminiscences that give this style a different and pleasant visual rhythm. The Small Caps (SC) style, featuring traditional proportions, completes this initial release with its medium height numbers in all styles. The primary use for the family is in text, yet due to the constructive details of letterforms, this family can be used in larger sizes for display typography. The February 2023 update features a bigger glyphset, fractions and some minor aesthetic modifications. To contribute, see github.com/etunni/mate.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Mate SC": { + "name": "Mate SC", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Simple in its structure; sharp and generous counter-shapes which create a medium texture that calls for good page color, in addition to offering a more relaxed reading experience for each line of text: Mate. The italics that accompany the regular style show their quality in the shading of strokes, in the counters and the unusual shapes for this style as well as the calligraphic reminiscences that give this style a different and pleasant visual rhythm. This is the Small Caps (SC) style, featuring traditional proportions, completes this initial release with its medium height numbers in all styles. The primary use for the family is in text, yet due to the constructive details of letterforms, this family can be used in larger sizes for display typography. The February 2023 update features a bigger glyphset, fractions and some minor aesthetic modifications. To contribute, see github.com/etunni/mate.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Matemasie": { + "name": "Matemasie", + "designer": [ + "Adam Yeo" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "MATEMASIE Matemasie is an ultra-bold display typeface distinguished by rounded edges and top-weighted letterforms. It is inspired by the Adinkra symbol \"Mate Masie,\" meaning \"what I hear, I keep\" \u2014 embodying the importance of listening and communication in oral traditions. The typeface symbolizes the principles of communication, wisdom, knowledge, prudence, and connection. The goal of the typeface is a celebration of African heritage while meeting contemporary design standards. Adinkra symbols express themes connected to the history, beliefs, and philosophy of the Asante people, often with proverbial meanings that signify wisdom. These symbols also describe historical events, human and animal behavior, plant forms, and object shapes. Drawing on this Adinkra symbol, the design connects with Africa's rich graphical heritage. The creation of Matemasie was a journey to craft a typeface that resonates with the spirit of Africa, drawing deeply from its roots. The design process involved connecting the past and present, preserving the essence of African heritage for future generations. Matemasie celebrates the harmony between tradition and innovation, reflecting the balance embodied by the \"Mate Masie\" symbol. Traditionally, the Mate Masie symbol is represented by four linked ears\u2014two on top and two on the bottom. This 2-by-2 arrangement is a fundamental aspect of the symbol, signifying balance and rhythm, when it is presented in traditional designs. This rhythmic balance played a crucial role in developing the letterforms of the Matemasie font. By integrating this cultural structure into the digital design, Matemasie stays deeply connected to its cultural roots, preserving the essence of the symbol while adapting it for contemporary use. The design process aimed to respect and reflect the traditional symbolism, allowing the modern typeface to serve as both a functional tool and a cultural tribute. The typeface captures both the artistic and spiritual essence of \"Mate Masie\" through its unique typographic features. Matemasie is more than a collection of letters; it is a testament to the rich mosaic of African culture and tradition. Like the symbol that inspired it, Matemasie whispers stories of ancient wisdom and caution through its elegant curves. It is hoped that Matemasie's story will continue to evolve with various styles, inspiring typographers to explore the depths of African culture and wisdom.", + "minisite_url": "https://yadamss.github.io/Matemasie-miniwebsite" + }, + "Maven Pro": { + "name": "Maven Pro", + "designer": [ + "Joe Prince" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Maven Pro is a sans-serif typeface with unique curvature and flowing rhythm. Its forms make it very distinguishable and legible when in context. It blends styles of many great typefaces and is suitable for any design medium. Maven Pro\u2019s modern design is great for the web and fits in any environment. Updated in January 2019 with a Variable Font \"Weight\" axis. The Maven Pro project was initiated by Joe Price, a type designer based in the USA. To contribute, see github.com/googlefonts/mavenproFont", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "McLaren": { + "name": "McLaren", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "The McLaren typeface was created to act as a generic go-to comic style lettering. It has simple clean letterforms with a mild bounce and offbeat quality to it without going too far. It is cleanly legible for small bursts of copy to larger bodies of text, perfect for books for children, comics, and anything requiring a mildly playful yet clearly readable font.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Mea Culpa": { + "name": "Mea Culpa", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Mea Culpa is a beautiful formal script with flourished capitals. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/mea-culpa.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Meddon": { + "name": "Meddon", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Meddon is a handwriting font created from the handwritten script of an Eighteenth century legal document. A further version is being developed with many alternate characters and swashes to work with new web browsers that support Opentype font shaping.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "MedievalSharp": { + "name": "MedievalSharp", + "designer": [ + "Wojciech Kalinowski" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "This is another of my old fonts used to make inscriptions on stone. I created the MedievalSharp font in around 1995 like my other fonts - when I started doing the inscriptions on stone professionally. It's based on gothic letters. Initially the font contained only capitals and digits, and later I made missing small fonts and some basical signs. In 2010 I started convert my typeface designs into digital fonts. The first was NovaCut and all the Nova family, and here's another...", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Medula One": { + "name": "Medula One", + "designer": [ + "LatinoType" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Medula One is a friendly rhythmic sans serif with brush-like end strokes. Economical and capable of straightforward display work, Medula One remixes the old and the new, the organic and the modern into a fresh and versatile condensed typeface.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Meera Inimai": { + "name": "Meera Inimai", + "designer": [ + "SMC" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "tamil" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Meera Inimai is a san-serif typeface. It is best used as a screen font for body text. It is also useful for body text of printed pamphlets or single page designs. Usage of Meera Inimai can be thought of similar to Latin grotesque sans serif typefaces. The Tamil characters are inherently vertically-elliptical and the Latin is naturally based on this characteristic to smoothly sit with the Tamil component. Meera Inimai is a free licensed unicode font for Tamil Script. This is designed by Anilan N. G. with typography guidance from Hussain K. H. and linguistic guidance from A. K. M. Kutty. The OpenType features of the font is compiled by Santhosh Thottingal. The Meera Inimai project is led by Swathanthra Malayalam Computing, a free software community in Kerala, India. To contribute, see gitlab.com/smc/meera-tamil", + "primary_script": "Taml", + "article": null, + "minisite_url": null + }, + "Megrim": { + "name": "Megrim", + "designer": [ + "Daniel Johnson" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Megrim is an experimental font covering most of the basic Western Latin character set. It has stylistic alternates.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Meie Script": { + "name": "Meie Script", + "designer": [ + "Johan Kallas", + "Mihkel Virkus" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Meie Script is a typeface, which is based on the original 1910 Estonian handwriting standard. It is less flamboyant then its Western European contemporaries. Estonian handwriting has been influenced greatly by German and Russian handwriting styles and Meie Script embodies a mixture of those two styles. Designed by Johan Kallas and Mihkel Virkus.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Meow Script": { + "name": "Meow Script", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Meow Script is a monoline font with a number of alternate forms in six stylistic sets. It works eclectically and harmoniously to add a fun, whimsy look to your posters, ads, invitations and similar designs. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/meow-script.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Merienda": { + "name": "Merienda", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "'Merienda' is a Spanish term for \"afternoon snack\", and this pleasant time of the day was worth its own typography. Merienda has soft shapes, is slightly condensed, and has a rhythm which is an invitation to read short pieces of text. It is ideal for headlines which call for height, as its strokes resemble those of a brush and deliver freshness and a dynamic touch in the development of words. Merienda One is the initial publication of this typeface family in a single boldstyle. In september 2022, the font is updated as a variable and now offers 7 styles, ranging from light to black. The glyphset has also been extended, offering a larger number of supported languages. To contribute, see github.com/etunni/merienda.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Merriweather": { + "name": "Merriweather", + "designer": [ + "Sorkin Type" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Merriweather was designed to be a text face that is pleasant to read on screens. It features a very large x height, slightly condensed letterforms, a mild diagonal stress, sturdy serifs and open forms. There is also Merriweather Sans, a sans-serif version which closely harmonizes with the weights and styles of this serif family. The Merriweather project is led by Sorkin Type, a type design foundry based in Western Massachaussets, USA. To contribute, see github.com/SorkinType/Merriweather", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Merriweather Sans": { + "name": "Merriweather Sans", + "designer": [ + "Sorkin Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Merriweather Sans is a low-contrast semi-condensed sans-serif text typeface family designed to be pleasant to read at very small sizes. Merriweather Sans is traditional in feeling despite the modern shapes it has adopted for screens. Merriweather Sans is an evolving project and will be updated. As of now there are 8 styles: Light, Regular, Bold, and ExtraBold weights in Roman and Italic styles. There is also Merriweather, a serif version which closely harmonizes with the weights and styles of this sans-serif family. Designed by Eben Sorkin, Merriweather Sans features a large x height, slightly condensed letterforms, a mild diagonal stress and open forms. Merriweather Sans is a work in progress and will be improved regularly. This means you can request improvements and even fund specific features if if they are outside of the current scope of work. For more information and to stay updated see Eben Sorkin's blog and Flickr stream, and the MerriweatherFnt Twitter microblog. Updated in June 2013 with italic styles. Updated in January 2016: This revision improves on-screen rendering especially at text sizes with ttfautohint hinting. Merriweather Sans will work better when installed on desktops. Some OpenType features were added and improved. Since the vertical and horizontal metrics changed, this may cause some text to reflow in some browsers. A second update (v1.006) was made on 1/25 to fix ligatures and other digraphs. To contribute, see github.com/SorkinType/Merriweather-Sans.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Metal": { + "name": "Metal", + "designer": [ + "Danh Hong" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "khmer", + "latin" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Metal is a Khmer font with a design similar to the Khmer Italic metal types published in Cambodia before 1970. To contribute, see github.com/danhhong/Metal.", + "primary_script": "Khmr", + "article": null, + "minisite_url": null + }, + "Metal Mania": { + "name": "Metal Mania", + "designer": [ + "Open Window" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Metal Mania was inspired by lots of Heavy Metal album covers and posters. Only the most 'Metal' elements were combined to make the quintessential Heavy Metal font. Looks good on concert posters and guitar picks! Long live Metal Mania. First drawn were the inline forms and then they were traced, utilizing a playful 'cutout' effect. Designed by Dathan Boardman of Open Window.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Metamorphous": { + "name": "Metamorphous", + "designer": [ + "James Grieshaber" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Metamorphous is a medium contrast design taking style cues from a wide variety of sources. It draws on and mixes together Romanesque, Gothic and the more familiar Renaissance letter shapes. Originally inspired by display fonts including the free font Morpheous designed by Kiwi Media as well as the work of Jonathan Barnbrook; Metamorphous is designed to be useful in a broad range of applications and sizes. Metamorphous also covers most languages that use Latin letters.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Metrophobic": { + "name": "Metrophobic", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Metrophobic is a sans serif face with a semi geometric feel. It is designed to be legible at small text sizes but also have enough character to be used as an interesting display face for headers and headlines. It can also be used for text bodies. Updated June 2019 to v3.100: Redrawn and respaced to improve the design quality. Updated January 2023 to v3.200: The glyphset has been expanded and now support Vietnamese language. The overhall horizontal space has been adjusted for a better readability. The Metrophobic project was commissioned by Google from Vernon Adams, an English type designer who lived in San Clemente, Los Angeles, USA. To contribute, see github.com/googlefonts/MetrophobicFont", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Michroma": { + "name": "Michroma", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Michroma is a reworking and remodelling of the rounded-square sans genre that is closely associated with a 1960s feeling of the future. This is due to the popularity of Microgramma, designed by Aldo Novarese and Alessandro Buttiin in 1952, which pioneered the style; and the most famous typeface family of the genre that came 10 years later in Novarese\u2019s Eurostile. Michroma has character widths and stem weights perfectly formed to fit today's digital screens; Vernon Adams has pioneered a design process with this font that produces excellent results on screen with no manual hinting involved. The Mai 2023 update features a bigger glyphset and some minor aesthetic modifications. To contribute, see github.com/googlefonts/Michroma-font", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Micro 5": { + "name": "Micro 5", + "designer": [ + "Sarah Cadigan-Fried" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "The Soft Type Collection is designed for knitters to chart out their typographic projects. Micro 5 is a teeny-tiny typeface that can fit anywhere on your project. Each typeface has a \u201cRegular\u201d and \u201cCharted\u201d version, and some include multiple scales so you can fit type on your knits, no matter the project's size. In this collection, the number following the typeface's name indicates the height of the capital letters for that typeface. Check out the charted version Micro 5 Charted. To contribute, please see github.com/scfried/soft-type-micro.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Micro 5 Charted": { + "name": "Micro 5 Charted", + "designer": [ + "Sarah Cadigan-Fried" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "The Soft Type Collection is designed for knitters to chart out their typographic projects. Micro 5 is a teeny-tiny typeface that can fit anywhere on your project. Each typeface has a \u201cRegular\u201d and \u201cCharted\u201d version, and some include multiple scales so you can fit type on your knits, no matter the project's size. In this collection, the number following the typeface's name indicates the height of the capital letters for that typeface. Check out the non-charted version Micro 5. To contribute, please see github.com/scfried/soft-type-micro.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Milonga": { + "name": "Milonga", + "designer": [ + "Impallari Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Milonga is a Font inspired on \u201ctangueros\u201d art. This is a tribute to the \u201crioplatense\u201d culture, so colored, full of love and hate, family, friends and enemies stories told in countless Tangos and Milongas (folk music genre from Argentina). This graceful, flowing and rhythmic font is formed by graphic elements found in a kind of classic painting from this area called \u201cfileteado porte\u00f1o\u201d; with terminations involving petals, round and pointy details. Milonga is useful for headlines, where the characteristics of the font are highlighted.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Miltonian": { + "name": "Miltonian", + "designer": [ + "Impallari Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Miltonian is a fun 'tattoo' font. There is also the Miltonian Tattoo variant with filled-in forms. For nice effects, the two fonts can be combined by overlaying them. Also included are a few dingbats that can be used for decoration. Updated: January 2016 to version 1.008", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Miltonian Tattoo": { + "name": "Miltonian Tattoo", + "designer": [ + "Impallari Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Miltonian is a fun 'tattoo' font; this is the Tattoo variant with filled-in forms. For nice effects, the two fonts can be combined by overlaying them. Also included are a few dingbats that can be used for decoration. Updated: January 2016 to version 1.008", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Mina": { + "name": "Mina", + "designer": [ + "Suman Bhandary", + "Natanael Gama", + "Mooniak" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "bengali", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Mina is a contemporary geometric Bangla (Bengali) and Latin family. The family comes in two weights, Regular and Bold. It started by extending the Latin font Exo, initially designed by Natanael Gama. It works well as a display typeface, but is also designed to perform at small to intermediate text sizes. To learn more, visit github.com/suman51284/Mina", + "primary_script": "Beng", + "article": null, + "minisite_url": null + }, + "Mingzat": { + "name": "Mingzat", + "designer": [ + "SIL International" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "lepcha" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Lepc", + "article": "Mingzat is a Unicode font based on Jason Glavy's JG Lepcha custom-encoded font. With his generous permission, SIL International used his design and released the font under the SIL Open Font License (OFL). The name \"Mingzat\" means \"treasure of letters\" in the Lepcha language. Learn more at software.sil.org/mingzat. To contribute, see github.com/silnrsi/font-mingzat. SIL International recently released three typefaces for lesser-served writing systems (Tai Viet, Yi, Lepcha) used in Asia. SIL has also created Andika, which is specially designed to maximize legibility for new readers. SIL and lesser-served languages SIL International has a team of type designers who specialize in creating typefaces for lesser-served or non-dominant language communities. These are communities that exist alongside larger, more prominent language communities such as Chinese, English, or Arabic. These relatively smaller communities may have their own script, or they may have sounds in their language that are not represented in the script used by the majority language. Some non-dominant languages are endangered. According to UNESCO, about 40% of the estimated 7,000 languages are at risk of extinction. Without typefaces, these language communities can't survive online. To learn more, read New SIL Typefaces: Expanding type for legibility and lesser-served languages", + "minisite_url": null + }, + "Miniver": { + "name": "Miniver", + "designer": [ + "Open Window" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Miniver was inspired by a trip made to the library, looking for new ideas. Immediately gravitating towards the DVD for the 1942 film Mrs. Miniver, the hand-lettered title on the cover had a very contemporary look and feel so, there was the 'springboard' into a new font. First drawn were the inline forms and then they were traced, utilizing a playful 'cutout' effect.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Miriam Libre": { + "name": "Miriam Libre", + "designer": [ + "Michal Sahar" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "hebrew", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Miriam Libre is a mono-linear Hebrew and Latin sans serif font family with two weights, Regular and Bold. The Hebrew design is a revival of the original Miriam typeface published in 1908 by Raphael Frank. Miriam Libre brings this design into the 21st century: proportions are redesigned; unnnecessary elements were removed for a more clean appearance, while keeping the original unique personality; more soft curves replace some of the \u201csquare\u201d mechanical ones. The Latin design is original and made to fit the Hebrew and meet the contemporary needs of a bi-lingual font family. This updated version expands Miriam Libre to be a variable font. The Miriam Libre project is led by Michal Sahar, a type designer based in Tel Aviv, Israel. To contribute, see github.com/simoncozens/Miriam-Libre", + "primary_script": "Hebr", + "article": null, + "minisite_url": null + }, + "Mirza": { + "name": "Mirza", + "designer": [ + "KB Studio" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "arabic", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Mirza is a body text typeface based on the Naskh script, with 4 different weights. The design aims to observe the rules of Arabic and Persian aesthetics with the help of ligatures. Mirza includes a Latin typeface designed in harmony with the Arabic, to make it useful for multilingual texts. The Mirza project is led by KB Studio, a design studio in Los Angeles. To contribute, see github.com/Tarobish/Mirza", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Miss Fajardose": { + "name": "Miss Fajardose", + "designer": [ + "Sudtipos" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "The Charles Bluemlein Script Collection is an intriguing reminder of the heady days of hand lettering and calligraphy in the United States. From the early 1930s through World War II, there were about 200 professional hand letterers working in New York City alone. This occupation saw its demise with the advent of photo lettering, and after digital typography it became virtually extinct. The odd way in which the Bluemlein scripts were assembled and created - by collecting different signatures and then building complete alphabets from them - is a fascinating calligraphic adventure. Because the set of constructed designs looked nothing like the original signatures, fictitious names were assigned to the new script typefaces. The typeface styles were then showcased in Higgins Ink catalogs. Alejandro Paul and Sudtipos bring the Bluemlein scripts back to life in a set of expanded digital versions, reflecting the demands of today\u2019s designer. Extreme care has been taken to render the original scripts authentically, keeping the fictitious names originally assigned to them by Bluemlein.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Mitr": { + "name": "Mitr", + "designer": [ + "Cadson Demak" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "thai", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Mitr is a Thai word that means \u201cfriend\u201d in Thai. Mitr is a sans serif Latin and loopless Thai typeface that combines senses of organic and humanist sans serif designs with rounded terminals. It has a wide structure and airy negative space that preserves legibility and readability. Mitr is a novel and friendly typeface that is suitable for casual usage such as celebration cards, magazines, and posters. A similarity between some glyphs such as \u0e01 \u0e16 \u0e20 \u0e24 \u0e26, \u0e0e \u0e0f, \u0e1a \u0e1b, or \u0e02 \u0e0a is something to take into consideration because it might lead to confusion when typesetting very short texts. Mitr has a specific approach to the thick and thin strokes of Thai glyphs. Other type designers may consider this font as an example when developing new fonts. Informal looped Thai typefaces have slightly simplified details, as compared to formal ones, and this allows type designers to extend them to heavier weights. The size and position of Thai vowel and tone marks have been managed carefully because they are all relevant to readability, legibility, and overall texture. The Mitr project is led by Cadson Demak, a type foundry in Thailand. To contribute, see github.com/cadsondemak/mitr", + "primary_script": "Thai", + "article": null, + "minisite_url": null + }, + "Mochiy Pop One": { + "name": "Mochiy Pop One", + "designer": [ + "FONTDASU" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "japanese", + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Mochiy Pop is a casual Gothic font created based on characters written by girls in their 20s in Japan. A cute display font, you can use it widely, such as for manga, magazines, movies, and signs. The included Kanji are modified versions of Noto Sans JP. Mochiy Pop includes full-width kana. Mochiy Pop P (https://fonts.google.com/specimen/Mochiy+Pop+P) includes proportional-width kana. To contribute to the project, visit github.com/fontdasu/Mochiypop", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "Mochiy Pop P One": { + "name": "Mochiy Pop P One", + "designer": [ + "FONTDASU" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "japanese", + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Mochiy Pop is a casual Gothic font created based on characters written by girls in their 20s in Japan. A cute display font, you can use it widely, such as for manga, magazines, movies, and signs. The included Kanji are modified versions of Noto Sans JP. Mochiy Pop P includes proportional-wdith kana. Mochiy Pop (https://fonts.google.com/specimen/Mochiy+Pop) includes full-width kana. To contribute to the project, visit github.com/fontdasu/Mochiypop", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "Modak": { + "name": "Modak", + "designer": [ + "Ek Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Modak is a sweet plump Devanagari+Latin display typeface with portly curves and thin counters. It is Unicode compliant and is open sourced under the SIL Open Font License v1.1. Modak began as a heavy hand-sketched letterform exploration in Devanagari with cute, adorable characters whose curves merged into each other, forming distinct counter shapes. As we translated these into a functional font, each character was fine-tuned and multiple matras designed to match precisely with every character. Unlike the conventional approach the post-base matras in Modak overlap the consonants. Likewise overlapping ukars were also designed leaving thin counters in between. Rather than being a mere composite of 2 separate glyphs, every conjunct was redrawn as a single entity. The challenge was to maintain legibility and consistency in the thin white counter spaces across all characters irrespective of their structural complexity. The resulting typeface is one of its kind and most likely the chubbiest Devanagari typeface to be designed so far. Modak Devanagari is designed by Sarang Kulkarni and Maithili Shingre and Modak Latin by Noopur Datye with support from Girish Dalvi. We are immensely thankful to Santosh Kshirsagar, Pradnya Naik and Yashodeep Gholap for their suggestions and feedback during the font design process. We are also grateful to our friends from the Industrial Design Centre, IIT Bombay and Sir J J Institute of Applied Art for their support and encouragement. This project is led by Ek Type, a collective of type designers based in Mumbai focused on designing contemporary Indian typefaces. To contribute, see github.com/girish-dalvi/Modak", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Modern Antiqua": { + "name": "Modern Antiqua", + "designer": [ + "Wojciech Kalinowski" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "This is another of my old fonts used for inscriptions on stone. I created the ModernAntiqua font around 1995 like my other fonts - when I started doing the inscriptions on stone professionally. The font is based on Roman square capitals. Initially the font contained only capitals and digits and later I made the missing lowercase and symbols. Last year I started converting my typeface designs into fonts. The first was NovaCut and all the Nova family, next MedievalSharp, and here's another...", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Moderustic": { + "name": "Moderustic", + "designer": [ + "Tural Alisoy" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Moderustic is a versatile typeface meticulously designed for user interfaces, crafted with the aim of enhancing the user experience. This font maintains a consistent width across different styles, ensuring that your UI elements always occupy the same space on the page. It supports a variety of languages, including Greek, Latin, and Cyrillic, making it an ideal choice for designing user-friendly digital applications. Moderustic offers exceptional readability and adaptability, allowing you to create sleek and modern user interfaces that cater to a global audience. To contribute, see github.com/Tural/Moderustic.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Mogra": { + "name": "Mogra", + "designer": [ + "Lipi Raval" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "gujarati", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Mogra (\u0aae\u0acb\u0a97\u0ab0\u0abe) is a display typeface that supports the Gujarati and Latin scripts. With dense letterforms that borrow heavily from a broad-nibbed marker, Mogra emphasises the definitive Gujarati out-stroke with mass, weight, and flair. The implied bloating of the marker pen creates an interesting roundness that contrasts against the relatively fixed angle the pen holds. The Mogra project is led by Lipi Raval, a type designer based in Ahmedabad, India. To contribute, see github.com/lipiraval/mogra", + "primary_script": "Gujr", + "article": null, + "minisite_url": null + }, + "Mohave": { + "name": "Mohave", + "designer": [ + "Gumpita Rahayu" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Mohave is a titling display typeface, initially designed by Gumpita Rahayu as an all-caps display font. In 2013, it was expanded into a 4 weight family including matching italic in 2018. In 2020 Mirko Velimirovic expanded it into a Variable Font with a weight axis. To contribute, see github.com/tokotype/mohave-typefaces.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Moirai One": { + "name": "Moirai One", + "designer": [ + "Jiyeon Park", + "JAMO" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "korean", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Moirai is a font that experiments with stroke movement with visibility and legibility. It is designed to draw, arrange, and delete strokes of letters to have the minimum strokes and slopes necessary for that letter to be recognized. The shapes surrounding the thick space with thin, round lines give a lovely impression, while also creating a light and lyrical atmosphere. To contribute, please visit github.com/JAMO-TYPEFACE/Moirai.", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "Molengo": { + "name": "Molengo", + "designer": [ + "Denis Jacquerye" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Molengo is a Latin typeface for documents. It is multilingual and has some features required by many minority languages such as non-spacing mark placement. The font is produced with FontForge. The glyphs are designed in a CFF file but the production file is a TTF file with hinting instructions made with Xgridfit.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Molle": { + "name": "Molle", + "designer": [ + "Elena Albertoni" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Molle is a distinctive looking bottom heavy display script inspired by lettering seen on an Italian poster. Molle is best used from medium to large sizes.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Mona Sans": { + "name": "Mona Sans", + "designer": [ + "Tobias Bjerrome Ahlin", + "Github", + "Degarism Studio", + "Sebastian Carewe" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "A strong and versatile typeface, designed together with Degarism and inspired by industrial-era grotesques. Mona Sans works well across product, web, and print. Made to work well together with Mona Sans's sidekick, Hubot Sans. Mona Sans is a variable font. Variable fonts enable different variations of a typeface to be incorporated into one single file, and are supported by all major browsers, allowing for performance benefits and granular design control of the typeface's weight, width, and slant. To contribute, see github.com/github/mona-sans.", + "minisite_url": "https://github.com/mona-sans" + }, + "Monda": { + "name": "Monda", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "The Monda font family is a libre font family. It has been designed to be used freely across the internet by web browsers on desktop computers, laptops and mobile devices. Monda language support includes now African Latin and full coverage of Vietnamese, additional to all Western, Central, and South-Eastern European languages. To contribute see github.com/googlefonts/mondaFont.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Monofett": { + "name": "Monofett", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "monospace" + ], + "description": "Monofett started as designs for custom mountain bike branding. As a font it is designed to be a bold, eye catching decal-like display face with a sense of an edgy but technical function. In 2023 the font have been updated, offering a better language support. To contribute, see github.com/googlefonts/monofett.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Monomakh": { + "name": "Monomakh", + "designer": [ + "Aleksandr Andreev", + "Nikita Simmons" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Monomakh is a Cyrillic font implemented in a mixed ustav/poluustav style and intended to cover needs of researches dealing with Slavic history and philology. It also provides Latin characters in a similar typeface, which is useful for working with multilingual academic editions. To contribute, please see github.com/slavonic/Monomakh.", + "primary_script": "Cyrl", + "article": null, + "minisite_url": null + }, + "Monomaniac One": { + "name": "Monomaniac One", + "designer": [ + "Maniackers Design" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Monomaniac is a bold Japanese Sans Serif font featuring rounded corners. The letterforms are condensed which work well for vertical typesetting. To contribute to the project, visit github.com/ManiackersDesign/monomaniac", + "primary_script": "Hira", + "article": null, + "minisite_url": null + }, + "Monoton": { + "name": "Monoton", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Monoton is a contemporary take on metalpress fonts like, for example, 'Prisma' (originally designed in 1931 by Rudolf Koch.) Monoton is a pure display webfont designed to be used at font sizes above 30 points. Monoton has been designed to be used freely across the internet by web browsers on desktop computers, laptops and mobile devices.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Monsieur La Doulaise": { + "name": "Monsieur La Doulaise", + "designer": [ + "Sudtipos" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "The Charles Bluemlein Script Collection is an intriguing reminder of the heady days of hand lettering and calligraphy in the United States. From the early 1930s through World War II, there were about 200 professional hand letterers working in New York City alone. This occupation saw its demise with the advent of photo lettering, and after digital typography it became virtually extinct. The odd way in which the Bluemlein scripts were assembled and created - by collecting different signatures and then building complete alphabets from them - is a fascinating calligraphic adventure. Because the set of constructed designs looked nothing like the original signatures, fictitious names were assigned to the new script typefaces. The typeface styles were then showcased in Higgins Ink catalogs. Alejandro Paul and Sudtipos bring the Bluemlein scripts back to life in a set of expanded digital versions, reflecting the demands of today\u2019s designer. Extreme care has been taken to render the original scripts authentically, keeping the fictitious names originally assigned to them by Bluemlein.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Montaga": { + "name": "Montaga", + "designer": [ + "Alejandra Rodriguez" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Montage is an Old Style font, inspired by Venetian calligraphy. Her main feature is the strong inclination in the modulation axis, that generates shapes with marked stress. This gives her a strong personality. The uppercases are slender and arrogant, and the narrowness of shapes provide optimum performance. Montaga is evolving and will be updated. As of now there is only Regular style. Montaga is a work in progress and will be improved regularly. This means you can request improvements and even fund specific features if they are outside of the current scope of work. For more information follow @ale_guez", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Montagu Slab": { + "name": "Montagu Slab", + "designer": [ + "Florian Karsten" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SLAB_SERIF", + "classifications": [ + "display" + ], + "description": "Montagu Slab is a slab-serif display typeface designed by Florian Karsten. The typeface draws inspiration from 19th-century classic designs and it is available as a variable font with weight and optical size axes. The optical size axis, which controls x-height, spacing, contrast and aperture, provides a wide range of variation \u2013 from low contrast and higher x-height version suitable for long texts, to a tight and high contrast display variant with prominent upturned tails. To contribute, see github.com/floriankarsten/montagu-slab.", + "primary_script": null, + "article": null, + "minisite_url": "https://fonts.floriankarsten.com/montagu-slab" + }, + "MonteCarlo": { + "name": "MonteCarlo", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "MonteCarlo is a beautiful formal script\u2014 both contemporary and traditional. This connecting script\u2019s italic is slight, making it an extremely legible design. Its additional flourishing options offer truly diverse possibilities for customization of display. MonteCarlo is perfect for those situations that require an ornate look, and a readable message, without compromising beautiful design. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/monte-carlo.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Montez": { + "name": "Montez", + "designer": [ + "Astigmatic" + ], + "license": "apache2", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Montezuma is a script font which draws inspiration from 1960s beauty product ads. Its sweeping strokes lend to a feel of joy and elegance, making it ideal for display uses that require a little drama, \"joie de vivre\" or Joy of Life. Best settings are at medium to large text sizes for optimal readability.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Montserrat": { + "name": "Montserrat", + "designer": [ + "Julieta Ulanovsky", + "Sol Matas", + "Juan Pablo del Peral", + "Jacques Le Bailly" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "The old posters and signs in the traditional Montserrat neighborhood of Buenos Aires inspired Julieta Ulanovsky to design this typeface and rescue the beauty of urban typography that emerged in the first half of the twentieth century. As urban development changes that place, it will never return to its original form and loses forever the designs that are so special and unique. The letters that inspired this project have work, dedication, care, color, contrast, light and life, day and night! These are the types that make the city look so beautiful. The Montserrat Project began with the idea to rescue what is in Montserrat and set it free under a libre license, the SIL Open Font License. This is the normal family, and it has two sister families so far, Alternates and Subrayada. Many of the letterforms are special in the Alternates family, while 'Subrayada' means 'Underlined' in Spanish and celebrates a special style of underline that is integrated into the letterforms found in the Montserrat neighborhood. Updated November 2017: The family was redrawn by Jacques Le Bailly at Baron von Fonthausen over the summer, and the full set of weights were adjusted to make the Regular lighter and better for use in longer texts. In fall, Julieta Ulanovsky, Sol Matas, and Juan Pablo del Peral, led the development of Cyrillic support, with consultation with Carolina Giovagnoli, Maria Doreuli, and Alexei Vanyashin. The Montserrat project is led by Julieta Ulanovsky, a type designer based in Buenos Aires, Argentina. To contribute, see github.com/JulietaUla/Montserrat", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Montserrat Alternates": { + "name": "Montserrat Alternates", + "designer": [ + "Julieta Ulanovsky", + "Sol Matas", + "Juan Pablo del Peral", + "Jacques Le Bailly" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "The old posters and signs in the traditional Montserrat neighborhood of Buenos Aires inspired Julieta to design this typeface and rescue the beauty of urban typography that emerged in the first half of the twentieth century. As urban development changes that place, it will never return to its original form and loses forever the designs that are so special and unique. The letters that inspired this project have work, dedication, care, color, contrast, light and life, day and night! These are the types that make the city look so beautiful. The Montserrat Project began with the idea to rescue what is in Montserrat and set it free under a libre license, the SIL Open Font License. This is the Alternates family, a sister to the normal and Subrayada families. Many of the letterforms are special in the Alternates family, while 'Subrayada' means 'Underlined' in Spanish and celebrates a special style of underline that is integrated into the letterforms found in the Montserrat neighborhood. Updated November 2017: The family was redrawn by Jacques Le Bailly at Baron von Fonthausen over the summer, and the full set of weights were adjusted to make the Regular lighter and better for use in longer texts. In fall, Julieta Ulanovsky, Sol Matas, and Juan Pablo del Peral, led the development of Cyrillic support, with consultation with Carolina Giovagnoli, Maria Doreuli, and Alexei Vanyashin. The Montserrat project is led by Julieta Ulanovsky, a type designer based in Buenos Aires, Argentina. To contribute, see github.com/JulietaUla/Montserrat", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Montserrat Underline": { + "name": "Montserrat Underline", + "designer": [ + "Julieta Ulanovsky", + "Sol Matas", + "Juan Pablo del Peral", + "Jacques Le Bailly" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "The old posters and signs in the traditional Montserrat neighborhood of Buenos Aires inspired Julieta Ulanovsky to design this typeface and rescue the beauty of urban typography that emerged in the first half of the twentieth century. As urban development changes that place, it will never return to its original form and loses forever the designs that are so special and unique. The letters that inspired this project have work, dedication, care, color, contrast, light and life, day and night! These are the types that make the city look so beautiful. The Montserrat Project began with the idea to rescue what is in Montserrat and set it free under a libre license, the SIL Open Font License. This is the Underline family, a sister to the normal and Alternates families. This family celebrates a special style of underline that is integrated into the letterforms found in the Montserrat neighborhood. The Montserrat project is led by Julieta Ulanovsky, a type designer based in Buenos Aires, Argentina. To contribute, see github.com/JulietaUla/Montserrat", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Moo Lah Lah": { + "name": "Moo Lah Lah", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Need a font with bovine fun? Moo Lah Lah has that look! It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/moolahlah.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Mooli": { + "name": "Mooli", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Mooli is a Sans Serif font designed for young readers. Mooli is derived from the Mulish font family. It has been designed to be used freely across the internet by web browsers on desktop computers, laptops and mobile devices. To contribute, please see github.com/googlefonts/mooliFont.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Moon Dance": { + "name": "Moon Dance", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "This calligraphic typeface comes with a Roman Version and a more flourished stylistic set. The main style has less ornate uppercase forms and the second has more flourished upper- and lowercase characters for a beautiful hand-lettered feel. Perfect for tubes, tags, invitations and other projects that need a personal touch. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/moondance.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Moul": { + "name": "Moul", + "designer": [ + "Danh Hong" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "khmer", + "latin" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Moul is a traditional Khmer typeface design, suitable for headlines, titles, subtitles, and even banner designs. To contribute, see github.com/danhhong/Moul.", + "primary_script": "Khmr", + "article": null, + "minisite_url": null + }, + "Moulpali": { + "name": "Moulpali", + "designer": [ + "Danh Hong" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "khmer", + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Moulpali is a typeface for Khmer body text, the design is similar to some Khmer metal types popular in the 1960s. To contribute, see github.com/danhhong/Moulpali.", + "primary_script": "Khmr", + "article": null, + "minisite_url": null + }, + "Mountains of Christmas": { + "name": "Mountains of Christmas", + "designer": [ + "Tart Workshop" + ], + "license": "apache2", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Ever wonder what font sugarplum fairies dream about? Mountains of Christmas by the talented lettering artist Crystal Kluge is the perfect casual and playful serif font when you want to give your words a warm personal touch.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Mouse Memoirs": { + "name": "Mouse Memoirs", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Mouse Memoirs finds its inspiration in the vintage Mickey Mouse, Beagle Boys, and Uncle Scrooge comic books put out by Walt Disney in the 1950's and 60's. This font comes alive with a truly animated look. Perfect for light-hearted designs, children's books, and the like\u2026 it is an all-around fun typeface. To contribute to the project contact Brian J. Bonislawsky.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Mr Bedfort": { + "name": "Mr Bedfort", + "designer": [ + "Sudtipos" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "The Charles Bluemlein Script Collection is an intriguing reminder of the heady days of hand lettering and calligraphy in the United States. From the early 1930s through World War II, there were about 200 professional hand letterers working in New York City alone. This occupation saw its demise with the advent of photo lettering, and after digital typography it became virtually extinct. The odd way in which the Bluemlein scripts were assembled and created - by collecting different signatures and then building complete alphabets from them - is a fascinating calligraphic adventure. Because the set of constructed designs looked nothing like the original signatures, fictitious names were assigned to the new script typefaces. The typeface styles were then showcased in Higgins Ink catalogs. Alejandro Paul and Sudtipos bring the Bluemlein scripts back to life in a set of expanded digital versions, reflecting the demands of today\u2019s designer. Extreme care has been taken to render the original scripts authentically, keeping the fictitious names originally assigned to them by Bluemlein.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Mr Dafoe": { + "name": "Mr Dafoe", + "designer": [ + "Sudtipos" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "The Charles Bluemlein Script Collection is an intriguing reminder of the heady days of hand lettering and calligraphy in the United States. From the early 1930s through World War II, there were about 200 professional hand letterers working in New York City alone. This occupation saw its demise with the advent of photo lettering, and after digital typography it became virtually extinct. The odd way in which the Bluemlein scripts were assembled and created - by collecting different signatures and then building complete alphabets from them - is a fascinating calligraphic adventure. Because the set of constructed designs looked nothing like the original signatures, fictitious names were assigned to the new script typefaces. The typeface styles were then showcased in Higgins Ink catalogs. Alejandro Paul and Sudtipos bring the Bluemlein scripts back to life in a set of expanded digital versions, reflecting the demands of today\u2019s designer. Extreme care has been taken to render the original scripts authentically, keeping the fictitious names originally assigned to them by Bluemlein.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Mr De Haviland": { + "name": "Mr De Haviland", + "designer": [ + "Sudtipos" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "The Charles Bluemlein Script Collection is an intriguing reminder of the heady days of hand lettering and calligraphy in the United States. From the early 1930s through World War II, there were about 200 professional hand letterers working in New York City alone. This occupation saw its demise with the advent of photo lettering, and after digital typography it became virtually extinct. The odd way in which the Bluemlein scripts were assembled and created - by collecting different signatures and then building complete alphabets from them - is a fascinating calligraphic adventure. Because the set of constructed designs looked nothing like the original signatures, fictitious names were assigned to the new script typefaces. The typeface styles were then showcased in Higgins Ink catalogs. Alejandro Paul and Sudtipos bring the Bluemlein scripts back to life in a set of expanded digital versions, reflecting the demands of today\u2019s designer. Extreme care has been taken to render the original scripts authentically, keeping the fictitious names originally assigned to them by Bluemlein.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Mrs Saint Delafield": { + "name": "Mrs Saint Delafield", + "designer": [ + "Sudtipos" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "The Charles Bluemlein Script Collection is an intriguing reminder of the heady days of hand lettering and calligraphy in the United States. From the early 1930s through World War II, there were about 200 professional hand letterers working in New York City alone. This occupation saw its demise with the advent of photo lettering, and after digital typography it became virtually extinct. The odd way in which the Bluemlein scripts were assembled and created - by collecting different signatures and then building complete alphabets from them - is a fascinating calligraphic adventure. Because the set of constructed designs looked nothing like the original signatures, fictitious names were assigned to the new script typefaces. The typeface styles were then showcased in Higgins Ink catalogs. Alejandro Paul and Sudtipos bring the Bluemlein scripts back to life in a set of expanded digital versions, reflecting the demands of today\u2019s designer. Extreme care has been taken to render the original scripts authentically, keeping the fictitious names originally assigned to them by Bluemlein.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Mrs Sheppards": { + "name": "Mrs Sheppards", + "designer": [ + "Sudtipos" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "The Charles Bluemlein Script Collection is an intriguing reminder of the heady days of hand lettering and calligraphy in the United States. From the early 1930s through World War II, there were about 200 professional hand letterers working in New York City alone. This occupation saw its demise with the advent of photo lettering, and after digital typography it became virtually extinct. The odd way in which the Bluemlein scripts were assembled and created - by collecting different signatures and then building complete alphabets from them - is a fascinating calligraphic adventure. Because the set of constructed designs looked nothing like the original signatures, fictitious names were assigned to the new script typefaces. The typeface styles were then showcased in Higgins Ink catalogs. Alejandro Paul and Sudtipos bring the Bluemlein scripts back to life in a set of expanded digital versions, reflecting the demands of today\u2019s designer. Extreme care has been taken to render the original scripts authentically, keeping the fictitious names originally assigned to them by Bluemlein.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ms Madi": { + "name": "Ms Madi", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Ms Madi is a monoline hand written script. It's clean connections and quite legible hand written cursive style works great in situations that require a relatively sophisticated casual look. As with any cursive script, it is never a good idea to use this font in all capital letters. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/ms-madi.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Mukta": { + "name": "Mukta", + "designer": [ + "Ek Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Mukta is a Unicode compliant, versatile, contemporary, humanist, mono-linear typeface family available in seven weights, supporting Devanagari, Gujarati, Gurumukhi, Tamil and Latin scripts. This type family is a libre licensed version of Ek's self-titled multi-script project, an ongoing effort to develop a unified type family for each Indian script. The goal is to build one harmonious family across all Indian scripts without letting the visual features of one script dominate over others. This ensures that the fonts can be used successfully for both single and multi-script purposes. Mukta was designed by Girish Dalvi and Yashodeep Gholap. Mukta Vaani was designed by Noopur Datye and Pallavi Karambelkar with support from Sarang Kulkarni and Maithili Shingre. Mukta Malar was designed by Aadarsh Rajan. Mukta Mahee was designed by Shuchita Grover and Noopur Datye. Ek would like to thank Vinay Saynekar, Santosh Kshirsagar, Shubhanand Jog, Yogesh Jahargirdar, Pradnya Naik, Snehal Patil, Omkar Shende and Dave Crossland for their suggestions and feedback during the font design process. Ek would also like to thank faculty and friends from the Industrial Design Centre, IIT Bombay, and from Sir J J Institute of Applied Art, for their support and encouragement. This project is led by Ek Type, a collective of type designers based in Mumbai focused on designing contemporary Indian typefaces. To contribute, see github.com/EkType/Mukta", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Mukta Mahee": { + "name": "Mukta Mahee", + "designer": [ + "Ek Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "gurmukhi", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Mukta is a Unicode compliant, versatile, contemporary, humanist, mono-linear typeface family available in seven weights, supporting Devanagari, Gujarati, Gurumukhi, Tamil and Latin scripts. This type family is a libre licensed version of Ek's self-titled multi-script project, an ongoing effort to develop a unified type family for each Indian script. The goal is to build one harmonious family across all Indian scripts without letting the visual features of one script dominate over others. This ensures that the fonts can be used successfully for both single and multi-script purposes. Mukta was designed by Girish Dalvi and Yashodeep Gholap. Mukta Vaani was designed by Noopur Datye and Pallavi Karambelkar with support from Sarang Kulkarni and Maithili Shingre. Mukta Malar was designed by Aadarsh Rajan. Mukta Mahee was designed by Shuchita Grover and Noopur Datye. Ek would like to thank Vinay Saynekar, Santosh Kshirsagar, Shubhanand Jog, Yogesh Jahargirdar, Pradnya Naik, Snehal Patil, Omkar Shende and Dave Crossland for their suggestions and feedback during the font design process. Ek would also like to thank faculty and friends from the Industrial Design Centre, IIT Bombay, and from Sir J J Institute of Applied Art, for their support and encouragement. This project is led by Ek Type, a collective of type designers based in Mumbai focused on designing contemporary Indian typefaces. To contribute, see github.com/EkType/Mukta", + "primary_script": "Guru", + "article": null, + "minisite_url": null + }, + "Mukta Malar": { + "name": "Mukta Malar", + "designer": [ + "Ek Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "tamil" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Mukta is a Unicode compliant, versatile, contemporary, humanist, mono-linear typeface family available in seven weights, supporting Devanagari, Gujarati, Gurumukhi, Tamil and Latin scripts. This type family is a libre licensed version of Ek's self-titled multi-script project, an ongoing effort to develop a unified type family for each Indian script. The goal is to build one harmonious family across all Indian scripts without letting the visual features of one script dominate over others. This ensures that the fonts can be used successfully for both single and multi-script purposes. Mukta was designed by Girish Dalvi and Yashodeep Gholap. Mukta Vaani was designed by Noopur Datye and Pallavi Karambelkar with support from Sarang Kulkarni and Maithili Shingre. Mukta Malar was designed by Aadarsh Rajan. Mukta Mahee was designed by Shuchita Grover and Noopur Datye. Ek would like to thank Vinay Saynekar, Santosh Kshirsagar, Shubhanand Jog, Yogesh Jahargirdar, Pradnya Naik, Snehal Patil, Omkar Shende and Dave Crossland for their suggestions and feedback during the font design process. Ek would also like to thank faculty and friends from the Industrial Design Centre, IIT Bombay, and from Sir J J Institute of Applied Art, for their support and encouragement. This project is led by Ek Type, a collective of type designers based in Mumbai focused on designing contemporary Indian typefaces. To contribute, see github.com/EkType/Mukta", + "primary_script": "Taml", + "article": null, + "minisite_url": null + }, + "Mukta Vaani": { + "name": "Mukta Vaani", + "designer": [ + "Ek Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "gujarati", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Mukta is a Unicode compliant, versatile, contemporary, humanist, mono-linear typeface family available in seven weights, supporting Devanagari, Gujarati, Gurumukhi, Tamil and Latin scripts. This type family is a libre licensed version of Ek's self-titled multi-script project, an ongoing effort to develop a unified type family for each Indian script. The goal is to build one harmonious family across all Indian scripts without letting the visual features of one script dominate over others. This ensures that the fonts can be used successfully for both single and multi-script purposes. Mukta was designed by Girish Dalvi and Yashodeep Gholap. Mukta Vaani was designed by Noopur Datye and Pallavi Karambelkar with support from Sarang Kulkarni and Maithili Shingre. Mukta Malar was designed by Aadarsh Rajan. Mukta Mahee was designed by Shuchita Grover and Noopur Datye. Ek would like to thank Vinay Saynekar, Santosh Kshirsagar, Shubhanand Jog, Yogesh Jahargirdar, Pradnya Naik, Snehal Patil, Omkar Shende and Dave Crossland for their suggestions and feedback during the font design process. Ek would also like to thank faculty and friends from the Industrial Design Centre, IIT Bombay, and from Sir J J Institute of Applied Art, for their support and encouragement. This project is led by Ek Type, a collective of type designers based in Mumbai focused on designing contemporary Indian typefaces. To contribute, see github.com/EkType/Mukta", + "primary_script": "Gujr", + "article": null, + "minisite_url": null + }, + "Mulish": { + "name": "Mulish", + "designer": [ + "Vernon Adams", + "Cyreal", + "Jacques Le Bailly" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Mulish is a minimalist Sans Serif typeface, designed for both display and text typography. It was initially drawn in 2011 by Vernon Adams and then refined until 2014, adding more weights, support for more Latin languages, tightened the spacing and kerning and made many glyph refinements throughout the family \u2013 all based on hundreds of users' feedback. In 2017 the family was updated by Jacques Le Bailly to complete the work started by Vernon after he passed away, in collaboration with his wife Allison, an arist who holds the trademark on the typeface family name. In August 2019, it was updated with a Variable Font \"Weight\" axis. To contribute, see github.com/googlefonts/mulish", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Murecho": { + "name": "Murecho", + "designer": [ + "Neil Summerour" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Murecho is a low-stroke contrast, flat terminal Gothic style (\u201csans serif\u201d) Japanese typeface designed for text settings in Japan. It covers Hiragana, Katakana, and Kanji (JOYO+). It also supports Latin, Cyrillic, and Greek. Murecho is available in 9 practical weights and as a variable font. To contribute to Murecho, please visit the github page.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "MuseoModerno": { + "name": "MuseoModerno", + "designer": [ + "Omnibus-Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "MuseoModerno is a contemporary geometric typeface for the new Identity of the Museum of Modern Art of Buenos Aires (Museo Moderno, AR). Designed by Marcela Romero, H\u00e9ctor Gatti, Pablo Cosgaya and the Omnibus-Type Team. The June 2022 release completes the family with the italic. To contribute, see github.com/Omnibus-Type/MuseoModerno.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "My Soul": { + "name": "My Soul", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Inspired by the lettering popular in the northwest United States in the 1980s, My Soul is a flat pen calligraphic style with capital forms that have been subtly embellished. It's robust weight holds up well at reduced sizes, but be careful as the embellishments may cause a loss of legibility at such sizes. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/my-soul.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Mynerve": { + "name": "Mynerve", + "designer": [ + "Carolina Short" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "greek", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Mynerve is a handwriting typeface designed to annotate and comment on documents with a fresh style. In addition, two sets of alternates allow variations when letters are repeated to emulate realistic script, together with some ligatures for frequent combinations. It can be used for informal texts, notes, or any project that would benefit from a casual script looking font. With a Latin Plus language coverage currently supports 219 Latin based languages. To contribute, see github.com/carolinashort/MyNerve.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Mystery Quest": { + "name": "Mystery Quest", + "designer": [ + "Sideshow" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Grab your gear! Check your nerves! Get ready for Mystery Quest! This far-out funky font brings danger with every curve! You never know what this playful 1960s mod inspired typeface will bring and design adventure is just around the corner! Are you ready? Designed by Dave 'Squid' Cohen of Sideshow (a DBA of Font Diner, Inc.) To contribute to the project, contact the Font Diner.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "NTR": { + "name": "NTR", + "designer": [ + "Purushoth Kumar Guttula" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "telugu" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "NTR is a Telugu handwriting font inspired by the artist Bapu who is famous among Telugu people. Many artists followed him and created their own style and this font shows that influence. It is suitable for headings, posters, invitations and anywhere you want to use a handwriting font. NTR is named after Nandamuri Taraka Rama Rao, who worked tirelessly for the self-respect and well being of Telugu people around the world. The Telugu is designed and developed by Purushoth Kumar Guttula in 2013 and made available by Silicon Andhra under the SIL Open Font License v1.1. The Latin is designed by Joe Prince and originally published as Varela Round. The NTR project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India. To contribute, see github.com/appajid/ntr", + "primary_script": "Telu", + "article": null, + "minisite_url": null + }, + "Nabla": { + "name": "Nabla", + "designer": [ + "Arthur Reinders Folmer", + "Just van Rossum" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic-ext", + "latin", + "latin-ext", + "math", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Typearture's Nabla: an Isometric COLRv1 font Nabla is a color font inspired by isometric computer games, built using the COLRv1 format. This format allows for smooth gradients, sharp highlights and blended shadows, resulting in a bold and vibrant design. It includes two font variations axes, one for the depth of the letters, the other for the thickness of the highlight, and includes multiple color palettes. This font uses the COLRv1, CPAL and SVG tables. Please visit the gf-guide color page to learn more about Color Fonts technology. Designed by Arthur Reinders Folmer, created with the magic of Just van Rossum. To contribute, see github.com/justvanrossum/nabla.", + "primary_script": null, + "article": null, + "minisite_url": "https://nabla.typearture.com/" + }, + "Namdhinggo": { + "name": "Namdhinggo", + "designer": [ + "SIL International" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "limbu" + ], + "stroke": "SERIF", + "classifications": [], + "description": "This project provides a libre and open font family for the Limbu script of Nepal. According to traditional histories the Limbu script was developed by King Sirijonga in the 9th Century. It then fell out of use before being reintroduced in the 18th century by Teongsi Sirijonga (1704-1741) whom many felt to be the reincarnation of the first Sirijonga. The modern Sirijonga was apparently martyred in 1741 for the sake of this script by lamas in Sikkim. The script was named 'Sirijonga' in his honour by the Limbu scholar Iman Singh Chemjong. To contribute, please see github.com/silnrsi/font-namdhinggo.", + "primary_script": "Limb", + "article": null, + "minisite_url": null + }, + "Nanum Brush Script": { + "name": "Nanum Brush Script", + "designer": [ + "Sandoll Communication" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "korean", + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "The Nanum fonts (Korean : \ub098\ub214\uae00\uaf34) are unicode fonts designed especially for the Korean-language script, designed by Sandoll Communications (Korean : \uc0b0\ub3cc \ucee4\ubba4\ub2c8\ucf00\uc774\uc158) and Fontrix (Korean : \ud3f0\ud2b8\ub9ad\uc2a4). The publisher is Naver. Nanum Brush Script is a contemporary brush script with a warm touch and is expertly hinted for screen use.", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "Nanum Gothic": { + "name": "Nanum Gothic", + "designer": [ + "Sandoll Communication" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "korean", + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "The Nanum fonts (Korean : \ub098\ub214\uae00\uaf34) are unicode fonts designed especially for the Korean-language script, designed by Sandoll Communications (Korean : \uc0b0\ub3cc \ucee4\ubba4\ub2c8\ucf00\uc774\uc158) and Fontrix (Korean : \ud3f0\ud2b8\ub9ad\uc2a4). The publisher is Naver. Nanum Gothic is a contemporary sans-serif with a warm touch and is expertly hinted for screen use.", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "Nanum Gothic Coding": { + "name": "Nanum Gothic Coding", + "designer": [ + "Sandoll Communication" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "korean", + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "monospace" + ], + "description": "The Nanum fonts (Korean : \ub098\ub214\uae00\uaf34) are unicode fonts designed especially for the Korean-language script, designed by Sandoll Communications (Korean : \uc0b0\ub3cc \ucee4\ubba4\ub2c8\ucf00\uc774\uc158) and Fontrix (Korean : \ud3f0\ud2b8\ub9ad\uc2a4). The publisher is Naver. Nanum Gothic Coding is a contemporary monospaced sans-serif with a warm touch and is expertly hinted for screen use.", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "Nanum Myeongjo": { + "name": "Nanum Myeongjo", + "designer": [ + "Sandoll Communication" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "korean", + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "The Nanum fonts (Korean : \ub098\ub214\uae00\uaf34) are unicode fonts designed especially for the Korean-language script, designed by Sandoll Communications (Korean : \uc0b0\ub3cc \ucee4\ubba4\ub2c8\ucf00\uc774\uc158) and Fontrix (Korean : \ud3f0\ud2b8\ub9ad\uc2a4). The publisher is Naver. Nanum Myeongjo is a contemporary serif with a warm touch and is expertly hinted for screen use.", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "Nanum Pen Script": { + "name": "Nanum Pen Script", + "designer": [ + "Sandoll Communication" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "korean", + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "The Nanum fonts (Korean : \ub098\ub214\uae00\uaf34) are unicode fonts designed especially for the Korean-language script, designed by Sandoll Communications (Korean : \uc0b0\ub3cc \ucee4\ubba4\ub2c8\ucf00\uc774\uc158) and Fontrix (Korean : \ud3f0\ud2b8\ub9ad\uc2a4). The publisher is Naver. Nanum Pen Script is a contemporary pen script with a warm touch and is expertly hinted for screen use.", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "Narnoor": { + "name": "Narnoor", + "designer": [ + "SIL International" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "gunjala-gondi", + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Narnoor is a Unicode font based on typographer S. Sridhara Murthy's original font for the Gunjala script. The name \"Narnoor\" reflects the name of the mandal in Adilabad district of Telangana, where the Gunjala Gondi script is actively being revived. The November 2023 update brings more weights (Medium, SemiBold, Bold, ExtraBold) and the Latin characters are darker and smaller that the v2.000 release. To contribute, see github.com/silnrsi/font-narnoor.", + "primary_script": "Gong", + "article": null, + "minisite_url": null + }, + "National Park": { + "name": "National Park", + "designer": [ + "Andrea Herstowski", + "Ben Hoepner", + "Jeremy Shellhorn" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "National Park is a variable font offering 7 weights (Extra Light, Light, Regular, Medium, SemiBold, Bold and Extra Bold). To contribute, see github.com/benhoepner/National-Park. The letterforms found on the wooden signage at the Rocky Mountain National Park inspired the creation of the National Park. The letters on these wooden trail and directional signs are a system of paths, points, and curves that a router follows. The router\u2019s \"bit\" follows the path and gives the letters its stroke weight or thickness when engraving a sign. National Park Typeface walks along the path of both honoring the quirky nature of the forms being created by a router bit and optimizing the forms to work in a variety of sizes and languages for print, web, and mobile platforms. The design of each character begins with a vector skeleton, represented by a series of coordinates that a router would typically interpret and carve into a wooden sign. From there adjustments were made to each skeleton to ensure comfortable legibility at different weights, and we also incorporate optical adjustments where the capabilities of an analog router falls short. The result is a typeface that stays true to its unique inspiration, maintaining its inviting warmth and distinctive character. It can be effectively utilized across a wide range of applications while preserving the essence that makes it truly special.", + "minisite_url": null + }, + "Neonderthaw": { + "name": "Neonderthaw", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Neonderthaw is a single weight script that simulates neon. Throw it in an application that can use blurs, add some glow and viola, you have neon signage. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/neonderthaw.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Nerko One": { + "name": "Nerko One", + "designer": [ + "Nermin Kahrimanovic" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Nerko is a chunky \u2018marker\u2019 effect font. It gives a funky, exciting and modern look while staying smooth and sleek. Be as bold as the font while using a friendly style that makes users feel welcome in any circumstances. From paper to screen, this font was created using traditional Marker Pens on paper for guidance to give it a natural feeling. To contribute, please see github.com/nermink99/Nerko.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Neucha": { + "name": "Neucha", + "designer": [ + "Jovanny Lemonad" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "cyrillic", + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "You will throw tomatoes at me when I say that the font Neucha was invented for the sake of one and only one phrase: \u201cI love you\u201d. It was 2005 and I was in love. The first version of the font was done in 8 hours. I recently redid this fastfont from scratch, some glyphs have changed greatly but most of them I did not touch \u2013 just polished. Neucha very strong in terms of energy and I love it. Neucha translated from the Russian language means \u201cnot knowing how to create fonts right\u201d.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Neuton": { + "name": "Neuton", + "designer": [ + "Brian Zick" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Neuton is a clean, dark, somewhat Dutch-inspired serif font which reminds you a little of Times. It has a large height, short extenders, and a compact width for better screen use, and economy of space. The family will comprise a regular, italic, and cursive, each in five weights and with smallcaps. Two italics \u2014 one will be called \"italic\", and the other \"cursive\" \u2014 are uncommon, but very useful. Ever tried emphasizing something already emphasized? Beyond that obvious example, there are other uses. Sometimes a text needs a different flavor or feel. While one roman can work for a variety of texts, the companion italics don't always. In more classical or personal documents, a stiff, sober, modern and down-to-earth italic will never work. And in many essays, some of the fancier italics look ridiculous. Who said a roman needs only one companion?", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "New Amsterdam": { + "name": "New Amsterdam", + "designer": [ + "Vladimir Nikolic" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "New Amsterdam is a tall Sans Serif font inspired by posters and Pop Art. It combines straight geoometric lines with modern look. To contribute, see github.com/vladimirnikolic1/NewAmsterdam.", + "minisite_url": null + }, + "New Rocker": { + "name": "New Rocker", + "designer": [ + "Impallari Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "New Rocker is a loud, harsh, screaming font. With Blackletter, Tattoo and Heavy Metal logos as inspiration.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "New Tegomin": { + "name": "New Tegomin", + "designer": [ + "Kousuke Nagai" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "A Mincho (Japanese Serif) style font which has been drawn on a square grid. It takes inspiration from Mincho's clean and well organized appearance and the organic nature of handwritten letterforms. To contribute to the project, visit github.com/nagamaki008/NewTegomin", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "News Cycle": { + "name": "News Cycle", + "designer": [ + "Nathan Willis" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "News Cycle is a realist, sans-serif typeface based primarily on a revival of the 1908-era News Gothic, the stalwart newspaper face from American Type Founders (ATF). Like News Gothic, it is designed for clarity and readability in large blocks of copy, but to still look good in headline-sizes at the top of the page. It also extends News Gothic to better cover more of the world's orthographies, starting with Eastern European and African languages, and soon Greek and Cyrillic alphabets as well. This project is led by Nathan Wilis, a type designer based in Texas, USA. To contribute, visit launchpad.net/newscycle", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Newsreader": { + "name": "Newsreader", + "designer": [ + "Production Type" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "NewsReader is an original typeface designed by Production Type, primarily intended for continuous on-screen reading in content-rich environments. To contribute, please see github.com/productiontype/Newsreader.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Niconne": { + "name": "Niconne", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Nicone is based on the designs of the Stephenson Blake typeface, Madonna, first released in 1925. Madonna itself was based on an earlier face known as 'Bernhard Cursive'. Nicone has been redesigned and shaped to create a new version of the 1925 typeface that can now be used freely as a Libre webfont across the internet by web browsers on desktop computers, laptops and mobile devices.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Niramit": { + "name": "Niramit", + "designer": [ + "Cadson Demak" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "thai", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Niramit is a Thai and Latin family featuring decorative details. The Thai has a modern structure but also features the traditional looped letterforms.", + "primary_script": "Thai", + "article": null, + "minisite_url": null + }, + "Nixie One": { + "name": "Nixie One", + "designer": [ + "Jovanny Lemonad" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "It's like Chinese food. We take the chicken and mix it with pineapple. For one minute we think that the taste will at least strange, but it is so harmonious and beautiful, what do you know, why didn't you try this earlier? This font is a mixture of neon tubes signage and a typewriter: A thoroughbred mix of chicken and pineapple.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Nobile": { + "name": "Nobile", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "\"Nobile\" is designed to work with the technologies of digital screens and handheld devices without losing the distinctive look more usually found in fonts designed for printing. Going back to William Morris's baseline \"Have nothing in your house that you do not know to be useful, or believe to be beautiful\", the aim was to design a font that could function well, have good legibility on screen yet also be good looking, not only at larger display sizes but also right down to small text sizes.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Nokora": { + "name": "Nokora", + "designer": [ + "Danh Hong" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "khmer", + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Nokora is a Khmer font for body text, that pairs well with Latin sans serif fonts. To contribute, see github.com/danhhong/Nokora.", + "primary_script": "Khmr", + "article": null, + "minisite_url": null + }, + "Norican": { + "name": "Norican", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Norican is a script-like display font designed to be used freely across the internet by web browsers on desktop computers, laptops and mobile devices. Norican's design is based on the merging of a number of old script fonts, most notably Stephenson Blake's 'Glenmoy' from the 1920s. The August 2023 update features a bigger glyphset and some minor aesthetic modifications. To contribute, see github.com/googlefonts/NoricanFont.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Nosifer": { + "name": "Nosifer", + "designer": [ + "Typomondo" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Nobody knows where Nosifer comes from. It emanates a dark stench as it drips from the Internet.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Notable": { + "name": "Notable", + "designer": [ + "Eli Block", + "Hana Tanimura", + "Noemie Le Coz" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Notable is an uppercase sans serif display font; it\u2019s letterforms are based on those found on U.S. currency. Notable was designed by Eli Block, Hana Tanimura, and Noemie Le Coz for Notable Women, an initiative by former Treasurer of the United States, Rosie Rios. Notable Women is an augmented reality experiment that lets anyone see 100 historic American women where they\u2019ve historically been left out: U.S. currency.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Nothing You Could Do": { + "name": "Nothing You Could Do", + "designer": [ + "Kimberly Geswein" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Nothing You Could Do is based on the handwriting of a photographer friend. I chose the name because it echoes my love for my husband and children and how my love for them is unconditional and not based on anything they could do or say. I love this handwriting because it is human, it is imperfect, and it is natural. Real humans don\u2019t write perfectly neatly, and this font creates that feeling of authenticity.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Noticia Text": { + "name": "Noticia Text", + "designer": [ + "JM Sol\u00e9" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Noticia Text is a contemporary humanist slab serif typeface designed to be used for running text on digital newspapers (both on websites and mobile apps). It has a large x-height, ample proportions, big serifs and large apertures that allow the letters to be clear, even at small sizes on low resolution screens. The capitals are unusually small, allowing them to be used as substitutes for small caps. (It's recommended to add some tracking if used in this way.) One major feature is the break in the internal curves of round characters. While this break makes some interesting forms at large sizes, their true purpose is to help make the counterforms more open at small sizes by allowing straighter stems. This reasoning is famously known as W.A. Dwiggins' \u201cM-formula.\u201d The italics were designed to contrast with the roman styles while maintaining good legibility. The true italic forms also have big counterforms and simple curves. The fonts have been manually hinted to get the best possible rasterization in Windows. The Noticia font family project is envisioned as 18 different fonts styles, with text, condensed, display and sans variants, different weights and including italic versions, all designed and hinted to work well on computer and mobile devices screens.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Noto Color Emoji": { + "name": "Noto Color Emoji", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "emoji" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Noto Color Emoji is an open source font that has you covered for all your emoji needs, including support for the latest Unicode emoji specification. It features thousands of emoji. This font uses the COLRv1, CPAL and SVG tables. Please visit the gf-guide color page to learn more about Color Fonts technology.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Noto Emoji": { + "name": "Noto Emoji", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "emoji" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Noto Emoji is an open source font that has you covered for all your emoji needs, including support for the latest Unicode emoji specification. It has multiple weights and features thousands of emoji.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Noto Kufi Arabic": { + "name": "Noto Kufi Arabic", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "arabic", + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Arab", + "article": "Noto Kufi Arabic is a Kufi design for texts in the Middle Eastern Arabic script. Noto Kufi Arabic has multiple weights, contains 1,706 glyphs, 16 OpenType features, and supports 1,558 characters from 14 Unicode blocks: Arabic Presentation Forms-A, Arabic, Arabic Presentation Forms-B, Latin Extended-A, Arabic Extended-A, Basic Latin, Latin-1 Supplement, Arabic Supplement, Arabic Extended-B, Combining Diacritical Marks, General Punctuation, Spacing Modifier Letters, Latin Extended Additional, Latin Extended-B. Supported writing systems Arabic Arabic (\u0627\u0644\u0639\u0631\u0628\u064a\u0629) is a Middle Eastern abjad, written right-to-left (660 million users). 2nd- or 3rd-most used script in the world. Used for the Arabic language since the 4th century, and for many other languages, often in Islamic countries or communities in Asia, Africa and the Middle East, like Persian, Uyghur, Kurdish, Punjabi, Sindhi, Balti, Balochi, Pashto, Lurish, Urdu, Kashmiri, Rohingya, Somali, Mandinka, Kazakh (in China), Kurdish, or Azeri (in Iran). Was used for Turkish until 1928. Includes 28 basic consonant letters for the Arabic language, plus additional letters for other languages. Some letters represent a consonant or a long vowel, while short vowels are optionally written with diacritics. Variants include Kufi with a very simplified structure, the widely-used Naskh calligraphic variant, and the highly cursive Nastaliq used mainly for Urdu. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Latin Latin (Roman) is a European bicameral alphabet, written left-to-right. The most popular writing system in the world. Used for over 3,000 languages including Latin and Romance languages (Italian, French, Portuguese, Spanish and Romanian), Germanic languages (English, Dutch, German, Nordic languages), Finnish, Malaysian, Indonesian, Filipino, Visayan languages, Turkish, Azerbaijani, Polish, Somali, Vietnamese, and many others. Derived from Western Greek, attested in Rome in the 7th century BCE. In the common era, numerous European languages adopted the Latin script along with Western Christian religion, the script disseminated further with European colonization of the Americas, Australia, parts of Asia, Africa and the Pacific. New letters, ligatures and diacritical marks were gradually added to represent the sounds of various languages. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Music": { + "name": "Noto Music", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "music" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "symbols" + ], + "description": null, + "primary_script": null, + "article": "Noto Music is a font that contains symbols for the modern, Byzantine and Greek musical notations. Noto Music contains 579 glyphs, 5 OpenType features, and supports 559 characters from 4 Unicode blocks: Byzantine Musical Symbols, Musical Symbols, Ancient Greek Musical Notation, Miscellaneous Symbols.", + "minisite_url": null + }, + "Noto Naskh Arabic": { + "name": "Noto Naskh Arabic", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "arabic", + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Arab", + "article": "Noto Naskh Arabic is a modulated (\u201cserif\u201d) Naskh design, suitable for texts in the Middle Eastern Arabic script and for use together with serif fonts. Noto Naskh Arabic has multiple weights, contains 1,598 glyphs, 12 OpenType features, and supports 1,122 characters from 6 Unicode blocks: Arabic Presentation Forms-A, Arabic, Arabic Presentation Forms-B, Arabic Supplement, Arabic Extended-A, Basic Latin. Supported writing systems Arabic Arabic (\u0627\u0644\u0639\u0631\u0628\u064a\u0629) is a Middle Eastern abjad, written right-to-left (660 million users). 2nd- or 3rd-most used script in the world. Used for the Arabic language since the 4th century, and for many other languages, often in Islamic countries or communities in Asia, Africa and the Middle East, like Persian, Uyghur, Kurdish, Punjabi, Sindhi, Balti, Balochi, Pashto, Lurish, Urdu, Kashmiri, Rohingya, Somali, Mandinka, Kazakh (in China), Kurdish, or Azeri (in Iran). Was used for Turkish until 1928. Includes 28 basic consonant letters for the Arabic language, plus additional letters for other languages. Some letters represent a consonant or a long vowel, while short vowels are optionally written with diacritics. Variants include Kufi with a very simplified structure, the widely-used Naskh calligraphic variant, and the highly cursive Nastaliq used mainly for Urdu. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Nastaliq Urdu": { + "name": "Noto Nastaliq Urdu", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "arabic", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Arab", + "article": "Noto Nastaliq Urdu is a cursive, modulated (\u201cserif\u201d) Nastaliq design for texts in the Middle Eastern Arabic script, especially in the Urdu language. Noto Nastaliq Urdu contains 1,138 glyphs, 9 OpenType features, and supports 281 characters from 6 Unicode blocks: Arabic, Arabic Supplement, Arabic Presentation Forms-A, Basic Latin, General Punctuation, Latin-1 Supplement. Supported writing systems Arabic (Nastaliq) Arabic (Nastaliq) is a Middle Eastern abjad, written right-to-left (250 million users). Default Arabic script variant for the Urdu language, also used for Persian and other languages in Afghanistan, India, Iran, and Pakistan. The Nastaliq variant of Arabic was developed in Persia (now Iran) in the 15th century. Highly cursive, connects a sequence of letters into clusters at a sloping angle. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, r12a.", + "minisite_url": null + }, + "Noto Rashi Hebrew": { + "name": "Noto Rashi Hebrew", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "greek-ext", + "hebrew", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Hebr", + "article": "Noto Rashi Hebrew is modulated (\u201cserif\u201d) design for the Middle Eastern Hebrew script with a semi-cursive skeleton based on 15th-century Sephardic writing. It can be used for emphasis, complementing Noto Serif Hebrew. Similar designs were used for religious commentary. Noto Rashi Hebrew has multiple weights, contains 92 glyphs, 3 OpenType features, and supports 91 characters from the Unicode block Hebrew. Supported writing systems Hebrew Hebrew (\u05e2\u05d1\u05e8\u05d9\u05ea) is a Middle Eastern abjad, written right-to-left (14 million users). Used for the Hebrew, Samaritan and Yiddish languages. Also used for some varieties of Arabic and for the languages of Jewish communities across the world. Has 22 consonant letters, 5 have positional variants. Vowels in Hebrew language are normally omitted except for long vowels which are sometimes written with the consonant letters \u05d0\u05d4\u05d5\u05d9 (those were vowel-only letters until the 9th century). Children\u2019s and school books use niqqud diacritics for all vowels. Religious texts may use cantillation marks for indicating rhythm and stress. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans": { + "name": "Noto Sans", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "devanagari", + "greek", + "greek-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Noto Sans is an unmodulated (\u201csans serif\u201d) design for texts in the Latin, Cyrillic and Greek scripts, which is also suitable as the complementary choice for other script-specific Noto Sans fonts. Noto Sans has italic styles, multiple weights and widths, contains 3,741 glyphs, 28 OpenType features, and supports 2,840 characters from 30 Unicode blocks: Latin Extended Additional, Cyrillic, Greek Extended, Latin Extended-B, Latin Extended-D, Latin Extended-A, Phonetic Extensions, Greek and Coptic, Combining Diacritical Marks, IPA Extensions, Cyrillic Extended-B, Latin-1 Supplement, General Punctuation, Basic Latin, Supplemental Punctuation, Spacing Modifier Letters, Letterlike Symbols, Phonetic Extensions Supplement, Combining Diacritical Marks Supplement, Latin Extended-E, Cyrillic Supplement, Currency Symbols, Latin Extended-C, Cyrillic Extended-A, Modifier Tone Letters, Superscripts and Subscripts, Combining Diacritical Marks Extended, Combining Half Marks, Cyrillic Extended-C, Alphabetic Presentation Forms. Supported writing systems Latin Latin (Roman) is a European bicameral alphabet, written left-to-right. The most popular writing system in the world. Used for over 3,000 languages including Latin and Romance languages (Italian, French, Portuguese, Spanish and Romanian), Germanic languages (English, Dutch, German, Nordic languages), Finnish, Malaysian, Indonesian, Filipino, Visayan languages, Turkish, Azerbaijani, Polish, Somali, Vietnamese, and many others. Derived from Western Greek, attested in Rome in the 7th century BCE. In the common era, numerous European languages adopted the Latin script along with Western Christian religion, the script disseminated further with European colonization of the Americas, Australia, parts of Asia, Africa and the Pacific. New letters, ligatures and diacritical marks were gradually added to represent the sounds of various languages. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Cyrillic Cyrillic is a bicameral alphabet originating in Europe, written left-to-right (250 million users). Used for various languages across Eurasia and is used as the national script in various Slavic, Turkic, Mongolic and Iranic-speaking countries in Southeastern Europe, Eastern Europe, the Caucasus, Central Asia, North Asia and East Asia, including Russian, Bulgarian, Macedonian, Serbian, Ukrainian, Uzbek, Azerbaijani, Kazakh, Tajik, Kyrgyz, Bashkort, Chechen, Chuvash, Avar, Dargwa, Kabardian, Karakalpak, Kumyk, Lezgi, Ossetic, Pontic, Yakut, Buriat and many others. Created in the 9th century. Traditionally attributed to Saint Cyril, a monk from Thessaloniki working in Bulgaria, after earlier creation of the Glagolitic script. Sometimes attributed to Clement of Ohrid, a student of Saint Cyril\u2019s. Initially used for Old Church Slavonic. Reformed in 1708 by Russian tsar Peter the Great. Extended by the Soviet Union in the 20th century to write over 50 languages throughout Eastern Europe and Asia (some of those languages switched to Latin after 1991). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Greek Greek (\u0395\u03bb\u03bb\u03b7\u03bd\u03b9\u03ba\u03ac) is a European bicameral alphabet, written left-to-right (11 million users). Used to write the Greek language since the 8th century BCE. Also used to write other languages like Urum, Albanian Tosk, and Balkan Gagauz Turkish. Some symbols are also used in scientific notation. Derived from Phoenician. First \u201ctrue alphabet\u201d, with distinct letters for consonants and vowels. Standardized in the 4th century BCE by Eucleides. Has 24 letters. Some letter variants (sigma: \u03c3/\u03c2) have positional significance in the Greek language, other variants only differ in meaning in scientific notation (e.g. pi: \u03c0/\u03d6). The Greek language used to be written in polytonic spelling, with three accents on vowels. In 1982, Greece introduced monotonic spelling with a single diacritic. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Adlam": { + "name": "Noto Sans Adlam", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "adlam", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Adlm", + "article": "Noto Sans Adlam is a joining (cursive) unmodulated (\u201csans serif\u201d) design for texts in the African Adlam script. Noto Sans Adlam has multiple weights, contains 362 glyphs, 8 OpenType features, and supports 149 characters from 3 Unicode blocks: Adlam, Basic Latin, General Punctuation. Supported writing systems Adlam Adlam (\ud83a\udd00\ud83a\udd23\ud83a\udd24\ud83a\udd22\ud83a\udd25 \ud83a\udd06\ud83a\udd35\ud83a\udd24\ud83a\udd22\ud83a\udd2a) is an African bicameral alphabet, written right-to-left. Used for the Fulani (Fula, 65 million speakers) language in Guinea, which previously used Latin and Arabic. Created around 1989 by two teenage brothers, Ibrahima and Abdoulaye Barry. One of indigenous scripts for specific languages in West Africa, currently taught in Guinea, Nigeria, Liberia and other countries. Adlam has 28 letters, each in four forms. The unjoined variant is suitable for headlines and for educational content. The cursive variant, in which letters join the same way as in Arabic and N\u2019Ko, is suitable for most texts. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Adlam Unjoined": { + "name": "Noto Sans Adlam Unjoined", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "adlam", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Adlm", + "article": "Noto Sans Adlam Unjoined is an unjoined unmodulated (\u201csans serif\u201d) design suitable for headlines and for educational content in the African Adlam script. Noto Sans Adlam Unjoined has multiple weights, contains 155 glyphs, 7 OpenType features, and supports 149 characters from 3 Unicode blocks: Adlam, Basic Latin, General Punctuation. Supported writing systems Adlam Adlam ( \ud83a\udd00\ud83a\udd23\ud83a\udd24\ud83a\udd22\ud83a\udd25 \ud83a\udd06\ud83a\udd35\ud83a\udd24\ud83a\udd22\ud83a\udd2a ) is an African bicameral alphabet, written right-to-left. Used for the Fulani (Fula, 65 million speakers) language in Guinea, which previously used Latin and Arabic. Created around 1989 by two teenage brothers, Ibrahima and Abdoulaye Barry. One of indigenous scripts for specific languages in West Africa, currently taught in Guinea, Nigeria, Liberia and other countries. Adlam has 28 letters, each in four forms. The unjoined variant is suitable for headlines and for educational content. The cursive variant, in which letters join the same way as in Arabic and N\u2019Ko, is suitable for most texts. Needs software support for complex text layout (shaping). Read more on ScriptSource , Unicode , Wikipedia , Wiktionary , r12a .", + "minisite_url": null + }, + "Noto Sans Anatolian Hieroglyphs": { + "name": "Noto Sans Anatolian Hieroglyphs", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "anatolian-hieroglyphs", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Hluw", + "article": "Noto Sans Anatolian Hieroglyphs is an unmodulated (\u201csans serif\u201d) design for texts in the historical Middle Eastern Anatolian hieroglyphs script. Noto Sans Anatolian Hieroglyphs contains 589 glyphs, and supports 588 characters from the Unicode block Anatolian Hieroglyphs. Supported writing systems Anatolian hieroglyphs Anatolian (Luwian, Hittite) hieroglyphs is a historical Middle Eastern logo-syllabary, written boustrophedon. Were used c. 2000\u2013700 BCE for the Luwian language. The script has about 500 signs. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Arabic": { + "name": "Noto Sans Arabic", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "arabic", + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Arab", + "article": "Noto Sans Arabic is an unmodulated (\u201csans serif\u201d) design for texts in the Middle Eastern Arabic script. Noto Sans Arabic has multiple weights and widths, contains 1,642 glyphs, 12 OpenType features, and supports 1,161 characters from 6 Unicode blocks: Arabic Presentation Forms-A, Arabic, Arabic Presentation Forms-B, Arabic Extended-A, Arabic Supplement, Basic Latin. Supported writing systems Arabic Arabic (\u0627\u0644\u0639\u0631\u0628\u064a\u0629) is a Middle Eastern abjad, written right-to-left (660 million users). 2nd- or 3rd-most used script in the world. Used for the Arabic language since the 4th century, and for many other languages, often in Islamic countries or communities in Asia, Africa and the Middle East, like Persian, Uyghur, Kurdish, Punjabi, Sindhi, Balti, Balochi, Pashto, Lurish, Urdu, Kashmiri, Rohingya, Somali, Mandinka, Kazakh (in China), Kurdish, or Azeri (in Iran). Was used for Turkish until 1928. Includes 28 basic consonant letters for the Arabic language, plus additional letters for other languages. Some letters represent a consonant or a long vowel, while short vowels are optionally written with diacritics. Variants include Kufi with a very simplified structure, the widely-used Naskh calligraphic variant, and the highly cursive Nastaliq used mainly for Urdu. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Armenian": { + "name": "Noto Sans Armenian", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "armenian", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Armn", + "article": "Noto Sans Armenian is an unmodulated (\u201csans serif\u201d) design for texts in the European Armenian script. Noto Sans Armenian has multiple weights and widths, contains 107 glyphs, 3 OpenType features, and supports 104 characters from 2 Unicode blocks: Armenian, Alphabetic Presentation Forms. Supported writing systems Armenian Armenian (\u0540\u0561\u0575\u0578\u0581 \u0563\u0580\u0565\u0580) is a European bicameral alphabet, written left-to-right (12 million users). Created around 405 CE by Mesrop Mashtots. Used for the Armenian language to this day. Was widespread in the 18th\u201319th centuries CE in the Ottoman Empire. Armenia uses a reformed spelling introduced in the Soviet Union, the Armenian diaspora mostly uses the original Mesropian orthography. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Avestan": { + "name": "Noto Sans Avestan", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "avestan", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Avst", + "article": "Noto Sans Avestan is an unmodulated (\u201csans serif\u201d) design for texts in the historical Middle Eastern Avestan script. Noto Sans Avestan contains 76 glyphs, and supports 71 characters from the Unicode block Avestan. Supported writing systems Avestan Avestan is a historical Middle Eastern alphabet, written right-to-left. Was used in the 5th\u201313th century CE for Avestan, an Eastern Iranian language. Developed during Iran\u2019s Sassanid era. Was probably in everyday use, though the only surviving examples are religious texts called Avesta. Has 37 consonants and 16 vowels. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Balinese": { + "name": "Noto Sans Balinese", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "balinese", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Bali", + "article": "Noto Sans Balinese is an unmodulated (\u201csans serif\u201d) design for texts in the Southeast Asian Balinese script. Noto Sans Balinese has multiple weights, contains 361 glyphs, 6 OpenType features, and supports 130 characters from the Unicode block Balinese. Supported writing systems Balinese Balinese (\u1b05\u1b13\u1b44\u1b31\u1b2d\u1b29\u1b2e\u1b36) is a Southeast Asian abugida, written left-to-right (5 million users). Used for the Balinese language on the Indonesian islands of Java and Bali, mostly for signage, traditional literature, and, on a limited scale, for new literature. Also used for Old Javanese and Sanskrit. Derived from Old Kawi, similar to Javanese. Has 47 letters. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Bamum": { + "name": "Noto Sans Bamum", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "bamum", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Bamu", + "article": "Noto Sans Bamum is an unmodulated (\u201csans serif\u201d) design for texts in the African Bamum script. Noto Sans Bamum has multiple weights, contains 662 glyphs, and supports 661 characters from 2 Unicode blocks: Bamum Supplement, Bamum. Supported writing systems Bamum Bamum is an African syllabary, written left-to-right (0.4 million users). Used in Cameroon. Developed communally at the end of the 19th century at the instigation of the Bamum King Njoya. Initially was logographic, later evolved into a syllabary. Bamum is being revived after decline since the 1930s. Read more on ScriptSource, Unicode, Wikipedia, r12a.", + "minisite_url": null + }, + "Noto Sans Bassa Vah": { + "name": "Noto Sans Bassa Vah", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "bassa-vah", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Bass", + "article": "Noto Sans Bassa Vah is an unmodulated (\u201csans serif\u201d) design for texts in the African Bassa Vah script. Noto Sans Bassa Vah contains 45 glyphs, 3 OpenType features, and supports 41 characters from the Unicode block Bassa Vah. Supported writing systems Bassa Vah Bassa Vah is an African bicameral alphabet, written left-to-right. Used for the Bassa language spoken in Liberia, Sierra Leone, and by communities in Brazil and the Caribbean. Developed by Dr. Thomas Flo Lewis from a sign system used by the Bassa people to avoid slave traders, later suppressed by colonial powers, fell into disuse. Has 23 consonants, 7 vowels, and 5 tone diacritics. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Batak": { + "name": "Noto Sans Batak", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "batak", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Batk", + "article": "Noto Sans Batak is an unmodulated (\u201csans serif\u201d) design for texts in the Southeast Asian Batak script. Noto Sans Batak contains 66 glyphs, 3 OpenType features, and supports 64 characters from the Unicode block Batak. Supported writing systems Batak Batak (\u1bd8\u1bee\u1bd2\u1bd6\u1bf2 \u1bc5\u1bd6\u1bc2\u1bf2) is a Southeast Asian abugida, written vertically and horizontally left-to-right. Used for the Toba, Karo, Dairi, Mandailing, Simalungun, and Angkola languages used on the Indonesian island of Sumatra. Used since the 14th century, standardised in the 1850s. Revived recently after a decline since in the 20th century. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Bengali": { + "name": "Noto Sans Bengali", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "bengali", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Beng", + "article": "Noto Sans Bengali is an unmodulated (\u201csans serif\u201d) design for texts in the Indic Bangla (Bengali) script. Noto Sans Bengali has multiple weights and widths, contains 695 glyphs, 17 OpenType features, and supports 173 characters from 5 Unicode blocks: Bengali, Basic Latin, Vedic Extensions, General Punctuation, Devanagari. Supported writing systems Bangla (Bengali) Bangla (Bengali, Bengali-Assamese, \u09ac\u09be\u0982\u09b2\u09be \u09ac\u09b0\u09cd\u09a3\u09ae\u09be\u09b2\u09be) is an Indic abugida, written left-to-right (265 million users). Used in Bangladesh and India, for the Bengali language, and for other languages like Assamese, Kokborok, Bishnupriya Manipuri, Meitei Manipuri, Rabha, Maithili, Rangpuri, Sylheti, Santali and Sanskrit. Developed in the 11th century CE. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Bhaiksuki": { + "name": "Noto Sans Bhaiksuki", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "bhaiksuki", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Bhks", + "article": "Noto Sans Bhaiksuki is an unmodulated (\u201csans serif\u201d) design for texts in the historical Indic Bhaiksuki script. Noto Sans Bhaiksuki contains 863 glyphs, 9 OpenType features, and supports 103 characters from the Unicode block Bhaiksuki. Supported writing systems Bhaiksuki Bhaiksuki (\ud807\udc25\ud807\udc39\ud807\udc0e\ud807\udc3f\ud807\udc2c\ud807\udc32\ud807\udc0e\ud807\udc31) is a historical Indic abugida. Was used in 11th\u201312th century CE for Buddhist texts in Sanskrit in the Indian state of Bihar. Also called Arrow-Headed Script, Point-Headed Script, or Sindhura. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Brahmi": { + "name": "Noto Sans Brahmi", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "brahmi", + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Brah", + "article": "Noto Sans Brahmi is an unmodulated (\u201csans serif\u201d) design for texts in the historical Indic Brahmi script. Noto Sans Brahmi contains 257 glyphs, 5 OpenType features, and supports 117 characters from the Unicode block Brahmi. Supported writing systems Brahmi Brahmi is a historical Indic abugida, written left-to-right. Used in 3rd century BCE\u20135th century CE in South Asia for Prakrit, Sanskrit, Saka, Tamil, Kannada, Tocharian. Evolved into the many Brahmic scripts used today in South and Southeast Asia. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Buginese": { + "name": "Noto Sans Buginese", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "buginese", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Noto Sans Buginese is an unmodulated (\u201csans serif\u201d) design for texts in the Southeast Asian Buginese script. Noto Sans Buginese contains 41 glyphs, 2 OpenType features, and supports 39 characters from the Unicode block Buginese. Supported writing systems Buginese Buginese (Lontara, \u1a12\u1a1a\u1a08\u1a11) is a Southeast Asian abugida, written left-to-right. Was used since the 17th century for the Bugis, Makasar, and Mandar languages of Sulawesi in Indonesia (over 7 million speakers). Largely replaced by the Latin alphabet during the period of Dutch colonization, but still used for ceremonial, personal and traditional texts. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Buhid": { + "name": "Noto Sans Buhid", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "buhid", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Buhd", + "article": "Noto Sans Buhid is an unmodulated (\u201csans serif\u201d) design for texts in the Southeast Asian Buhid script. Noto Sans Buhid contains 44 glyphs, 2 OpenType features, and supports 30 characters from the Unicode block Buhid. Supported writing systems Buhid Buhid (Mangyan Baybayin, Surat Mangyan, \u174a\u1753\u1751\u1752) is a Southeast Asian abugida, written left-to-right (about 9,000 users). Used together with the Filipino Latin script for the Buhid language, spoken by Mangyan people in the Mindoro region of the Philippines. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Canadian Aboriginal": { + "name": "Noto Sans Canadian Aboriginal", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "canadian-aboriginal", + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Cans", + "article": "Noto Sans Canadian Aboriginal is an unmodulated (\u201csans serif\u201d) design for texts in the American Canadian Aboriginal syllabics script. Noto Sans Canadian Aboriginal has multiple weights, contains 746 glyphs, and supports 722 characters from 3 Unicode blocks: Unified Canadian Aboriginal Syllabics, Unified Canadian Aboriginal Syllabics Extended, Spacing Modifier Letters. Supported writing systems Canadian Aboriginal syllabics Canadian Aboriginal syllabics is a family of American abugidas, written left-to-right (0.5 million users). Used for Cree languages, for Inuktitut (co-official with the Latin script in the territory of Nunavut), for Ojibwe, Blackfoot. Were also used for Dakelh (Carrier), Chipewyan, Slavey, T\u0142\u0131\u0328ch\u01eb (Dogrib) and Dane-zaa (Beaver). Created in 1840 by James Evans to write several indigenous Canadian languages. Primarily used in Canada, occasionally in the United States. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Carian": { + "name": "Noto Sans Carian", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "carian", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Cari", + "article": "Noto Sans Carian is an unmodulated (\u201csans serif\u201d) design for texts in the historical Middle Eastern Carian script. Noto Sans Carian contains 54 glyphs, and supports 53 characters from the Unicode block Carian. Supported writing systems Carian Carian is a historical Middle Eastern alphabet, written left-to-right. Was used in 7th\u20131st centuries BCE in the Aegean region of today\u2019s Turkey for the Carian language. Was also used in the Nile delta. Had 45 letters. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Caucasian Albanian": { + "name": "Noto Sans Caucasian Albanian", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "caucasian-albanian", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Noto Sans Caucasian Albanian is an unmodulated (\u201csans serif\u201d) design for texts in the historical European Caucasian Albanian script. Noto Sans Caucasian Albanian contains 181 glyphs, 4 OpenType features, and supports 76 characters from 2 Unicode blocks: Caucasian Albanian, Combining Half Marks. Supported writing systems Caucasian Albanian Caucasian Albanian is a historical European bicameral alphabet, written left-to-right. Was used in the 5th\u201312th century CE for the Caucasian Albanian language, a dialect of Old Udi, in parts of present-day Azerbaijan and Dagestan. Probably based on Greek writing, supposedly devised by Mesrop Mashtots. Has 52 letters. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Chakma": { + "name": "Noto Sans Chakma", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "chakma", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Noto Sans Chakma is an unmodulated (\u201csans serif\u201d) design for texts in the Indic Chakma script. Noto Sans Chakma contains 212 glyphs, 12 OpenType features, and supports 97 characters from the Unicode block Chakma. Supported writing systems Chakma Chakma (Ojhapath, Ojhopath, Ajhapath, \ud804\udd0c\ud804\udd0b\ud804\udd34\ud804\udd1f\ud804\udd33\ud804\udd26 \ud804\udd03\ud804\udd27\ud804\udd0f\ud804\udd1b\ud804\udd16\ud804\udd34) is an Indic abugida, written left-to-right (170,000 users). Used in Bangladesh and India for the Chakma language, and for Tanchangya in Bangladesh. Brahmic script related to Mon Khmer and Myanmar. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Cham": { + "name": "Noto Sans Cham", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cham", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Cham", + "article": "Noto Sans Cham is an unmodulated (\u201csans serif\u201d) design for texts in the Southeast Asian Cham script. Noto Sans Cham has multiple weights, contains 131 glyphs, 11 OpenType features, and supports 104 characters from 2 Unicode blocks: Cham, Basic Latin. Supported writing systems Cham Cham (\uaa00\uaa07\uaa49 \uaa0c\uaa4c) is a Southeast Asian abugida, written left-to-right. Used in Vietnam and Cambodia for the Cham language (250,000 speakers). The majority of the Cambodian Cham people died during the Khmer Rouge regime in the 1970s or were forced to use the Cambodian language. Brahmic script. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Cherokee": { + "name": "Noto Sans Cherokee", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cherokee", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Cher", + "article": "Noto Sans Cherokee is an unmodulated (\u201csans serif\u201d) design for texts in the American Cherokee script. Noto Sans Cherokee has multiple weights, contains 273 glyphs, 6 OpenType features, and supports 186 characters from 3 Unicode blocks: Cherokee, Cherokee Supplement, Combining Diacritical Marks. Supported writing systems Cherokee Cherokee (\u13e3\u13b3\u13a9) is an American bicameral syllabary, written left-to-right. Used in the United States for the Cherokee language (12,000 speakers). Created in 1821 by Sequoyah (also known as George Guess), when it achieved instant popularity. By 1824 most Cherokee were literate in the script. Uses 85 letters. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Chorasmian": { + "name": "Noto Sans Chorasmian", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "chorasmian", + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Chrs", + "article": "Noto Sans Chorasmian is a design for the historical Middle Eastern Chorasmian script. Noto Sans Chorasmian contains 122 glyphs, 8 OpenType features, and supports 32 characters from the Unicode block Chorasmian. Supported writing systems Chorasmian Chorasmian is a historical Middle Eastern abjad, written right-to-left. Was used in the 2nd century BCE\u2013-9th century CE in the Khwarazm region of Central Asia for the now-extinct Chorasmian language, until the language switched to the Arabic script. Derived from Imperial Aramaic. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Coptic": { + "name": "Noto Sans Coptic", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "coptic", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Copt", + "article": "Noto Sans Coptic is an unmodulated (\u201csans serif\u201d) design for texts in the European Coptic script. Noto Sans Coptic contains 224 glyphs, 3 OpenType features, and supports 188 characters from 3 Unicode blocks: Coptic, Greek and Coptic, Combining Diacritical Marks. Supported writing systems Coptic Coptic is a European bicameral alphabet, written left-to-right (0.4 million users). Since the 2nd century CE was used for the Coptic language, now the liturgical language of the Coptic church. Als used for Andaandi, Nobiin, Old Nubian and Mattokki. Derived from the Greek alphabet. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Cuneiform": { + "name": "Noto Sans Cuneiform", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cuneiform", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Xsux", + "article": "Noto Sans Cuneiform is an unmodulated (\u201csans serif\u201d) design for texts in the historical Middle Eastern Sumero-Akkadian cuneiform script. Noto Sans Cuneiform contains 1,239 glyphs, and supports 1,238 characters from 3 Unicode blocks: Cuneiform, Early Dynastic Cuneiform, Cuneiform Numbers and Punctuation. Supported writing systems Sumero-Akkadian cuneiform Sumero-Akkadian cuneiform is a historical Middle Eastern logo-syllabary, written left-to-right. Was used at least since 3200 BCE in today\u2019s Iraq for the now-exinct Sumerian language. Was later used in today\u2019s Iran, Turkey, Syria, and Egypt, for languages like Akkadian, Elamite, Hittite, Luwian and Urartian. Widely believed to be the first writing system in the world. Combined logographic, consonantal alphabetic and syllabic signs. Since c. 900 BCE gradually replaced by the Aramaic script. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Cypriot": { + "name": "Noto Sans Cypriot", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cypriot", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Cprt", + "article": "Noto Sans Cypriot is an unmodulated (\u201csans serif\u201d) design for texts in the historical European Cypriot script. Noto Sans Cypriot contains 60 glyphs, and supports 59 characters from the Unicode block Cypriot Syllabary. Supported writing systems Cypriot Cypriot is a historical European syllabary, written right-to-left. Was used in the 11th\u20134th centuries BCE in Cyprus for the Greek language. Descended from the Linear A script, closely related to the Linear B script. Was primarily used for record keeping, not literature. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Cypro Minoan": { + "name": "Noto Sans Cypro Minoan", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cypro-minoan", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Noto Sans Cypro Minoan is a design for the historical European Cypro-Minoan script. Noto Sans Cypro Minoan contains 104 glyphs, and supports 103 characters from the Unicode block Cypro-Minoan. Supported writing systems Cypro-Minoan Cypro-Minoan is a historical European logo-syllabary. Undeciphered syllabary used on the island of Cyprus during the late Bronze Age (1500-1200 BCE) for the Eteocretan language. Read more on ScriptSource, Unicode, Wikipedia, r12a.", + "minisite_url": null + }, + "Noto Sans Deseret": { + "name": "Noto Sans Deseret", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "deseret", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Dsrt", + "article": "Noto Sans Deseret is an unmodulated (\u201csans serif\u201d) design for texts in the historical American Deseret script. Noto Sans Deseret contains 85 glyphs, and supports 84 characters from the Unicode block Deseret. Supported writing systems Deseret Deseret (\ud801\udc14\ud801\udc2f\ud801\udc45\ud801\udc28\ud801\udc49\ud801\udc2f\ud801\udc3b) is a historical American bicameral alphabet, written left-to-right. Was used by members of the Church of Latter-Day Saints (Mormons) in Utah for writing the English language. Developed in 1854 by George D. Watt as part of a planned phonemic English-language spelling reform. Abandoned around 1877. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Devanagari": { + "name": "Noto Sans Devanagari", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Deva", + "article": "Noto Sans Devanagari is an unmodulated (\u201csans serif\u201d) design for texts in the Indic Devanagari script. Noto Sans Devanagari contains 954 glyphs, 17 OpenType features, and supports 272 characters from 6 Unicode blocks: Devanagari, Vedic Extensions, Devanagari Extended, Basic Latin, General Punctuation, Common Indic Number Forms. Supported writing systems Devanagari Devanagari (Negari, \u0926\u0947\u0935\u0928\u093e\u0917\u0930\u0940) is an Indic abugida, written left-to-right with a headstroke (over 600 million users). Used in India and Nepal for over 120 languages like Indo-Aryan languages, including Hindi, Nepali, Marathi, Maithili, Awadhi, Newari and Bhojpuri, and for Sanskrit. 4th most widely used script in the world. Brahmic script created in the 1st century CE, the modern form developed in the 7th century. Has 14 vowels and 33 consonants. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Display": { + "name": "Noto Sans Display", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "Noto Sans Display is an unmodulated (\u201csans serif\u201d) design for texts in larger font sizes in the European Latin script and in Cyrillic, Greek. Noto Sans Display has italic styles, multiple weights and widths, contains 3,316 glyphs, 25 OpenType features, and supports 2,840 characters from 30 Unicode blocks: Latin Extended Additional, Cyrillic, Greek Extended, Latin Extended-B, Latin Extended-D, Latin Extended-A, Phonetic Extensions, Greek and Coptic, Combining Diacritical Marks, IPA Extensions, Cyrillic Extended-B, Latin-1 Supplement, General Punctuation, Basic Latin, Supplemental Punctuation, Spacing Modifier Letters, Letterlike Symbols, Phonetic Extensions Supplement, Combining Diacritical Marks Supplement, Latin Extended-E, Cyrillic Supplement, Currency Symbols, Latin Extended-C, Cyrillic Extended-A, Modifier Tone Letters, Superscripts and Subscripts, Combining Diacritical Marks Extended, Combining Half Marks, Cyrillic Extended-C, Alphabetic Presentation Forms. Supported writing systems Latin Latin (Roman) is a European bicameral alphabet, written left-to-right. The most popular writing system in the world. Used for over 3,000 languages including Latin and Romance languages (Italian, French, Portuguese, Spanish and Romanian), Germanic languages (English, Dutch, German, Nordic languages), Finnish, Malaysian, Indonesian, Filipino, Visayan languages, Turkish, Azerbaijani, Polish, Somali, Vietnamese, and many others. Derived from Western Greek, attested in Rome in the 7th century BCE. In the common era, numerous European languages adopted the Latin script along with Western Christian religion, the script disseminated further with European colonization of the Americas, Australia, parts of Asia, Africa and the Pacific. New letters, ligatures and diacritical marks were gradually added to represent the sounds of various languages. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Cyrillic Cyrillic is a bicameral alphabet originating in Europe, written left-to-right (250 million users). Used for various languages across Eurasia and is used as the national script in various Slavic, Turkic, Mongolic and Iranic-speaking countries in Southeastern Europe, Eastern Europe, the Caucasus, Central Asia, North Asia and East Asia, including Russian, Bulgarian, Macedonian, Serbian, Ukrainian, Uzbek, Azerbaijani, Kazakh, Tajik, Kyrgyz, Bashkort, Chechen, Chuvash, Avar, Dargwa, Kabardian, Karakalpak, Kumyk, Lezgi, Ossetic, Pontic, Yakut, Buriat and many others. Created in the 9th century. Traditionally attributed to Saint Cyril, a monk from Thessaloniki working in Bulgaria, after earlier creation of the Glagolitic script. Sometimes attributed to Clement of Ohrid, a student of Saint Cyril\u2019s. Initially used for Old Church Slavonic. Reformed in 1708 by Russian tsar Peter the Great. Extended by the Soviet Union in the 20th century to write over 50 languages throughout Eastern Europe and Asia (some of those languages switched to Latin after 1991). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Greek Greek (\u0395\u03bb\u03bb\u03b7\u03bd\u03b9\u03ba\u03ac) is a European bicameral alphabet, written left-to-right (11 million users). Used to write the Greek language since the 8th century BCE. Also used to write other languages like Urum, Albanian Tosk, and Balkan Gagauz Turkish. Some symbols are also used in scientific notation. Derived from Phoenician. First \u201ctrue alphabet\u201d, with distinct letters for consonants and vowels. Standardized in the 4th century BCE by Eucleides. Has 24 letters. Some letter variants (sigma: \u03c3/\u03c2) have positional significance in the Greek language, other variants only differ in meaning in scientific notation (e.g. pi: \u03c0/\u03d6). The Greek language used to be written in polytonic spelling, with three accents on vowels. In 1982, Greece introduced monotonic spelling with a single diacritic. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Duployan": { + "name": "Noto Sans Duployan", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "duployan", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Dupl", + "article": "Noto Sans Duployan is a design for the Duployan shorthand script. Noto Sans Duployan contains 10,255 glyphs, 11 OpenType features, and supports 210 characters from 5 Unicode blocks: Duployan, Basic Latin, Combining Diacritical Marks, General Punctuation, Latin-1 Supplement. Supported writing systems Duployan shorthand Duployan shorthand (Sloan-Duployan shorthand, Duployan stenography) is an shorthand alphabet, written left-to-right. Geometric stenography script created in 1860 by Father \u00c9mile Duploy\u00e9 for writing French, later expanded and adapted for writing many other languages. Heavily cursive (connected), allows words to be written in a single stroke. Praised for simplicity and speed of writing. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Egyptian Hieroglyphs": { + "name": "Noto Sans Egyptian Hieroglyphs", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "egyptian-hieroglyphs", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Egyp", + "article": "Noto Sans Egyptian Hieroglyphs is an unmodulated (\u201csans serif\u201d) design for texts in the historical African Egyptian hieroglyphs script. Noto Sans Egyptian Hieroglyphs contains 1,079 glyphs, and supports 1,078 characters from the Unicode block Egyptian Hieroglyphs. Supported writing systems Egyptian hieroglyphs Egyptian hieroglyphs is a historical African logo-syllabary, written left-to-right. Were used about 3000 BCE\u2013400 CE for writing the ancient Egyptian language. Combined logographic, syllabic and alphabetic elements, with a total of some 1,000 distinct characters. Cursive hieroglyphs were used for religious literature on papyrus and wood. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Elbasan": { + "name": "Noto Sans Elbasan", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "elbasan", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Elba", + "article": "Noto Sans Elbasan is an unmodulated (\u201csans serif\u201d) design for texts in the historical European Elbasan script and in Greek. Noto Sans Elbasan contains 79 glyphs, 2 OpenType features, and supports 74 characters from 2 Unicode blocks: Elbasan, Greek and Coptic. Supported writing systems Elbasan Elbasan is a historical European alphabet, written left-to-right. Was used by Albanian Christians in the mid-18th century. Known primarily from the Elbasan Gospel Manuscript. Since 1909 replaced by the Latin alphabet for Albanian. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Greek Greek (\u0395\u03bb\u03bb\u03b7\u03bd\u03b9\u03ba\u03ac) is a European bicameral alphabet, written left-to-right (11 million users). Used to write the Greek language since the 8th century BCE. Also used to write other languages like Urum, Albanian Tosk, and Balkan Gagauz Turkish. Some symbols are also used in scientific notation. Derived from Phoenician. First \u201ctrue alphabet\u201d, with distinct letters for consonants and vowels. Standardized in the 4th century BCE by Eucleides. Has 24 letters. Some letter variants (sigma: \u03c3/\u03c2) have positional significance in the Greek language, other variants only differ in meaning in scientific notation (e.g. pi: \u03c0/\u03d6). The Greek language used to be written in polytonic spelling, with three accents on vowels. In 1982, Greece introduced monotonic spelling with a single diacritic. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Elymaic": { + "name": "Noto Sans Elymaic", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "elymaic", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Noto Sans Elymaic is an unmodulated (\u201csans serif\u201d) design for texts in the historical Middle Eastern Elymaic script. Noto Sans Elymaic contains 46 glyphs, 7 OpenType features, and supports 25 characters from the Unicode block Elymaic. Supported writing systems Elymaic Elymaic is a historical Middle Eastern abjad, written right-to-left. Was used around 250 BCE\u2013500 CE in the ancient state of Elymais in the region southeast of the Tigris River in today\u2019s Iran. Descended from Aramaic, poorly attested. Read more on ScriptSource, Unicode, Wikipedia, r12a.", + "minisite_url": null + }, + "Noto Sans Ethiopic": { + "name": "Noto Sans Ethiopic", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "ethiopic", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Ethi", + "article": "Noto Sans Ethiopic is an unmodulated (\u201csans serif\u201d) design for texts in the African Ethiopic script. Noto Sans Ethiopic has multiple weights and widths, contains 566 glyphs, 5 OpenType features, and supports 505 characters from 4 Unicode blocks: Ethiopic, Ethiopic Extended, Ethiopic Extended-A, Ethiopic Supplement. Supported writing systems Ethiopic Ethiopic (Ge\u02bdez, \u130d\u12d5\u12dd, \u134a\u12f0\u120d) is an African abugida, written left-to-right (18 million users). Used for Ethiosemitic languages like Tigr\u00e9, Amharic and Tigrinya and some Cushitic and Nilotic languages. Was used in the 1st\u201312th century CE in Ethiopia and Eritrea for the Ge\u02bdez language (now a liturgical language). Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Georgian": { + "name": "Noto Sans Georgian", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic-ext", + "georgian", + "greek-ext", + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Geor", + "article": "Noto Sans Georgian is an unmodulated (\u201csans serif\u201d) design for texts in the European Georgian script. Noto Sans Georgian has multiple weights and widths, contains 225 glyphs, 6 OpenType features, and supports 186 characters from 4 Unicode blocks: Georgian, Georgian Extended, Georgian Supplement, Combining Diacritical Marks. Supported writing systems Georgian Georgian (\u10e5\u10d0\u10e0\u10d7\u10e3\u10da\u10d8) is a European alphabet, written left-to-right (4.5 million users). Used for the Georgian language of Georgia, and other Kartvelian languages. Since 430 CE, the Georgian language used an inscriptional form (Asomtavruli), which evolved into a manuscript form (Nuskhuri). These are categorized as Khutsuri (ecclesiastical): Asomtavruli is uppercase, Nuskhuri is lowercase. Khutsuri is still used for liturgical purposes, but was replaced by a new case-less form (Mkhedruli) used for nearly all modern Georgian writing. In the 1950s, Akaki Shanidze attempted to add Asomtavruli as uppercase and use Mkhedruli for lowercase, but the effort did not succeed. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Glagolitic": { + "name": "Noto Sans Glagolitic", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic-ext", + "glagolitic", + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Glag", + "article": "Noto Sans Glagolitic is an unmodulated (\u201csans serif\u201d) design for texts in the historical European Glagolitic script. Noto Sans Glagolitic contains 142 glyphs, 2 OpenType features, and supports 141 characters from 2 Unicode blocks: Glagolitic, Glagolitic Supplement. Supported writing systems Glagolitic Glagolitic (Glagolitsa, \u2c03\u2c3e\u2c30\u2c33\u2c41\u2c3e\u2c39\u2c4c\u2c30) is a historical European bicameral alphabet, written left-to-right. Created around 863 CE, traditionally attributed to Saint Cyril, a monk from Thessaloniki working in Bulgaria. The oldest known Slavic alphabet. Was used throughout the Balkans in tandem with the later-created Cyrillic until the 13th century, after which time it was largely replaced by Cyrillic. In Croatia, Glagolitic continued to be used until the 19th century, particularly in the church. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Gothic": { + "name": "Noto Sans Gothic", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "gothic", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Goth", + "article": "Noto Sans Gothic is an unmodulated (\u201csans serif\u201d) design for texts in the historical European Gothic script. Noto Sans Gothic contains 40 glyphs, 2 OpenType features, and supports 35 characters from 2 Unicode blocks: Gothic, Combining Diacritical Marks. Supported writing systems Gothic Gothic is a historical European alphabet, written left-to-right. Was used in c. 350\u2013600 CE or writing the Gothic language. Created by the bishop Ulfilas for religious purposes. Uses uncial forms of the Greek alphabet, with a few additional letters to express Gothic phonology. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Grantha": { + "name": "Noto Sans Grantha", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "grantha", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Gran", + "article": "Noto Sans Grantha is an unmodulated (\u201csans serif\u201d) design for texts in the Indic Grantha script. Noto Sans Grantha contains 478 glyphs, 24 OpenType features, and supports 121 characters from 3 Unicode blocks: Grantha, Vedic Extensions, Devanagari. Supported writing systems Grantha Grantha (\ud804\udf17\ud804\udf4d\ud804\udf30\ud804\udf28\ud804\udf4d\ud804\udf25) is an Indic abugida, written left-to-right. Used since the 7th century CE for writing religious texts in Sanskrit and Dravidian languages. Related to Tamil. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Gujarati": { + "name": "Noto Sans Gujarati", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "gujarati", + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Gujr", + "article": "Noto Sans Gujarati is an unmodulated (\u201csans serif\u201d) design for texts in the Indic Gujarati script. Noto Sans Gujarati contains 798 glyphs, 16 OpenType features, and supports 164 characters from 5 Unicode blocks: Gujarati, Basic Latin, General Punctuation, Devanagari, Common Indic Number Forms. Supported writing systems Gujarati Gujarati (\u0a97\u0ac1\u0a9c\u0ab0\u0abe\u0aa4\u0ac0) is an Indic abugida, written left-to-right without a headstroke (48 million users). Used in India since the 16th century CE for the Gujarati and Chodri languages. Also used alongside Devanagari for languages used by the Bhil people. Related to Devanagari. Was used mainly for bookkeeping and correspondence until the mid-19th century. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Gunjala Gondi": { + "name": "Noto Sans Gunjala Gondi", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "gunjala-gondi", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Gong", + "article": "Noto Sans Gunjala Gondi is a design for the Indic Gunjala Gondi script. Noto Sans Gunjala Gondi has multiple weights, contains 254 glyphs, 6 OpenType features, and supports 94 characters from 3 Unicode blocks: Gunjala Gondi, Basic Latin, General Punctuation. Supported writing systems Gunjala Gondi Gunjala Gondi (Koytura Gunjala Lipi, \ud807\udd76\ud807\udd8d\ud807\udd95\ud807\udd80\ud807\udd75\ud807\udd8a \ud807\udd76\ud807\udd93\ud807\udd95\ud807\udd82\ud807\udd8b \ud807\udd75\ud807\udd8b\ud807\udd85\ud807\udd8b) is an Indic abugida, written left-to-right. Used in India\u2019s northern Telangana, eastern Maharashtra, southeastern Madhya Pradesh, and Chhattisgarh regions for the Gondi language. Was used to write manuscripts dated ca. 1750 that were discovered 2006 in Gunjala, a Gond village in the Indian state of Telangana. Recently revived among the Gond population. Unrelated to the 1918-created Masaram Gondi. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Gurmukhi": { + "name": "Noto Sans Gurmukhi", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "gurmukhi", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Guru", + "article": "Noto Sans Gurmukhi is an unmodulated (\u201csans serif\u201d) design for texts in the Indic Gurmukhi script. Noto Sans Gurmukhi has multiple weights and widths, contains 344 glyphs, 11 OpenType features, and supports 154 characters from 5 Unicode blocks: Gurmukhi, Basic Latin, General Punctuation, Devanagari, Common Indic Number Forms. Supported writing systems Gurmukhi Gurmukhi (\u0a17\u0a41\u0a30\u0a2e\u0a41\u0a16\u0a40) is an Indic abugida, written left-to-right with a headstroke (22 million users). Used in India for the Punjabi language by followers of the Sikh religion. Brahmic script. Current form developed in the 16th century by Guru Angad. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans HK": { + "name": "Noto Sans HK", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "chinese-hongkong", + "cyrillic", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Hant", + "article": "Noto Sans HK is an unmodulated (\u201csans serif\u201d) design for languages in Hong Kong that use the Traditional Chinese variant of the Han ideograms. It also supports Latin, Cyrillic, Greek, Katakana, Hiragana and Hangul. Noto Sans CJK HK contains 65,535 glyphs, 23 OpenType features, and supports 44,806 characters from 55 Unicode blocks: CJK Unified Ideographs, Hangul Syllables, CJK Unified Ideographs Extension A, CJK Unified Ideographs Extension B, CJK Compatibility Ideographs, Hangul Jamo, CJK Compatibility, Halfwidth and Fullwidth Forms, Kangxi Radicals, Enclosed CJK Letters and Months, Enclosed Alphanumeric Supplement, Box Drawing, CJK Radicals Supplement, CJK Unified Ideographs Extension E, Katakana, Hangul Compatibility Jamo, Hiragana, Latin Extended Additional, Latin-1 Supplement, Basic Latin, Enclosed Alphanumerics, Mathematical Operators, Hangul Jamo Extended-B, Cyrillic, Enclosed Ideographic Supplement, CJK Compatibility Ideographs Supplement, CJK Symbols and Punctuation, Miscellaneous Symbols, Greek and Coptic, CJK Unified Ideographs Extension C, Bopomofo, Geometric Shapes, CJK Strokes, General Punctuation, CJK Unified Ideographs Extension D, Block Elements, CJK Compatibility Forms, Latin Extended-A, Hangul Jamo Extended-A, Bopomofo Extended, Miscellaneous Technical, Small Form Variants, Arrows, Latin Extended-B, Letterlike Symbols, Katakana Phonetic Extensions, Kanbun, Ideographic Description Characters, Vertical Forms, Spacing Modifier Letters, Dingbats, Combining Diacritical Marks, Miscellaneous Symbols and Arrows, Alphabetic Presentation Forms, CJK Unified Ideographs Extension F. Supported writing systems Traditional Han Traditional Han (\u6f22\u5b57) is an East Asian logo-syllabary, written vertically right-to-left and horizontally left-to-right (over 30 million users). Used in Taiwan, Hong Kong and Macau. ((TODO)) Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Hangul Hangul (Hangeul, \ud55c\uae00, Chos\u014fn'g\u016dl, \uc870\uc120\uae00) is an East Asian script, written vertically right-to-left and horizontally left-to-right (79 million users). Used for the Korean language. Created in 1446 by King Sejong the Great (Sejong of Joseon) as a simpler, phonetic alternative to using Chinese hanja for Korean. Not universally accepted for centuries, suppressed by Japanese colonial authorities. Since 1945 the standard script for Korean. The 51 basic letters (jamo) are grouped into syllable blocks depending on their position in the spoken syllable. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Latin Latin (Roman) is a European bicameral alphabet, written left-to-right. The most popular writing system in the world. Used for over 3,000 languages including Latin and Romance languages (Italian, French, Portuguese, Spanish and Romanian), Germanic languages (English, Dutch, German, Nordic languages), Finnish, Malaysian, Indonesian, Filipino, Visayan languages, Turkish, Azerbaijani, Polish, Somali, Vietnamese, and many others. Derived from Western Greek, attested in Rome in the 7th century BCE. In the common era, numerous European languages adopted the Latin script along with Western Christian religion, the script disseminated further with European colonization of the Americas, Australia, parts of Asia, Africa and the Pacific. New letters, ligatures and diacritical marks were gradually added to represent the sounds of various languages. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Katakana Katakana (\u7247\u4eee\u540d\u3001\u30ab\u30bf\u30ab\u30ca) is an East Asian syllabary, written vertically right-to-left and horizontally left-to-right (126 million users). Used in Japan for Japanese, Ryukyuan, Ainu and Palauan, and formerly for Taiwanese Hokkien. Katakana is used for transcription of foreign-language words into Japanese, for the writing of loan words, for emphasis, to represent onomatopoeia, for technical and scientific terms, for names of plants, animals and minerals, and often for names of Japanese companies. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Hiragana Hiragana (\u5e73\u4eee\u540d, \u3072\u3089\u304c\u306a) is an East Asian syllabary, written vertically right-to-left and horizontally left-to-right (120 million users). Used in Japan for Japanese and the Ryukyuan languages. Hiragana is used to write okurigana (kana suffixes following a kanji root, for example to inflect verbs and adjectives), various grammatical and function words including particles, as well as miscellaneous other native words for which there are no kanji or whose kanji form is obscure or too formal for the writing purpose. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Emoji symbols Emoji symbols are pictograms, logograms, ideograms and smileys used in electronic messages and web pages. Their primary function is to fill in emotional cues otherwise missing from typed conversation. They are typically rendered as multi-color characters. Read more on ScriptSource, Unicode, Wikipedia, r12a. Bopomofo Bopomofo (\u6ce8\u97f3\u7b26\u865f, \u6ce8\u97f3\u7b26\u53f7, \u3105\u3106\u3107\u3108) is an East Asian syllabary, written left-to-right. Developed in 1913 in China to be used for Mandarin Chinese transliteration alongside the Latin-based Wade\u2013Giles system. Also called Mandarin Phonetic Symbols or Zhuyin (\u6ce8\u97f3). Bopomofo is an official transliteration system in Taiwan, used in dictionaries, books, newspapers and journals to annotate the Taiwanese pronunciation of Chinese Han characters, and in electronic input methods. Largely replaced by Pinyin romanization in the People\u2019s Republic of China. Also used as the primary script for Taiwan\u2019s minority languages like Atayal, Taroko, Paiwan and Yami. Has 21 onset consonants, 16 rhymes, and 4 tone marks. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Cyrillic Cyrillic is a bicameral alphabet originating in Europe, written left-to-right (250 million users). Used for various languages across Eurasia and is used as the national script in various Slavic, Turkic, Mongolic and Iranic-speaking countries in Southeastern Europe, Eastern Europe, the Caucasus, Central Asia, North Asia and East Asia, including Russian, Bulgarian, Macedonian, Serbian, Ukrainian, Uzbek, Azerbaijani, Kazakh, Tajik, Kyrgyz, Bashkort, Chechen, Chuvash, Avar, Dargwa, Kabardian, Karakalpak, Kumyk, Lezgi, Ossetic, Pontic, Yakut, Buriat and many others. Created in the 9th century. Traditionally attributed to Saint Cyril, a monk from Thessaloniki working in Bulgaria, after earlier creation of the Glagolitic script. Sometimes attributed to Clement of Ohrid, a student of Saint Cyril\u2019s. Initially used for Old Church Slavonic. Reformed in 1708 by Russian tsar Peter the Great. Extended by the Soviet Union in the 20th century to write over 50 languages throughout Eastern Europe and Asia (some of those languages switched to Latin after 1991). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Greek Greek (\u0395\u03bb\u03bb\u03b7\u03bd\u03b9\u03ba\u03ac) is a European bicameral alphabet, written left-to-right (11 million users). Used to write the Greek language since the 8th century BCE. Also used to write other languages like Urum, Albanian Tosk, and Balkan Gagauz Turkish. Some symbols are also used in scientific notation. Derived from Phoenician. First \u201ctrue alphabet\u201d, with distinct letters for consonants and vowels. Standardized in the 4th century BCE by Eucleides. Has 24 letters. Some letter variants (sigma: \u03c3/\u03c2) have positional significance in the Greek language, other variants only differ in meaning in scientific notation (e.g. pi: \u03c0/\u03d6). The Greek language used to be written in polytonic spelling, with three accents on vowels. In 1982, Greece introduced monotonic spelling with a single diacritic. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Hanifi Rohingya": { + "name": "Noto Sans Hanifi Rohingya", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "hanifi-rohingya", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Rohg", + "article": "Noto Sans Hanifi Rohingya is an unmodulated (\u201csans serif\u201d) design for texts in the Southeast Asian Hanifi Rohingya script. Noto Sans Hanifi Rohingya has multiple weights, contains 179 glyphs, 8 OpenType features, and supports 65 characters from 2 Unicode blocks: Hanifi Rohingya, Arabic. Supported writing systems Hanifi Rohingya Hanifi Rohingya (\ud803\udd0c\ud803\udd1f\ud803\udd07\ud803\udd25\ud803\udd1d\ud803\udd1a\ud803\udd12\ud803\udd19\ud803\udd1d \ud803\udd07\ud803\udd1d\ud803\udd15\ud803\udd1e\ud803\udd09\ud803\udd1e \ud803\udd13\ud803\udd20\ud803\udd11\ud803\udd24\ud803\udd1d) is a Southeast Asian script, written right-to-left. Used in Myanmar since the 1980s for the Rohingya language (1.5 million speakers), which was previously witten in Arabic script. Created by Mohammad Hanif. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Hanunoo": { + "name": "Noto Sans Hanunoo", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "hanunoo", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Hano", + "article": "Noto Sans Hanunoo is an unmodulated (\u201csans serif\u201d) design for texts in the Southeast Asian Hanunoo script. Noto Sans Hanunoo contains 48 glyphs, 3 OpenType features, and supports 31 characters from the Unicode block Hanunoo. Supported writing systems Hanunoo Hanunoo (\u1731\u1728\u1733\u1728\u1733\u1722) is a Southeast Asian abugida, unusually written in upward vertical columns that are read left-to-right. Used in the mountains of Mindoro, South Philippines since c. 1300 for the Hanun\u00f3'o language (18,000 speakers). Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Hatran": { + "name": "Noto Sans Hatran", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "hatran", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Hatr", + "article": "Noto Sans Hatran is an unmodulated (\u201csans serif\u201d) design for texts in the historical Middle Eastern Hatran script. Noto Sans Hatran contains 32 glyphs, and supports 31 characters from the Unicode block Hatran. Supported writing systems Hatran Hatran is a historical Middle Eastern abjad, written right-to-left. Was used for Aramaic of Hatra, a dialect spoken by early inhabitants of today\u2019s northern Iraq in 98 BCE\u2013240 CE. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Hebrew": { + "name": "Noto Sans Hebrew", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic-ext", + "greek-ext", + "hebrew", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Hebr", + "article": "Noto Sans Hebrew is an unmodulated (\u201csans serif\u201d) design for texts in the Middle Eastern Hebrew script. Noto Sans Hebrew has multiple weights and widths, contains 149 glyphs, 4 OpenType features, and supports 145 characters from 2 Unicode blocks: Hebrew, Alphabetic Presentation Forms. Supported writing systems Hebrew Hebrew ( \u05e2\u05d1\u05e8\u05d9\u05ea ) is a Middle Eastern abjad, written right-to-left (14 million users). Used for the Hebrew, Samaritan and Yiddish languages. Also used for some varieties of Arabic and for the languages of Jewish communities across the world. Has 22 consonant letters, 5 have positional variants. Vowels in Hebrew language are normally omitted except for long vowels which are sometimes written with the consonant letters \u05d0\u05d4\u05d5\u05d9 (those were vowel-only letters until the 9th century). Children\u2019s and school books use niqqud diacritics for all vowels. Religious texts may use cantillation marks for indicating rhythm and stress. Needs software support for complex text layout (shaping). Read more on ScriptSource , Unicode , Wikipedia , Wiktionary , r12a .", + "minisite_url": null + }, + "Noto Sans Imperial Aramaic": { + "name": "Noto Sans Imperial Aramaic", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "imperial-aramaic", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Armi", + "article": "Noto Sans Imperial Aramaic is an unmodulated (\u201csans serif\u201d) design for texts in the historical Middle Eastern Imperial Aramaic script. Noto Sans Imperial Aramaic contains 36 glyphs, and supports 35 characters from the Unicode block Imperial Aramaic. Supported writing systems Imperial Aramaic Imperial Aramaic is a historical Middle Eastern abjad, written right-to-left. Was the script and language of the Persian Empire in 5th\u20133rd century BCE. Derived from the Phoenician script. Continued to be used until the 2nd century CE, and later evolved into Syriac, Nabataean, Palmyran and Hebrew (to which it is the closest). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Indic Siyaq Numbers": { + "name": "Noto Sans Indic Siyaq Numbers", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "indic-siyaq-numbers", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Noto Sans Indic Siyaq Numbers is a modulated design that contains Arabic-script numerals that were used for accounting in India in the 17th\u201320th centuries. Noto Sans Indic Siyaq Numbers contains 95 glyphs, 2 OpenType features, and supports 93 characters .", + "minisite_url": null + }, + "Noto Sans Inscriptional Pahlavi": { + "name": "Noto Sans Inscriptional Pahlavi", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "inscriptional-pahlavi", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Phli", + "article": "Noto Sans Inscriptional Pahlavi is an unmodulated (\u201csans serif\u201d) design for texts in the historical Middle Eastern Inscriptional Pahlavi script. Noto Sans Inscriptional Pahlavi contains 35 glyphs, 2 OpenType features, and supports 31 characters from the Unicode block Inscriptional Pahlavi. Supported writing systems Inscriptional Pahlavi Inscriptional Pahlavi is a historical Middle Eastern abjad, written right-to-left. Was presumably used in the 2nd century BCE\u20135th century CE as a monumental script for Middle Iranian languages. The letters are disconnected. Later evolved into Psalter Pahlavi and Book Pahlavi. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Inscriptional Parthian": { + "name": "Noto Sans Inscriptional Parthian", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "inscriptional-parthian", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Prti", + "article": "Noto Sans Inscriptional Parthian is an unmodulated (\u201csans serif\u201d) design for texts in the historical Middle Eastern Inscriptional Parthian script. Noto Sans Inscriptional Parthian contains 46 glyphs, 2 OpenType features, and supports 34 characters from the Unicode block Inscriptional Parthian. Supported writing systems Inscriptional Parthian Inscriptional Parthian is a historical Middle Eastern abjad, written right-to-left. Was used around 250 BC in today\u2019s north-eastern Iran for the Parthian language, and, along with Inscriptional Pahlavi and Psalter Pahlavi, for other Iranian and Indo-European languages. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans JP": { + "name": "Noto Sans JP", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "japanese", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Jpan", + "article": "Noto Sans JP is an unmodulated (\u201csans serif\u201d) design for the Japanese language and other languages used in Japan. It covers Hiragana, Katakana and Kanji. It also supports Latin, Cyrillic, Greek and Hangul. Noto Sans CJK JP contains 65,535 glyphs, 27 OpenType features, and supports 44,806 characters from 55 Unicode blocks: CJK Unified Ideographs, Hangul Syllables, CJK Unified Ideographs Extension A, CJK Unified Ideographs Extension B, CJK Compatibility Ideographs, Hangul Jamo, CJK Compatibility, Halfwidth and Fullwidth Forms, Kangxi Radicals, Enclosed CJK Letters and Months, Enclosed Alphanumeric Supplement, Box Drawing, CJK Radicals Supplement, CJK Unified Ideographs Extension E, Katakana, Hangul Compatibility Jamo, Hiragana, Latin Extended Additional, Latin-1 Supplement, Basic Latin, Enclosed Alphanumerics, Mathematical Operators, Hangul Jamo Extended-B, Cyrillic, Enclosed Ideographic Supplement, CJK Compatibility Ideographs Supplement, CJK Symbols and Punctuation, Miscellaneous Symbols, Greek and Coptic, CJK Unified Ideographs Extension C, Bopomofo, Geometric Shapes, CJK Strokes, General Punctuation, CJK Unified Ideographs Extension D, Block Elements, CJK Compatibility Forms, Latin Extended-A, Hangul Jamo Extended-A, Bopomofo Extended, Miscellaneous Technical, Small Form Variants, Arrows, Latin Extended-B, Letterlike Symbols, Katakana Phonetic Extensions, Kanbun, Ideographic Description Characters, Vertical Forms, Spacing Modifier Letters, Dingbats, Combining Diacritical Marks, Miscellaneous Symbols and Arrows, Alphabetic Presentation Forms, CJK Unified Ideographs Extension F. Supported writing systems Japanese Kanji Japanese Kanji (\u6f22\u5b57) is an East Asian logo-syllabary, written left-to-right (126 million users). Used together with the Hiragana and Katakana syllabaries in Japan for the Japanese language. Noun, verb, adjective and some adverb stems use kanji (the most basic set is 2,136). Grammatical elements use Hiragana, loan words and emphasis use Katakana. Kanji is primarily derived from the traditional Chinese Han characters. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Hangul Hangul (Hangeul, \ud55c\uae00, Chos\u014fn'g\u016dl, \uc870\uc120\uae00) is an East Asian script, written vertically right-to-left and horizontally left-to-right (79 million users). Used for the Korean language. Created in 1446 by King Sejong the Great (Sejong of Joseon) as a simpler, phonetic alternative to using Chinese hanja for Korean. Not universally accepted for centuries, suppressed by Japanese colonial authorities. Since 1945 the standard script for Korean. The 51 basic letters (jamo) are grouped into syllable blocks depending on their position in the spoken syllable. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Latin Latin (Roman) is a European bicameral alphabet, written left-to-right. The most popular writing system in the world. Used for over 3,000 languages including Latin and Romance languages (Italian, French, Portuguese, Spanish and Romanian), Germanic languages (English, Dutch, German, Nordic languages), Finnish, Malaysian, Indonesian, Filipino, Visayan languages, Turkish, Azerbaijani, Polish, Somali, Vietnamese, and many others. Derived from Western Greek, attested in Rome in the 7th century BCE. In the common era, numerous European languages adopted the Latin script along with Western Christian religion, the script disseminated further with European colonization of the Americas, Australia, parts of Asia, Africa and the Pacific. New letters, ligatures and diacritical marks were gradually added to represent the sounds of various languages. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Katakana Katakana (\u7247\u4eee\u540d\u3001\u30ab\u30bf\u30ab\u30ca) is an East Asian syllabary, written vertically right-to-left and horizontally left-to-right (126 million users). Used in Japan for Japanese, Ryukyuan, Ainu and Palauan, and formerly for Taiwanese Hokkien. Katakana is used for transcription of foreign-language words into Japanese, for the writing of loan words, for emphasis, to represent onomatopoeia, for technical and scientific terms, for names of plants, animals and minerals, and often for names of Japanese companies. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Hiragana Hiragana (\u5e73\u4eee\u540d, \u3072\u3089\u304c\u306a) is an East Asian syllabary, written vertically right-to-left and horizontally left-to-right (120 million users). Used in Japan for Japanese and the Ryukyuan languages. Hiragana is used to write okurigana (kana suffixes following a kanji root, for example to inflect verbs and adjectives), various grammatical and function words including particles, as well as miscellaneous other native words for which there are no kanji or whose kanji form is obscure or too formal for the writing purpose. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Emoji symbols Emoji symbols are pictograms, logograms, ideograms and smileys used in electronic messages and web pages. Their primary function is to fill in emotional cues otherwise missing from typed conversation. They are typically rendered as multi-color characters. Read more on ScriptSource, Unicode, Wikipedia, r12a. Bopomofo Bopomofo (\u6ce8\u97f3\u7b26\u865f, \u6ce8\u97f3\u7b26\u53f7, \u3105\u3106\u3107\u3108) is an East Asian syllabary, written left-to-right. Developed in 1913 in China to be used for Mandarin Chinese transliteration alongside the Latin-based Wade\u2013Giles system. Also called Mandarin Phonetic Symbols or Zhuyin (\u6ce8\u97f3). Bopomofo is an official transliteration system in Taiwan, used in dictionaries, books, newspapers and journals to annotate the Taiwanese pronunciation of Chinese Han characters, and in electronic input methods. Largely replaced by Pinyin romanization in the People\u2019s Republic of China. Also used as the primary script for Taiwan\u2019s minority languages like Atayal, Taroko, Paiwan and Yami. Has 21 onset consonants, 16 rhymes, and 4 tone marks. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Cyrillic Cyrillic is a bicameral alphabet originating in Europe, written left-to-right (250 million users). Used for various languages across Eurasia and is used as the national script in various Slavic, Turkic, Mongolic and Iranic-speaking countries in Southeastern Europe, Eastern Europe, the Caucasus, Central Asia, North Asia and East Asia, including Russian, Bulgarian, Macedonian, Serbian, Ukrainian, Uzbek, Azerbaijani, Kazakh, Tajik, Kyrgyz, Bashkort, Chechen, Chuvash, Avar, Dargwa, Kabardian, Karakalpak, Kumyk, Lezgi, Ossetic, Pontic, Yakut, Buriat and many others. Created in the 9th century. Traditionally attributed to Saint Cyril, a monk from Thessaloniki working in Bulgaria, after earlier creation of the Glagolitic script. Sometimes attributed to Clement of Ohrid, a student of Saint Cyril\u2019s. Initially used for Old Church Slavonic. Reformed in 1708 by Russian tsar Peter the Great. Extended by the Soviet Union in the 20th century to write over 50 languages throughout Eastern Europe and Asia (some of those languages switched to Latin after 1991). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Greek Greek (\u0395\u03bb\u03bb\u03b7\u03bd\u03b9\u03ba\u03ac) is a European bicameral alphabet, written left-to-right (11 million users). Used to write the Greek language since the 8th century BCE. Also used to write other languages like Urum, Albanian Tosk, and Balkan Gagauz Turkish. Some symbols are also used in scientific notation. Derived from Phoenician. First \u201ctrue alphabet\u201d, with distinct letters for consonants and vowels. Standardized in the 4th century BCE by Eucleides. Has 24 letters. Some letter variants (sigma: \u03c3/\u03c2) have positional significance in the Greek language, other variants only differ in meaning in scientific notation (e.g. pi: \u03c0/\u03d6). The Greek language used to be written in polytonic spelling, with three accents on vowels. In 1982, Greece introduced monotonic spelling with a single diacritic. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Javanese": { + "name": "Noto Sans Javanese", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "javanese", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Java", + "article": "Noto Sans Javanese is an unmodulated (\u201csans serif\u201d) design for texts in the Southeast Asian Javanese script. Noto Sans Javanese contains 405 glyphs, 7 OpenType features, and supports 99 characters from the Unicode block Javanese. Supported writing systems Javanese Javanese (Aksara Jawa, \ua984\ua98f\ua9c0\ua9b1\ua9ab\ua997\ua9ae) is a Southeast Asian abugida, written left-to-right. Used since the 15h century for the Javanese language on the Indonesian island of Java. Also used for Sundanese, Madurese, Sasak, Indonesian, Kawi, Sanskrit. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans KR": { + "name": "Noto Sans KR", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "korean", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Kore", + "article": "Noto Sans KR is an unmodulated (\u201csans serif\u201d) design for the Korean language using Hangul and the Korean Hanja scripts. It also supports Hiragana, Katakana, Latin, Cyrillic and Greek. Noto Sans CJK KR contains 65,535 glyphs, 23 OpenType features, and supports 44,806 characters from 55 Unicode blocks: CJK Unified Ideographs, Hangul Syllables, CJK Unified Ideographs Extension A, CJK Unified Ideographs Extension B, CJK Compatibility Ideographs, Hangul Jamo, CJK Compatibility, Halfwidth and Fullwidth Forms, Kangxi Radicals, Enclosed CJK Letters and Months, Enclosed Alphanumeric Supplement, Box Drawing, CJK Radicals Supplement, CJK Unified Ideographs Extension E, Katakana, Hangul Compatibility Jamo, Hiragana, Latin Extended Additional, Latin-1 Supplement, Basic Latin, Enclosed Alphanumerics, Mathematical Operators, Hangul Jamo Extended-B, Cyrillic, Enclosed Ideographic Supplement, CJK Compatibility Ideographs Supplement, CJK Symbols and Punctuation, Miscellaneous Symbols, Greek and Coptic, CJK Unified Ideographs Extension C, Bopomofo, Geometric Shapes, CJK Strokes, General Punctuation, CJK Unified Ideographs Extension D, Block Elements, CJK Compatibility Forms, Latin Extended-A, Hangul Jamo Extended-A, Bopomofo Extended, Miscellaneous Technical, Small Form Variants, Arrows, Latin Extended-B, Letterlike Symbols, Katakana Phonetic Extensions, Kanbun, Ideographic Description Characters, Vertical Forms, Spacing Modifier Letters, Dingbats, Combining Diacritical Marks, Miscellaneous Symbols and Arrows, Alphabetic Presentation Forms, CJK Unified Ideographs Extension F. Supported writing systems Korean Hanja Korean Hanja (\ud55c\uc790, \u6f22\u5b57) is an East Asian logo-syllabary, written left-to-right. Based on traditional Chinese Han characters, Hanja was used for the Korean language until 1446, when King Sejong introduced Hangul. Until the mid-20th century Hanja and Hangul were used in parallel or mixed. Today, the vast majority of Korean text uses Hangul but Hanja is still used in some context, and schools teach some 1,000-3,000 Hanja symbols. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Hangul Hangul (Hangeul, \ud55c\uae00, Chos\u014fn'g\u016dl, \uc870\uc120\uae00) is an East Asian script, written vertically right-to-left and horizontally left-to-right (79 million users). Used for the Korean language. Created in 1446 by King Sejong the Great (Sejong of Joseon) as a simpler, phonetic alternative to using Chinese hanja for Korean. Not universally accepted for centuries, suppressed by Japanese colonial authorities. Since 1945 the standard script for Korean. The 51 basic letters (jamo) are grouped into syllable blocks depending on their position in the spoken syllable. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Latin Latin (Roman) is a European bicameral alphabet, written left-to-right. The most popular writing system in the world. Used for over 3,000 languages including Latin and Romance languages (Italian, French, Portuguese, Spanish and Romanian), Germanic languages (English, Dutch, German, Nordic languages), Finnish, Malaysian, Indonesian, Filipino, Visayan languages, Turkish, Azerbaijani, Polish, Somali, Vietnamese, and many others. Derived from Western Greek, attested in Rome in the 7th century BCE. In the common era, numerous European languages adopted the Latin script along with Western Christian religion, the script disseminated further with European colonization of the Americas, Australia, parts of Asia, Africa and the Pacific. New letters, ligatures and diacritical marks were gradually added to represent the sounds of various languages. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Katakana Katakana (\u7247\u4eee\u540d\u3001\u30ab\u30bf\u30ab\u30ca) is an East Asian syllabary, written vertically right-to-left and horizontally left-to-right (126 million users). Used in Japan for Japanese, Ryukyuan, Ainu and Palauan, and formerly for Taiwanese Hokkien. Katakana is used for transcription of foreign-language words into Japanese, for the writing of loan words, for emphasis, to represent onomatopoeia, for technical and scientific terms, for names of plants, animals and minerals, and often for names of Japanese companies. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Hiragana Hiragana (\u5e73\u4eee\u540d, \u3072\u3089\u304c\u306a) is an East Asian syllabary, written vertically right-to-left and horizontally left-to-right (120 million users). Used in Japan for Japanese and the Ryukyuan languages. Hiragana is used to write okurigana (kana suffixes following a kanji root, for example to inflect verbs and adjectives), various grammatical and function words including particles, as well as miscellaneous other native words for which there are no kanji or whose kanji form is obscure or too formal for the writing purpose. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Emoji symbols Emoji symbols are pictograms, logograms, ideograms and smileys used in electronic messages and web pages. Their primary function is to fill in emotional cues otherwise missing from typed conversation. They are typically rendered as multi-color characters. Read more on ScriptSource, Unicode, Wikipedia, r12a. Bopomofo Bopomofo (\u6ce8\u97f3\u7b26\u865f, \u6ce8\u97f3\u7b26\u53f7, \u3105\u3106\u3107\u3108) is an East Asian syllabary, written left-to-right. Developed in 1913 in China to be used for Mandarin Chinese transliteration alongside the Latin-based Wade\u2013Giles system. Also called Mandarin Phonetic Symbols or Zhuyin (\u6ce8\u97f3). Bopomofo is an official transliteration system in Taiwan, used in dictionaries, books, newspapers and journals to annotate the Taiwanese pronunciation of Chinese Han characters, and in electronic input methods. Largely replaced by Pinyin romanization in the People\u2019s Republic of China. Also used as the primary script for Taiwan\u2019s minority languages like Atayal, Taroko, Paiwan and Yami. Has 21 onset consonants, 16 rhymes, and 4 tone marks. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Cyrillic Cyrillic is a bicameral alphabet originating in Europe, written left-to-right (250 million users). Used for various languages across Eurasia and is used as the national script in various Slavic, Turkic, Mongolic and Iranic-speaking countries in Southeastern Europe, Eastern Europe, the Caucasus, Central Asia, North Asia and East Asia, including Russian, Bulgarian, Macedonian, Serbian, Ukrainian, Uzbek, Azerbaijani, Kazakh, Tajik, Kyrgyz, Bashkort, Chechen, Chuvash, Avar, Dargwa, Kabardian, Karakalpak, Kumyk, Lezgi, Ossetic, Pontic, Yakut, Buriat and many others. Created in the 9th century. Traditionally attributed to Saint Cyril, a monk from Thessaloniki working in Bulgaria, after earlier creation of the Glagolitic script. Sometimes attributed to Clement of Ohrid, a student of Saint Cyril\u2019s. Initially used for Old Church Slavonic. Reformed in 1708 by Russian tsar Peter the Great. Extended by the Soviet Union in the 20th century to write over 50 languages throughout Eastern Europe and Asia (some of those languages switched to Latin after 1991). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Greek Greek (\u0395\u03bb\u03bb\u03b7\u03bd\u03b9\u03ba\u03ac) is a European bicameral alphabet, written left-to-right (11 million users). Used to write the Greek language since the 8th century BCE. Also used to write other languages like Urum, Albanian Tosk, and Balkan Gagauz Turkish. Some symbols are also used in scientific notation. Derived from Phoenician. First \u201ctrue alphabet\u201d, with distinct letters for consonants and vowels. Standardized in the 4th century BCE by Eucleides. Has 24 letters. Some letter variants (sigma: \u03c3/\u03c2) have positional significance in the Greek language, other variants only differ in meaning in scientific notation (e.g. pi: \u03c0/\u03d6). The Greek language used to be written in polytonic spelling, with three accents on vowels. In 1982, Greece introduced monotonic spelling with a single diacritic. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Kaithi": { + "name": "Noto Sans Kaithi", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "kaithi", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Kthi", + "article": "Noto Sans Kaithi is an unmodulated (\u201csans serif\u201d) design for texts in the Indic Kaithi script. Noto Sans Kaithi contains 322 glyphs, 13 OpenType features, and supports 97 characters from 2 Unicode blocks: Kaithi, Common Indic Number Forms. Supported writing systems Kaithi Kaithi (\ud804\udc8d\ud804\udcb6\ud804\udc9f\ud804\udcb2) is a historical Indic abugida, written left-to-right without a headstroke. Was used in the 16th\u201320th century in Northern and Eastern India for Indo-Aryan languages like Angika, Awadhi, Bhojpuri, Hindustani, Magahi, Maithili, Nagpuri. Except in the state of Bihar, was discouraged under British rule in India. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Kannada": { + "name": "Noto Sans Kannada", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "kannada", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Knda", + "article": "Noto Sans Kannada is an unmodulated (\u201csans serif\u201d) design for texts in the Indic Kannada script. Noto Sans Kannada has multiple weights and widths, contains 655 glyphs, 11 OpenType features, and supports 164 characters from 5 Unicode blocks: Kannada, Basic Latin, General Punctuation, Vedic Extensions, Devanagari. Supported writing systems Kannada Kannada (\u0c95\u0ca8\u0ccd\u0ca8\u0ca1 \u0cb2\u0cbf\u0caa\u0cbf) is an Indic abugida, written left-to-right, partially with a headstroke (45 million users). Used in southern India for the Kannada language as well as Konkani, Tulu, Badaga, Kudiya, Paniya. Related to Telugu. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Kawi": { + "name": "Noto Sans Kawi", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "kawi", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Kawi", + "article": "Noto Sans Kawi is a design for the historical Southeast Asian Kawi script. Noto Sans Kawi has multiple weights, contains 110 glyphs, 2 OpenType features, and supports 88 characters from the Unicode block Kawi. Supported writing systems Kawi Kawi is a historical Southeast Asian abugida, written left-to-right. Read more on ScriptSource, Unicode, Wikipedia, r12a.", + "minisite_url": null + }, + "Noto Sans Kayah Li": { + "name": "Noto Sans Kayah Li", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "kayah-li", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Kali", + "article": "Noto Sans Kayah Li is an unmodulated (\u201csans serif\u201d) design for texts in the Southeast Asian Kayah Li script. Noto Sans Kayah Li has multiple weights, contains 60 glyphs, 3 OpenType features, and supports 57 characters from the Unicode block Kayah Li. Supported writing systems Kayah Li Kayah Li (\ua90a\ua922\ua91b\ua922\ua91f \ua91c\ua924) is a Southeast Asian alphabet, written left-to-right. Used in Myanmar and Thailand for Kayah languages (150,000 users). Created in 1962 by Htae Bu Phae. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Kharoshthi": { + "name": "Noto Sans Kharoshthi", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "kharoshthi", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Khar", + "article": "Noto Sans Kharoshthi is an unmodulated (\u201csans serif\u201d) design for texts in the historical Indic Kharoshthi script. Noto Sans Kharoshthi contains 154 glyphs, 10 OpenType features, and supports 78 characters from the Unicode block Kharoshthi. Supported writing systems Kharoshthi Kharoshthi (\ud802\ude11\ud802\ude2a\ud802\ude06\ud802\ude2f\ud802\ude20\ud802\ude01) is a historical Indic abugida, written right-to-left. Was used in the 4th century BCE\u20133rd century CE in Gandhara (now Pakistan and north-eastern Afghanistan) for Gandhari Prakrit and Sanskrit. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Khmer": { + "name": "Noto Sans Khmer", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "khmer", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Khmr", + "article": "Noto Sans Khmer is an unmodulated (\u201csans serif\u201d) design for texts in the Southeast Asian Khmer script. Noto Sans Khmer has multiple weights and widths, contains 363 glyphs, 13 OpenType features, and supports 175 characters from 4 Unicode blocks: Khmer, Khmer Symbols, Basic Latin, General Punctuation. Supported writing systems Khmer Khmer (\u17a2\u1780\u17d2\u179f\u179a\u1781\u17d2\u1798\u17c2\u179a) is a Southeast Asian abugida, written left-to-right (12 million users). Used since the 7th century in Cambodia for the Khmer language. Also used for Brao, Mnong, Pali. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Khojki": { + "name": "Noto Sans Khojki", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "khojki", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Khoj", + "article": "Noto Sans Khojki is an unmodulated (\u201csans serif\u201d) design for texts in the Indic Khojki script. Noto Sans Khojki contains 177 glyphs, 8 OpenType features, and supports 89 characters from 2 Unicode blocks: Khojki, Common Indic Number Forms. Supported writing systems Khojki Khojki (\ud804\ude09\ud804\ude32\ud804\ude10\ud804\ude08\ud804\ude2e) is an Indic abugida, written left-to-right. Used since the 16th century in today\u2019s Pakistan and India by the Khoja people for religious texts in the Sindhi language. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Khudawadi": { + "name": "Noto Sans Khudawadi", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "khudawadi", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Sind", + "article": "Noto Sans Khudawadi is an unmodulated (\u201csans serif\u201d) design for texts in the historical Indic Khudawadi script. Noto Sans Khudawadi contains 110 glyphs, 5 OpenType features, and supports 90 characters from 2 Unicode blocks: Khudawadi, Common Indic Number Forms. Supported writing systems Khudawadi Khudawadi (Sindhi, \ud804\udebb\ud804\udee9\ud804\udee3\ud804\udecf\ud804\udee0\ud804\uded4\ud804\udee0\ud804\udecf\ud804\udee2 ) is a historical Indic abugida, written left-to-right. Was used in the Sindh province of Pakistan and in India for the Sindhi language (20 million speakers). Now replaced by Nastaliq in Pakistan, and by Devanagari in India. Needs software support for complex text layout (shaping). Read more on ScriptSource , Unicode , Wikipedia , Wiktionary , r12a .", + "minisite_url": null + }, + "Noto Sans Lao": { + "name": "Noto Sans Lao", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "lao", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Laoo", + "article": "Noto Sans Lao is an unmodulated (\u201csans serif\u201d) design in the more modern, loopless variant of the Southeast Asian Lao script, mainly suitable for headlines, packaging and advertising. Noto Sans Lao has multiple weights and widths, contains 116 glyphs, 4 OpenType features, and supports 76 characters from the Unicode block Lao. Supported writing systems Lao Lao (\u0ea5\u0eb2\u0ea7) is a Southeast Asian abugida, written left-to-right (7 million users). Used since the 14th century in Laos the Lao language, and also for Isan, Thai. Derived from the Khmer script. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Lao Looped": { + "name": "Noto Sans Lao Looped", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "lao", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Laoo", + "article": "Noto Sans Lao Looped is an unmodulated design in the more traditional, looped variant of the Southeast Asian Lao script, suitable for all texts. Noto Sans Lao Looped has multiple weights and widths, contains 181 glyphs, 11 OpenType features, and supports 126 characters from 4 Unicode blocks: Lao, Basic Latin, General Punctuation, Latin-1 Supplement. Supported writing systems Lao Lao (\u0ea5\u0eb2\u0ea7) is a Southeast Asian abugida, written left-to-right (7 million users). Used since the 14th century in Laos the Lao language, and also for Isan, Thai. Derived from the Khmer script. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Lepcha": { + "name": "Noto Sans Lepcha", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "lepcha" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Lepc", + "article": "Noto Sans Lepcha is an unmodulated (\u201csans serif\u201d) design for texts in the Central Asian Lepcha script. Noto Sans Lepcha contains 141 glyphs, 6 OpenType features, and supports 82 characters from the Unicode block Lepcha. Supported writing systems Lepcha Lepcha (R\u00f3ng, \u1c1b\u1c29\u1c34\u200e) is a Central Asian abugida, written left-to-right (50,000 users). Used since the 18th century in India, Nepal and Bhutan for the Tibeto-Burman Lepcha language. Derived from Tibetan writing. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Limbu": { + "name": "Noto Sans Limbu", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "limbu" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Limb", + "article": "Noto Sans Limbu is an unmodulated (\u201csans serif\u201d) design for texts in the Indic Limbu script. Noto Sans Limbu contains 79 glyphs, 3 OpenType features, and supports 77 characters from the Unicode block Limbu. Supported writing systems Limbu Limbu (Kiranti, Sirijonga, \u1915\u1930\u190c\u1922\u1931 \u1910\u1920\u1934) is an Indic abugida, written left-to-right. Used in Nepal and northern India for the Limbu language (0.4 million speakers), which is also written in Devanagari. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Linear A": { + "name": "Noto Sans Linear A", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "linear-a" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Lina", + "article": "Noto Sans Linear A is an unmodulated (\u201csans serif\u201d) design for texts in the historical European Linear A script. Noto Sans Linear A contains 346 glyphs, and supports 345 characters from the Unicode block Linear A. Supported writing systems Linear A Linear A is a historical undeciphered European logo-syllabary, written left-to-right. Was used 1800-1450 BCE in ancient Crete, alongside Cretan Hieroglyphs, for the hypothesized Minoan language. Succeeded by Linear B. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Linear B": { + "name": "Noto Sans Linear B", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "linear-b" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Linb", + "article": "Noto Sans Linear B is an unmodulated (\u201csans serif\u201d) design for texts in the historical European Linear B script. Noto Sans Linear B contains 273 glyphs, and supports 272 characters from 3 Unicode blocks: Linear B Ideograms, Linear B Syllabary, Aegean Numbers. Supported writing systems Linear B Linear B is a historical European logo-syllabary, written boustrophedon. Used for ancient Greek. Was used 1375-1100 BCE for writing Mycenaean Greek, the earliest attested Greek language form. Was deciphered in 1953. Has 87 syllabic signs and over 100 ideographic signs. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Lisu": { + "name": "Noto Sans Lisu", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "lisu" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Lisu", + "article": "Noto Sans Lisu is an unmodulated (\u201csans serif\u201d) design for texts in the East Asian Fraser script. Noto Sans Lisu has multiple weights, contains 59 glyphs, and supports 58 characters from the Unicode block Lisu. Supported writing systems Fraser Fraser (Old Lisu) is an East Asian alphabet, written left-to-right (1 million users). Used in China, Myanmar, India and Thailand for the Lisu language. Also used for Lipo, Naxi, Zaiwa, Lakkia. Created 1915 by Sara Ba Thaw and improved by James O. Fraser. Based on the Latin script. Official Lisu language script in China since 1992. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Lycian": { + "name": "Noto Sans Lycian", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "lycian" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Noto Sans Lycian is an unmodulated (\u201csans serif\u201d) design for texts in the historical European Lycian script. Noto Sans Lycian contains 34 glyphs, and supports 33 characters from the Unicode block Lycian. Supported writing systems Lycian Lycian is a historical European alphabet, written left-to-right. Was used 500-330 BCE in today\u2019s southern Turkey for the Lycian language. Has 29 letters, visually similar to archaic Greek. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Lydian": { + "name": "Noto Sans Lydian", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "lydian" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Lydi", + "article": "Noto Sans Lydian is an unmodulated (\u201csans serif\u201d) design for texts in the historical European Lydian script. Noto Sans Lydian contains 32 glyphs, and supports 31 characters from the Unicode block Lydian. Supported writing systems Lydian Lydian is a historical European alphabet, written right-to-left. Was used 700\u2013200 BCE in today\u2019s Turkish Manisa and \u0130zmir for the Lydian language. Visually similar to archaic Greek. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Mahajani": { + "name": "Noto Sans Mahajani", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "mahajani" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Mahj", + "article": "Noto Sans Mahajani is an unmodulated (\u201csans serif\u201d) design for texts in the historical Indic Mahajani script. Noto Sans Mahajani contains 69 glyphs, 2 OpenType features, and supports 68 characters from 2 Unicode blocks: Mahajani, Common Indic Number Forms. Supported writing systems Mahajani Mahajani (\ud804\udd6c\ud804\udd71\ud804\udd5b\ud804\udd67\ud804\udd51\u200e) is a historical Indic alphabet, written left-to-right. Was used until the mid-20th century in today\u2019s northwest India and eastern Pakistan as a trade and accounting script done in Hindi, Marwari and Punjabi. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Malayalam": { + "name": "Noto Sans Malayalam", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "malayalam" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Mlym", + "article": "Noto Sans Malayalam is an unmodulated (\u201csans serif\u201d) design for texts in the Indic Malayalam script. Noto Sans Malayalam has multiple weights and widths, contains 364 glyphs, 10 OpenType features, and supports 187 characters from 4 Unicode blocks: Malayalam, Basic Latin, General Punctuation, Devanagari. Supported writing systems Malayalam Malayalam (\u0d2e\u0d32\u0d2f\u0d3e\u0d33\u0d02) is an Indic abugida, written left-to-right (38 million users). Used since c. 830 CE in India for Malayalam (official language of the Kerala state), Irula, Paniya and some other languages. Derived from the a Vatteluttu alphabet. Has 15 vowel letters, 42 consonant letters, and a few other symbols. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Mandaic": { + "name": "Noto Sans Mandaic", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "mandaic" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Mand", + "article": "Noto Sans Mandaic is an unmodulated (\u201csans serif\u201d) design for texts in the historical Middle Eastern Mandaean (Mandaic) script. Noto Sans Mandaic contains 132 glyphs, 7 OpenType features, and supports 37 characters from the Unicode block Mandaic. Supported writing systems Mandaean (Mandaic) Mandaean (Mandaic) is a Middle Eastern alphabet, written right-to-left. is Used in Iraq and Iran for Mandaic, a liturgical language of the Mandaean religion (5,000 speakers). Evolved from the Aramaic script. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Manichaean": { + "name": "Noto Sans Manichaean", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "manichaean" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Mani", + "article": "Noto Sans Manichaean is an unmodulated (\u201csans serif\u201d) design for texts in the historical Middle Eastern Manichaean script. Noto Sans Manichaean contains 153 glyphs, 6 OpenType features, and supports 60 characters from the Unicode block Manichaean. Supported writing systems Manichaean Manichaean is a historical Middle Eastern abjad, written right-to-left. Was used in the 3rd\u201310th century CE by the followers of Manichaeanism, an Iranian Gnostic religion, for Middle Iranian languages and for Old Uyghur. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Marchen": { + "name": "Noto Sans Marchen", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "marchen" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Marc", + "article": "Noto Sans Marchen is an unmodulated (\u201csans serif\u201d) design for texts in the historical Indic Marchen script. Noto Sans Marchen contains 748 glyphs, 6 OpenType features, and supports 73 characters from the Unicode block Marchen. Supported writing systems Marchen Marchen is a historical Indic abugida, written left-to-right. Marchen (Greater Mar) was used by followers of the Tibetan Bo\u0308n religion for writing the Zhang-zhung language. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Masaram Gondi": { + "name": "Noto Sans Masaram Gondi", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "masaram-gondi" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Noto Sans Masaram Gondi is an unmodulated (\u201csans serif\u201d) design for texts in the Indic Masaram Gondi script. Noto Sans Masaram Gondi contains 187 glyphs, 6 OpenType features, and supports 108 characters from 3 Unicode blocks: Masaram Gondi, Basic Latin, General Punctuation. Supported writing systems Masaram Gondi Masaram Gondi is an Indic abugida, written left-to-right. Created 1918 by Munshi Mangal Singh Masaram. Brahmic script, not widely used. Unrelated to the historic Gunjala Gondi. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Math": { + "name": "Noto Sans Math", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "latin", + "math" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Noto Sans Math is a font that contains symbols for mathematical notation . Noto Sans Math contains 2,655 glyphs, 5 OpenType features, and supports 2,472 characters from 19 Unicode blocks: Mathematical Alphanumeric Symbols, Mathematical Operators, Supplemental Mathematical Operators, Arabic Mathematical Alphabetic Symbols, Supplemental Arrows-B, Miscellaneous Mathematical Symbols-B, Miscellaneous Technical, Arrows, Basic Latin, Greek and Coptic, Miscellaneous Mathematical Symbols-A, Letterlike Symbols, Miscellaneous Symbols and Arrows, Combining Diacritical Marks for Symbols, Supplemental Arrows-A, Geometric Shapes, General Punctuation, Latin-1 Supplement, Combining Diacritical Marks. Supported writing systems Mathematical notation Mathematical notation is used for recording mathematical concepts. Includes digits, as well as symbols (both original and borrowed from Latin, Greek and other scripts) for operations, variables, functions, and other concepts. Developed in the mid-1700s by Leonhard Euler. Read more on ScriptSource , Unicode , Wikipedia , r12a .", + "minisite_url": null + }, + "Noto Sans Mayan Numerals": { + "name": "Noto Sans Mayan Numerals", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "mayan-numerals" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Noto Sans Mayan Numerals is an unmodulated (\u201csans serif\u201d) that contains numerals that were used by the ancient Maya civilization. Noto Sans Mayan Numerals contains 25 glyphs, and supports 24 characters .", + "minisite_url": null + }, + "Noto Sans Medefaidrin": { + "name": "Noto Sans Medefaidrin", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "medefaidrin" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Medf", + "article": "Noto Sans Medefaidrin is an unmodulated (\u201csans serif\u201d) design for texts in the African Medefaidrin (Oberi Okaime) script. Noto Sans Medefaidrin has multiple weights, contains 97 glyphs, and supports 95 characters from the Unicode block Medefaidrin. Supported writing systems Medefaidrin (Oberi Okaime) Medefaidrin (Oberi Okaime, \ud81b\ude5d\ud81b\ude70\ud81b\ude6f\ud81b\ude7c\ud81b\ude6b \ud81b\ude5a\ud81b\ude6c\ud81b\ude7e\ud81b\ude60\ud81b\ude6f) is an African bicameral alphabet, written left-to-right. Used for the Medefaidrin artificial language used for religious purposes by members of the Oberi Okaime church in the Cross River State of Nigeria. Created in the 1930s by Michael Ukpong and Akpan Akpan Udofia. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, r12a.", + "minisite_url": null + }, + "Noto Sans Meetei Mayek": { + "name": "Noto Sans Meetei Mayek", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "meetei-mayek" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Mtei", + "article": "Noto Sans MeeteiMayek is an unmodulated (\u201csans serif\u201d) design for texts in the Indic Meetei Mayek (Meitei) script. Noto Sans MeeteiMayek has multiple weights, contains 92 glyphs, 2 OpenType features, and supports 87 characters from 2 Unicode blocks: Meetei Mayek, Meetei Mayek Extensions. Supported writing systems Meetei Mayek (Meitei) Meetei Mayek (Meitei, \uabc3\uabe4\uabc7\uabe9 \uabc3\uabcc\uabe6\uabdb) is an Indic abugida, written left-to-right. Used in India, Bangladesh, and Myanmar for the Meitei language (1.4 million users). Was used until the 18th century, then replaced by the Bengali script. Revived since the 1930s. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Mende Kikakui": { + "name": "Noto Sans Mende Kikakui", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "mende-kikakui" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Noto Sans Mende Kikakui is an unmodulated (\u201csans serif\u201d) design for texts in the African Mende script. Noto Sans Mende Kikakui contains 228 glyphs, 3 OpenType features, and supports 218 characters from the Unicode block Mende Kikakui. Supported writing systems Mende Mende (Mende Kikakui) is an African abugida, written right-to-left. Used in Sierra Leone for the Mende language (2 million speakers). Created by Mohammed Turay. Was widely used in the early 20th century, later largely replaced by the Latin script. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Meroitic": { + "name": "Noto Sans Meroitic", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "meroitic", + "meroitic-cursive", + "meroitic-hieroglyphs" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Mero", + "article": "Noto Sans Meroitic is an unmodulated (\u201csans serif\u201d) design for texts in the historical Middle Eastern Meroitic Hieroglyphs and Cursive scripts. Noto Sans Meroitic contains 133 glyphs, 2 OpenType features, and supports 129 characters from 2 Unicode blocks: Meroitic Hieroglyphs, Meroitic Cursive. Supported writing systems Meroitic Hieroglyphs Meroitic Hieroglyphs is a historical Middle Eastern logo-syllabary, written vertically right-to-left. Was used in 300 BCE\u2013600 CE in today\u2019s Sudan by the Kush (Mero\u00eb) people for the Meroitic language. Derived from Egyptian Hieroglyphs, used alongside Meroitic Cursive, and later Coptic. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Meroitic Cursive Meroitic Cursive is a historical Middle Eastern abugida, written right-to-left. Was used in 300 BCE\u2013600 CE in today\u2019s Sudan by the Kush (Mero\u00eb) people for the Meroitic language. Derived from Demotic Egyptian, used alongside Meroitic Hieroglyphs, and later Coptic. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Miao": { + "name": "Noto Sans Miao", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "miao" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Noto Sans Miao is an unmodulated (\u201csans serif\u201d) design for texts in the East Asian Pollard Phonetic script. Noto Sans Miao contains 365 glyphs, 4 OpenType features, and supports 154 characters from the Unicode block Miao. Supported writing systems Pollard Phonetic Pollard Phonetic (Pollard Miao) is an East Asian abugida, written left-to-right. Used in southern China and Southeast Asia for the A-Hmao, Lipo, Szechuan Miao, Nasu languages. Created 1936 by Samuel Pollard, inspired by Canadian Aboriginal syllabics. Revised in 1988, remains popular among the Hmong people in China. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Modi": { + "name": "Noto Sans Modi", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "modi" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Modi", + "article": "Noto Sans Modi is an unmodulated (\u201csans serif\u201d) design for texts in the Indic Modi script. Noto Sans Modi contains 209 glyphs, 7 OpenType features, and supports 96 characters from 2 Unicode blocks: Modi, Common Indic Number Forms. Supported writing systems Modi Modi (\ud805\ude26\ud805\ude3b\ud805\ude1a\ud805\ude32) is an Indic abugida, written left-to-right. Was used in 1800s\u20131950s in India for Marathi (the state language of Maharashtra). Largely replaced by Devanagari. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Mongolian": { + "name": "Noto Sans Mongolian", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "math", + "mongolian", + "symbols" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Mong", + "article": "Noto Sans Mongolian is an unmodulated (\u201csans serif\u201d) design for texts in the Central Asian Mongolian script. Noto Sans Mongolian contains 1,563 glyphs, 7 OpenType features, and supports 224 characters from 6 Unicode blocks: Mongolian, Mongolian Supplement, CJK Symbols and Punctuation, Basic Latin, General Punctuation, CJK Compatibility Forms. Supported writing systems Mongolian Mongolian (\u182e\u1823\u1829\u182d\u1823\u182f \u182a\u1822\u1834\u1822\u182d) is a Central Asian alphabet, written left-to-right in vertical columns or rotated horizontal lines. Used for the Mongolian language in Mongolia and Inner Mongolia (2 million speakers). Also used for Daur, Xibe and Manchu in China, for Southern Altai and Kalmyk-Oirat in Russia, and for Buriat in Mongolia. Derived in the 13th century from Old Uyghur, related to Galik, Todo, Manchu and Sibe. Has 8 vowel and 27 consonant letters. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, r12a.", + "minisite_url": null + }, + "Noto Sans Mono": { + "name": "Noto Sans Mono", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "monospace" + ], + "description": null, + "primary_script": null, + "article": "Noto Sans Mono is a monospaced, unmodulated (\u201csans serif\u201d) design suitable for programming code and other uses where a fixed-width font is needed. It supports the Latin, Cyrillic and Greek scripts, and various symbols. Noto Sans Mono has multiple weights and widths, contains 3,787 glyphs, 17 OpenType features, and supports 3,367 characters from 39 Unicode blocks: Latin Extended Additional, Cyrillic, Greek Extended, Latin Extended-B, Latin Extended-D, Latin Extended-A, Phonetic Extensions, Box Drawing, Greek and Coptic, Miscellaneous Technical, Combining Diacritical Marks, Mathematical Operators, IPA Extensions, Geometric Shapes, Cyrillic Extended-B, Latin-1 Supplement, General Punctuation, Basic Latin, Supplemental Punctuation, Spacing Modifier Letters, Letterlike Symbols, Phonetic Extensions Supplement, Combining Diacritical Marks Supplement, Latin Extended-E, Cyrillic Supplement, Currency Symbols, Block Elements, Latin Extended-C, Cyrillic Extended-A, Modifier Tone Letters, Superscripts and Subscripts, Arrows, Combining Diacritical Marks Extended, Combining Half Marks, Miscellaneous Mathematical Symbols-A, Cyrillic Extended-C, Dingbats, Miscellaneous Mathematical Symbols-B, Ornamental Dingbats. Supported writing systems Latin Latin (Roman) is a European bicameral alphabet, written left-to-right. The most popular writing system in the world. Used for over 3,000 languages including Latin and Romance languages (Italian, French, Portuguese, Spanish and Romanian), Germanic languages (English, Dutch, German, Nordic languages), Finnish, Malaysian, Indonesian, Filipino, Visayan languages, Turkish, Azerbaijani, Polish, Somali, Vietnamese, and many others. Derived from Western Greek, attested in Rome in the 7th century BCE. In the common era, numerous European languages adopted the Latin script along with Western Christian religion, the script disseminated further with European colonization of the Americas, Australia, parts of Asia, Africa and the Pacific. New letters, ligatures and diacritical marks were gradually added to represent the sounds of various languages. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Cyrillic Cyrillic is a bicameral alphabet originating in Europe, written left-to-right (250 million users). Used for various languages across Eurasia and is used as the national script in various Slavic, Turkic, Mongolic and Iranic-speaking countries in Southeastern Europe, Eastern Europe, the Caucasus, Central Asia, North Asia and East Asia, including Russian, Bulgarian, Macedonian, Serbian, Ukrainian, Uzbek, Azerbaijani, Kazakh, Tajik, Kyrgyz, Bashkort, Chechen, Chuvash, Avar, Dargwa, Kabardian, Karakalpak, Kumyk, Lezgi, Ossetic, Pontic, Yakut, Buriat and many others. Created in the 9th century. Traditionally attributed to Saint Cyril, a monk from Thessaloniki working in Bulgaria, after earlier creation of the Glagolitic script. Sometimes attributed to Clement of Ohrid, a student of Saint Cyril\u2019s. Initially used for Old Church Slavonic. Reformed in 1708 by Russian tsar Peter the Great. Extended by the Soviet Union in the 20th century to write over 50 languages throughout Eastern Europe and Asia (some of those languages switched to Latin after 1991). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Greek Greek (\u0395\u03bb\u03bb\u03b7\u03bd\u03b9\u03ba\u03ac) is a European bicameral alphabet, written left-to-right (11 million users). Used to write the Greek language since the 8th century BCE. Also used to write other languages like Urum, Albanian Tosk, and Balkan Gagauz Turkish. Some symbols are also used in scientific notation. Derived from Phoenician. First \u201ctrue alphabet\u201d, with distinct letters for consonants and vowels. Standardized in the 4th century BCE by Eucleides. Has 24 letters. Some letter variants (sigma: \u03c3/\u03c2) have positional significance in the Greek language, other variants only differ in meaning in scientific notation (e.g. pi: \u03c0/\u03d6). The Greek language used to be written in polytonic spelling, with three accents on vowels. In 1982, Greece introduced monotonic spelling with a single diacritic. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Mro": { + "name": "Noto Sans Mro", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "mro" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Noto is a global font collection for writing in all modern and ancient languages. Noto Sans Mro is an unmodulated (\u201csans serif\u201d) design for texts in the Indic Mro script. It has 48 glyphs.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Noto Sans Multani": { + "name": "Noto Sans Multani", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "multani" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Noto Sans Multani is an unmodulated (\u201csans serif\u201d) design for texts in the historical Indic Multani script. Noto Sans Multani contains 53 glyphs, and supports 52 characters from the Unicode block Multani. Supported writing systems Multani Multani (\ud804\udea0\ud804\udea3\ud804\ude96\ud804\ude9a) is a historical Indic abjad. Was used in the 18th\u201320th century in today\u2019s India and Pakistan for the Saraiki language, mainly by merchants. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Myanmar": { + "name": "Noto Sans Myanmar", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "myanmar" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Noto Sans Myanmar is an unmodulated (\u201csans serif\u201d) design for texts in the Southeast Asian Myanmar script. Noto Sans Myanmar contains 610 glyphs, 7 OpenType features, and supports 239 characters from 4 Unicode blocks: Myanmar, Myanmar Extended-A, Myanmar Extended-B, General Punctuation. Supported writing systems Myanmar Myanmar (Burmese, \u1019\u103c\u1014\u103a\u1019\u102c) is a Southeast Asian abugida, written left-to-right (40 million users). Used since c. 1000 CE in Myanmar for the Burmese and Mon languages. Also used for some Karen languages. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans NKo": { + "name": "Noto Sans NKo", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "nko" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Nkoo", + "article": "Noto Sans N\u2019Ko is an unmodulated (\u201csans serif\u201d) design for texts in the African N\u2019Ko script. Noto Sans N\u2019Ko contains 184 glyphs, 5 OpenType features, and supports 79 characters from 2 Unicode blocks: N\u2019Ko, Arabic. Supported writing systems N\u2019Ko N\u2019Ko (\u07d2\u07de\u07cf) is an African alphabet, written right-to-left. Used in West Africa for the Manding languages. Created in 1949 by Solomana Kante. The name of the script means \u201cI say\u201d. Has 19 consonants, 7 vowels and 8 diacritics. Influenced by the Arabic script. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans NKo Unjoined": { + "name": "Noto Sans NKo Unjoined", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "nko" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Nkoo", + "article": "Noto Sans N\u2019Ko Unjoined is an unmodulated (\u201csans serif\u201d) design for display texts in the African N\u2019Ko script. Noto Sans N\u2019Ko Unjoined contains 184 glyphs, 5 OpenType features, and supports 79 characters from 2 Unicode blocks: N\u2019Ko, Arabic. Supported writing systems N\u2019Ko N\u2019Ko (\u07d2\u07de\u07cf) is an African alphabet, written right-to-left. Used in West Africa for the Manding languages. Created in 1949 by Solomana Kante. The name of the script means \u201cI say\u201d. Has 19 consonants, 7 vowels and 8 diacritics. Influenced by the Arabic script. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Nabataean": { + "name": "Noto Sans Nabataean", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "nabataean" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Nbat", + "article": "Noto Sans Nabataean is an unmodulated (\u201csans serif\u201d) design for texts in the historical Middle Eastern Nabataean script. Noto Sans Nabataean contains 45 glyphs, and supports 44 characters from the Unicode block Nabataean. Supported writing systems Nabataean Nabataean is a historical Middle Eastern abjad, written right-to-left. Was used in northern Arabia and the southern Levant in the 2nd century BCE\u20134th century CE for the Nabataean language. Derived from Aramaic, evolved into the Arabic script. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Nag Mundari": { + "name": "Noto Sans Nag Mundari", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "nag-mundari" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Nagm", + "article": "Noto Sans Nag Mundari is a design for the Indic Nag Mundari script. Noto Sans Nag Mundari has multiple weights, contains 66 glyphs, and supports 63 characters from 2 Unicode blocks: Nag Mundari, Basic Latin. Supported writing systems Nag Mundari Nag Mundari is an Indic alphabet, written left-to-right. Read more on ScriptSource, Unicode, Wikipedia, r12a.", + "minisite_url": null + }, + "Noto Sans Nandinagari": { + "name": "Noto Sans Nandinagari", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "nandinagari" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Nand", + "article": "Noto Sans Nandinagari is a design for the historical Indic Nandinagari script. Noto Sans Nandinagari contains 676 glyphs, 20 OpenType features, and supports 92 characters from the Unicode block Nandinagari. Supported writing systems Nandinagari Nandinagari (\ud806\uddc1\ud806\uddde\ud806\udde4\ud806\uddbf\ud806\uddc1\ud806\uddd1\ud806\uddb0\ud806\uddc8\ud806\uddd3) is a historical Indic abugida, written left-to-right, with unconnected headstrokes. Was used in the 8th\u201319th centuries in South India for Sanskrit texts about philosophy, science and the arts. Closely related to Devanagari. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans New Tai Lue": { + "name": "Noto Sans New Tai Lue", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "new-tai-lue" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Talu", + "article": "Noto Sans New Tai Lue is an unmodulated (\u201csans serif\u201d) design for texts in the Southeast Asian New Tai Lue script. Noto Sans New Tai Lue contains 95 glyphs, and supports 90 characters from the Unicode block New Tai Lue. Supported writing systems New Tai Lue New Tai Lue (Xishuangbanna Dai) is a Southeast Asian alphabet, written left-to-right. Development in China since the 1950s for the Tai L\u00fc language as a replacement for the Tai Tham script, which is also still used. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Newa": { + "name": "Noto Sans Newa", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "newa" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Noto Sans Newa is an unmodulated (\u201csans serif\u201d) design for texts in the Indic Newa (Newari) script. Noto Sans Newa contains 614 glyphs, 13 OpenType features, and supports 106 characters from the Unicode block Newa. Supported writing systems Newa (Newari) Newa (Pracalit) is an Indic abugida, written left-to-right. Used in Nepal mainly for Newari (Nepal Bhasa), also for Sanskrit, Pali. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Nushu": { + "name": "Noto Sans Nushu", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "nushu" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Noto Sans Nushu is an unmodulated (\u201csans serif\u201d) design for the East Asian N\u00fcshu script with a simplified skeleton and large counters. It is suitable for shorter texts, especially in smaller font sizes and user interface contexts. Noto Sans Nushu contains 402 glyphs, and supports 401 characters from the Unicode block Nushu. Supported writing systems N\u00fcshu N\u00fcshu (\ud82c\udd81\ud82c\ude2c\u200e) is an East Asian logo-syllabary, written vertically left-to-right. Was used in the 13th\u201320th centuries by women in Jiangyong County in Hunan province of southern China, mainly for the Chinese dialect Xiangnan Tuhua. Recently revived. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Ogham": { + "name": "Noto Sans Ogham", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "ogham" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Ogam", + "article": "Noto Sans Ogham is an unmodulated (\u201csans serif\u201d) design for texts in the historical European Ogham script. Noto Sans Ogham contains 34 glyphs, and supports 33 characters from the Unicode block Ogham. Supported writing systems Ogham Ogham (\u169b\u1691\u168c\u1690\u168b\u169c) is a historical European alphabet. Was written bottom-to-top, left-to-right or boustrophedon. Was used in the 5th\u201310th centuries CE in Ireland, Wales, Devon, Cornwall, and on the Isle of Man, for the Primitive Irish, Old Irish, Pictish, and Old Norse languages. Uses 20 symbols. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Ol Chiki": { + "name": "Noto Sans Ol Chiki", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "ol-chiki" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Olck", + "article": "Noto Sans Ol Chiki is an unmodulated (\u201csans serif\u201d) design for texts in the Indic Ol Chiki script. Noto Sans Ol Chiki has multiple weights, contains 55 glyphs, and supports 53 characters from the Unicode block Ol Chiki. Supported writing systems Ol Chiki Ol Chiki (Ol Cemet\u2019, Ol, Santali, \u1c5a\u1c5e \u1c6a\u1c64\u1c60\u1c64) is an Indic alphabet, written left-to-right. Used in India, Bangladesh and Nepal for Santhali (6 million speakers), alongside Devanagari, Bengali, Oriya and Latin. Created in the 1920s by Pandit Raghunath Murmu. Has 6 vowel and 24 consonant letters. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Old Hungarian": { + "name": "Noto Sans Old Hungarian", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "old-hungarian" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Noto Sans Old Hungarian is an unmodulated (\u201csans serif\u201d) design for texts in the historical European Old Hungarian (Hungarian runic) script. Noto Sans Old Hungarian contains 360 glyphs, 4 OpenType features, and supports 113 characters from the Unicode block Old Hungarian. Supported writing systems Old Hungarian (Hungarian runic) Old Hungarian (Hungarian runic, rov\u00e1s, \ud803\udca5\ud803\udccb\ud803\udcd3\ud803\udcc9\ud803\udcd7-\ud803\udc98\ud803\udcc0\ud803\udcce\ud803\udcc0\ud803\udce2 \ud803\udca2\ud803\udcdb\ud803\udcee\ud803\udcc0\ud803\udce4\u200e) is a European abjad. Used in 9th\u201311th century CE (possibly earlier) for the Hungarian language, later replaced with the Latin alphabet except for some religious texts. Used in some circles since the 15th century to this day. Written left-to-right or right-to-left. Uses ligatures. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Old Italic": { + "name": "Noto Sans Old Italic", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "old-italic" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Ital", + "article": "Noto Sans Old Italic is an unmodulated (\u201csans serif\u201d) design for texts in the historical European Old Italic script. Noto Sans Old Italic contains 65 glyphs, and supports 43 characters from the Unicode block Old Italic. Supported writing systems Old Italic Old Italic is a group of historical European bicameral alphabets, written left-to-right. Used in 700\u2013100 BCE in today\u2019s Italy for Etruscan, Oscan, Umbrian, Venetic and other languages. Based on Greek, evolved into the Runic and Latin scripts. Read more on ScriptSource , Unicode , Wikipedia , Wiktionary , r12a .", + "minisite_url": null + }, + "Noto Sans Old North Arabian": { + "name": "Noto Sans Old North Arabian", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "old-north-arabian" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Narb", + "article": "Noto Sans Old North Arabian is an unmodulated (\u201csans serif\u201d) design for texts in the historical Middle Eastern Old North Arabian script. Noto Sans Old North Arabian contains 37 glyphs, and supports 36 characters from the Unicode block Old North Arabian. Supported writing systems Old North Arabian Old North Arabian (Ancient North Arabian) is a group of historical Middle Eastern abjads. They were used in north and central Arabia and south Syria in the 8th century BCE\u20134th century CE, presumably for Old Arabic, Dadanitic, Taymanitic. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Old Permic": { + "name": "Noto Sans Old Permic", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic-ext", + "latin", + "latin-ext", + "old-permic" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Perm", + "article": "Noto Sans Old Permic is an unmodulated (\u201csans serif\u201d) design for texts in the historical European Old Permic script. Noto Sans Old Permic contains 56 glyphs, 3 OpenType features, and supports 55 characters from 2 Unicode blocks: Old Permic, Combining Diacritical Marks. Supported writing systems Old Permic Old Permic (Abur) is a historical European alphabet, written left-to-right. Was used in the 14th-17th centuries in the West of the Ural mountains for the Komi language (0.3 million speakers). Created by St. Stephen of Perm. Was gradually replaced by Cyrillic. Visually similar to Cyrillic and Greek. Had 34 letters. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Old Persian": { + "name": "Noto Sans Old Persian", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "old-persian" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Xpeo", + "article": "Noto Sans Old Persian is an unmodulated (\u201csans serif\u201d) design for texts in the historical Middle Eastern Old Persian script. Noto Sans Old Persian contains 55 glyphs, and supports 54 characters from the Unicode block Old Persian. Supported writing systems Old Persian Old Persian is a historical Middle Eastern semisyllabary, written left-to-right. Was used around 525 BCE\u2013330 BCE for Old Persian. Resembles Sumero-Akkadian cuneiform. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Old Sogdian": { + "name": "Noto Sans Old Sogdian", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "old-sogdian" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Sogo", + "article": "Noto Sans Old Sogdian is an unmodulated (\u201csans serif\u201d) design for texts in the historical Middle Eastern Old Sogdian script. Noto Sans Old Sogdian contains 60 glyphs, 4 OpenType features, and supports 44 characters from the Unicode block Old Sogdian. Supported writing systems Old Sogdian Old Sogdian (\ud803\udf11\u200e\ud803\udf07\ud803\udf04\ud803\udf0c\ud803\udf0a\ud803\udf0b\u200e) is a group of historical Middle Eastern abjads, written right-to-left. These precursors to the Sogdian script were used in the 3rd\u20135th centuries CE for the historic Sogdian language. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Old South Arabian": { + "name": "Noto Sans Old South Arabian", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "old-south-arabian" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Sarb", + "article": "Noto Sans Old South Arabian is an unmodulated (\u201csans serif\u201d) design for texts in the historical Middle Eastern Old South Arabian script. Noto Sans Old South Arabian contains 37 glyphs, and supports 36 characters from the Unicode block Old South Arabian. Supported writing systems Old South Arabian Old South Arabian (Musnad, Epigraphic South Arabian, Sayhadic) is a historical Middle Eastern abjad, written right-to-left. Was used in the 6th\u20138th centuries CE in today\u2019s Yemen and throughout the Arabian peninsula for a group of related now-extinct Semitic languages. Evolved into Ethiopic script, was replaced by Arabic script. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Old Turkic": { + "name": "Noto Sans Old Turkic", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "old-turkic" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Orkh", + "article": "Noto Sans Old Turkic is an unmodulated (\u201csans serif\u201d) design for texts in the historical Central Asian Orkhon runic (Old Turkic) script. Noto Sans Old Turkic contains 78 glyphs, and supports 77 characters from the Unicode block Old Turkic. Supported writing systems Orkhon runic (Old Turkic) Orkhon runic (Old Turkic) is a historical Central Asian alphabet, written right-to-left or boustrophedon. Was used in the 8th\u201313th centuries in Mongolia and Siberia for Turkic languages. Earliest examples discovered in 1889 on the banks of the Orkhon river. Superficially similar to Germanic runes and to Old Hungarian. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Oriya": { + "name": "Noto Sans Oriya", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "oriya" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Orya", + "article": "Noto Sans Oriya is an unmodulated (\u201csans serif\u201d) design for texts in the Indic Odia (Oriya) script. Noto Sans Oriya contains 513 glyphs, 19 OpenType features, and supports 150 characters from 3 Unicode blocks: Oriya, Basic Latin, General Punctuation. Supported writing systems Odia (Oriya) Odia (Oriya, \u0b09\u0b24\u0b4d\u0b15\u0b33 ) is an Indic abugida, written left-to-right (21 million users). Used since the c. 14th century in India for the Odia language (state language of Orissa). Also used for Dravidian and Munda languages. Needs software support for complex text layout (shaping). Read more on ScriptSource , Unicode , Wikipedia , Wiktionary , r12a .", + "minisite_url": null + }, + "Noto Sans Osage": { + "name": "Noto Sans Osage", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "osage" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Noto Sans Osage is an unmodulated (\u201csans serif\u201d) design for texts in the American Osage script. Noto Sans Osage contains 82 glyphs, 2 OpenType features, and supports 81 characters from 2 Unicode blocks: Osage, Combining Diacritical Marks. Supported writing systems Osage Osage is an American bicameral alphabet, written left-to-right. Used in the USA for the revitalized native Osage language. Derived from Latin 2006\u20132014 by Herman Mongrain Lookout. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Osmanya": { + "name": "Noto Sans Osmanya", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "osmanya" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Noto Sans Osmanya is an unmodulated (\u201csans serif\u201d) design for texts in the historical African Osmanya script. Noto Sans Osmanya contains 45 glyphs, and supports 44 characters from the Unicode block Osmanya. Supported writing systems Osmanya Osmanya (Far Soomaali, Farta Cismaanya, \ud801\udc8d\ud801\udc96\ud801\udc87\ud801\udc82\ud801\udc96 \ud801\udc8b\ud801\udc98\ud801\udc88\ud801\udc91\ud801\udc9b\ud801\udc92\ud801\udc95\ud801\udc96) is a historical African alphabet, written left-to-right. Was sporadically used 1922-1973 for writing the Somali language. Created by Cusmaan Yuusuf Keenadiid. Almost fully replaced by the Latin script in 1973. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Pahawh Hmong": { + "name": "Noto Sans Pahawh Hmong", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "pahawh-hmong" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Noto Sans Pahawh Hmong is an unmodulated (\u201csans serif\u201d) design for texts in the East Asian Pahawh Hmong script. Noto Sans Pahawh Hmong contains 135 glyphs, 2 OpenType features, and supports 134 characters from the Unicode block Pahawh Hmong. Supported writing systems Pahawh Hmong Pahawh Hmong (\ud81a\udf16\ud81a\udf30\ud81a\udf1d\ud81a\udf35 \ud81a\udf04\ud81a\udf36\ud81a\udf1f \ud81a\udf0c\ud81a\udf23\ud81a\udf35) is an East Asian syllabary. Used in China, Vietnam, Laos and Thailand for the Hmong language (over 0.2 million speakers). The script as a whole is read left-to-right but each syllable is written right-to-left. Created in 1959 by Shong Lue. Hmong is also written in the Romanized Popular Alphabet by William Smalley. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Palmyrene": { + "name": "Noto Sans Palmyrene", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "palmyrene" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Palm", + "article": "Noto Sans Palmyrene is an unmodulated (\u201csans serif\u201d) design for texts in the historical Middle Eastern Palmyrene script. Noto Sans Palmyrene contains 57 glyphs, and supports 36 characters from the Unicode block Palmyrene. Supported writing systems Palmyrene Palmyrene is a historical Middle Eastern abjad, written right-to-left. Was used in c. 100 BCE\u2013300 CE between Damascus and the Euphrates river for the Palmyrenean dialect of West Aramaic. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Pau Cin Hau": { + "name": "Noto Sans Pau Cin Hau", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "pau-cin-hau" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Noto Sans Pau Cin Hau is an unmodulated (\u201csans serif\u201d) design for texts in the Southeast Asian Pau Cin Hau script. Noto Sans Pau Cin Hau contains 62 glyphs, and supports 61 characters from the Unicode block Pau Cin Hau. Supported writing systems Pau Cin Hau Pau Cin Hau is a Southeast Asian alphabet, written left-to-right. Used in Myanmar for the Zomi language by the followers of the Laipian and, later, Christian religions. Created c. 1902 by Pau Cin Hau, intially as a logographic script, 1932 reduced to an alphabet. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans PhagsPa": { + "name": "Noto Sans PhagsPa", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "math", + "phags-pa", + "symbols" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Phag", + "article": "Noto Sans PhagsPa is an unmodulated (\u201csans serif\u201d) design for texts in the historical Central Asian Phags-pa script. Noto Sans PhagsPa contains 379 glyphs, 5 OpenType features, and supports 94 characters from 3 Unicode blocks: Phags-pa, CJK Symbols and Punctuation, Mongolian. Supported writing systems Phags-pa Phags-pa (\u02bcPhags-pa, \ua84f\ua861\ua843 \ua863\ua861\ua859 \ua850\ua85c\ua85e) is a historical Central Asian abugida, written vertically right-to-left. Was sporadically used 1269\u20131360 in the Yuan empire as a unified script for Mongolian, Tibetan, Sanskrit, Chinese, Persian, Uyghur. Created by the Tibetan monk and State Preceptor Drog\u00f6n Ch\u00f6gyal Phagpa for Kublai Khan. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Phoenician": { + "name": "Noto Sans Phoenician", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "phoenician" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Phnx", + "article": "Noto Sans Phoenician is an unmodulated (\u201csans serif\u201d) design for texts in the historical Middle Eastern Phoenician script. Noto Sans Phoenician contains 34 glyphs, and supports 33 characters from the Unicode block Phoenician. Supported writing systems Phoenician Phoenician is a historical Middle Eastern abjad, written right-to-left. Was used c. 1050\u2013150 BCE in the Mediterranean region for the Phoenician and Punic languages. First widespread phonetic script, derived from Egyptian hieroglyphics. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Psalter Pahlavi": { + "name": "Noto Sans Psalter Pahlavi", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "psalter-pahlavi" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Phlp", + "article": "Noto Sans Psalter Pahlavi is an unmodulated (\u201csans serif\u201d) design for texts in the historical Middle Eastern Psalter Pahlavi script. Noto Sans Psalter Pahlavi contains 98 glyphs, 7 OpenType features, and supports 37 characters from the Unicode block Psalter Pahlavi. Supported writing systems Psalter Pahlavi Psalter Pahlavi is a historical Middle Eastern abjad, written right-to-left. Was presumably used in the mid-6th\u20137th century CE for Middle Persian. The letters are connected. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Rejang": { + "name": "Noto Sans Rejang", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "rejang" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Rjng", + "article": "Noto Sans Rejang is an unmodulated (\u201csans serif\u201d) design for texts in the Southeast Asian Rejang script. Noto Sans Rejang contains 46 glyphs, and supports 45 characters from the Unicode block Rejang. Supported writing systems Rejang Rejang (Kaganga, Redjang, \ua946\ua930\ua953\ua93c\ua93d \ua93d\ua94d\ua93a\ua94f) is a Southeast Asian abugida, written left-to-right. Used in Indonesia for the Rejang and Malay languages, but Latin script is now mostly used for the Rejang language. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Runic": { + "name": "Noto Sans Runic", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "runic" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Runr", + "article": "Noto Sans Runic is an unmodulated (\u201csans serif\u201d) design for texts in the historical European Runic script. Noto Sans Runic contains 94 glyphs, and supports 93 characters from the Unicode block Runic. Supported writing systems Runic Runic is a historical European alphabet, written left-to-right or boustrophedon. Used in Northern Europe in 150\u20131000 CE for Germanic languages. The Scandinavian variants are also called Futhark or Fu\u00feark. Derived from Old Italic. Gradually replaced with the Latin script. Still used for specialized purposes, by occultist, mystic, and esoteric movements, and in fantasy literature. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans SC": { + "name": "Noto Sans SC", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "chinese-simplified", + "cyrillic", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Hans", + "article": "Noto Sans SC is an unmodulated (\u201csans serif\u201d) design for languages in mainland China that use the Simplified Chinese variant of the Han ideograms. It also supports Hiragana, Katakana, Latin, Cyrillic, Greek and Hangul. Noto Sans CJK SC contains 65,535 glyphs, 23 OpenType features, and supports 44,806 characters from 55 Unicode blocks: CJK Unified Ideographs, Hangul Syllables, CJK Unified Ideographs Extension A, CJK Unified Ideographs Extension B, CJK Compatibility Ideographs, Hangul Jamo, CJK Compatibility, Halfwidth and Fullwidth Forms, Kangxi Radicals, Enclosed CJK Letters and Months, Enclosed Alphanumeric Supplement, Box Drawing, CJK Radicals Supplement, CJK Unified Ideographs Extension E, Katakana, Hangul Compatibility Jamo, Hiragana, Latin Extended Additional, Latin-1 Supplement, Basic Latin, Enclosed Alphanumerics, Mathematical Operators, Hangul Jamo Extended-B, Cyrillic, Enclosed Ideographic Supplement, CJK Compatibility Ideographs Supplement, CJK Symbols and Punctuation, Miscellaneous Symbols, Greek and Coptic, CJK Unified Ideographs Extension C, Bopomofo, Geometric Shapes, CJK Strokes, General Punctuation, CJK Unified Ideographs Extension D, Block Elements, CJK Compatibility Forms, Latin Extended-A, Hangul Jamo Extended-A, Bopomofo Extended, Miscellaneous Technical, Small Form Variants, Arrows, Latin Extended-B, Letterlike Symbols, Katakana Phonetic Extensions, Kanbun, Ideographic Description Characters, Vertical Forms, Spacing Modifier Letters, Dingbats, Combining Diacritical Marks, Miscellaneous Symbols and Arrows, Alphabetic Presentation Forms, CJK Unified Ideographs Extension F. Supported writing systems Simplified Han Simplified Han (\u7b80\u5316\u5b57) is an East Asian logo-syllabary, written vertically right-to-left and horizontally left-to-right (over 1.3 billion users). Used in mainland China, Malaysia and Singapore. ((TODO)) Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Hangul Hangul (Hangeul, \ud55c\uae00, Chos\u014fn'g\u016dl, \uc870\uc120\uae00) is an East Asian script, written vertically right-to-left and horizontally left-to-right (79 million users). Used for the Korean language. Created in 1446 by King Sejong the Great (Sejong of Joseon) as a simpler, phonetic alternative to using Chinese hanja for Korean. Not universally accepted for centuries, suppressed by Japanese colonial authorities. Since 1945 the standard script for Korean. The 51 basic letters (jamo) are grouped into syllable blocks depending on their position in the spoken syllable. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Latin Latin (Roman) is a European bicameral alphabet, written left-to-right. The most popular writing system in the world. Used for over 3,000 languages including Latin and Romance languages (Italian, French, Portuguese, Spanish and Romanian), Germanic languages (English, Dutch, German, Nordic languages), Finnish, Malaysian, Indonesian, Filipino, Visayan languages, Turkish, Azerbaijani, Polish, Somali, Vietnamese, and many others. Derived from Western Greek, attested in Rome in the 7th century BCE. In the common era, numerous European languages adopted the Latin script along with Western Christian religion, the script disseminated further with European colonization of the Americas, Australia, parts of Asia, Africa and the Pacific. New letters, ligatures and diacritical marks were gradually added to represent the sounds of various languages. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Katakana Katakana (\u7247\u4eee\u540d\u3001\u30ab\u30bf\u30ab\u30ca) is an East Asian syllabary, written vertically right-to-left and horizontally left-to-right (126 million users). Used in Japan for Japanese, Ryukyuan, Ainu and Palauan, and formerly for Taiwanese Hokkien. Katakana is used for transcription of foreign-language words into Japanese, for the writing of loan words, for emphasis, to represent onomatopoeia, for technical and scientific terms, for names of plants, animals and minerals, and often for names of Japanese companies. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Hiragana Hiragana (\u5e73\u4eee\u540d, \u3072\u3089\u304c\u306a) is an East Asian syllabary, written vertically right-to-left and horizontally left-to-right (120 million users). Used in Japan for Japanese and the Ryukyuan languages. Hiragana is used to write okurigana (kana suffixes following a kanji root, for example to inflect verbs and adjectives), various grammatical and function words including particles, as well as miscellaneous other native words for which there are no kanji or whose kanji form is obscure or too formal for the writing purpose. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Emoji symbols Emoji symbols are pictograms, logograms, ideograms and smileys used in electronic messages and web pages. Their primary function is to fill in emotional cues otherwise missing from typed conversation. They are typically rendered as multi-color characters. Read more on ScriptSource, Unicode, Wikipedia, r12a. Bopomofo Bopomofo (\u6ce8\u97f3\u7b26\u865f, \u6ce8\u97f3\u7b26\u53f7, \u3105\u3106\u3107\u3108) is an East Asian syllabary, written left-to-right. Developed in 1913 in China to be used for Mandarin Chinese transliteration alongside the Latin-based Wade\u2013Giles system. Also called Mandarin Phonetic Symbols or Zhuyin (\u6ce8\u97f3). Bopomofo is an official transliteration system in Taiwan, used in dictionaries, books, newspapers and journals to annotate the Taiwanese pronunciation of Chinese Han characters, and in electronic input methods. Largely replaced by Pinyin romanization in the People\u2019s Republic of China. Also used as the primary script for Taiwan\u2019s minority languages like Atayal, Taroko, Paiwan and Yami. Has 21 onset consonants, 16 rhymes, and 4 tone marks. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Cyrillic Cyrillic is a bicameral alphabet originating in Europe, written left-to-right (250 million users). Used for various languages across Eurasia and is used as the national script in various Slavic, Turkic, Mongolic and Iranic-speaking countries in Southeastern Europe, Eastern Europe, the Caucasus, Central Asia, North Asia and East Asia, including Russian, Bulgarian, Macedonian, Serbian, Ukrainian, Uzbek, Azerbaijani, Kazakh, Tajik, Kyrgyz, Bashkort, Chechen, Chuvash, Avar, Dargwa, Kabardian, Karakalpak, Kumyk, Lezgi, Ossetic, Pontic, Yakut, Buriat and many others. Created in the 9th century. Traditionally attributed to Saint Cyril, a monk from Thessaloniki working in Bulgaria, after earlier creation of the Glagolitic script. Sometimes attributed to Clement of Ohrid, a student of Saint Cyril\u2019s. Initially used for Old Church Slavonic. Reformed in 1708 by Russian tsar Peter the Great. Extended by the Soviet Union in the 20th century to write over 50 languages throughout Eastern Europe and Asia (some of those languages switched to Latin after 1991). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Greek Greek (\u0395\u03bb\u03bb\u03b7\u03bd\u03b9\u03ba\u03ac) is a European bicameral alphabet, written left-to-right (11 million users). Used to write the Greek language since the 8th century BCE. Also used to write other languages like Urum, Albanian Tosk, and Balkan Gagauz Turkish. Some symbols are also used in scientific notation. Derived from Phoenician. First \u201ctrue alphabet\u201d, with distinct letters for consonants and vowels. Standardized in the 4th century BCE by Eucleides. Has 24 letters. Some letter variants (sigma: \u03c3/\u03c2) have positional significance in the Greek language, other variants only differ in meaning in scientific notation (e.g. pi: \u03c0/\u03d6). The Greek language used to be written in polytonic spelling, with three accents on vowels. In 1982, Greece introduced monotonic spelling with a single diacritic. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Samaritan": { + "name": "Noto Sans Samaritan", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "samaritan" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Samr", + "article": "Noto Sans Samaritan is an unmodulated (\u201csans serif\u201d) design for texts in the Middle Eastern Samaritan script. Noto Sans Samaritan contains 68 glyphs, 4 OpenType features, and supports 66 characters from the Unicode block Samaritan. Supported writing systems Samaritan Samaritan is a Middle Eastern abjad, written right-to-left. Used since 600 BCE by the Samaritans for religious writings in Samaritan Hebrew and Samaritan Aramaic. Derived from Phoenician. Most Hebrew religious writings use the Hebrew script. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Saurashtra": { + "name": "Noto Sans Saurashtra", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "saurashtra" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Saur", + "article": "Noto Sans Saurashtra is an unmodulated (\u201csans serif\u201d) design for texts in the Indic Saurashtra script. Noto Sans Saurashtra contains 96 glyphs, 3 OpenType features, and supports 90 characters from the Unicode block Saurashtra. Supported writing systems Saurashtra Saurashtra is an Indic abugida, written left-to-right. Used since the 19th century in Southern India for the Indo-European Saurashtra language (130,000 speakers), alongside Tamil, Gijarati, Telugu, and Devanagari scripts. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Sharada": { + "name": "Noto Sans Sharada", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "sharada" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Noto Sans Sharada is an unmodulated (\u201csans serif\u201d) design for texts in the Indic Sharada script. Noto Sans Sharada contains 239 glyphs, 6 OpenType features, and supports 109 characters from 2 Unicode blocks: Sharada, Vedic Extensions. Supported writing systems Sharada Sharada (\ud804\uddaf\ud804\uddb3\ud804\uddab\ud804\udda2\ud804\uddb3) is an Indic abugida, written left-to-right, partially with a headstroke. Used in c. 700\u20131950s for Kashmiri and Sanskrit, first throughout India, later only in Kashmir. Now used only by the Kashmiri Pandits for religious and ceremonial purposes. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Shavian": { + "name": "Noto Sans Shavian", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "shavian" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Shaw", + "article": "Noto Sans Shavian is an unmodulated (\u201csans serif\u201d) design for texts in the historical artificial Shavian script. Noto Sans Shavian contains 53 glyphs, and supports 52 characters from the Unicode block Shavian. Supported writing systems Shavian Shavian (\ud801\udc56\ud801\udc71\ud801\udc5d\ud801\udc7e\ud801\udc6f \ud801\udc68\ud801\udc64\ud801\udc53\ud801\udc69\ud801\udc5a\ud801\udc67\ud801\udc51) is an artificial alphabet, written left-to-right. Created around 1960 by Ronald Kingsley Read for phonetic spelling of English. The winning entry in a competition posthumously funded by playwright Bernard Shaw. Also adopted for Esperanto. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Siddham": { + "name": "Noto Sans Siddham", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "siddham" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Sidd", + "article": "Noto Sans Siddham is an unmodulated (\u201csans serif\u201d) design for texts in the historical Indic Siddham script. Noto Sans Siddham contains 505 glyphs, 13 OpenType features, and supports 99 characters from the Unicode block Siddham. Supported writing systems Siddham Siddham (\ud805\uddad\ud805\uddb0\ud805\udd9f\ud805\uddbf\ud805\udda0\ud805\uddbd) is a historical Indic abugida, written left-to-right. Was used in 600\u20131200 CE for Sanskrit, first in southern India, later also in China, Japan and Korea. Still occasionally used by Buddhists in Japan. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans SignWriting": { + "name": "Noto Sans SignWriting", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "signwriting" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Noto Sans SignWriting is a design for the Sign-Language SignWriting script. Noto Sans SignWriting contains 37,886 glyphs, 4 OpenType features, and supports 679 characters from the Unicode block Sutton SignWriting. Supported writing systems SignWriting SignWriting (Sutton SignWriting) is a featural Sign-Language script, written vertically and horizontally left-to-right. Used to transcribe some 12 sign languages like Brazilian Sign Language, French Sign Language, Norwegian Sign Language, American Sign Language, Danish Sign Language, and for International Sign. Developed in 1974 by Valerie Sutton, later standardized as the International Sign Writing Alphabet (ISWA). The visually iconic symbols represent the hands, face and body, arranged spatially to reflect the movements made by the signer. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Sinhala": { + "name": "Noto Sans Sinhala", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "sinhala" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Sinh", + "article": "Noto Sans Sinhala is an unmodulated (\u201csans serif\u201d) design for texts in the Indic Sinhala script. Noto Sans Sinhala has multiple weights and widths, contains 645 glyphs, 11 OpenType features, and supports 170 characters from 3 Unicode blocks: Sinhala, Basic Latin, General Punctuation. Supported writing systems Sinhala Sinhala (\u0dc3\u0dd2\u0d82\u0dc4\u0dbd) is an Indic abugida, written left-to-right. Used since c. 300 CE in Sri Lanka for the Sinhala language (15 million speakers), for Pali and Sanskrit. The \u201cpure\u201d letter set has 20 consonant and 20 vowel letters, and is used for the sounds of the spoken Sinhala. The \u201cmixed\u201d letter set (18 more consonant letters) is used for correct spelling, which often reflect archaic pronunciations, and for non-Sinhala words and languages. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Sogdian": { + "name": "Noto Sans Sogdian", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "sogdian" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Sogd", + "article": "Noto Sans Sogdian is an unmodulated (\u201csans serif\u201d) design for texts in the historical Middle Eastern Sogdian script. Noto Sans Sogdian contains 345 glyphs, 26 OpenType features, and supports 49 characters from the Unicode block Sogdian. Supported writing systems Sogdian Sogdian (\ud803\udf3c\ud803\udf34\ud803\udf36\ud803\udf39\ud803\udf37\ud803\udf38\u200e) is a historical Middle Eastern abjad, written right-to-left. Was used in 7th\u201314th centuries CE, alongside Manichaean and Syriac, for the middle Iranian Sogdian language spoken in parts of today\u2019s Uzbekistan, Tajikistan, Pakistan and China. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Sora Sompeng": { + "name": "Noto Sans Sora Sompeng", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "sora-sompeng" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Sora", + "article": "Noto Sans Sora Sompeng is an unmodulated (\u201csans serif\u201d) design for texts in the Indic Sora Sompeng script. Noto Sans Sora Sompeng has multiple weights, contains 42 glyphs, and supports 41 characters from the Unicode block Sora Sompeng. Supported writing systems Sora Sompeng Sora Sompeng (\ud804\udcd0\ud804\udce6\ud804\udcdd\ud804\udcd7 \ud804\udcd0\ud804\udce6\ud804\udcd6\ud804\udcdb\ud804\udce3\ud804\udcd7) is an Indic syllabary, written left-to-right. Used in India for the Sora language (0.3 million speakers). Created in 1936 by Mangei Gomango to replace non-native scripts previously used for the Sora language: Telugu, Oriya and an IPA-based script. Has 24 letters. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Soyombo": { + "name": "Noto Sans Soyombo", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "soyombo" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Soyo", + "article": "Noto Sans Soyombo is an unmodulated (\u201csans serif\u201d) design for texts in the Indic Soyombo script. Noto Sans Soyombo contains 323 glyphs, 7 OpenType features, and supports 88 characters from the Unicode block Soyombo. Supported writing systems Soyombo Soyombo (\ud806\ude9e\ud806\ude9e\u200e) is a historical Indic abugida, written left-to-right. Was used in 1686\u201318th century as a ceremonial and decorative script for the Mongolian language. Also sporadically used for Tibetan and Sanskrit. Created by Bogdo Zanabazar. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Sundanese": { + "name": "Noto Sans Sundanese", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "sundanese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Sund", + "article": "Noto Sans Sundanese is an unmodulated (\u201csans serif\u201d) design for texts in the Southeast Asian Sundanese script. Noto Sans Sundanese has multiple weights, contains 89 glyphs, 3 OpenType features, and supports 82 characters from 2 Unicode blocks: Sundanese, Sundanese Supplement. Supported writing systems Sundanese Sundanese (\u1b83\u1b8a\u1baa\u1b9e\u1b9b \u1b9e\u1ba5\u1b94\u1baa\u1b93) is a Southeast Asian abugida, written left-to-right. The standard form (Aksara Sunda Baku, \u1b83\u1b8a\u1baa\u1b9e\u1b9b \u1b9e\u1ba5\u1b94\u1baa\u1b93 \u1b98\u1b8a\u1ba5) is used on the Indonesian island Java since 1996 for the Sundanese language (27 million speakers), and is derived from Old Sundanese script (Aksara Sunda Kuno, \u1b83\u1b8a\u1baa\u1b9e\u1b9b \u1b9e\u1ba5\u1b94\u1baa\u1b93 \u1b8a\u1ba5\u1b94) used in the 14th\u201318th centuries. The Sudanese language also uses Latin script. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Syloti Nagri": { + "name": "Noto Sans Syloti Nagri", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "syloti-nagri" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Sylo", + "article": "Noto Sans Syloti Nagri is an unmodulated (\u201csans serif\u201d) design for texts in the Indic Syloti Nagri script. Noto Sans Syloti Nagri contains 87 glyphs, 3 OpenType features, and supports 68 characters from the Unicode block Syloti Nagri. Supported writing systems Syloti Nagri Syloti Nagri (Sylheti Nagri, \ua80d\ua824\ua81f\ua810\ua824 \ua818\ua823\ua809\ua81e\ua824) is an Indic abugida, written left-to-right. Used in Bangladesh for the Sylheti language. Supposedly created in the 14th century, attested in the 17th century. Since the mid-20th century almost entirely replaced by the Bengali and Latin scripts. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Symbols": { + "name": "Noto Sans Symbols", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "symbols" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "symbols" + ], + "description": null, + "primary_script": null, + "article": "Noto Sans Symbols is an unmodulated (\u201csans serif\u201d) design for texts in Symbols. Noto Sans Symbols has multiple weights, contains 1,224 glyphs, and supports 840 characters from 10 Unicode blocks: Enclosed Alphanumeric Supplement, Miscellaneous Symbols, Alchemical Symbols, Miscellaneous Technical, Enclosed Alphanumerics, Basic Latin, Arrows, Combining Diacritical Marks for Symbols, Dingbats, Miscellaneous Symbols and Pictographs. Supported writing systems Symbols Symbols are characters that signify an idea, object, or relationship, but do not belong to another standardized script or notation, like arrows, card suit symbols, or religious icons. Read more on ScriptSource, Unicode, Wikipedia, r12a.", + "minisite_url": null + }, + "Noto Sans Symbols 2": { + "name": "Noto Sans Symbols 2", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "braille", + "latin", + "latin-ext", + "math", + "mayan-numerals", + "symbols" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "symbols" + ], + "description": null, + "primary_script": "Brai", + "article": "Noto Sans Symbols 2 is an unmodulated (\u201csans serif\u201d) design for texts in Symbols and in Emoji symbols. Noto Sans Symbols 2 contains 2,674 glyphs, 3 OpenType features, and supports 2,655 characters from 26 Unicode blocks: Miscellaneous Symbols and Pictographs, Braille Patterns, Miscellaneous Symbols and Arrows, Symbols for Legacy Computing, Supplemental Arrows-C, Dingbats, Miscellaneous Symbols, Geometric Shapes Extended, Domino Tiles, Chess Symbols, Geometric Shapes, Tai Xuan Jing Symbols, Playing Cards, Yijing Hexagram Symbols, Symbols and Pictographs Extended-A, Ornamental Dingbats, Phaistos Disc, Transport and Map Symbols, Mahjong Tiles, Control Pictures, Miscellaneous Technical, Ancient Greek Numbers, Ancient Symbols, Arrows, Optical Character Recognition, Mathematical Operators. Supported writing systems Symbols Symbols are characters that signify an idea, object, or relationship, but do not belong to another standardized script or notation, like arrows, card suit symbols, or religious icons. Read more on ScriptSource, Unicode, Wikipedia, r12a. Emoji symbols Emoji symbols are pictograms, logograms, ideograms and smileys used in electronic messages and web pages. Their primary function is to fill in emotional cues otherwise missing from typed conversation. They are typically rendered as multi-color characters. Read more on ScriptSource, Unicode, Wikipedia, r12a.", + "minisite_url": null + }, + "Noto Sans Syriac": { + "name": "Noto Sans Syriac", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "syriac" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Syrc", + "article": "Noto Sans Syriac is an unmodulated (\u201csans serif\u201d) Estrangela design for texts in the Middle Eastern Syriac script. Noto Sans Syriac contains 288 glyphs, 19 OpenType features, and supports 150 characters from 5 Unicode blocks: Syriac, Arabic, Basic Latin, Combining Diacritical Marks, Latin-1 Supplement. Supported writing systems Syriac Syriac (\u0710\u0720\u0726 \u0712\u071d\u072c \u0723\u0718\u072a\u071d\u071d\u0710) is a Middle Eastern abjad, written right-to-left. Was used in West Asia for Syriac (now only used in the Syrian church), and also Aramaic, Neo-Aramaic, Turoyo/Surayt. Attested in 6 CE. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Syriac Eastern": { + "name": "Noto Sans Syriac Eastern", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "syriac" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Syrc", + "article": "Noto Sans Syriac Eastern is an unmodulated (\u201csans serif\u201d) Eastern (Ma\u1e0fn\u1e25\u0101y\u0101) design for texts in the Middle Eastern Syriac script. Noto Sans Syriac Eastern contains 233 glyphs, 19 OpenType features, and supports 150 characters from 5 Unicode blocks: Syriac, Arabic, Basic Latin, Combining Diacritical Marks, Latin-1 Supplement. Supported writing systems Syriac Syriac (\u0710\u0720\u0726 \u0712\u071d\u072c \u0723\u0718\u072a\u071d\u071d\u0710) is a Middle Eastern abjad, written right-to-left. Was used in West Asia for Syriac (now only used in the Syrian church), and also Aramaic, Neo-Aramaic, Turoyo/Surayt. Attested in 6 CE. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans TC": { + "name": "Noto Sans TC", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "chinese-traditional", + "cyrillic", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Hant", + "article": "Noto Sans TC is an unmodulated (\u201csans serif\u201d) design for languages in Taiwan and Macau that use the Traditional Chinese variant of the Han ideograms. It also supports Hiragana, Katakana, Latin, Cyrillic, Greek and Hangul. Noto Sans CJK TC contains 65,535 glyphs, 23 OpenType features, and supports 44,806 characters from 55 Unicode blocks: CJK Unified Ideographs, Hangul Syllables, CJK Unified Ideographs Extension A, CJK Unified Ideographs Extension B, CJK Compatibility Ideographs, Hangul Jamo, CJK Compatibility, Halfwidth and Fullwidth Forms, Kangxi Radicals, Enclosed CJK Letters and Months, Enclosed Alphanumeric Supplement, Box Drawing, CJK Radicals Supplement, CJK Unified Ideographs Extension E, Katakana, Hangul Compatibility Jamo, Hiragana, Latin Extended Additional, Latin-1 Supplement, Basic Latin, Enclosed Alphanumerics, Mathematical Operators, Hangul Jamo Extended-B, Cyrillic, Enclosed Ideographic Supplement, CJK Compatibility Ideographs Supplement, CJK Symbols and Punctuation, Miscellaneous Symbols, Greek and Coptic, CJK Unified Ideographs Extension C, Bopomofo, Geometric Shapes, CJK Strokes, General Punctuation, CJK Unified Ideographs Extension D, Block Elements, CJK Compatibility Forms, Latin Extended-A, Hangul Jamo Extended-A, Bopomofo Extended, Miscellaneous Technical, Small Form Variants, Arrows, Latin Extended-B, Letterlike Symbols, Katakana Phonetic Extensions, Kanbun, Ideographic Description Characters, Vertical Forms, Spacing Modifier Letters, Dingbats, Combining Diacritical Marks, Miscellaneous Symbols and Arrows, Alphabetic Presentation Forms, CJK Unified Ideographs Extension F. Supported writing systems Traditional Han Traditional Han (\u6f22\u5b57) is an East Asian logo-syllabary, written vertically right-to-left and horizontally left-to-right (over 30 million users). Used in Taiwan, Hong Kong and Macau. ((TODO)) Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Hangul Hangul (Hangeul, \ud55c\uae00, Chos\u014fn'g\u016dl, \uc870\uc120\uae00) is an East Asian script, written vertically right-to-left and horizontally left-to-right (79 million users). Used for the Korean language. Created in 1446 by King Sejong the Great (Sejong of Joseon) as a simpler, phonetic alternative to using Chinese hanja for Korean. Not universally accepted for centuries, suppressed by Japanese colonial authorities. Since 1945 the standard script for Korean. The 51 basic letters (jamo) are grouped into syllable blocks depending on their position in the spoken syllable. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Latin Latin (Roman) is a European bicameral alphabet, written left-to-right. The most popular writing system in the world. Used for over 3,000 languages including Latin and Romance languages (Italian, French, Portuguese, Spanish and Romanian), Germanic languages (English, Dutch, German, Nordic languages), Finnish, Malaysian, Indonesian, Filipino, Visayan languages, Turkish, Azerbaijani, Polish, Somali, Vietnamese, and many others. Derived from Western Greek, attested in Rome in the 7th century BCE. In the common era, numerous European languages adopted the Latin script along with Western Christian religion, the script disseminated further with European colonization of the Americas, Australia, parts of Asia, Africa and the Pacific. New letters, ligatures and diacritical marks were gradually added to represent the sounds of various languages. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Katakana Katakana (\u7247\u4eee\u540d\u3001\u30ab\u30bf\u30ab\u30ca) is an East Asian syllabary, written vertically right-to-left and horizontally left-to-right (126 million users). Used in Japan for Japanese, Ryukyuan, Ainu and Palauan, and formerly for Taiwanese Hokkien. Katakana is used for transcription of foreign-language words into Japanese, for the writing of loan words, for emphasis, to represent onomatopoeia, for technical and scientific terms, for names of plants, animals and minerals, and often for names of Japanese companies. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Hiragana Hiragana (\u5e73\u4eee\u540d, \u3072\u3089\u304c\u306a) is an East Asian syllabary, written vertically right-to-left and horizontally left-to-right (120 million users). Used in Japan for Japanese and the Ryukyuan languages. Hiragana is used to write okurigana (kana suffixes following a kanji root, for example to inflect verbs and adjectives), various grammatical and function words including particles, as well as miscellaneous other native words for which there are no kanji or whose kanji form is obscure or too formal for the writing purpose. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Emoji symbols Emoji symbols are pictograms, logograms, ideograms and smileys used in electronic messages and web pages. Their primary function is to fill in emotional cues otherwise missing from typed conversation. They are typically rendered as multi-color characters. Read more on ScriptSource, Unicode, Wikipedia, r12a. Bopomofo Bopomofo (\u6ce8\u97f3\u7b26\u865f, \u6ce8\u97f3\u7b26\u53f7, \u3105\u3106\u3107\u3108) is an East Asian syllabary, written left-to-right. Developed in 1913 in China to be used for Mandarin Chinese transliteration alongside the Latin-based Wade\u2013Giles system. Also called Mandarin Phonetic Symbols or Zhuyin (\u6ce8\u97f3). Bopomofo is an official transliteration system in Taiwan, used in dictionaries, books, newspapers and journals to annotate the Taiwanese pronunciation of Chinese Han characters, and in electronic input methods. Largely replaced by Pinyin romanization in the People\u2019s Republic of China. Also used as the primary script for Taiwan\u2019s minority languages like Atayal, Taroko, Paiwan and Yami. Has 21 onset consonants, 16 rhymes, and 4 tone marks. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Cyrillic Cyrillic is a bicameral alphabet originating in Europe, written left-to-right (250 million users). Used for various languages across Eurasia and is used as the national script in various Slavic, Turkic, Mongolic and Iranic-speaking countries in Southeastern Europe, Eastern Europe, the Caucasus, Central Asia, North Asia and East Asia, including Russian, Bulgarian, Macedonian, Serbian, Ukrainian, Uzbek, Azerbaijani, Kazakh, Tajik, Kyrgyz, Bashkort, Chechen, Chuvash, Avar, Dargwa, Kabardian, Karakalpak, Kumyk, Lezgi, Ossetic, Pontic, Yakut, Buriat and many others. Created in the 9th century. Traditionally attributed to Saint Cyril, a monk from Thessaloniki working in Bulgaria, after earlier creation of the Glagolitic script. Sometimes attributed to Clement of Ohrid, a student of Saint Cyril\u2019s. Initially used for Old Church Slavonic. Reformed in 1708 by Russian tsar Peter the Great. Extended by the Soviet Union in the 20th century to write over 50 languages throughout Eastern Europe and Asia (some of those languages switched to Latin after 1991). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Greek Greek (\u0395\u03bb\u03bb\u03b7\u03bd\u03b9\u03ba\u03ac) is a European bicameral alphabet, written left-to-right (11 million users). Used to write the Greek language since the 8th century BCE. Also used to write other languages like Urum, Albanian Tosk, and Balkan Gagauz Turkish. Some symbols are also used in scientific notation. Derived from Phoenician. First \u201ctrue alphabet\u201d, with distinct letters for consonants and vowels. Standardized in the 4th century BCE by Eucleides. Has 24 letters. Some letter variants (sigma: \u03c3/\u03c2) have positional significance in the Greek language, other variants only differ in meaning in scientific notation (e.g. pi: \u03c0/\u03d6). The Greek language used to be written in polytonic spelling, with three accents on vowels. In 1982, Greece introduced monotonic spelling with a single diacritic. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Tagalog": { + "name": "Noto Sans Tagalog", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "tagalog" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Tglg", + "article": "Noto Sans Tagalog is an unmodulated (\u201csans serif\u201d) design for texts in the historical Southeast Asian Tagalog script. Noto Sans Tagalog contains 31 glyphs, and supports 30 characters from the Unicode block Tagalog. Supported writing systems Tagalog Tagalog (Baybayin, Alibata, \u170a\u170c\u1714\u170a\u170c\u1712\u1708\u1714) is a historical Southeast Asian abugida, written left-to-right. Was used in the Philippines in the 13th\u201318th centuries for the Tagalog language (21 million speakers), which is now written in the Latin script. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Tagbanwa": { + "name": "Noto Sans Tagbanwa", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "tagbanwa" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Noto Sans Tagbanwa is an unmodulated (\u201csans serif\u201d) design for texts in the Southeast Asian Tagbanwa script. Noto Sans Tagbanwa contains 29 glyphs, and supports 28 characters from the Unicode block Tagbanwa. Supported writing systems Tagbanwa Tagbanwa (\u1766\u176a\u176f) is a Southeast Asian abugida, written left-to-right. Used in the Philippines since c. 1300 for the Tagbanwa language (8\u201325,000 speakers). Has 13 consontants. The script and language are in decline, being replaced by Tagalog. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Tai Le": { + "name": "Noto Sans Tai Le", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "tai-le" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Noto Sans Tai Le is an unmodulated (\u201csans serif\u201d) design for texts in the Southeast Asian Tai Le script. Noto Sans Tai Le contains 71 glyphs, 2 OpenType features, and supports 64 characters from 3 Unicode blocks: Tai Le, CJK Symbols and Punctuation, Combining Diacritical Marks. Supported writing systems Tai Le Tai Le (\u1956\u196d\u1970\u1958\u196b\u1974) is a Southeast Asian abugida, written left-to-right. Used in Yunnan, China since c. 1200 CE for the Tai Le (Tai N\u00fca) language. Revised several times in 1952\u20131988. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Tai Tham": { + "name": "Noto Sans Tai Tham", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "tai-tham" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Lana", + "article": "Noto Sans Tai Tham is an unmodulated (\u201csans serif\u201d) design for texts in the Southeast Asian Lanna (Tai Tham) script. Noto Sans Tai Tham has multiple weights, contains 799 glyphs, 3 OpenType features, and supports 135 characters from the Unicode block Tai Tham. Supported writing systems Lanna (Tai Tham) Lanna (Tai Tham) is a Southeast Asian abugida, written left-to-right. Used in Thailand and China for the Northern Thai language. Was also used for the L\u00fc and Kh\u00fcn languages. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Tai Viet": { + "name": "Noto Sans Tai Viet", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "tai-viet" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Tavt", + "article": "Noto Sans Tai Viet is an unmodulated (\u201csans serif\u201d) design for texts in the Southeast Asian Tai Viet script. Noto Sans Tai Viet contains 83 glyphs, and supports 82 characters from the Unicode block Tai Viet. Supported writing systems Tai Viet Tai Viet is a Southeast Asian abugida, written left-to-right. Used since the 16th century in Vietnam, Laos, China and Thailand for the Tai Dam, Tai D\u00f3n, Tai Daeng, Thai Song and T\u00e0y Tac languages. Has 31 consonants and 14 vowels. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Takri": { + "name": "Noto Sans Takri", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "takri" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Takr", + "article": "Noto Sans Takri is an unmodulated (\u201csans serif\u201d) design for texts in the historical Indic Takri script. Noto Sans Takri contains 95 glyphs, 8 OpenType features, and supports 86 characters from 2 Unicode blocks: Takri, Common Indic Number Forms. Supported writing systems Takri Takri (\ud805\ude94\ud805\udead\ud805\ude8a\ud805\udea4\ud805\udeaf) is a historical Indic abugida, written left-to-right, mostly without a headstroke. Was used in the 16th\u201319th centuries in today\u2019s India and Pakistan for the Chambeali and Dogri languages, and for Pahari languages like Jaunsari and Kulvi. Related to the Dogri script. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Tamil": { + "name": "Noto Sans Tamil", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "tamil" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Taml", + "article": "Noto Sans Tamil is an unmodulated (\u201csans serif\u201d) design for texts in the Indic Tamil script. Noto Sans Tamil has multiple weights and widths, contains 244 glyphs, 11 OpenType features, and supports 147 characters from 5 Unicode blocks: Tamil, Basic Latin, General Punctuation, Devanagari, Grantha. Supported writing systems Tamil Tamil (\u0ba4\u0bae\u0bbf\u0bb4\u0bcd) is an Indic abugida, written left-to-right (70 million users). Used in India, Sri Lanka, Singapore, Malaysia and Mauritius for the Tamil language, and other languages like Irula, Badaga, Kurumba, Paniya, Saurashtra. Has 18 consonants (modest set for Brahmic scripts) and 12 vowels. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Tamil Supplement": { + "name": "Noto Sans Tamil Supplement", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "tamil-supplement" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Noto is a global font collection for writing in all modern and ancient languages. Noto Sans Tamil Supplement is an unmodulated (\u201csans serif\u201d) design in the Supplement variant for texts in the Indic Tamil script. It has 54 glyphs.", + "primary_script": "Taml", + "article": null, + "minisite_url": null + }, + "Noto Sans Tangsa": { + "name": "Noto Sans Tangsa", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "tangsa" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Tnsa", + "article": "Noto Sans Tangsa is a design for the Indic Tangsa script. Noto Sans Tangsa has multiple weights, contains 94 glyphs, 2 OpenType features, and supports 93 characters from the Unicode block Tangsa. Supported writing systems Tangsa Tangsa is an Indic alphabet. Used by the Tangsa (Tangshang, Hawa) people at the border between India and Myanmar. Read more on ScriptSource, Unicode, Wikipedia, r12a.", + "minisite_url": null + }, + "Noto Sans Telugu": { + "name": "Noto Sans Telugu", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "telugu" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Telu", + "article": "Noto Sans Telugu is an unmodulated (\u201csans serif\u201d) design for texts in the Indic Telugu script. Noto Sans Telugu has multiple weights and widths, contains 958 glyphs, 11 OpenType features, and supports 163 characters from 4 Unicode blocks: Telugu, Basic Latin, General Punctuation, Devanagari. Supported writing systems Telugu Telugu (\u0c24\u0c46\u0c32\u0c41\u0c17\u0c41) is an Indic abugida, written left-to-right without a headstroke. Used since c. 1300 CE in South India for the Telugu language (74 million speakers), state language of Andhra Pradesh. Also used for Chenchu, Savara, Manna-Dora, for Sanskrit and Gondi. Closely related to the Kannada script. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Thaana": { + "name": "Noto Sans Thaana", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "thaana" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Thaa", + "article": "Noto Sans Thaana is an unmodulated (\u201csans serif\u201d) design for texts in the Indic Thaana script. Noto Sans Thaana has multiple weights, contains 90 glyphs, and supports 89 characters from 4 Unicode blocks: Thaana, Basic Latin, Arabic, General Punctuation. Supported writing systems Thaana Thaana (\u078b\u07a8\u0788\u07ac\u0780\u07a8) is an Indic alphabet, written right-to-left (350,000 users). Used on the Maldives and in India for the Maldivian (Mahl, Dhivehi) language, which also uses a Latin transliteration. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Thai": { + "name": "Noto Sans Thai", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "thai" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Thai", + "article": "Noto Sans Thai is an unmodulated (\u201csans serif\u201d) design in the more modern, loopless variant of the Southeast Asian Thai script, mainly suitable for headlines, packaging and advertising. Noto Sans Thai has multiple weights and widths, contains 140 glyphs, 6 OpenType features, and supports 101 characters from the Unicode block Thai. Supported writing systems Thai Thai (\u0e44\u0e17\u0e22) is a Southeast Asian abugida, written left-to-right (38 million users). Used since 1283 in Thailand, Laos and China for the Thai, Northern Thai, Northeastern Thai, Southern Thai, Thai Song and Pali languages. Related to the Lao script. Uses 44 letters for 21 consonants. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Thai Looped": { + "name": "Noto Sans Thai Looped", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "thai" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Thai", + "article": "Noto Sans Thai Looped is an unmodulated (\u201csans serif\u201d) design in the more traditional, looped variant of the Southeast Asian Thai script, suitable for all texts. Noto Looped Thai contains 212 glyphs, 8 OpenType features, and supports 148 characters from 5 Unicode blocks: Thai, Basic Latin, General Punctuation, Latin-1 Supplement, Combining Diacritical Marks. Supported writing systems Thai Thai (\u0e44\u0e17\u0e22) is a Southeast Asian abugida, written left-to-right (38 million users). Used since 1283 in Thailand, Laos and China for the Thai, Northern Thai, Northeastern Thai, Southern Thai, Thai Song and Pali languages. Related to the Lao script. Uses 44 letters for 21 consonants. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Tifinagh": { + "name": "Noto Sans Tifinagh", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "tifinagh" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Tfng", + "article": "Noto Sans Tifinagh is an unmodulated (\u201csans serif\u201d) design for texts in the African Tifinagh script. Noto Sans Tifinagh contains 164 glyphs, 5 OpenType features, and supports 76 characters from 2 Unicode blocks: Tifinagh, Combining Diacritical Marks. Supported writing systems Tifinagh Tifinagh (\u2d5c\u2d49\u2d3c\u2d49\u2d4f\u2d30\u2d56) is an African abjad. Used alongside the Berber Latin Alphabet for Berber languages of North Africa (1 million speakers), and for Tuareg languages. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Tirhuta": { + "name": "Noto Sans Tirhuta", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "tirhuta" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Tirh", + "article": "Noto Sans Tirhuta is an unmodulated (\u201csans serif\u201d) design for texts in the Indic Tirhuta script. Noto Sans Tirhuta contains 262 glyphs, 13 OpenType features, and supports 108 characters from 3 Unicode blocks: Tirhuta, Devanagari, Common Indic Number Forms. Supported writing systems Tirhuta Tirhuta (Mithilakshar) is an Indic abugida, written left-to-right. Was used in India and Nepal for the Maithili language (35 million speakers), which now mostly uses Devanagari. Tirhuta is still occasionally used for ceremonial purposes. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Ugaritic": { + "name": "Noto Sans Ugaritic", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "ugaritic" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Ugar", + "article": "Noto Sans Ugaritic is an unmodulated (\u201csans serif\u201d) design for texts in the historical Middle Eastern Ugaritic script. Noto Sans Ugaritic contains 36 glyphs, and supports 35 characters from the Unicode block Ugaritic. Supported writing systems Ugaritic Ugaritic is a historical Middle Eastern abjad, written left-to-right. Was used in today\u2019s Syria in 1500-1300 BCE for the Ugaritic language, and also for Hurrian. Has 30 letters that visually resemble cuneiform. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Vai": { + "name": "Noto Sans Vai", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vai" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Noto Sans Vai is an unmodulated (\u201csans serif\u201d) design for texts in the African Vai script. Noto Sans Vai contains 305 glyphs, and supports 304 characters from the Unicode block Vai. Supported writing systems Vai Vai (\ua559\ua524) is an African syllabary, written left-to-right. Used in Liberia and Sierra Leone for the Vai language (115,000 speakers). Created in the 1830s by M\u0254m\u0254lu Duwalu Buk\u025bl\u025b. Has 212 symbols. Possibly influenced by the Cherokee syllabary. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Vithkuqi": { + "name": "Noto Sans Vithkuqi", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vithkuqi" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Vith", + "article": "Noto Sans Vithkuqi is a design for the historical European Vithkuqi script. Noto Sans Vithkuqi has multiple weights, contains 103 glyphs, and supports 101 characters from 2 Unicode blocks: Vithkuqi, Basic Latin. Supported writing systems Vithkuqi Vithkuqi (B\u00fcthakukye) is a historical European bicameral alphabet, written left-to-right. Created around 1840 by Naum Veqilharxhi for the Albanian language. Read more on ScriptSource, Unicode, Wikipedia, r12a.", + "minisite_url": null + }, + "Noto Sans Wancho": { + "name": "Noto Sans Wancho", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "wancho" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Noto Sans Wancho is an unmodulated (\u201csans serif\u201d) design for texts in the Indic Wancho script. Noto Sans Wancho contains 95 glyphs, 3 OpenType features, and supports 79 characters from 2 Unicode blocks: Wancho, Basic Latin. Supported writing systems Wancho Wancho is an Indic alphabet, written left-to-right. Created 2001\u20132012 by Banwang Losu in India for the Wancho language. Some schools teach the Wancho script but the language generally uses Devanagari and Latin script. Read more on ScriptSource, Unicode, Wikipedia, r12a.", + "minisite_url": null + }, + "Noto Sans Warang Citi": { + "name": "Noto Sans Warang Citi", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "warang-citi" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Noto Sans Warang Citi is an unmodulated (\u201csans serif\u201d) design for texts in the Indic Varang Kshiti (Warang Citi) script. Noto Sans Warang Citi contains 181 glyphs, 3 OpenType features, and supports 89 characters from the Unicode block Warang Citi. Supported writing systems Varang Kshiti (Warang Citi) Varang Kshiti (Warang Citi, \ud806\udcb9\ud806\udcd7\ud806\udcc1\ud806\udcdc\ud806\udcca \ud806\udccf\ud806\udcc2\ud806\udcd5\ud806\udcc2\u200e) is an Indic abugida, written left-to-right. Used in India for the Ho language, alongside Devanagari and Latin. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Yi": { + "name": "Noto Sans Yi", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "yi" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Noto Sans Yi is an unmodulated (\u201csans serif\u201d) design for texts in the East Asian Yi script. Noto Sans Yi contains 1,251 glyphs, and supports 1,250 characters from 4 Unicode blocks: Yi Syllables, Yi Radicals, CJK Symbols and Punctuation, Halfwidth and Fullwidth Forms. Supported writing systems Yi Yi (Modern Yi, \ua188\ua320\ua071\ua0b7) is an East Asian logo-syllabary, written horizontally left-to-right (modern) or vertically right-to-left (traditional). Used for the Nuosu Yi language (2 million users) in the Liangshan Yi region of China. Yi signs are made from five basic strokes; dot, horizontal line, vertical line, arch and circle. Attested 500 years ago, believed to be use for perhaps even 5000 years. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Sans Zanabazar Square": { + "name": "Noto Sans Zanabazar Square", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "zanabazar-square" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Zanb", + "article": "Noto Sans Zanabazar Square is an unmodulated (\u201csans serif\u201d) design for texts in the historical Central Asian Zanabazar Square script. Noto Sans Zanabazar Square contains 154 glyphs, 6 OpenType features, and supports 77 characters from the Unicode block Zanabazar Square. Supported writing systems Zanabazar Square Zanabazar Square (Mongolian Square, \ud806\ude22\ud806\ude06\ud806\ude0f\ud806\ude33\ud806\ude0b\ud806\ude06\ud806\ude2c\ud806\ude33\u200e) is a historical Central Asian abugida, written left-to-right. Was used in Mongolia for writing the Mongolian, Sanskrit and Tibetan languages. Created in the late 17th century by the Tibetan Buddhism leader Zanabazar, who also developed the the Soyombo script. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif": { + "name": "Noto Serif", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext", + "math", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Noto Serif is a modulated (\u201cserif\u201d) design for texts in the Latin, Cyrillic and Greek scripts, also suitable as the complementary font for other script-specific Noto Serif fonts. Noto Serif has italic styles, multiple weights and widths, contains 3,256 glyphs, 24 OpenType features, and supports 2,840 characters from 30 Unicode blocks: Latin Extended Additional, Cyrillic, Greek Extended, Latin Extended-B, Latin Extended-D, Latin Extended-A, Phonetic Extensions, Greek and Coptic, Combining Diacritical Marks, IPA Extensions, Cyrillic Extended-B, Latin-1 Supplement, General Punctuation, Basic Latin, Supplemental Punctuation, Spacing Modifier Letters, Letterlike Symbols, Phonetic Extensions Supplement, Combining Diacritical Marks Supplement, Latin Extended-E, Cyrillic Supplement, Currency Symbols, Latin Extended-C, Cyrillic Extended-A, Modifier Tone Letters, Superscripts and Subscripts, Combining Diacritical Marks Extended, Combining Half Marks, Cyrillic Extended-C, Alphabetic Presentation Forms. Supported writing systems Latin Latin (Roman) is a European bicameral alphabet, written left-to-right. The most popular writing system in the world. Used for over 3,000 languages including Latin and Romance languages (Italian, French, Portuguese, Spanish and Romanian), Germanic languages (English, Dutch, German, Nordic languages), Finnish, Malaysian, Indonesian, Filipino, Visayan languages, Turkish, Azerbaijani, Polish, Somali, Vietnamese, and many others. Derived from Western Greek, attested in Rome in the 7th century BCE. In the common era, numerous European languages adopted the Latin script along with Western Christian religion, the script disseminated further with European colonization of the Americas, Australia, parts of Asia, Africa and the Pacific. New letters, ligatures and diacritical marks were gradually added to represent the sounds of various languages. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Cyrillic Cyrillic is a bicameral alphabet originating in Europe, written left-to-right (250 million users). Used for various languages across Eurasia and is used as the national script in various Slavic, Turkic, Mongolic and Iranic-speaking countries in Southeastern Europe, Eastern Europe, the Caucasus, Central Asia, North Asia and East Asia, including Russian, Bulgarian, Macedonian, Serbian, Ukrainian, Uzbek, Azerbaijani, Kazakh, Tajik, Kyrgyz, Bashkort, Chechen, Chuvash, Avar, Dargwa, Kabardian, Karakalpak, Kumyk, Lezgi, Ossetic, Pontic, Yakut, Buriat and many others. Created in the 9th century. Traditionally attributed to Saint Cyril, a monk from Thessaloniki working in Bulgaria, after earlier creation of the Glagolitic script. Sometimes attributed to Clement of Ohrid, a student of Saint Cyril\u2019s. Initially used for Old Church Slavonic. Reformed in 1708 by Russian tsar Peter the Great. Extended by the Soviet Union in the 20th century to write over 50 languages throughout Eastern Europe and Asia (some of those languages switched to Latin after 1991). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Greek Greek (\u0395\u03bb\u03bb\u03b7\u03bd\u03b9\u03ba\u03ac) is a European bicameral alphabet, written left-to-right (11 million users). Used to write the Greek language since the 8th century BCE. Also used to write other languages like Urum, Albanian Tosk, and Balkan Gagauz Turkish. Some symbols are also used in scientific notation. Derived from Phoenician. First \u201ctrue alphabet\u201d, with distinct letters for consonants and vowels. Standardized in the 4th century BCE by Eucleides. Has 24 letters. Some letter variants (sigma: \u03c3/\u03c2) have positional significance in the Greek language, other variants only differ in meaning in scientific notation (e.g. pi: \u03c0/\u03d6). The Greek language used to be written in polytonic spelling, with three accents on vowels. In 1982, Greece introduced monotonic spelling with a single diacritic. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif Ahom": { + "name": "Noto Serif Ahom", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "ahom", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Ahom", + "article": "Noto Serif Ahom is a modulated (\u201cserif\u201d) design for texts in the Southeast Asian Ahom script. Noto Serif Ahom contains 76 glyphs, 7 OpenType features, and supports 63 characters from the Unicode block Ahom. Supported writing systems Ahom Ahom (\ud805\udf12\ud805\udf11\ud805\udf2a\ud805\udf28) is a Southeast Asian abugida, written left-to-right. Was used in the 13th\u201318th century CE by the Tai Ahom community in India for the now-extinct Ahom language. Later largely replaced by the Assamese language and script. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif Armenian": { + "name": "Noto Serif Armenian", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "armenian", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Armn", + "article": "Noto Serif Armenian is a modulated (\u201cserif\u201d) design for texts in the European Armenian script. Noto Serif Armenian has multiple weights and widths, contains 107 glyphs, 3 OpenType features, and supports 104 characters from 2 Unicode blocks: Armenian, Alphabetic Presentation Forms. Supported writing systems Armenian Armenian (\u0540\u0561\u0575\u0578\u0581 \u0563\u0580\u0565\u0580) is a European bicameral alphabet, written left-to-right (12 million users). Created around 405 CE by Mesrop Mashtots. Used for the Armenian language to this day. Was widespread in the 18th\u201319th centuries CE in the Ottoman Empire. Armenia uses a reformed spelling introduced in the Soviet Union, the Armenian diaspora mostly uses the original Mesropian orthography. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif Balinese": { + "name": "Noto Serif Balinese", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "balinese", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Bali", + "article": "Noto Serif Balinese is a modulated (\u201cserif\u201d) design for texts in the Southeast Asian Balinese script. Noto Serif Balinese contains 217 glyphs, 6 OpenType features, and supports 129 characters from the Unicode block Balinese. Supported writing systems Balinese Balinese (\u1b05\u1b13\u1b44\u1b31\u1b2d\u1b29\u1b2e\u1b36) is a Southeast Asian abugida, written left-to-right (5 million users). Used for the Balinese language on the Indonesian islands of Java and Bali, mostly for signage, traditional literature, and, on a limited scale, for new literature. Also used for Old Javanese and Sanskrit. Derived from Old Kawi, similar to Javanese. Has 47 letters. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif Bengali": { + "name": "Noto Serif Bengali", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "bengali", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Beng", + "article": "Noto Serif Bengali is a modulated (\u201cserif\u201d) design for texts in the Indic Bangla (Bengali) script. Noto Serif Bengali has multiple weights and widths, contains 640 glyphs, 19 OpenType features, and supports 173 characters from 5 Unicode blocks: Bengali, Basic Latin, Vedic Extensions, General Punctuation, Devanagari. Supported writing systems Bangla (Bengali) Bangla (Bengali, Bengali-Assamese, \u09ac\u09be\u0982\u09b2\u09be \u09ac\u09b0\u09cd\u09a3\u09ae\u09be\u09b2\u09be) is an Indic abugida, written left-to-right (265 million users). Used in Bangladesh and India, for the Bengali language, and for other languages like Assamese, Kokborok, Bishnupriya Manipuri, Meitei Manipuri, Rabha, Maithili, Rangpuri, Sylheti, Santali and Sanskrit. Developed in the 11th century CE. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif Devanagari": { + "name": "Noto Serif Devanagari", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Deva", + "article": "Noto Serif Devanagari is a modulated (\u201cserif\u201d) design for texts in the Indic Devanagari script. Noto Serif Devanagari has multiple weights and widths, contains 871 glyphs, 18 OpenType features, and supports 272 characters from 6 Unicode blocks: Devanagari, Vedic Extensions, Devanagari Extended, Basic Latin, General Punctuation, Common Indic Number Forms. Supported writing systems Devanagari Devanagari (Negari, \u0926\u0947\u0935\u0928\u093e\u0917\u0930\u0940) is an Indic abugida, written left-to-right with a headstroke (over 600 million users). Used in India and Nepal for over 120 languages like Indo-Aryan languages, including Hindi, Nepali, Marathi, Maithili, Awadhi, Newari and Bhojpuri, and for Sanskrit. 4th most widely used script in the world. Brahmic script created in the 1st century CE, the modern form developed in the 7th century. Has 14 vowels and 33 consonants. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif Display": { + "name": "Noto Serif Display", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "Noto Serif Display is a modulated (\u201cserif\u201d) design for texts in larger font sizes in the European Latin script and in Cyrillic, Greek. Noto Serif Display has italic styles, multiple weights and widths, contains 3,256 glyphs, 24 OpenType features, and supports 2,840 characters from 30 Unicode blocks: Latin Extended Additional, Cyrillic, Greek Extended, Latin Extended-B, Latin Extended-D, Latin Extended-A, Phonetic Extensions, Greek and Coptic, Combining Diacritical Marks, IPA Extensions, Cyrillic Extended-B, Latin-1 Supplement, General Punctuation, Basic Latin, Supplemental Punctuation, Spacing Modifier Letters, Letterlike Symbols, Phonetic Extensions Supplement, Combining Diacritical Marks Supplement, Latin Extended-E, Cyrillic Supplement, Currency Symbols, Latin Extended-C, Cyrillic Extended-A, Modifier Tone Letters, Superscripts and Subscripts, Combining Diacritical Marks Extended, Combining Half Marks, Cyrillic Extended-C, Alphabetic Presentation Forms. Supported writing systems Latin Latin (Roman) is a European bicameral alphabet, written left-to-right. The most popular writing system in the world. Used for over 3,000 languages including Latin and Romance languages (Italian, French, Portuguese, Spanish and Romanian), Germanic languages (English, Dutch, German, Nordic languages), Finnish, Malaysian, Indonesian, Filipino, Visayan languages, Turkish, Azerbaijani, Polish, Somali, Vietnamese, and many others. Derived from Western Greek, attested in Rome in the 7th century BCE. In the common era, numerous European languages adopted the Latin script along with Western Christian religion, the script disseminated further with European colonization of the Americas, Australia, parts of Asia, Africa and the Pacific. New letters, ligatures and diacritical marks were gradually added to represent the sounds of various languages. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Cyrillic Cyrillic is a bicameral alphabet originating in Europe, written left-to-right (250 million users). Used for various languages across Eurasia and is used as the national script in various Slavic, Turkic, Mongolic and Iranic-speaking countries in Southeastern Europe, Eastern Europe, the Caucasus, Central Asia, North Asia and East Asia, including Russian, Bulgarian, Macedonian, Serbian, Ukrainian, Uzbek, Azerbaijani, Kazakh, Tajik, Kyrgyz, Bashkort, Chechen, Chuvash, Avar, Dargwa, Kabardian, Karakalpak, Kumyk, Lezgi, Ossetic, Pontic, Yakut, Buriat and many others. Created in the 9th century. Traditionally attributed to Saint Cyril, a monk from Thessaloniki working in Bulgaria, after earlier creation of the Glagolitic script. Sometimes attributed to Clement of Ohrid, a student of Saint Cyril\u2019s. Initially used for Old Church Slavonic. Reformed in 1708 by Russian tsar Peter the Great. Extended by the Soviet Union in the 20th century to write over 50 languages throughout Eastern Europe and Asia (some of those languages switched to Latin after 1991). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Greek Greek (\u0395\u03bb\u03bb\u03b7\u03bd\u03b9\u03ba\u03ac) is a European bicameral alphabet, written left-to-right (11 million users). Used to write the Greek language since the 8th century BCE. Also used to write other languages like Urum, Albanian Tosk, and Balkan Gagauz Turkish. Some symbols are also used in scientific notation. Derived from Phoenician. First \u201ctrue alphabet\u201d, with distinct letters for consonants and vowels. Standardized in the 4th century BCE by Eucleides. Has 24 letters. Some letter variants (sigma: \u03c3/\u03c2) have positional significance in the Greek language, other variants only differ in meaning in scientific notation (e.g. pi: \u03c0/\u03d6). The Greek language used to be written in polytonic spelling, with three accents on vowels. In 1982, Greece introduced monotonic spelling with a single diacritic. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif Dives Akuru": { + "name": "Noto Serif Dives Akuru", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "dives-akuru", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Diak", + "article": "Noto Serif Dives Akuru is a design for the historical Indic Dives Akuru script. Noto Serif Dives Akuru contains 812 glyphs, 9 OpenType features, and supports 74 characters from the Unicode block Dives Akuru. Supported writing systems Dives Akuru Dives Akuru (\ud806\udd1e\ud806\udd42\ud806\udd27\ud806\udd2d\ud806\udd42\ud806\udd26\ud806\udd15\ud806\udd31\ud806\udd15\ud806\udd31) is a historical Indic abugida, written left-to-right. Was used for Maldivian language before switching to Thaana. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif Dogra": { + "name": "Noto Serif Dogra", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "dogra", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Dogr", + "article": "Noto Serif Dogra is a modulated (\u201cserif\u201d) design for texts in the historical Indic Dogra script. Noto Serif Dogra contains 143 glyphs, 8 OpenType features, and supports 69 characters from the Unicode block Dogra. Supported writing systems Dogra Dogra (Dogri, \ud806\udc16\ud806\udc35\ud806\udc0c\ud806\udc24\ud806\udc2c) is a historical Indic abugida, written left-to-right. Was used for the Dogri language in Jammu and Kashmir in the northern part of the Indian subcontinent. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif Ethiopic": { + "name": "Noto Serif Ethiopic", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "ethiopic", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Ethi", + "article": "Noto Serif Ethiopic is a modulated (\u201cserif\u201d) design for texts in the African Ethiopic script. Noto Serif Ethiopic has multiple weights and widths, contains 566 glyphs, 5 OpenType features, and supports 505 characters from 4 Unicode blocks: Ethiopic, Ethiopic Extended, Ethiopic Extended-A, Ethiopic Supplement. Supported writing systems Ethiopic Ethiopic (Ge\u02bdez, \u130d\u12d5\u12dd, \u134a\u12f0\u120d) is an African abugida, written left-to-right (18 million users). Used for Ethiosemitic languages like Tigr\u00e9, Amharic and Tigrinya and some Cushitic and Nilotic languages. Was used in the 1st\u201312th century CE in Ethiopia and Eritrea for the Ge\u02bdez language (now a liturgical language). Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif Georgian": { + "name": "Noto Serif Georgian", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "georgian", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Geor", + "article": "Noto Serif Georgian is a modulated (\u201cserif\u201d) design for texts in the European Georgian script. Noto Serif Georgian has multiple weights and widths, contains 225 glyphs, 6 OpenType features, and supports 186 characters from 4 Unicode blocks: Georgian, Georgian Extended, Georgian Supplement, Combining Diacritical Marks. Supported writing systems Georgian Georgian (\u10e5\u10d0\u10e0\u10d7\u10e3\u10da\u10d8) is a European alphabet, written left-to-right (4.5 million users). Used for the Georgian language of Georgia, and other Kartvelian languages. Since 430 CE, the Georgian language used an inscriptional form (Asomtavruli), which evolved into a manuscript form (Nuskhuri). These are categorized as Khutsuri (ecclesiastical): Asomtavruli is uppercase, Nuskhuri is lowercase. Khutsuri is still used for liturgical purposes, but was replaced by a new case-less form (Mkhedruli) used for nearly all modern Georgian writing. In the 1950s, Akaki Shanidze attempted to add Asomtavruli as uppercase and use Mkhedruli for lowercase, but the effort did not succeed. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif Grantha": { + "name": "Noto Serif Grantha", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "grantha", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Gran", + "article": "Noto Serif Grantha is a modulated (\u201cserif\u201d) design for texts in the Indic Grantha script. Noto Serif Grantha contains 479 glyphs, 24 OpenType features, and supports 121 characters from 3 Unicode blocks: Grantha, Vedic Extensions, Devanagari. Supported writing systems Grantha Grantha (\ud804\udf17\ud804\udf4d\ud804\udf30\ud804\udf28\ud804\udf4d\ud804\udf25) is an Indic abugida, written left-to-right. Used since the 7th century CE for writing religious texts in Sanskrit and Dravidian languages. Related to Tamil. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif Gujarati": { + "name": "Noto Serif Gujarati", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "gujarati", + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Gujr", + "article": "Noto Serif Gujarati is a modulated (\u201cserif\u201d) design for texts in the Indic Gujarati script. Noto Serif Gujarati has multiple weights, contains 456 glyphs, 17 OpenType features, and supports 164 characters from 5 Unicode blocks: Gujarati, Basic Latin, General Punctuation, Devanagari, Common Indic Number Forms. Supported writing systems Gujarati Gujarati (\u0a97\u0ac1\u0a9c\u0ab0\u0abe\u0aa4\u0ac0) is an Indic abugida, written left-to-right without a headstroke (48 million users). Used in India since the 16th century CE for the Gujarati and Chodri languages. Also used alongside Devanagari for languages used by the Bhil people. Related to Devanagari. Was used mainly for bookkeeping and correspondence until the mid-19th century. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif Gurmukhi": { + "name": "Noto Serif Gurmukhi", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "gurmukhi", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Guru", + "article": "Noto Serif Gurmukhi is a modulated (\u201cserif\u201d) design for texts in the Indic Gurmukhi script. Noto Serif Gurmukhi has multiple weights, contains 294 glyphs, 11 OpenType features, and supports 154 characters from 5 Unicode blocks: Gurmukhi, Basic Latin, General Punctuation, Devanagari, Common Indic Number Forms. Supported writing systems Gurmukhi Gurmukhi (\u0a17\u0a41\u0a30\u0a2e\u0a41\u0a16\u0a40) is an Indic abugida, written left-to-right with a headstroke (22 million users). Used in India for the Punjabi language by followers of the Sikh religion. Brahmic script. Current form developed in the 16th century by Guru Angad. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif HK": { + "name": "Noto Serif HK", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "chinese-hongkong", + "cyrillic", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Hant", + "article": "Noto Serif HK is an modulated (\u201cserif\u201d) design for languages in Hong Kong that use the Traditional Chinese variant of the Han ideograms. It also supports Latin, Cyrillic, Greek, Katakana, Hiragana and Hangul. Noto Serif HK has multiple weights, contains 65,535 glyphs, 23 OpenType features, and supports 44,746 characters from 55 Unicode blocks: CJK Unified Ideographs, Hangul Syllables, CJK Unified Ideographs Extension A, CJK Unified Ideographs Extension B, CJK Compatibility Ideographs, Hangul Jamo, CJK Compatibility, Halfwidth and Fullwidth Forms, Kangxi Radicals, Enclosed CJK Letters and Months, Enclosed Alphanumeric Supplement, Box Drawing, CJK Radicals Supplement, CJK Unified Ideographs Extension E, Katakana, Hangul Compatibility Jamo, Hiragana, Latin Extended Additional, Latin-1 Supplement, Basic Latin, Enclosed Alphanumerics, Mathematical Operators, Hangul Jamo Extended-B, Cyrillic, Enclosed Ideographic Supplement, CJK Compatibility Ideographs Supplement, CJK Symbols and Punctuation, Miscellaneous Symbols, Greek and Coptic, CJK Unified Ideographs Extension C, Bopomofo, Geometric Shapes, CJK Strokes, General Punctuation, CJK Unified Ideographs Extension D, Block Elements, CJK Compatibility Forms, Latin Extended-A, Hangul Jamo Extended-A, Bopomofo Extended, Miscellaneous Technical, Small Form Variants, Arrows, Latin Extended-B, Letterlike Symbols, Katakana Phonetic Extensions, Kanbun, Ideographic Description Characters, Vertical Forms, Spacing Modifier Letters, Dingbats, Combining Diacritical Marks, Miscellaneous Symbols and Arrows, Alphabetic Presentation Forms, CJK Unified Ideographs Extension F. Supported writing systems Han (Hanzi, Kanji, Hanja) Han (Hanzi, Kanji, Hanja, \u6c49\u5b57, \u6f22\u5b57) is an East Asian logo-syllabary, written vertically right-to-left and horizontally left-to-right (over 1.3 billion users). Used at least since the Shang dynasty (1600\u20131046 BCE) to write the Chinese (Sinitic) languages like Mandarin and Cantonese, but also, today or in the past, Japanese, Korean, Vietnamese, Okinawan, Zhuang, Miao and other languages. The Han script has regional variations: Traditional Chinese (since the 5th century CE, today used in Taiwan, Hong Kong, Macau), Simplified Chinese (used since 1949\u20131956 in mainland China, Singapore, and Malaysia), Japanese (called Hanji, used together with the Hiragana and Katakana syllabaries in Japan), Korean (called Hanja, widely used for the Korean language since 400 BCE until the mid-20th century). Fundamentally the same characters represent the same or highly related concepts across dialects and languages, which themselves are often mutually unintelligible or completely unrelated. Some 2,100\u20132,500 Han characters are required for basic literacy, some 5,200\u20136,300 for reading typical texts. Many more are needed for specialized or historical texts: the Unicode Standard encodes over 94,000 Han characters. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Hangul Hangul (Hangeul, \ud55c\uae00, Chos\u014fn'g\u016dl, \uc870\uc120\uae00) is an East Asian script, written vertically right-to-left and horizontally left-to-right (79 million users). Used for the Korean language. Created in 1446 by King Sejong the Great (Sejong of Joseon) as a simpler, phonetic alternative to using Chinese hanja for Korean. Not universally accepted for centuries, suppressed by Japanese colonial authorities. Since 1945 the standard script for Korean. The 51 basic letters (jamo) are grouped into syllable blocks depending on their position in the spoken syllable. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Latin Latin (Roman) is a European bicameral alphabet, written left-to-right. The most popular writing system in the world. Used for over 3,000 languages including Latin and Romance languages (Italian, French, Portuguese, Spanish and Romanian), Germanic languages (English, Dutch, German, Nordic languages), Finnish, Malaysian, Indonesian, Filipino, Visayan languages, Turkish, Azerbaijani, Polish, Somali, Vietnamese, and many others. Derived from Western Greek, attested in Rome in the 7th century BCE. In the common era, numerous European languages adopted the Latin script along with Western Christian religion, the script disseminated further with European colonization of the Americas, Australia, parts of Asia, Africa and the Pacific. New letters, ligatures and diacritical marks were gradually added to represent the sounds of various languages. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Katakana Katakana (\u7247\u4eee\u540d\u3001\u30ab\u30bf\u30ab\u30ca) is an East Asian syllabary, written vertically right-to-left and horizontally left-to-right (126 million users). Used in Japan for Japanese, Ryukyuan, Ainu and Palauan, and formerly for Taiwanese Hokkien. Katakana is used for transcription of foreign-language words into Japanese, for the writing of loan words, for emphasis, to represent onomatopoeia, for technical and scientific terms, for names of plants, animals and minerals, and often for names of Japanese companies. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Hiragana Hiragana (\u5e73\u4eee\u540d, \u3072\u3089\u304c\u306a) is an East Asian syllabary, written vertically right-to-left and horizontally left-to-right (120 million users). Used in Japan for Japanese and the Ryukyuan languages. Hiragana is used to write okurigana (kana suffixes following a kanji root, for example to inflect verbs and adjectives), various grammatical and function words including particles, as well as miscellaneous other native words for which there are no kanji or whose kanji form is obscure or too formal for the writing purpose. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Emoji symbols Emoji symbols are pictograms, logograms, ideograms and smileys used in electronic messages and web pages. Their primary function is to fill in emotional cues otherwise missing from typed conversation. They are typically rendered as multi-color characters. Read more on ScriptSource, Unicode, Wikipedia, r12a. Bopomofo Bopomofo (\u6ce8\u97f3\u7b26\u865f, \u6ce8\u97f3\u7b26\u53f7, \u3105\u3106\u3107\u3108) is an East Asian syllabary, written left-to-right. Developed in 1913 in China to be used for Mandarin Chinese transliteration alongside the Latin-based Wade\u2013Giles system. Also called Mandarin Phonetic Symbols or Zhuyin (\u6ce8\u97f3). Bopomofo is an official transliteration system in Taiwan, used in dictionaries, books, newspapers and journals to annotate the Taiwanese pronunciation of Chinese Han characters, and in electronic input methods. Largely replaced by Pinyin romanization in the People\u2019s Republic of China. Also used as the primary script for Taiwan\u2019s minority languages like Atayal, Taroko, Paiwan and Yami. Has 21 onset consonants, 16 rhymes, and 4 tone marks. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Cyrillic Cyrillic is a bicameral alphabet originating in Europe, written left-to-right (250 million users). Used for various languages across Eurasia and is used as the national script in various Slavic, Turkic, Mongolic and Iranic-speaking countries in Southeastern Europe, Eastern Europe, the Caucasus, Central Asia, North Asia and East Asia, including Russian, Bulgarian, Macedonian, Serbian, Ukrainian, Uzbek, Azerbaijani, Kazakh, Tajik, Kyrgyz, Bashkort, Chechen, Chuvash, Avar, Dargwa, Kabardian, Karakalpak, Kumyk, Lezgi, Ossetic, Pontic, Yakut, Buriat and many others. Created in the 9th century. Traditionally attributed to Saint Cyril, a monk from Thessaloniki working in Bulgaria, after earlier creation of the Glagolitic script. Sometimes attributed to Clement of Ohrid, a student of Saint Cyril\u2019s. Initially used for Old Church Slavonic. Reformed in 1708 by Russian tsar Peter the Great. Extended by the Soviet Union in the 20th century to write over 50 languages throughout Eastern Europe and Asia (some of those languages switched to Latin after 1991). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Greek Greek (\u0395\u03bb\u03bb\u03b7\u03bd\u03b9\u03ba\u03ac) is a European bicameral alphabet, written left-to-right (11 million users). Used to write the Greek language since the 8th century BCE. Also used to write other languages like Urum, Albanian Tosk, and Balkan Gagauz Turkish. Some symbols are also used in scientific notation. Derived from Phoenician. First \u201ctrue alphabet\u201d, with distinct letters for consonants and vowels. Standardized in the 4th century BCE by Eucleides. Has 24 letters. Some letter variants (sigma: \u03c3/\u03c2) have positional significance in the Greek language, other variants only differ in meaning in scientific notation (e.g. pi: \u03c0/\u03d6). The Greek language used to be written in polytonic spelling, with three accents on vowels. In 1982, Greece introduced monotonic spelling with a single diacritic. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif Hebrew": { + "name": "Noto Serif Hebrew", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "hebrew", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Hebr", + "article": "Noto Serif Hebrew is a modulated (\u201cserif\u201d) design for texts in the Middle Eastern Hebrew script. Noto Serif Hebrew has multiple weights and widths, contains 150 glyphs, 4 OpenType features, and supports 145 characters from 2 Unicode blocks: Hebrew, Alphabetic Presentation Forms. Supported writing systems Hebrew Hebrew (\u05e2\u05d1\u05e8\u05d9\u05ea) is a Middle Eastern abjad, written right-to-left (14 million users). Used for the Hebrew, Samaritan and Yiddish languages. Also used for some varieties of Arabic and for the languages of Jewish communities across the world. Has 22 consonant letters, 5 have positional variants. Vowels in Hebrew language are normally omitted except for long vowels which are sometimes written with the consonant letters \u05d0\u05d4\u05d5\u05d9 (those were vowel-only letters until the 9th century). Children\u2019s and school books use niqqud diacritics for all vowels. Religious texts may use cantillation marks for indicating rhythm and stress. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif Hentaigana": { + "name": "Noto Serif Hentaigana", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "kana-extended", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Noto is a global font collection for writing in all modern and ancient languages. Noto Serif Hentaigana is a font that contains symbols for the Kana Supplement Unicode block. Noto Serif Hentaigana contains 478 glyphs, and supports 515 characters from 9 Unicode blocks: Kana Supplement, Latin Extended-A, Basic Latin, Latin-1 Supplement, Combining Diacritical Marks, General Punctuation, Spacing Modifier Letters, Latin Extended Additional, Latin Extended-B.", + "minisite_url": null + }, + "Noto Serif JP": { + "name": "Noto Serif JP", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "japanese", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Jpan", + "article": "Noto Serif JP is a modulated (\u201cserif\u201d) design for the Japanese language and other languages used in Japan. It supports Hiragana, Katakana, Kanji, Latin, Cyrillic, Greek and Hangul. Noto Serif CJK JP contains 65,535 glyphs, 25 OpenType features, and supports 43,029 characters from 53 Unicode blocks: CJK Unified Ideographs, Hangul Syllables, CJK Unified Ideographs Extension A, CJK Unified Ideographs Extension B, CJK Compatibility Ideographs, Hangul Jamo, CJK Compatibility, Halfwidth and Fullwidth Forms, Kangxi Radicals, Enclosed CJK Letters and Months, Enclosed Alphanumeric Supplement, Box Drawing, CJK Radicals Supplement, CJK Unified Ideographs Extension E, Katakana, Hangul Compatibility Jamo, Hiragana, Latin Extended Additional, Latin-1 Supplement, Basic Latin, Enclosed Alphanumerics, Mathematical Operators, Hangul Jamo Extended-B, Cyrillic, Enclosed Ideographic Supplement, CJK Symbols and Punctuation, Miscellaneous Symbols, Greek and Coptic, CJK Unified Ideographs Extension C, CJK Compatibility Ideographs Supplement, Bopomofo, Geometric Shapes, CJK Strokes, General Punctuation, CJK Unified Ideographs Extension D, Block Elements, CJK Compatibility Forms, Latin Extended-A, Hangul Jamo Extended-A, Bopomofo Extended, Miscellaneous Technical, Small Form Variants, Arrows, Latin Extended-B, Letterlike Symbols, Katakana Phonetic Extensions, Kanbun, Ideographic Description Characters, Vertical Forms, Dingbats, Spacing Modifier Letters, Alphabetic Presentation Forms, Miscellaneous Symbols and Arrows. Supported writing systems Japanese Kanji Japanese Kanji (\u6f22\u5b57) is an East Asian logo-syllabary, written left-to-right (126 million users). Used together with the Hiragana and Katakana syllabaries in Japan for the Japanese language. Noun, verb, adjective and some adverb stems use kanji (the most basic set is 2,136). Grammatical elements use Hiragana, loan words and emphasis use Katakana. Kanji is primarily derived from the traditional Chinese Han characters. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Hangul Hangul (Hangeul, \ud55c\uae00, Chos\u014fn'g\u016dl, \uc870\uc120\uae00) is an East Asian script, written vertically right-to-left and horizontally left-to-right (79 million users). Used for the Korean language. Created in 1446 by King Sejong the Great (Sejong of Joseon) as a simpler, phonetic alternative to using Chinese hanja for Korean. Not universally accepted for centuries, suppressed by Japanese colonial authorities. Since 1945 the standard script for Korean. The 51 basic letters (jamo) are grouped into syllable blocks depending on their position in the spoken syllable. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Latin Latin (Roman) is a European bicameral alphabet, written left-to-right. The most popular writing system in the world. Used for over 3,000 languages including Latin and Romance languages (Italian, French, Portuguese, Spanish and Romanian), Germanic languages (English, Dutch, German, Nordic languages), Finnish, Malaysian, Indonesian, Filipino, Visayan languages, Turkish, Azerbaijani, Polish, Somali, Vietnamese, and many others. Derived from Western Greek, attested in Rome in the 7th century BCE. In the common era, numerous European languages adopted the Latin script along with Western Christian religion, the script disseminated further with European colonization of the Americas, Australia, parts of Asia, Africa and the Pacific. New letters, ligatures and diacritical marks were gradually added to represent the sounds of various languages. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Katakana Katakana (\u7247\u4eee\u540d\u3001\u30ab\u30bf\u30ab\u30ca) is an East Asian syllabary, written vertically right-to-left and horizontally left-to-right (126 million users). Used in Japan for Japanese, Ryukyuan, Ainu and Palauan, and formerly for Taiwanese Hokkien. Katakana is used for transcription of foreign-language words into Japanese, for the writing of loan words, for emphasis, to represent onomatopoeia, for technical and scientific terms, for names of plants, animals and minerals, and often for names of Japanese companies. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Hiragana Hiragana (\u5e73\u4eee\u540d, \u3072\u3089\u304c\u306a) is an East Asian syllabary, written vertically right-to-left and horizontally left-to-right (120 million users). Used in Japan for Japanese and the Ryukyuan languages. Hiragana is used to write okurigana (kana suffixes following a kanji root, for example to inflect verbs and adjectives), various grammatical and function words including particles, as well as miscellaneous other native words for which there are no kanji or whose kanji form is obscure or too formal for the writing purpose. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Emoji symbols Emoji symbols are pictograms, logograms, ideograms and smileys used in electronic messages and web pages. Their primary function is to fill in emotional cues otherwise missing from typed conversation. They are typically rendered as multi-color characters. Read more on ScriptSource, Unicode, Wikipedia, r12a. Bopomofo Bopomofo (\u6ce8\u97f3\u7b26\u865f, \u6ce8\u97f3\u7b26\u53f7, \u3105\u3106\u3107\u3108) is an East Asian syllabary, written left-to-right. Developed in 1913 in China to be used for Mandarin Chinese transliteration alongside the Latin-based Wade\u2013Giles system. Also called Mandarin Phonetic Symbols or Zhuyin (\u6ce8\u97f3). Bopomofo is an official transliteration system in Taiwan, used in dictionaries, books, newspapers and journals to annotate the Taiwanese pronunciation of Chinese Han characters, and in electronic input methods. Largely replaced by Pinyin romanization in the People\u2019s Republic of China. Also used as the primary script for Taiwan\u2019s minority languages like Atayal, Taroko, Paiwan and Yami. Has 21 onset consonants, 16 rhymes, and 4 tone marks. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Cyrillic Cyrillic is a bicameral alphabet originating in Europe, written left-to-right (250 million users). Used for various languages across Eurasia and is used as the national script in various Slavic, Turkic, Mongolic and Iranic-speaking countries in Southeastern Europe, Eastern Europe, the Caucasus, Central Asia, North Asia and East Asia, including Russian, Bulgarian, Macedonian, Serbian, Ukrainian, Uzbek, Azerbaijani, Kazakh, Tajik, Kyrgyz, Bashkort, Chechen, Chuvash, Avar, Dargwa, Kabardian, Karakalpak, Kumyk, Lezgi, Ossetic, Pontic, Yakut, Buriat and many others. Created in the 9th century. Traditionally attributed to Saint Cyril, a monk from Thessaloniki working in Bulgaria, after earlier creation of the Glagolitic script. Sometimes attributed to Clement of Ohrid, a student of Saint Cyril\u2019s. Initially used for Old Church Slavonic. Reformed in 1708 by Russian tsar Peter the Great. Extended by the Soviet Union in the 20th century to write over 50 languages throughout Eastern Europe and Asia (some of those languages switched to Latin after 1991). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Greek Greek (\u0395\u03bb\u03bb\u03b7\u03bd\u03b9\u03ba\u03ac) is a European bicameral alphabet, written left-to-right (11 million users). Used to write the Greek language since the 8th century BCE. Also used to write other languages like Urum, Albanian Tosk, and Balkan Gagauz Turkish. Some symbols are also used in scientific notation. Derived from Phoenician. First \u201ctrue alphabet\u201d, with distinct letters for consonants and vowels. Standardized in the 4th century BCE by Eucleides. Has 24 letters. Some letter variants (sigma: \u03c3/\u03c2) have positional significance in the Greek language, other variants only differ in meaning in scientific notation (e.g. pi: \u03c0/\u03d6). The Greek language used to be written in polytonic spelling, with three accents on vowels. In 1982, Greece introduced monotonic spelling with a single diacritic. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif KR": { + "name": "Noto Serif KR", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "korean", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Kore", + "article": "Noto Serif KR is a modulated (\u201cserif\u201d) design for the Korean language using Hangul and the Korean Hanja scripts. It also supports Hiragana, Katakana, Latin, Cyrillic and Greek. Noto Serif CJK KR contains 65,535 glyphs, 21 OpenType features, and supports 43,029 characters from 53 Unicode blocks: CJK Unified Ideographs, Hangul Syllables, CJK Unified Ideographs Extension A, CJK Unified Ideographs Extension B, CJK Compatibility Ideographs, Hangul Jamo, CJK Compatibility, Halfwidth and Fullwidth Forms, Kangxi Radicals, Enclosed CJK Letters and Months, Enclosed Alphanumeric Supplement, Box Drawing, CJK Radicals Supplement, CJK Unified Ideographs Extension E, Katakana, Hangul Compatibility Jamo, Hiragana, Latin Extended Additional, Latin-1 Supplement, Basic Latin, Enclosed Alphanumerics, Mathematical Operators, Hangul Jamo Extended-B, Cyrillic, Enclosed Ideographic Supplement, CJK Symbols and Punctuation, Miscellaneous Symbols, Greek and Coptic, CJK Unified Ideographs Extension C, CJK Compatibility Ideographs Supplement, Bopomofo, Geometric Shapes, CJK Strokes, General Punctuation, CJK Unified Ideographs Extension D, Block Elements, CJK Compatibility Forms, Latin Extended-A, Hangul Jamo Extended-A, Bopomofo Extended, Miscellaneous Technical, Small Form Variants, Arrows, Latin Extended-B, Letterlike Symbols, Katakana Phonetic Extensions, Kanbun, Ideographic Description Characters, Vertical Forms, Dingbats, Spacing Modifier Letters, Alphabetic Presentation Forms, Miscellaneous Symbols and Arrows. Supported writing systems Korean Hanja Korean Hanja (\ud55c\uc790, \u6f22\u5b57) is an East Asian logo-syllabary, written left-to-right. Based on traditional Chinese Han characters, Hanja was used for the Korean language until 1446, when King Sejong introduced Hangul. Until the mid-20th century Hanja and Hangul were used in parallel or mixed. Today, the vast majority of Korean text uses Hangul but Hanja is still used in some context, and schools teach some 1,000-3,000 Hanja symbols. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Hangul Hangul (Hangeul, \ud55c\uae00, Chos\u014fn'g\u016dl, \uc870\uc120\uae00) is an East Asian script, written vertically right-to-left and horizontally left-to-right (79 million users). Used for the Korean language. Created in 1446 by King Sejong the Great (Sejong of Joseon) as a simpler, phonetic alternative to using Chinese hanja for Korean. Not universally accepted for centuries, suppressed by Japanese colonial authorities. Since 1945 the standard script for Korean. The 51 basic letters (jamo) are grouped into syllable blocks depending on their position in the spoken syllable. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Latin Latin (Roman) is a European bicameral alphabet, written left-to-right. The most popular writing system in the world. Used for over 3,000 languages including Latin and Romance languages (Italian, French, Portuguese, Spanish and Romanian), Germanic languages (English, Dutch, German, Nordic languages), Finnish, Malaysian, Indonesian, Filipino, Visayan languages, Turkish, Azerbaijani, Polish, Somali, Vietnamese, and many others. Derived from Western Greek, attested in Rome in the 7th century BCE. In the common era, numerous European languages adopted the Latin script along with Western Christian religion, the script disseminated further with European colonization of the Americas, Australia, parts of Asia, Africa and the Pacific. New letters, ligatures and diacritical marks were gradually added to represent the sounds of various languages. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Katakana Katakana (\u7247\u4eee\u540d\u3001\u30ab\u30bf\u30ab\u30ca) is an East Asian syllabary, written vertically right-to-left and horizontally left-to-right (126 million users). Used in Japan for Japanese, Ryukyuan, Ainu and Palauan, and formerly for Taiwanese Hokkien. Katakana is used for transcription of foreign-language words into Japanese, for the writing of loan words, for emphasis, to represent onomatopoeia, for technical and scientific terms, for names of plants, animals and minerals, and often for names of Japanese companies. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Hiragana Hiragana (\u5e73\u4eee\u540d, \u3072\u3089\u304c\u306a) is an East Asian syllabary, written vertically right-to-left and horizontally left-to-right (120 million users). Used in Japan for Japanese and the Ryukyuan languages. Hiragana is used to write okurigana (kana suffixes following a kanji root, for example to inflect verbs and adjectives), various grammatical and function words including particles, as well as miscellaneous other native words for which there are no kanji or whose kanji form is obscure or too formal for the writing purpose. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Emoji symbols Emoji symbols are pictograms, logograms, ideograms and smileys used in electronic messages and web pages. Their primary function is to fill in emotional cues otherwise missing from typed conversation. They are typically rendered as multi-color characters. Read more on ScriptSource, Unicode, Wikipedia, r12a. Bopomofo Bopomofo (\u6ce8\u97f3\u7b26\u865f, \u6ce8\u97f3\u7b26\u53f7, \u3105\u3106\u3107\u3108) is an East Asian syllabary, written left-to-right. Developed in 1913 in China to be used for Mandarin Chinese transliteration alongside the Latin-based Wade\u2013Giles system. Also called Mandarin Phonetic Symbols or Zhuyin (\u6ce8\u97f3). Bopomofo is an official transliteration system in Taiwan, used in dictionaries, books, newspapers and journals to annotate the Taiwanese pronunciation of Chinese Han characters, and in electronic input methods. Largely replaced by Pinyin romanization in the People\u2019s Republic of China. Also used as the primary script for Taiwan\u2019s minority languages like Atayal, Taroko, Paiwan and Yami. Has 21 onset consonants, 16 rhymes, and 4 tone marks. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Cyrillic Cyrillic is a bicameral alphabet originating in Europe, written left-to-right (250 million users). Used for various languages across Eurasia and is used as the national script in various Slavic, Turkic, Mongolic and Iranic-speaking countries in Southeastern Europe, Eastern Europe, the Caucasus, Central Asia, North Asia and East Asia, including Russian, Bulgarian, Macedonian, Serbian, Ukrainian, Uzbek, Azerbaijani, Kazakh, Tajik, Kyrgyz, Bashkort, Chechen, Chuvash, Avar, Dargwa, Kabardian, Karakalpak, Kumyk, Lezgi, Ossetic, Pontic, Yakut, Buriat and many others. Created in the 9th century. Traditionally attributed to Saint Cyril, a monk from Thessaloniki working in Bulgaria, after earlier creation of the Glagolitic script. Sometimes attributed to Clement of Ohrid, a student of Saint Cyril\u2019s. Initially used for Old Church Slavonic. Reformed in 1708 by Russian tsar Peter the Great. Extended by the Soviet Union in the 20th century to write over 50 languages throughout Eastern Europe and Asia (some of those languages switched to Latin after 1991). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Greek Greek (\u0395\u03bb\u03bb\u03b7\u03bd\u03b9\u03ba\u03ac) is a European bicameral alphabet, written left-to-right (11 million users). Used to write the Greek language since the 8th century BCE. Also used to write other languages like Urum, Albanian Tosk, and Balkan Gagauz Turkish. Some symbols are also used in scientific notation. Derived from Phoenician. First \u201ctrue alphabet\u201d, with distinct letters for consonants and vowels. Standardized in the 4th century BCE by Eucleides. Has 24 letters. Some letter variants (sigma: \u03c3/\u03c2) have positional significance in the Greek language, other variants only differ in meaning in scientific notation (e.g. pi: \u03c0/\u03d6). The Greek language used to be written in polytonic spelling, with three accents on vowels. In 1982, Greece introduced monotonic spelling with a single diacritic. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif Kannada": { + "name": "Noto Serif Kannada", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "kannada", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Knda", + "article": "Noto Serif Kannada is a modulated (\u201cserif\u201d) design for texts in the Indic Kannada script. Noto Serif Kannada has multiple weights, contains 417 glyphs, 11 OpenType features, and supports 164 characters from 5 Unicode blocks: Kannada, Basic Latin, General Punctuation, Vedic Extensions, Devanagari. Supported writing systems Kannada Kannada (\u0c95\u0ca8\u0ccd\u0ca8\u0ca1 \u0cb2\u0cbf\u0caa\u0cbf) is an Indic abugida, written left-to-right, partially with a headstroke (45 million users). Used in southern India for the Kannada language as well as Konkani, Tulu, Badaga, Kudiya, Paniya. Related to Telugu. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif Khitan Small Script": { + "name": "Noto Serif Khitan Small Script", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "khitan-small-script", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Noto Serif Khitan Small Script is a design for the historical East Asian Khitan small script script. Noto Serif Khitan Small Script contains 11,365 glyphs, 2 OpenType features, and supports 497 characters from 3 Unicode blocks: Khitan Small Script, CJK Unified Ideographs, Basic Latin. Supported writing systems Khitan small script Khitan small script is a historical East Asian logo-syllabary. Was used in the 10th\u201312th centuries by the Khitan in the Liao Empire (north-eastern China) for the Khitan language. Later used by the Jurchens. Two independent writing systems, the Khitan large script and the Khitan small script, were used in parallel. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif Khmer": { + "name": "Noto Serif Khmer", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "khmer", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Khmr", + "article": "Noto Serif Khmer is a modulated (\u201cserif\u201d) design for texts in the Southeast Asian Khmer script. Noto Serif Khmer has multiple weights and widths, contains 361 glyphs, 13 OpenType features, and supports 175 characters from 4 Unicode blocks: Khmer, Khmer Symbols, Basic Latin, General Punctuation. Supported writing systems Khmer Khmer (\u17a2\u1780\u17d2\u179f\u179a\u1781\u17d2\u1798\u17c2\u179a) is a Southeast Asian abugida, written left-to-right (12 million users). Used since the 7th century in Cambodia for the Khmer language. Also used for Brao, Mnong, Pali. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif Khojki": { + "name": "Noto Serif Khojki", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "khojki", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Khoj", + "article": "Noto Sans Khojki is an modulated (\u201cserif\u201d) design for texts in the Indic Khojki script. Noto Sans Khojki contains 423 glyphs, 8 OpenType features, and supports 89 characters from 2 Unicode blocks: Khojki, Common Indic Number Forms. Supported writing systems Khojki Khojki (\ud804\ude09\ud804\ude32\ud804\ude10\ud804\ude08\ud804\ude2e) is an Indic abugida, written left-to-right. Used since the 16th century in today\u2019s Pakistan and India by the Khoja people for religious texts in the Sindhi language. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif Lao": { + "name": "Noto Serif Lao", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "lao", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Laoo", + "article": "Noto Serif Lao is a modulated (\u201cserif\u201d) design for texts in the Southeast Asian Lao script. Noto Serif Lao has multiple weights and widths, contains 117 glyphs, 5 OpenType features, and supports 76 characters from the Unicode block Lao. Supported writing systems Lao Lao (\u0ea5\u0eb2\u0ea7) is a Southeast Asian abugida, written left-to-right (7 million users). Used since the 14th century in Laos the Lao language, and also for Isan, Thai. Derived from the Khmer script. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif Makasar": { + "name": "Noto Serif Makasar", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "makasar" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Maka", + "article": "Noto Serif Makasar is a design for the historical Southeast Asian Makasar script. Noto Serif Makasar contains 30 glyphs, 5 OpenType features, and supports 27 characters from the Unicode block Makasar. Supported writing systems Makasar Makasar (Old Makassarese, \ud807\udeea\ud807\udee2\ud807\udeea\ud807\udee2) is a historical Southeast Asian abugida, written left-to-right. Was used in the 17th\u201319th century on the Indonesian island Sulawesi through for the Makassarese language. Later replaced by Buginese (Lontara). Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif Malayalam": { + "name": "Noto Serif Malayalam", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "malayalam" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Mlym", + "article": "Noto Serif Malayalam is a modulated (\u201cserif\u201d) design for texts in the Indic Malayalam script. Noto Serif Malayalam has multiple weights, contains 354 glyphs, 10 OpenType features, and supports 187 characters from 4 Unicode blocks: Malayalam, Basic Latin, General Punctuation, Devanagari. Supported writing systems Malayalam Malayalam (\u0d2e\u0d32\u0d2f\u0d3e\u0d33\u0d02) is an Indic abugida, written left-to-right (38 million users). Used since c. 830 CE in India for Malayalam (official language of the Kerala state), Irula, Paniya and some other languages. Derived from the a Vatteluttu alphabet. Has 15 vowel letters, 42 consonant letters, and a few other symbols. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif Myanmar": { + "name": "Noto Serif Myanmar", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "myanmar" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Noto Serif Myanmar is a modulated (\u201cserif\u201d) design for texts in the Southeast Asian Myanmar script. Noto Serif Myanmar contains 725 glyphs, 7 OpenType features, and supports 239 characters from 4 Unicode blocks: Myanmar, Myanmar Extended-A, Myanmar Extended-B, General Punctuation. Supported writing systems Myanmar Myanmar (Burmese, \u1019\u103c\u1014\u103a\u1019\u102c) is a Southeast Asian abugida, written left-to-right (40 million users). Used since c. 1000 CE in Myanmar for the Burmese and Mon languages. Also used for some Karen languages. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif NP Hmong": { + "name": "Noto Serif NP Hmong", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "nyiakeng-puachue-hmong" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Hmnp", + "article": "Noto Serif Nyiakeng Puachue Hmong is a modulated (\u201cserif\u201d) design for texts in the Nyiakeng Puachue Hmong script. Noto Serif Nyiakeng Puachue Hmong has multiple weights, contains 76 glyphs, 2 OpenType features, and supports 75 characters from the Unicode block Nyiakeng Puachue Hmong. Supported writing systems Nyiakeng Puachue Hmong Nyiakeng Puachue Hmong (\ud838\udd10\ud838\udd26\ud838\udd32\ud838\udd24\ud838\udd0e\ud838\udd2b\ud838\udd30\ud838\udd1a\ud838\udd27\ud838\udd32\ud838\udd24\ud838\udd14\ud838\udd2c\ud838\udd31\u200e) is an alphabet, written left-to-right. Used for the White Hmong and Green Hmong languages by members of the United Christians Liberty Evangelical Church in the USA, in Laos, Thailand, Vietnam, France, and in Australia. Created in the 1980s by Reverend Chervang Kong. Read more on ScriptSource, Unicode, Wikipedia, r12a.", + "minisite_url": null + }, + "Noto Serif Old Uyghur": { + "name": "Noto Serif Old Uyghur", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "old-uyghur" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Ougr", + "article": "Noto Serif Old Uyghur is a design for the historical Central Asian Old Uyghur script. Noto Serif Old Uyghur contains 132 glyphs, 9 OpenType features, and supports 34 characters from the Unicode block Old Uyghur. Supported writing systems Old Uyghur Old Uyghur is a historical Central Asian abjad. Was used in Turfanand Gansu in c. 700s\u20131800s for the Old Uyghur language, a variety of Old Turkic. Evolved into the Mongolian and Manchu scripts. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif Oriya": { + "name": "Noto Serif Oriya", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "oriya" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Orya", + "article": "Noto Serif Oriya is a modulated (\u201cserif\u201d) design for texts in the Indic Odia (Oriya) script. Noto Serif Oriya has multiple weights, contains 690 glyphs, 16 OpenType features, and supports 151 characters from 3 Unicode blocks: Oriya, Basic Latin, General Punctuation. Supported writing systems Odia (Oriya) Odia (Oriya, \u0b09\u0b24\u0b4d\u0b15\u0b33) is an Indic abugida, written left-to-right (21 million users). Used since the c. 14th century in India for the Odia language (state language of Orissa). Also used for Dravidian and Munda languages. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif Ottoman Siyaq": { + "name": "Noto Serif Ottoman Siyaq", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "ottoman-siyaq-numbers" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Noto Serif Ottoman Siyaq Numbers is a modulated (\u201cserif\u201d) design for the Arabic form of the Siyaq numeral system, used in Iran, Turkey, the Arabian Peninsula, and South Asia for accounting and finance. Noto Serif Ottoman Siyaq contains 63 glyphs, and supports 61 characters .", + "minisite_url": null + }, + "Noto Serif SC": { + "name": "Noto Serif SC", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "chinese-simplified", + "cyrillic", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Hans", + "article": "Noto Serif SC is a modulated (\u201cserif\u201d) design for languages in mainland China that use the Simplified Chinese variant of the Han ideograms. It also supports Hiragana, Katakana, Latin, Cyrillic, Greek and Hangul. Noto Serif CJK SC contains 65,535 glyphs, 21 OpenType features, and supports 43,029 characters from 53 Unicode blocks: CJK Unified Ideographs, Hangul Syllables, CJK Unified Ideographs Extension A, CJK Unified Ideographs Extension B, CJK Compatibility Ideographs, Hangul Jamo, CJK Compatibility, Halfwidth and Fullwidth Forms, Kangxi Radicals, Enclosed CJK Letters and Months, Enclosed Alphanumeric Supplement, Box Drawing, CJK Radicals Supplement, CJK Unified Ideographs Extension E, Katakana, Hangul Compatibility Jamo, Hiragana, Latin Extended Additional, Latin-1 Supplement, Basic Latin, Enclosed Alphanumerics, Mathematical Operators, Hangul Jamo Extended-B, Cyrillic, Enclosed Ideographic Supplement, CJK Symbols and Punctuation, Miscellaneous Symbols, Greek and Coptic, CJK Unified Ideographs Extension C, CJK Compatibility Ideographs Supplement, Bopomofo, Geometric Shapes, CJK Strokes, General Punctuation, CJK Unified Ideographs Extension D, Block Elements, CJK Compatibility Forms, Latin Extended-A, Hangul Jamo Extended-A, Bopomofo Extended, Miscellaneous Technical, Small Form Variants, Arrows, Latin Extended-B, Letterlike Symbols, Katakana Phonetic Extensions, Kanbun, Ideographic Description Characters, Vertical Forms, Dingbats, Spacing Modifier Letters, Alphabetic Presentation Forms, Miscellaneous Symbols and Arrows. Supported writing systems Simplified Han Simplified Han (\u7b80\u5316\u5b57) is an East Asian logo-syllabary, written vertically right-to-left and horizontally left-to-right (over 1.3 billion users). Used in mainland China, Malaysia and Singapore. ((TODO)) Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Hangul Hangul (Hangeul, \ud55c\uae00, Chos\u014fn'g\u016dl, \uc870\uc120\uae00) is an East Asian script, written vertically right-to-left and horizontally left-to-right (79 million users). Used for the Korean language. Created in 1446 by King Sejong the Great (Sejong of Joseon) as a simpler, phonetic alternative to using Chinese hanja for Korean. Not universally accepted for centuries, suppressed by Japanese colonial authorities. Since 1945 the standard script for Korean. The 51 basic letters (jamo) are grouped into syllable blocks depending on their position in the spoken syllable. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Latin Latin (Roman) is a European bicameral alphabet, written left-to-right. The most popular writing system in the world. Used for over 3,000 languages including Latin and Romance languages (Italian, French, Portuguese, Spanish and Romanian), Germanic languages (English, Dutch, German, Nordic languages), Finnish, Malaysian, Indonesian, Filipino, Visayan languages, Turkish, Azerbaijani, Polish, Somali, Vietnamese, and many others. Derived from Western Greek, attested in Rome in the 7th century BCE. In the common era, numerous European languages adopted the Latin script along with Western Christian religion, the script disseminated further with European colonization of the Americas, Australia, parts of Asia, Africa and the Pacific. New letters, ligatures and diacritical marks were gradually added to represent the sounds of various languages. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Katakana Katakana (\u7247\u4eee\u540d\u3001\u30ab\u30bf\u30ab\u30ca) is an East Asian syllabary, written vertically right-to-left and horizontally left-to-right (126 million users). Used in Japan for Japanese, Ryukyuan, Ainu and Palauan, and formerly for Taiwanese Hokkien. Katakana is used for transcription of foreign-language words into Japanese, for the writing of loan words, for emphasis, to represent onomatopoeia, for technical and scientific terms, for names of plants, animals and minerals, and often for names of Japanese companies. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Hiragana Hiragana (\u5e73\u4eee\u540d, \u3072\u3089\u304c\u306a) is an East Asian syllabary, written vertically right-to-left and horizontally left-to-right (120 million users). Used in Japan for Japanese and the Ryukyuan languages. Hiragana is used to write okurigana (kana suffixes following a kanji root, for example to inflect verbs and adjectives), various grammatical and function words including particles, as well as miscellaneous other native words for which there are no kanji or whose kanji form is obscure or too formal for the writing purpose. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Emoji symbols Emoji symbols are pictograms, logograms, ideograms and smileys used in electronic messages and web pages. Their primary function is to fill in emotional cues otherwise missing from typed conversation. They are typically rendered as multi-color characters. Read more on ScriptSource, Unicode, Wikipedia, r12a. Bopomofo Bopomofo (\u6ce8\u97f3\u7b26\u865f, \u6ce8\u97f3\u7b26\u53f7, \u3105\u3106\u3107\u3108) is an East Asian syllabary, written left-to-right. Developed in 1913 in China to be used for Mandarin Chinese transliteration alongside the Latin-based Wade\u2013Giles system. Also called Mandarin Phonetic Symbols or Zhuyin (\u6ce8\u97f3). Bopomofo is an official transliteration system in Taiwan, used in dictionaries, books, newspapers and journals to annotate the Taiwanese pronunciation of Chinese Han characters, and in electronic input methods. Largely replaced by Pinyin romanization in the People\u2019s Republic of China. Also used as the primary script for Taiwan\u2019s minority languages like Atayal, Taroko, Paiwan and Yami. Has 21 onset consonants, 16 rhymes, and 4 tone marks. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Cyrillic Cyrillic is a bicameral alphabet originating in Europe, written left-to-right (250 million users). Used for various languages across Eurasia and is used as the national script in various Slavic, Turkic, Mongolic and Iranic-speaking countries in Southeastern Europe, Eastern Europe, the Caucasus, Central Asia, North Asia and East Asia, including Russian, Bulgarian, Macedonian, Serbian, Ukrainian, Uzbek, Azerbaijani, Kazakh, Tajik, Kyrgyz, Bashkort, Chechen, Chuvash, Avar, Dargwa, Kabardian, Karakalpak, Kumyk, Lezgi, Ossetic, Pontic, Yakut, Buriat and many others. Created in the 9th century. Traditionally attributed to Saint Cyril, a monk from Thessaloniki working in Bulgaria, after earlier creation of the Glagolitic script. Sometimes attributed to Clement of Ohrid, a student of Saint Cyril\u2019s. Initially used for Old Church Slavonic. Reformed in 1708 by Russian tsar Peter the Great. Extended by the Soviet Union in the 20th century to write over 50 languages throughout Eastern Europe and Asia (some of those languages switched to Latin after 1991). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Greek Greek (\u0395\u03bb\u03bb\u03b7\u03bd\u03b9\u03ba\u03ac) is a European bicameral alphabet, written left-to-right (11 million users). Used to write the Greek language since the 8th century BCE. Also used to write other languages like Urum, Albanian Tosk, and Balkan Gagauz Turkish. Some symbols are also used in scientific notation. Derived from Phoenician. First \u201ctrue alphabet\u201d, with distinct letters for consonants and vowels. Standardized in the 4th century BCE by Eucleides. Has 24 letters. Some letter variants (sigma: \u03c3/\u03c2) have positional significance in the Greek language, other variants only differ in meaning in scientific notation (e.g. pi: \u03c0/\u03d6). The Greek language used to be written in polytonic spelling, with three accents on vowels. In 1982, Greece introduced monotonic spelling with a single diacritic. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif Sinhala": { + "name": "Noto Serif Sinhala", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "sinhala" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Sinh", + "article": "Noto Serif Sinhala is a modulated (\u201cserif\u201d) design for texts in the Indic Sinhala script. Noto Serif Sinhala has multiple weights and widths, contains 645 glyphs, 11 OpenType features, and supports 170 characters from 3 Unicode blocks: Sinhala, Basic Latin, General Punctuation. Supported writing systems Sinhala Sinhala (\u0dc3\u0dd2\u0d82\u0dc4\u0dbd) is an Indic abugida, written left-to-right. Used since c. 300 CE in Sri Lanka for the Sinhala language (15 million speakers), for Pali and Sanskrit. The \u201cpure\u201d letter set has 20 consonant and 20 vowel letters, and is used for the sounds of the spoken Sinhala. The \u201cmixed\u201d letter set (18 more consonant letters) is used for correct spelling, which often reflect archaic pronunciations, and for non-Sinhala words and languages. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif TC": { + "name": "Noto Serif TC", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "chinese-traditional", + "cyrillic", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Hant", + "article": "Noto Serif TC is a modulated (\u201cserif\u201d) design for languages in Taiwan, Hong Kong and Macau that use the Traditional Chinese variant of the Han ideograms. It also supports Hiragana, Katakana, Latin, Cyrillic, Greek and Hangul. Noto Serif CJK TC contains 65,535 glyphs, 21 OpenType features, and supports 43,029 characters from 53 Unicode blocks: CJK Unified Ideographs, Hangul Syllables, CJK Unified Ideographs Extension A, CJK Unified Ideographs Extension B, CJK Compatibility Ideographs, Hangul Jamo, CJK Compatibility, Halfwidth and Fullwidth Forms, Kangxi Radicals, Enclosed CJK Letters and Months, Enclosed Alphanumeric Supplement, Box Drawing, CJK Radicals Supplement, CJK Unified Ideographs Extension E, Katakana, Hangul Compatibility Jamo, Hiragana, Latin Extended Additional, Latin-1 Supplement, Basic Latin, Enclosed Alphanumerics, Mathematical Operators, Hangul Jamo Extended-B, Cyrillic, Enclosed Ideographic Supplement, CJK Symbols and Punctuation, Miscellaneous Symbols, Greek and Coptic, CJK Unified Ideographs Extension C, CJK Compatibility Ideographs Supplement, Bopomofo, Geometric Shapes, CJK Strokes, General Punctuation, CJK Unified Ideographs Extension D, Block Elements, CJK Compatibility Forms, Latin Extended-A, Hangul Jamo Extended-A, Bopomofo Extended, Miscellaneous Technical, Small Form Variants, Arrows, Latin Extended-B, Letterlike Symbols, Katakana Phonetic Extensions, Kanbun, Ideographic Description Characters, Vertical Forms, Dingbats, Spacing Modifier Letters, Alphabetic Presentation Forms, Miscellaneous Symbols and Arrows. Supported writing systems Traditional Han Traditional Han (\u6f22\u5b57) is an East Asian logo-syllabary, written vertically right-to-left and horizontally left-to-right (over 30 million users). Used in Taiwan, Hong Kong and Macau. ((TODO)) Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Hangul Hangul (Hangeul, \ud55c\uae00, Chos\u014fn'g\u016dl, \uc870\uc120\uae00) is an East Asian script, written vertically right-to-left and horizontally left-to-right (79 million users). Used for the Korean language. Created in 1446 by King Sejong the Great (Sejong of Joseon) as a simpler, phonetic alternative to using Chinese hanja for Korean. Not universally accepted for centuries, suppressed by Japanese colonial authorities. Since 1945 the standard script for Korean. The 51 basic letters (jamo) are grouped into syllable blocks depending on their position in the spoken syllable. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Latin Latin (Roman) is a European bicameral alphabet, written left-to-right. The most popular writing system in the world. Used for over 3,000 languages including Latin and Romance languages (Italian, French, Portuguese, Spanish and Romanian), Germanic languages (English, Dutch, German, Nordic languages), Finnish, Malaysian, Indonesian, Filipino, Visayan languages, Turkish, Azerbaijani, Polish, Somali, Vietnamese, and many others. Derived from Western Greek, attested in Rome in the 7th century BCE. In the common era, numerous European languages adopted the Latin script along with Western Christian religion, the script disseminated further with European colonization of the Americas, Australia, parts of Asia, Africa and the Pacific. New letters, ligatures and diacritical marks were gradually added to represent the sounds of various languages. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Katakana Katakana (\u7247\u4eee\u540d\u3001\u30ab\u30bf\u30ab\u30ca) is an East Asian syllabary, written vertically right-to-left and horizontally left-to-right (126 million users). Used in Japan for Japanese, Ryukyuan, Ainu and Palauan, and formerly for Taiwanese Hokkien. Katakana is used for transcription of foreign-language words into Japanese, for the writing of loan words, for emphasis, to represent onomatopoeia, for technical and scientific terms, for names of plants, animals and minerals, and often for names of Japanese companies. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Hiragana Hiragana (\u5e73\u4eee\u540d, \u3072\u3089\u304c\u306a) is an East Asian syllabary, written vertically right-to-left and horizontally left-to-right (120 million users). Used in Japan for Japanese and the Ryukyuan languages. Hiragana is used to write okurigana (kana suffixes following a kanji root, for example to inflect verbs and adjectives), various grammatical and function words including particles, as well as miscellaneous other native words for which there are no kanji or whose kanji form is obscure or too formal for the writing purpose. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Emoji symbols Emoji symbols are pictograms, logograms, ideograms and smileys used in electronic messages and web pages. Their primary function is to fill in emotional cues otherwise missing from typed conversation. They are typically rendered as multi-color characters. Read more on ScriptSource, Unicode, Wikipedia, r12a. Bopomofo Bopomofo (\u6ce8\u97f3\u7b26\u865f, \u6ce8\u97f3\u7b26\u53f7, \u3105\u3106\u3107\u3108) is an East Asian syllabary, written left-to-right. Developed in 1913 in China to be used for Mandarin Chinese transliteration alongside the Latin-based Wade\u2013Giles system. Also called Mandarin Phonetic Symbols or Zhuyin (\u6ce8\u97f3). Bopomofo is an official transliteration system in Taiwan, used in dictionaries, books, newspapers and journals to annotate the Taiwanese pronunciation of Chinese Han characters, and in electronic input methods. Largely replaced by Pinyin romanization in the People\u2019s Republic of China. Also used as the primary script for Taiwan\u2019s minority languages like Atayal, Taroko, Paiwan and Yami. Has 21 onset consonants, 16 rhymes, and 4 tone marks. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Cyrillic Cyrillic is a bicameral alphabet originating in Europe, written left-to-right (250 million users). Used for various languages across Eurasia and is used as the national script in various Slavic, Turkic, Mongolic and Iranic-speaking countries in Southeastern Europe, Eastern Europe, the Caucasus, Central Asia, North Asia and East Asia, including Russian, Bulgarian, Macedonian, Serbian, Ukrainian, Uzbek, Azerbaijani, Kazakh, Tajik, Kyrgyz, Bashkort, Chechen, Chuvash, Avar, Dargwa, Kabardian, Karakalpak, Kumyk, Lezgi, Ossetic, Pontic, Yakut, Buriat and many others. Created in the 9th century. Traditionally attributed to Saint Cyril, a monk from Thessaloniki working in Bulgaria, after earlier creation of the Glagolitic script. Sometimes attributed to Clement of Ohrid, a student of Saint Cyril\u2019s. Initially used for Old Church Slavonic. Reformed in 1708 by Russian tsar Peter the Great. Extended by the Soviet Union in the 20th century to write over 50 languages throughout Eastern Europe and Asia (some of those languages switched to Latin after 1991). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Greek Greek (\u0395\u03bb\u03bb\u03b7\u03bd\u03b9\u03ba\u03ac) is a European bicameral alphabet, written left-to-right (11 million users). Used to write the Greek language since the 8th century BCE. Also used to write other languages like Urum, Albanian Tosk, and Balkan Gagauz Turkish. Some symbols are also used in scientific notation. Derived from Phoenician. First \u201ctrue alphabet\u201d, with distinct letters for consonants and vowels. Standardized in the 4th century BCE by Eucleides. Has 24 letters. Some letter variants (sigma: \u03c3/\u03c2) have positional significance in the Greek language, other variants only differ in meaning in scientific notation (e.g. pi: \u03c0/\u03d6). The Greek language used to be written in polytonic spelling, with three accents on vowels. In 1982, Greece introduced monotonic spelling with a single diacritic. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif Tamil": { + "name": "Noto Serif Tamil", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "tamil" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Taml", + "article": "Noto Serif Tamil is a modulated (\u201cserif\u201d) design for texts in the Indic Tamil script. Noto Serif Tamil has italic styles, multiple weights and widths, contains 222 glyphs, 10 OpenType features, and supports 147 characters from 5 Unicode blocks: Tamil, Basic Latin, General Punctuation, Devanagari, Grantha. Supported writing systems Tamil Tamil (\u0ba4\u0bae\u0bbf\u0bb4\u0bcd) is an Indic abugida, written left-to-right (70 million users). Used in India, Sri Lanka, Singapore, Malaysia and Mauritius for the Tamil language, and other languages like Irula, Badaga, Kurumba, Paniya, Saurashtra. Has 18 consonants (modest set for Brahmic scripts) and 12 vowels. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif Tangut": { + "name": "Noto Serif Tangut", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "tangut" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Tang", + "article": "Noto Serif Tangut is a modulated (\u201cserif\u201d) design for texts in the historical East Asian Tangut script. Noto Serif Tangut contains 6,897 glyphs, and supports 6,896 characters from 2 Unicode blocks: Tangut, Tangut Components. Supported writing systems Tangut Tangut (Xixia, \ud81f\udf07\ud81d\udff2) is a historical East Asian logo-syllabary, written vertically left-to-right. Was widely used in China in 1036\u20131502 for the now-extinct Tangut language. Superficially similar to Chinese writing, but not related. Had almost 6,000 characters. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif Telugu": { + "name": "Noto Serif Telugu", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "telugu" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Telu", + "article": "Noto Serif Telugu is a modulated (\u201cserif\u201d) design for texts in the Indic Telugu script. Noto Serif Telugu has multiple weights, contains 728 glyphs, 11 OpenType features, and supports 163 characters from 4 Unicode blocks: Telugu, Basic Latin, General Punctuation, Devanagari. Supported writing systems Telugu Telugu (\u0c24\u0c46\u0c32\u0c41\u0c17\u0c41) is an Indic abugida, written left-to-right without a headstroke. Used since c. 1300 CE in South India for the Telugu language (74 million speakers), state language of Andhra Pradesh. Also used for Chenchu, Savara, Manna-Dora, for Sanskrit and Gondi. Closely related to the Kannada script. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif Thai": { + "name": "Noto Serif Thai", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "thai" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Thai", + "article": "Noto Serif Thai is a modulated (\u201cserif\u201d) design for texts in the Southeast Asian Thai script. Noto Serif Thai has multiple weights and widths, contains 140 glyphs, 6 OpenType features, and supports 101 characters from the Unicode block Thai. Supported writing systems Thai Thai (\u0e44\u0e17\u0e22) is a Southeast Asian abugida, written left-to-right (38 million users). Used since 1283 in Thailand, Laos and China for the Thai, Northern Thai, Northeastern Thai, Southern Thai, Thai Song and Pali languages. Related to the Lao script. Uses 44 letters for 21 consonants. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif Tibetan": { + "name": "Noto Serif Tibetan", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "tibetan" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Tibt", + "article": "Noto Serif Tibetan is a modulated (\u201cserif\u201d) design for texts in the Central Asian Tibetan script. Noto Serif Tibetan has multiple weights, contains 1,891 glyphs, 7 OpenType features, and supports 223 characters from the Unicode block Tibetan. Supported writing systems Tibetan Tibetan (\u0f56\u0f7c\u0f51) is a Central Asian abugida, written left-to-right (5 million users). Used since c. 650 CE in Tibet, Bhutan, Nepal and India for the Tibetan, Dzongkha, Ladakhi and Sikkimese languages and for religious Sanskrit texts. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Serif Todhri": { + "name": "Noto Serif Todhri", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "todhri" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Todr", + "article": "Noto Serif Todhri is an unmodulated (\u201csans-serif\u201d) design. Noto Serif Todhri contains 76 glyphs, 2 OpenType features, and supports 68 characters from 2 Unicode blocks: Todhri, Combining Diacritical Marks. Supported writing systems Todhri Read more on ScriptSource, Wikipedia, and r12a.", + "minisite_url": null + }, + "Noto Serif Toto": { + "name": "Noto Serif Toto", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "toto" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Toto", + "article": "Noto Serif is a modulated (\u201cserif\u201d) design for texts in the Latin, Cyrillic and Greek scripts, also suitable as the complementary font for other script-specific Noto Serif fonts. Noto Serif Toto has multiple weights, contains 40 glyphs, 3 OpenType features, and supports 36 characters from the Unicode block Toto. Supported writing systems Toto Toto is an Indic alphabet, written left-to-right. Created in 2015 by Dhaniram Toto for the 1,500 speakers of the Toto language, who live in a single jungle village in India near Bhutan. Needs software support for complex text layout (shaping). Read more on ScriptSource, Unicode, Wikipedia, r12a.", + "minisite_url": null + }, + "Noto Serif Vithkuqi": { + "name": "Noto Serif Vithkuqi", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "vithkuqi" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Vith", + "article": "Noto Serif Vithkuqi is a design for the historical European Vithkuqi script. Noto Serif Vithkuqi has multiple weights, contains 103 glyphs, and supports 101 characters from 2 Unicode blocks: Vithkuqi, Basic Latin. Supported writing systems Vithkuqi Vithkuqi (B\u00fcthakukye) is a historical European bicameral alphabet, written left-to-right. Created around 1840 by Naum Veqilharxhi for the Albanian language. Read more on ScriptSource, Unicode, Wikipedia, r12a.", + "minisite_url": null + }, + "Noto Serif Yezidi": { + "name": "Noto Serif Yezidi", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "yezidi" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Yezi", + "article": "Noto Serif Yezidi is a modulated (\u201cserif\u201d) design for texts in the Middle Eastern Yezidi script. Noto Serif Yezidi has multiple weights, contains 56 glyphs, 2 OpenType features, and supports 55 characters from 2 Unicode blocks: Yezidi, Arabic. Supported writing systems Yezidi Yezidi (Yazidi) is a Middle Eastern abjad. Used in Kurdistan, Iraq, Syria, Turkey and the Caucasus for religious texts in the Kurdish and Arabic languages. Read more on ScriptSource, Unicode, Wikipedia, r12a.", + "minisite_url": null + }, + "Noto Traditional Nushu": { + "name": "Noto Traditional Nushu", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "nushu" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Nshu", + "article": "Noto Traditional Nushu is an unmodulated (\u201csans serif\u201d) design in multiple weights for the East Asian N\u00fcshu script, with a calligraphic skeleton and a compact appearance. It is suitable for texts in medium font sizes, and for headlines. Noto Traditional Nushu contains 870 glyphs, 2 OpenType features, and supports 470 characters from 2 Unicode blocks: Nushu, Basic Latin. Supported writing systems N\u00fcshu N\u00fcshu (\ud82c\udd81\ud82c\ude2c\u200e) is an East Asian logo-syllabary, written vertically left-to-right. Was used in the 13th\u201320th centuries by women in Jiangyong County in Hunan province of southern China, mainly for the Chinese dialect Xiangnan Tuhua. Recently revived. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a. Latin Latin (Roman) is a European bicameral alphabet, written left-to-right. The most popular writing system in the world. Used for over 3,000 languages including Latin and Romance languages (Italian, French, Portuguese, Spanish and Romanian), Germanic languages (English, Dutch, German, Nordic languages), Finnish, Malaysian, Indonesian, Filipino, Visayan languages, Turkish, Azerbaijani, Polish, Somali, Vietnamese, and many others. Derived from Western Greek, attested in Rome in the 7th century BCE. In the common era, numerous European languages adopted the Latin script along with Western Christian religion, the script disseminated further with European colonization of the Americas, Australia, parts of Asia, Africa and the Pacific. New letters, ligatures and diacritical marks were gradually added to represent the sounds of various languages. Read more on ScriptSource, Unicode, Wikipedia, Wiktionary, r12a.", + "minisite_url": null + }, + "Noto Znamenny Musical Notation": { + "name": "Noto Znamenny Musical Notation", + "designer": [ + "Google" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "math", + "symbols", + "znamenny" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "symbols" + ], + "description": null, + "primary_script": null, + "article": "Noto Znamenny Musical Notation is a font that contains symbols for the Znamenny Chant _musical notation. Noto Znamenny Musical Notation contains 527 glyphs, 9 OpenType features, and supports 515 characters from 9 Unicode blocks: Znamenny Musical Notation, Latin Extended-A, Basic Latin, Latin-1 Supplement, Combining Diacritical Marks, General Punctuation, Spacing Modifier Letters, Latin Extended Additional, Latin Extended-B.", + "minisite_url": null + }, + "Nova Cut": { + "name": "Nova Cut", + "designer": [ + "Wojciech Kalinowski" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "I created the NovaCut font about 14-15 years ago for making inscriptions on stone. Initially the font contained only capitals and digits and existed only on paper and stone inscriptions. In 2010 I decided transfer this font to a computer, and made the missing lowercase and some basical signs; it was initially named Gothica. By the way I made other versions of some letters. It was a lot of this at the end of my work. I decided create new fonts based on these letters. And finally I created six fonts family and named these fonts Nova (NovaCut, NovaFlat, NovaOval, NovaRound, NovaSlim, NovaSquare - by the shape of individual fonts). At last I created monospace font - NovaMono - the seventh part of this family.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Nova Flat": { + "name": "Nova Flat", + "designer": [ + "Wojciech Kalinowski" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "I created the NovaCut font about 14-15 years ago for making inscriptions on stone. Initially the font contained only capitals and digits and existed only on paper and stone inscriptions. In 2010 I decided transfer this font to a computer, and made the missing lowercase and some basical signs; it was initially named Gothica. By the way I made other versions of some letters. It was a lot of this at the end of my work. I decided create new fonts based on these letters. And finally I created six fonts family and named these fonts Nova (NovaCut, NovaFlat, NovaOval, NovaRound, NovaSlim, NovaSquare - by the shape of individual fonts). At last I created monospace font - NovaMono - the seventh part of this family.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Nova Mono": { + "name": "Nova Mono", + "designer": [ + "Wojciech Kalinowski" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "greek", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display", + "monospace" + ], + "description": "I created the NovaCut font about 14-15 years ago for making inscriptions on stone. Initially the font contained only capitals and digits and existed only on paper and stone inscriptions. In 2010 I decided transfer this font to a computer, and made the missing lowercase and some basical signs; it was initially named Gothica. By the way I made other versions of some letters. It was a lot of this at the end of my work. I decided create new fonts based on these letters. And finally I created six fonts family and named these fonts Nova (NovaCut, NovaFlat, NovaOval, NovaRound, NovaSlim, NovaSquare - by the shape of individual fonts). At last I created monospace font - NovaMono - the seventh part of this family.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Nova Oval": { + "name": "Nova Oval", + "designer": [ + "Wojciech Kalinowski" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "I created the NovaCut font about 14-15 years ago for making inscriptions on stone. Initially the font contained only capitals and digits and existed only on paper and stone inscriptions. In 2010 I decided transfer this font to a computer, and made the missing lowercase and some basical signs; it was initially named Gothica. By the way I made other versions of some letters. It was a lot of this at the end of my work. I decided create new fonts based on these letters. And finally I created six fonts family and named these fonts Nova (NovaCut, NovaFlat, NovaOval, NovaRound, NovaSlim, NovaSquare - by the shape of individual fonts). At last I created monospace font - NovaMono - the seventh part of this family.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Nova Round": { + "name": "Nova Round", + "designer": [ + "Wojciech Kalinowski" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "I created the NovaCut font about 14-15 years ago for making inscriptions on stone. Initially the font contained only capitals and digits and existed only on paper and stone inscriptions. In 2010 I decided transfer this font to a computer, and made the missing lowercase and some basical signs; it was initially named Gothica. By the way I made other versions of some letters. It was a lot of this at the end of my work. I decided create new fonts based on these letters. And finally I created six fonts family and named these fonts Nova (NovaCut, NovaFlat, NovaOval, NovaRound, NovaSlim, NovaSquare - by the shape of individual fonts). At last I created monospace font - NovaMono - the seventh part of this family.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Nova Script": { + "name": "Nova Script", + "designer": [ + "Wojciech Kalinowski" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "NovaScript is based on my NovaOval font, and it's a part of the Nova set. I created it because the Nova family was missing an oblique font. Now I consider the Nova family complete.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Nova Slim": { + "name": "Nova Slim", + "designer": [ + "Wojciech Kalinowski" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "I created the NovaCut font about 14-15 years ago for making inscriptions on stone. Initially the font contained only capitals and digits and existed only on paper and stone inscriptions. In 2010 I decided transfer this font to a computer, and made the missing lowercase and some basical signs; it was initially named Gothica. By the way I made other versions of some letters. It was a lot of this at the end of my work. I decided create new fonts based on these letters. And finally I created six fonts family and named these fonts Nova (NovaCut, NovaFlat, NovaOval, NovaRound, NovaSlim, NovaSquare - by the shape of individual fonts). At last I created monospace font - NovaMono - the seventh part of this family.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Nova Square": { + "name": "Nova Square", + "designer": [ + "Wojciech Kalinowski" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "I created the NovaCut font about 14-15 years ago for making inscriptions on stone. Initially the font contained only capitals and digits and existed only on paper and stone inscriptions. In 2010 I decided transfer this font to a computer, and made the missing lowercase and some basical signs; it was initially named Gothica. By the way I made other versions of some letters. It was a lot of this at the end of my work. I decided create new fonts based on these letters. And finally I created six fonts family and named these fonts Nova (NovaCut, NovaFlat, NovaOval, NovaRound, NovaSlim, NovaSquare - by the shape of individual fonts). At last I created monospace font - NovaMono - the seventh part of this family.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Numans": { + "name": "Numans", + "designer": [ + "Jovanny Lemonad" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Numans font is a modern 'grotesque' sans-serif with open forms. Sometimes I would like to call it \"Humans,\" but since I am from Russia, my English is not so fluent and sometimes I can be confused. The name comes from romanticising this. Numans is similar to the more bold font Days One, also available in Google Web Fonts.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Nunito": { + "name": "Nunito", + "designer": [ + "Vernon Adams", + "Cyreal", + "Jacques Le Bailly" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Nunito is a well balanced sans serif typeface superfamily, with 2 versions: The project began with Nunito, created by Vernon Adams as a rounded terminal sans serif for display typography. Jacques Le Bailly extended it to a full set of weights, and an accompanying regular non-rounded terminal version, Nunito Sans. To contribute, see github.com/googlefonts/nunito.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Nunito Sans": { + "name": "Nunito Sans", + "designer": [ + "Vernon Adams", + "Jacques Le Bailly", + "Manvel Shmavonyan", + "Alexei Vanyashin" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Nunito is a well balanced sans serif typeface superfamily, with 2 versions: The project began with Nunito, created by Vernon Adams as a rounded terminal sans serif for display typography. Jacques Le Bailly extended it to a full set of weights, and an accompanying regular non-rounded terminal version, Nunito Sans. In February 2023, Nunito Sans has been upgraded to a variable font with four axes: ascenders high, optical size, width and weight. Cyrillic has been added and the language support expanded. To contribute, please see github.com/googlefonts/NunitoSans.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Nuosu SIL": { + "name": "Nuosu SIL", + "designer": [ + "SIL International" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "yi" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Nuosu is a single Unicode font for the standardized Yi script used by a large ethnic group in southwestern China. The traditional Yi scripts have been in use for centuries, and have a tremendous number of local variants. The script was standardized in the 1970's by the Chinese government. In the process of standardization, 820 symbols from the traditional scripts of the Liangshan region were chosen to form a syllabary. This font was developed by SIL, and you can learn more about it at software.sil.org/nuosu. To contribute, see github.com/silnrsi/font-nuosu.", + "primary_script": "Yiii", + "article": null, + "minisite_url": null + }, + "Odibee Sans": { + "name": "Odibee Sans", + "designer": [ + "James Barnard" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Odibee Sans is a display font project by London-based designer James Barnard. James set out to create his very own one day build (ODB) and completed the entire character set, numbers and the basic glyphs in 24 hours. To contribute, see github.com/barnard555/odibeesans.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Odor Mean Chey": { + "name": "Odor Mean Chey", + "designer": [ + "Danh Hong" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "khmer", + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Odor Mean Chey is a Khmer font for headlines, titles and subtitles, and even banner designs. To contribute, see github.com/danhhong/OdorMeanChey.", + "primary_script": "Khmr", + "article": null, + "minisite_url": null + }, + "Offside": { + "name": "Offside", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "The main feature of Offside is its simple structure and monoline stroke. It is modern, slightly condensed, with large counters to achieve excellent readability on the web, even in small sizes. Its design details make it also suitable for writing headlines or signage with great clarity and prestige. The February 2023 update features a bigger glyphset, fractions and some minor aesthetic modifications. To contribute, see github.com/etunni/offside.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Oi": { + "name": "Oi", + "designer": [ + "Kostas Bartsokas" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "arabic", + "cyrillic", + "cyrillic-ext", + "greek", + "latin", + "latin-ext", + "tamil", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Oi is an ultra-fat display typeface that has its roots in grotesque slab serifs, most specifically the style that sprung with the release of Caslon\u2019s Ionic in 1844 and Clarendon by Fann Street Foundry in 1845. The typeface is a free spirited twisted interpetation of the clarendonesques. With an unapologetic tendency for public shouting, it is a whimsical loudmouth attention seeker! \"Oi\" is an interjection used in various languages. Its meaning varies, depending on the tone and abruptness of its use, from a simple \u201chi\u201d or a call of attention to as far as a challenge to a fight. Check out the mini-website. To contribute, see github.com/kosbarts/Oi.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ojuju": { + "name": "Ojuju", + "designer": [ + "\u1ee4d\u1ecb Foundry", + "Chisaokwu Joboson", + "Mirko Velimirovi\u0107" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "math", + "symbols", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "Ojuju is a reverse contrast Weight axis variable font inspired by African Masquerades. Ojuju draws inspiration from a variety of African traditional dance costumes to inform the design decisions. The masks worn by the Dogon dancers from Mali inspired the aperture shaping, and counterform placement within many of the letterforms. Additionally African movie poster lettering from the 1970's was referenced to round out the design space. Ojuju covers all of the Google's SSA(sub-saharan-african) latin glyphs. This Afro-grotesque style created by Chisaokwu Joboson, is distinct with varying apertures as it moves from extra-light to bold. To contribute, see github.com/jobosonchisa/ojuju.", + "minisite_url": null + }, + "Old Standard TT": { + "name": "Old Standard TT", + "designer": [ + "Alexey Kryukov" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Old Standard reproduces a specific type of Modern (classicist) style of serif typefaces, very commonly used in various editions of the late 19th and early 20th century, but almost completely abandoned later. However, this lettertype still has at least two advantages: it can be considered a good choice for typesetting scientific papers, especially on social and humanitarian sciences, as its specific features are closely associated in people's eyes with old books they learned on; the most beautiful examples of Greek and Cyrillic lettertypes were all based on the classicist style, so for those scripts, \"Modern\" fonts are much more appropriate than any contemporary (e. g. Times-based) designs. The name \"Old Standard\" was selected as opposed to the \"Obyknovennaya Novaya\" (\"New Standard\") typeface, widely used in Soviet typography, which represents another, slightly different type of the same Modern style. Of course this name doesn't look very original, but it seems to be a good choice for a revival of the most common lettertype of the early 20th century.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Oldenburg": { + "name": "Oldenburg", + "designer": [ + "Nicole Fally" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Oldenburg is inspired by nearly monoline handwriting seen on a series of German posters. It has been changed and adapted to be more broadly useful design than a more faithful interpretation would have been. Despite the increased ulity in Oldernburg it still presenst plenty of the whimsical feeling that made its source so attractive. Oldenburg can be used a in a wide range of sizes.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ole": { + "name": "Ole", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Ol\u00e9 (named after the Spanish expression, pronounced \"oh-leh!\") has a romantic and fun flavour. Have a little fun using the ornamental glyphs to spice up any design. The Latin glyph set supports Western, Central, Eastern european languages and also Vietnamese. To contribute, see github.com/googlefonts/ole", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Oleo Script": { + "name": "Oleo Script", + "designer": [ + "soytutype fonts" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Oleo is a flowy yet legible non-connected script typeface. It is perfect for situations where a quaint and casual lettering effect is desired. Suitable for various typography contexts including captions, headlines, packaging, invitations, cards, posters, advertising, greeting cards, and book jackets. Oleo Script is currently available in two weights, Regular and Bold. It has also a Swash Caps sister family, also available in Regular and Bold. Oleo Script is a Unicode typeface family that supports languages that use the Latin script and its variants, and could be expanded to support other scripts. For more information see the Soytutype website, follow us on Twitter @soytutype or Google+ or contact Soytutype.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Oleo Script Swash Caps": { + "name": "Oleo Script Swash Caps", + "designer": [ + "soytutype fonts" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Oleo is a flowy yet legible non-connected script typeface. It is perfect for situations where a quaint and casual lettering effect is desired. Suitable for various typography contexts including captions, headlines, packaging, invitations, cards, posters, advertising, greeting cards, and book jackets. Oleo Script Swash Caps is currently available in two weights, Regular and Bold. It has also a Oleo Script sister family, also available in Regular and Bold. Oleo Script Swash Caps is a Unicode typeface family that supports languages that use the Latin script and its variants, and could be expanded to support other scripts. For more information see the Soytutype website, follow us on Twitter @soytutype or Google+ or contact Soytutype.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Onest": { + "name": "Onest", + "designer": [ + "Dmitri Voloshin", + "Andrey Kudryavtsev" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "From thin to extra bold, Onest is designed as a hybrid of geometric and humanistic grotesques. Onest is suitable for reading long texts from the screens of any device and is recommended for apps and sites. Letters are easily distinguished even in small sizes, so they can be used in interface elements or navigation. Several character sets have been developed for a range of closed and semi-closed apertures, allowing the combination of characters depending on the goal. Onest is a modern typeface, so it has a lot of useful conveniences. The subtleties of correct speech transmission are Onest's strong points. It knows like no other the importance and value of using the right diacritics and the difference between cedilla, ogonek and and the way things should be. For all its versatility, Onest allows text to keep its individuality. All thanks to alternative symbols that set the tone and even the character of the message. To contribute, please see github.com/simpals/onest.", + "minisite_url": null + }, + "Oooh Baby": { + "name": "Oooh Baby", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Oooh Baby. This cute little font is perfect for scrapping and fun play! It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/oooh-baby.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Open Sans": { + "name": "Open Sans", + "designer": [ + "Steve Matteson" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "hebrew", + "latin", + "latin-ext", + "math", + "symbols", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Open Sans is a humanist sans serif typeface designed by Steve Matteson, Type Director of Ascender Corp. This version contains the complete 897 character set, which includes the standard ISO Latin 1, Latin CE, Greek and Cyrillic character sets. Open Sans was designed with an upright stress, open forms and a neutral, yet friendly appearance. It was optimized for print, web, and mobile interfaces, and has excellent legibility characteristics in its letterforms. In March 2021, the family has been updated to a variable font family and it also includes Hebrew, and unified and simplified the licensing under OFL. To contribute, see github.com/googlefonts/opensans", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Oranienbaum": { + "name": "Oranienbaum", + "designer": [ + "Oleg Pospelov", + "Jovanny Lemonad" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Oranienbaum is a modern high contrast Antiqua with well-defined, recognizable features. Based on the architecture of classic Antiqua fonts, such as Bodoni, Oranienbaum is typical of the typefaces from the first quarter of the 20th century: pronounced serifs, contrasting geometry, and an interplay of right angles and flowing lines. The font is well suited for both headlines and body text. It was designed through a collaboration of Oleg Pospelov as the main type designer, with Jovanny Lemonad as art director, technical engineer and publisher.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Orbit": { + "name": "Orbit", + "designer": [ + "Sooun Cho", + "JAMO" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "korean", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Orbit is inspired by the concept of monospaced Latin coding fonts. Korean fonts are usually already monospaced, but by bringing the impression of the Latin coding font in the Hangeul and punctuation design, Orbit gives a mathematical and geometric impression through a serif with right angle and orbicular circles. The font attempts to express orbitals with typeface using symmetry and connectivity to create a somewhat cosmic and futuristic atmosphere. As it is reminiscent of coding interface screens, it is recommended to use bright writing on a dark background, below 10pt. To contribute, please visit github.com/JAMO-TYPEFACE/Orbit.", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "Orbitron": { + "name": "Orbitron", + "designer": [ + "Matt McInerney" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Orbitron is a geometric sans-serif typeface intended for display purposes. It features four weights (light, medium, bold, and black), stylistic alternatives, small caps, and a ton of alternate glyphs. Orbitron was designed so that graphic designers in the future will have some alternative to typefaces like Eurostile or Bank Gothic. If you\u2019ve ever seen a futuristic sci-fi movie, you may have noticed that all other fonts have been lost or destroyed in the apocalypse that led humans to flee earth. Only those very few geometric typefaces have survived to be used on spaceship exteriors, spacestation signage, monopolistic corporate branding, uniforms featuring aerodynamic shoulder pads, etc. Of course Orbitron could also be used on the posters for the movies portraying this inevitable future. It was initially published on the League of Movable Type. Orbitron was remastered as a variable font in 2019. To contribute updates or file issues, see https://github.com/theleagueof/orbitron.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Oregano": { + "name": "Oregano", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "The Oregano family is based on cartoon style lettering of calligrapher and logo designer Rand Holub. This style of hand lettering adorned many retro brochures and advertisements of the late 40's through the 1960's. This approachable vintage spunk-filled lettering style exudes a casual and care free flavor perfect for both on screen and printed materials.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Orelega One": { + "name": "Orelega One", + "designer": [ + "Haruki Wakamatsu" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Orelega is a whimsical Clarendon font with oversized ears. Its design was based on Sagona Extra Bold by Ren\u00e9 Bieder, but it is not a shameless copy. Everything has been redrawn from the ground up, with many new aesthetic changes. Orelega is Esperanto for \u201clarge-eared\u201d. It is composed of orel- \u201cear\u201d, -eg- [augments degree or size], and -a [adjective ending]. To contribute, see github.com/JapanYoshi/Orelega", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Orienta": { + "name": "Orienta", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Orienta is a spacious sans serif, with excellent visual performance at very small text sizes. The balance between forms and counterforms creates strong legibility. If used in titles, you can see the details are all carefully designed, especially in the strokes of each letter. The February 2023 update features a bigger glyphset, fractions and some minor aesthetic modifications. To contribute, see github.com/etunni/orienta.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Original Surfer": { + "name": "Original Surfer", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Original Surfer is an offbeat sans serif font with loads of personality. Inspired by a vintage advertisement for the \"California Cliffs Caravan Park\", this font exudes all of the fun of a summer vacation anytime of the year. The letterforms are clear and cleanly legible, while nothing is formal or uptight about this font.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Oswald": { + "name": "Oswald", + "designer": [ + "Vernon Adams", + "Kalapi Gajjar", + "Cyreal" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Oswald is a reworking of the classic style historically represented by the 'Alternate Gothic' sans serif typefaces. The characters of Oswald were initially re-drawn and reformed to better fit the pixel grid of standard digital screens. Oswald is designed to be used freely across the internet by web browsers on desktop computers, laptops and mobile devices. - Since the initial launch in 2011, Oswald was updated continually by Vernon Adams until 2014. Vernon added Light and Bold weights, support for more Latin and Cyrillic languages, tightened the spacing and kerning and made many glyph refinements throughout the family based on hundreds of users' feedback. - In 2016 the Latin part of the family was updated by Kalapi Gajjar to complete the work started by Vernon. - In January 2019, it was updated with a variable font Weight axis. - In July 2023, the font was upgraded with a Cyrillic character set expansion, and the rendering of math symbols was improved. To contribute, see github.com/googlefonts/OswaldFont", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Outfit": { + "name": "Outfit", + "designer": [ + "Smartsheet Inc", + "Rodrigo Fuenzalida" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "A beautiful geometric sans: The official typeface for brand automation company outfit.io. Inspired by the ligature-rich outfit wordmark, Outfit.io is delighted to release it's own type family. The Outfit typeface links the Outfit written voice to Outfit product marks; on brand by default. In 2023, the font has been updated, offering a more expanded language support. To contribute to the project, visit github.com/Outfitio/Outfit-Fonts", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Over the Rainbow": { + "name": "Over the Rainbow", + "designer": [ + "Kimberly Geswein" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "This font always makes me smile. Something about the style of the handwriting just makes me feel happy. It is slightly connected but not a true script by any means & will lend an upbeat feel to any project you use it on.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Overlock": { + "name": "Overlock", + "designer": [ + "Dario Manuel Muhafara" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "The Overlock typeface family was selected by the Letras Latinas Biennal in 2006. The initial idea of this typeface was to simulate the Overlock sewing technique. The special thing about these forms is the warm feeling that they give to your text, because of the particular rounded glyph shapes that emerge. As a result, the Overlock typeface family is great for titles and short texts in magazine style layouts. It looks its very best at bigger sizes. It comes in three weights, Regular, Bold and Black, each with a true italic. It has two set of numbers and small caps which are available as a sister family, Overlock SC", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Overlock SC": { + "name": "Overlock SC", + "designer": [ + "Dario Manuel Muhafara" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "The Overlock typeface family was selected by the Letras Latinas Biennal in 2006. The initial idea of this typeface was to simulate the Overlock sewing technique. The special thing about these forms is the warm feeling that they give to your text, because of the particular rounded glyph shapes that emerge. As a result, the Overlock typeface family is great for titles and short texts in magazine style layouts. It looks its very best at bigger sizes. The main Overlock family comes in three weights, Regular, Bold and Black, each with a true italic. It has two set of numbers and small caps, which are available in this sister family.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Overpass": { + "name": "Overpass", + "designer": [ + "Delve Withrington", + "Dave Bailey", + "Thomas Jockin" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Overpass is a free, Open Source typeface designed by Delve Fonts. The design of Overpass is an interpretation of the well-known \u201cHighway Gothic\u201d letterforms from the Standard Alphabets for Traffic Control Devices published by the U.S. Federal Highway Administration. Starting from those specifications, critical adjustments were made to the letterforms to create an optimal presentation at smaller sizes on-screen and later for display sizes, especially in the lighter weights. Also see Overpass Mono! Overpass can be used for everything from extended passages of text in print and online, to UI design, posters, wayfinding signage, and environmental graphic design. Designers: Delve Withrington, Dave Bailey, and Thomas Jockin TrueType Hinting: Jason Campbell Direction: Dave Crossland, Andy Fitzsimon, Jakub Steiner, and Ben Dubrovsky Special thanks: Aaron Bell for his diligence in preparing v4.0 for release and Michael Luton for his insight and support. To contribute to the project, please visit https://github.com/RedHatOfficial/Overpass", + "primary_script": null, + "article": null, + "minisite_url": "https://overpassfont.org/" + }, + "Overpass Mono": { + "name": "Overpass Mono", + "designer": [ + "Delve Withrington", + "Dave Bailey", + "Thomas Jockin" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "monospace" + ], + "description": "Overpass Mono is a thoughtful, monospaced re-imagining of the Overpass proportional design, designed by Delve Fonts. Consisting of five weights ranging from Light to Bold. The Overpass Mono fonts are finely tuned to meet the requirements of today\u2019s programmers. The design of Overpass is an interpretation of the well-known \u201cHighway Gothic\u201d letterforms from the Standard Alphabets for Traffic Control Devices published by the U.S. Federal Highway Administration. Starting from those specifications, critical adjustments were made to the letterforms to create an optimal presentation at smaller sizes on-screen and later for display sizes, especially in the lighter weights. Overpass can be used for everything from extended passages of text in print and online, to UI design, posters, wayfinding signage, and environmental graphic design. Designers: Delve Withrington, Dave Bailey, and Thomas Jockin TrueType Hinting: Jason Campbell Direction: Dave Crossland, Andy Fitzsimon, Jakub Steiner, and Ben Dubrovsky Special thanks: Aaron Bell for his diligence in preparing v4.0 for release and Michael Luton for his insight and support. To contribute to the project, please visit https://github.com/RedHatOfficial/Overpass", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ovo": { + "name": "Ovo", + "designer": [ + "Nicole Fally" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Ovo was inspired by a set of hand lettered caps seen in a 1930's lettering guide. The capitals suggested the time in which they were made because of the soft serif treatment used. This detail and a subtle casual feeling creeping into the otherwise classical forms led to the soft genial lowercase and the whimsical numbers now seen in Ovo. Ovo is a medium contrast serif font. Because of the old style variable letter widths and subtle detail it will work best at medium to large sizes.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Oxanium": { + "name": "Oxanium", + "designer": [ + "Severin Meyer" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Oxanium is a square, futuristic font family. It feels at home on the head-up display of a spaceship, or the scoreboard of a video game. Its intuitive strokes ensure legibility at small sizes and quick glances, while angled cuts add charisma to big headlines. To contribute, please go to github.com/sevmeyer/oxanium.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Oxygen": { + "name": "Oxygen", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "The Oxygen typeface family is created as part of the KDE Project, a libre desktop for the GNU+Linux operating system. The design is optimized for the FreeType font rendering system and works well in all graphical user interfaces, desktops and devices. This is a web font version of Oxygen, designed to be used freely across the internet by web browsers on desktop computers, laptops and mobile devices.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Oxygen Mono": { + "name": "Oxygen Mono", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "monospace" + ], + "description": "Oxygen Mono is the monospace companion family to Oxygen, the KDE project UI and brand type.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "PT Mono": { + "name": "PT Mono", + "designer": [ + "ParaType" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "monospace" + ], + "description": "PT Mono was developed for specific uses in forms, tables, worksheets and other contexts. Equal character widths are very helpful in setting complex documents, as with such a font you may easily calculate size of entry fields, column widths in tables and so on. One of the most important areas of use is in governmental web sites where visitors have to fill different forms. Currently PT Mono consists of just one Regular style. PT Mono was designed by Alexandra Korolkova with participation of Isabella Chaeva and with the financial support of Google Web Fonts.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "PT Sans": { + "name": "PT Sans", + "designer": [ + "ParaType" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "PT Sans was developed for the project \"Public Types of Russian Federation.\" The second family of the project, PT Serif, is also available. The fonts are released with a libre license and can be freely redistributed: The main aim of the project is to give possibility to the people of Russia to read and write in their native languages. The project is dedicated to the 300 year anniversary of the civil type invented by Peter the Great in 1708\u20131710. It was given financial support from the Russian Federal Agency for Press and Mass Communications. The fonts include standard Western, Central European and Cyrillic code pages, plus the characters of every title language in the Russian Federation. This makes them a unique and very important tool for modern digital communications. PT Sans is based on Russian sans serif types of the second part of the 20th century, but at the same time has distinctive features of contemporary humanistic designs. The family consists of 8 styles: 4 basic styles, 2 captions styles for small sizes, and 2 narrows styles for economic type setting. Designed by Alexandra Korolkova, Olga Umpeleva and Vladimir Yefimov and released by ParaType in 2009.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "PT Sans Caption": { + "name": "PT Sans Caption", + "designer": [ + "ParaType" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "PT Sans was developed for the project \"Public Types of Russian Federation.\" The second family of the project, PT Serif, is also available. The fonts are released with a libre license and can be freely redistributed: The main aim of the project is to give possibility to the people of Russia to read and write in their native languages. The project is dedicated to the 300 year anniversary of the civil type invented by Peter the Great in 1708\u20131710. It was given financial support from the Russian Federal Agency for Press and Mass Communications. The fonts include standard Western, Central European and Cyrillic code pages, plus the characters of every title language in the Russian Federation. This makes them a unique and very important tool for modern digital communications. PT Sans is based on Russian sans serif types of the second part of the 20th century, but at the same time has distinctive features of contemporary humanistic designs. The family consists of 8 styles: 4 basic styles, 2 captions styles for small sizes, and 2 narrows styles for economic type setting. Designed by Alexandra Korolkova, Olga Umpeleva and Vladimir Yefimov and released by ParaType in 2009.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "PT Sans Narrow": { + "name": "PT Sans Narrow", + "designer": [ + "ParaType" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "PT Sans was developed for the project \"Public Types of Russian Federation.\" The second family of the project, PT Serif, is also available. The fonts are released with a libre license and can be freely redistributed: The main aim of the project is to give possibility to the people of Russia to read and write in their native languages. The project is dedicated to the 300 year anniversary of the civil type invented by Peter the Great in 1708\u20131710. It was given financial support from the Russian Federal Agency for Press and Mass Communications. The fonts include standard Western, Central European and Cyrillic code pages, plus the characters of every title language in the Russian Federation. This makes them a unique and very important tool for modern digital communications. PT Sans is based on Russian sans serif types of the second part of the 20th century, but at the same time has distinctive features of contemporary humanistic designs. The family consists of 8 styles: 4 basic styles, 2 captions styles for small sizes, and 2 narrows styles for economic type setting. Designed by Alexandra Korolkova, Olga Umpeleva and Vladimir Yefimov and released by ParaType in 2009.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "PT Serif": { + "name": "PT Serif", + "designer": [ + "ParaType" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "PT Serif\u2122 is the second pan-Cyrillic font family developed for the project \u201cPublic Types of the Russian Federation.\u201d The first family of the project, PT Sans, was released in 2009. The fonts are released with a libre license and can be freely redistributed: The main aim of the project is to give possibility to the people of Russia to read and write in their native languages. The project is dedicated to the 300 year anniversary of the civil type invented by Peter the Great in 1708\u20131710. It was given financial support from the Russian Federal Agency for Press and Mass Communications. The fonts include standard Western, Central European and Cyrillic code pages, plus the characters of every title language in the Russian Federation. This makes them a unique and very important tool for modern digital communications. PT Serif is a transitional serif typeface with humanistic terminals. It is designed for use together with PT Sans, and is harmonized across metrics, proportions, weights and design. The family consists of six styles: regular and bold weights with corresponding italics form a standard font family for basic text setting; two caption styles in regular and italic are for use in small point sizes. Designed by Alexandra Korolkova, Olga Umpeleva and Vladimir Yefimov and released by ParaType in 2010.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "PT Serif Caption": { + "name": "PT Serif Caption", + "designer": [ + "ParaType" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "PT Serif\u2122 is the second pan-Cyrillic font family developed for the project \u201cPublic Types of the Russian Federation.\u201d The first family of the project, PT Sans, was released in 2009. The fonts are released with a libre license and can be freely redistributed: The main aim of the project is to give possibility to the people of Russia to read and write in their native languages. The project is dedicated to the 300 year anniversary of the civil type invented by Peter the Great in 1708\u20131710. It was given financial support from the Russian Federal Agency for Press and Mass Communications. The fonts include standard Western, Central European and Cyrillic code pages, plus the characters of every title language in the Russian Federation. This makes them a unique and very important tool for modern digital communications. PT Serif is a transitional serif typeface with humanistic terminals. It is designed for use together with PT Sans, and is harmonized across metrics, proportions, weights and design. The family consists of six styles: regular and bold weights with corresponding italics form a standard font family for basic text setting; two caption styles in regular and italic are for use in small point sizes. Designed by Alexandra Korolkova, Olga Umpeleva and Vladimir Yefimov and released by ParaType in 2010.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Pacifico": { + "name": "Pacifico", + "designer": [ + "Vernon Adams", + "Jacques Le Bailly", + "Botjo Nikoltchev", + "Ani Petrova" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Aloha! Pacifico is an original and fun brush script handwriting font by Vernon Adams which was inspired by the 1950s American surf culture in 2011. It was redrawn by Jacques Le Bailly at Baron von Fonthausen in 2016. It was expanded to Cyrillic by Botjo Nikoltchev and Ani Petrova at Lettersoup in 2017. The Pacifico project was commissioned by Google from Vernon Adams, an English type designer who lived in San Clemente, Los Angeles, USA. To contribute, see github.com/googlefonts/Pacifico Updated June 2019 to v3.000: Added extended Cyrillic support.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Padauk": { + "name": "Padauk", + "designer": [ + "SIL International" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "myanmar" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Padauk is a fully capable Unicode 6 font supporting all the Myanmar characters in the standard. Thus it provides support for minority languages as well, in both local and Burmese rendering styles. Downloads of Padauk include the necessary Graphite smarts to render the Myanmar script correctly. Thus if you want to use this font at full fidelity to the orthography, you will need to use Graphite-capable applications, such as the latest versions of LibreOffice. However the web font files served by Google Fonts do not include Graphite tables. Fortunately, Padauk also has OpenType tables which allow it to be rendered in a basic way, in applications that support OpenType shaping such as Word. The web font files served by Google Fonts include the OpenType tables, so the font will work in most web browsers. The last upgrade in July 2022, offers an major language support update. The Padauk project is maintained at https://github.com/silnrsi/font-padauk.", + "primary_script": "Mymr", + "article": null, + "minisite_url": null + }, + "Padyakke Expanded One": { + "name": "Padyakke Expanded One", + "designer": [ + "James Puckett" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "kannada", + "latin", + "latin-ext" + ], + "stroke": "SLAB_SERIF", + "classifications": [ + "display" + ], + "description": "Padyakke is a wide, airy, and friendly font for the Kannada writing system. Its gracefully balanced thin strokes rise up over sumptuously swollen bottoms. Padyakke was designed to pair with Aoife Mooney\u2019s latin typeface BioRhyme Expanded; thus BioRhyme\u2019s idosyncratic bowls, not-quite-perpendicular stroke terminals, and teardrop terminals are also in Padyakke. Padyakke\u2019s Kannada glyphs were designed by James Puckett. Padyakke\u2019s Latin glyphs were designed by Aoife Mooney. To contribute, see github.com/DunwichType/Padyakke_Libre", + "primary_script": "Knda", + "article": null, + "minisite_url": null + }, + "Palanquin": { + "name": "Palanquin", + "designer": [ + "Pria Ravichandran" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Palanquin is a Unicode-compliant Latin and Devanagari text type family designed for the digital age. The Devanagari is monolinear and was designed alongside the sans serif Latin. It currently comprises of seven text weights, and is extended with a heavier display family, Palanquin Dark, that has many subtle design details to accommodate the darker typographic color. The Palanquin superfamily is versatile and strikes a balance between typographic conventions and that bit of sparkle. Many thanks to Michael for all the technical assistance. Heartfelt thanks to Maggi for the sincere support. The Palanquin project is led by Pria Ravichandran, a type designer from India. To contribute, visit github.com/VanillaandCream/Palanquin", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Palanquin Dark": { + "name": "Palanquin Dark", + "designer": [ + "Pria Ravichandran" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Palanquin is a Unicode-compliant Latin and Devanagari text type family designed for the digital age. The Devanagari is monolinear and was designed alongside the sans serif Latin. Palanquin Dark is the heavier display family, with 4 weights. Palanquin is a text family with seven text weights. The Palanquin superfamily is versatile and strikes a balance between typographic conventions and that bit of sparkle. Many thanks to Michael for all the technical assistance. Heartfelt thanks to Maggi for the sincere support. The Palanquin project is led by Pria Ravichandran, a type designer from India. To contribute, see github.com/VanillaandCream/Palanquin", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Palette Mosaic": { + "name": "Palette Mosaic", + "designer": [ + "Shibuya Font" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "japanese", + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Palette Mosaic is constructed from primitive shapes by handicapped artists in collaboration with design students. The shapes have been arranged to create a strong and solid atmosphere. This family is part of the Shibuya Font project, a collaboration of design major students and handicapped artist living in Shibuya city, officially approved by Shibuya city in Tokyo. Shibuya font Official Site: http://www.shibuyafont.jp To contribute to the project, visit github.com/shibuyafont/Palette-mosaic-font-mono", + "primary_script": "Hira", + "article": null, + "minisite_url": null + }, + "Pangolin": { + "name": "Pangolin", + "designer": [ + "Kevin Burke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Pangolin was designed for the Google Valentine's Day 2017 Doodle, Pangolin Love. A pangolin is an endangered species native to Asia and Africa. The font is a sans serif handwriting style. It supports many languages that use the Latin and Cyrillic scripts.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Paprika": { + "name": "Paprika", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Paprika will give taste and color to your texts with its clear and friendly gestures. An expressive typeface, it can be used in long texts as it gives readers a pleasant reading experience and is excellent in headlines that also need a natural feeling. To contribute, see github.com/etunni/paprika.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Parisienne": { + "name": "Parisienne", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Parisienne is a casual connecting script inspired by a 1960s Bra advertisement! It has a slight bounce and intentional irregularity to what might other wise appear to be a more formal script font. Classic, yet free spirited, it is a typestyle for a wide variety of use.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Parkinsans": { + "name": "Parkinsans", + "designer": [ + "Red Stone" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Latn", + "article": "Parkinsans is a geometric sans serif designed for UK charity Parkinson\u2019s UK. Energetic, human, accessible, approachable \u2013 Parkinsans embodies Parkinson\u2019s UK\u2019s relentless energy, whilst typographic quirks reflect the unique experience of every Parkinson\u2019s journey. Consisting of 6 weights, Parkinsans is designed to grab attention at display sizes and provide an accessible, easy reading experience for short form copy. Designed by the award-winning, London-based creative agency Red Stone, Parkinsans is a fork of Indian Type Foundry's Poppins. To contribute, see github.com/redstonedesign/parkinsans.", + "minisite_url": null + }, + "Passero One": { + "name": "Passero One", + "designer": [ + "Viktoriya Grabowska" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Passero One is an innovative low contrast sans serif type. Despite having an utterly distinctive voice it remains remarkably legible and versatile. Perhaps this is because of the way Passero One gently echos old style text letterforms. Passero One will work best from medium text sizes through large display sizes.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Passion One": { + "name": "Passion One", + "designer": [ + "Fontstage" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Passion One is a set of 3 display fonts aimed to composing titles in big sizes. Its counterforms decrease as the passion increases! Please use them only for your most passionate thoughts and ideas.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Passions Conflict": { + "name": "Passions Conflict", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Passions Conflict was one of the very first fonts to utilize embellished forms. The capital letters have wonderful nuances of adornment. The lowercase forms blend flawlessly with the capitals. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/passions-conflict.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Pathway Extreme": { + "name": "Pathway Extreme", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Pathway Extreme is derived from Pathway Gothic One, a narrow grotesque sans typeface, which is a very popular historic typographic style. The family has also been upgraded to a variable font. To contribute, see github.com/etunni/Pathway-Variable-Font.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Pathway Gothic One": { + "name": "Pathway Gothic One", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Pathway Gothic One is a narrow grotesque sans typeface, a very popular style in the history of typography. This book weight is the first of many. The March 2023 update features a bigger glyphset, fractions and some minor aesthetic modifications. To contribute, see github.com/etunni/pathway-gothic.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Patrick Hand": { + "name": "Patrick Hand", + "designer": [ + "Patrick Wagesreiter" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "handwriting" + ], + "description": "Patrick Hand is a font based on the designer's own handwriting. It is developed to bring an impressive and useful handwriting effect to your texts. There is a Small Caps sister family. It has all the basic latin characters as well as most of the latin extended ones. It also includes some fancy glyphs like heavy quotation marks and the floral heart! Ligatures, small caps and old style numbers are available as OpenType features in the downloaded version of this font. Updated January 2013 with support for more European languages and Vietnamese, and in February with a Small Caps sister family.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Patrick Hand SC": { + "name": "Patrick Hand SC", + "designer": [ + "Patrick Wagesreiter" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "handwriting" + ], + "description": "Patrick Hand is a font based on the designer's own handwriting. It is developed to bring an impressive and useful handwriting effect to your texts. This is the Small Caps sister family. It has all the basic latin characters as well as most of the latin extended ones. It also includes some fancy glyphs like heavy quotation marks and the floral heart! Ligatures, small caps and old style numbers are available as OpenType features in the download of the regular Patrick Hand family.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Pattaya": { + "name": "Pattaya", + "designer": [ + "Cadson Demak" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "latin", + "latin-ext", + "thai", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Lobster is one of the most popular web fonts, designed by Pablo Impallari. Pattaya is a version of Lobster extended into Thai, and supports Latin and all variations of the Thai script with an informal loopless design. However, vertical metrics (that effect line-spacing) had to be adjusted in order to support Thai vowels and tone marks, so this is published as a separate family. A similarity between some glyphs such as \u0e01 \u0e16 \u0e20 \u0e24 \u0e26, \u0e0e and \u0e0f, \u0e1a and \u0e1b, or \u0e02 and \u0e0a is something to take into consideration because it might lead to confusion when typesetting very short texts. Pattaya has a specific approach to the thick and thin strokes of Thai glyphs. Other type designers of Thai fonts may like to use this approach as a reference. Informal loopless Thai tyefaces have slightly simplified details, as compared to formal ones, and this simplification has to be done properly in order to preserve the character of each glyph. The size and position of Thai vowel and tone marks need to be managed carefully, because they are all relevant to readability, legibility, and overall texture. The Pattaya project is led by Cadson Demak, a type foundry in Thailand. To contribute, see github.com/cadsondemak/pattaya", + "primary_script": "Thai", + "article": null, + "minisite_url": null + }, + "Patua One": { + "name": "Patua One", + "designer": [ + "LatinoType" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Patua One is a slab serif text type designed for use in small sizes. It has low contrast and strong serifs and is intended to generate visual impact. Its thick serifs are curved to provide it with a touch of smoothness and gesture.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Pavanam": { + "name": "Pavanam", + "designer": [ + "Tharique Azeez" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "tamil" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Pavanam is a Tamil and Latin typeface designed with a focus on greater legibility in smaller sizes for both screen and print media. The Latin design is derived from Vernon Adam's Pontano Sans; it has been slightly modified to match with the Tamil typefaces's proportions and vertical metrics. The word Pavanam means wind in Tamil. The Pavanam project is led by Tharique Azeez, a type designer based in Sri Lanka. To contribute, see github.com/enathu/pavanam", + "primary_script": "Taml", + "article": null, + "minisite_url": null + }, + "Paytone One": { + "name": "Paytone One", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Paytone One is a sans-serif font designed for use as a display and headline font on modern websites. It has a casual appearance with round bowls and slanted stroke terminals that add visual interest. February 2023: The font has been updated to v1.002 and now includes GF Plus encoding, revised outlines, Vietnamese diacritics, improved spacing and kerning. To contribute, visit the Paytone One repository on Github: https://github.com/googlefonts/paytoneFont.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Peddana": { + "name": "Peddana", + "designer": [ + "Appaji Ambarisha Darbha" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "telugu" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Peddana is an Open Source typeface supporting both the Telugu and Latin scripts. This font was developed mainly for the use in news publications and is suitable for text, headings, posters and invitations. The Telugu is developed by Appaji Ambarisha Darbha in 2013 and made available under the SIL Open Font License v1.1 by Silicon Andhra. The Latin is developed by SIL International and originally published as Charis. The Peddana project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India. To contribute, see github.com/appajid/peddana", + "primary_script": "Telu", + "article": null, + "minisite_url": null + }, + "Peralta": { + "name": "Peralta", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SLAB_SERIF", + "classifications": [ + "display" + ], + "description": "The Peralta typeface is an egyptian slab serif gone haywire. You'll find that Capitals and Lowercase have opposite weight distributions, as well as an all-around offbeat nature, and yet it all works to create a delightfully comic typeface.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Permanent Marker": { + "name": "Permanent Marker", + "designer": [ + "Font Diner" + ], + "license": "apache2", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Permanent Marker represents the look and feel of a favorite writing instrument.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Petemoss": { + "name": "Petemoss", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Petemoss is a semi-calligraphic brush script. It is inspired by the forms created using a Pentel\u2122 color brush. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/petemoss.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Petit Formal Script": { + "name": "Petit Formal Script", + "designer": [ + "Impallari Type" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Formal Scripts are great typefaces to suggest elegance, quality, refinement and luxury. They are used a lot in print publishing, but you don't see many formal scripts used on the web. Isn't it? Mostly because their tiny hairlines breaks and disappear when used at small sizes on the screen. Also, they usually have long ascenders and descenders, and the lowercase letters look too small when compared to most sans or serif fonts. More over, they are usually quite condensed, making them even more difficult to read. That's why we designed a script type specifically tailored for web use, that can survive being set even as small as 13px.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Petrona": { + "name": "Petrona", + "designer": [ + "Ringo R. Seeber" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Petrona\u2019s personality is an answer to how many characteristics can be added to a typeface without undermining its purpose within the text-type genre. Petrona playfully maneuvers plenty of personal touches, without losing the essence of a design intended for legibility in digital and print media, from headlines to body text. Uppercase glyphs have heavy asymmetric serifs and arms with inverted angles, which combine with lowercase designs that share a big x-height, pronounced ascenders, and soft curves of low stroke contrast. First published in Google Fonts in November 2011 as a single style Roman design, it was completely redrawn in 2019 and 2020. It has evolved, and now offers a comprehensive range of weights, a complete set of corresponding italics, and an extended glyph set that supports over 200 Latin languages. A full set of small caps, plus ligatures, alternates, and all kinds of numerals, fractions, punctuations, symbols, and currencies are included. As a variable font, it has a Weight axis in both the roman and italic files. The previous swashy Q is still available, found in Stylistic Set 1. It is now a typeface that supplies everything needed for fine text typography. The Petrona project is led by Ringo R. Seeber from Glyph Co, based in Brooklyn, NY. To contribute, please visit github.com/RingoSeeber/Petrona", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Phetsarath": { + "name": "Phetsarath", + "designer": [ + "Danh Hong" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "lao" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Phetsarath is a font for the Lao language, used in the Lao People's Democratic Republic. It was commissioned by the Ministry of Posts and Telecommunications of the national government.", + "primary_script": "Laoo", + "article": null, + "minisite_url": null + }, + "Philosopher": { + "name": "Philosopher", + "designer": [ + "Jovanny Lemonad" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Philosopher was started in 2008 and takes inspiration from Agfa Rotis and ITC Binary. This font is universal: It can be used in logos, headlines, and for text. The initial version of the font was deliberately spread with errors - this was my invaluable contribution to type culture around the world, as I thought then - I wanted to stir up designers so they began working with fonts, rather than passively using what is there. Over time I wanted to correct the errors, and now the font has been used by millions of people worldwide. In June 2011 a four-style family was published, and in September 2011 the full Latin and Cyrillic family was fully hinted. To contribute, see github.com/alexeiva/philosopher.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Phudu": { + "name": "Phudu", + "designer": [ + "D\u01b0\u01a1ng Tr\u1ea7n" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Phudu is a sans-serif display typeface inspired by Vietnamese hand-lettering billboards in the old days, that supports a wide range of languages by Duong Tran. As a new way to achieve variable font, the lighterPhudu gets, the extended it becomes, for people to read it easier compared to other lightweight narrow typefaces. In the progress of learning and crafting types, Duong has always thought about what makes a Vietnamese typeface. If we rewind to the past, we can see a Vietnamese lettering style on the billboard stores, when the artists adapted Latin typefaces and then added marks based on their styles. Among those, there were mostly all-caps sans-serif types played as descriptions or the store's names themself. To make a new easy-to-read and easy-to-get typeface, Duong mixed some of the researched letters from the story above. He doesn't want to just revive the types, he wants to improve them to fit the modern-day styles, but still have \"Vietnamese\" souls in them. The typeface was named Phudu (ph\u1ee5c d\u1ef1ng) - \"revival\" in Vietnamese, and has a meaning of timeless (quite the opposite of the name when it can be read as \"ph\u00f9 du\" - ephemeral). To contribute, see github.com/duongtrtype/DTPhudu", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Piazzolla": { + "name": "Piazzolla", + "designer": [ + "Juan Pablo del Peral", + "Huerta Tipogr\u00e1fica" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Piazzolla is a type system intended for optimizing the available space in press media and other publications. It has a compact appearance which allows for small font sizes and tight leading while achieving solid lines and robust paragraphs. It has a distinctive voice that conveys a personal style, especially in display sizes. It has great performance and readability in small point sizes and long texts, both for screen and printing. Designed by Juan Pablo del Peral for Huerta Tipogr\u00e1fica. To contribute see github.com/huertatipografica/piazzolla.", + "primary_script": null, + "article": null, + "minisite_url": "https://piazzolla.huertatipografica.com/" + }, + "Piedra": { + "name": "Piedra", + "designer": [ + "Sudtipos" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "The world may seem cartoonish to you, pilgrim, but the funnies ain't really that funny. The Flintstones are so last century. The Hulks are in, and they're here to stay. Piedra is the rocky, fear-inducing face of galvanized triceps and \u00fcberchiseled jawlines. Be intimidated, be very intimidated. You don't believe it?", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Pinyon Script": { + "name": "Pinyon Script", + "designer": [ + "Nicole Fally" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Pinyon Script is a romantic round hand script-style font. It also features swashes that are confident and showy, somehow giving the type a feeling suggestive of the American West. Perhaps this is why, despite its refinement and aristocratic style, Pinyon Script manages to feel so friendly. Pinyon Script uses high stroke contrast and is very slanted, making it most suitable for use at larger sizes. After expanding the glyphset and language support in June 2022, Pinyon Script now supports African Pri, thanks to the 2024 update. To contribute, visit github.com/SorkinType/Pinyon .", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Pirata One": { + "name": "Pirata One", + "designer": [ + "Rodrigo Fuenzalida", + "Nicolas Massi" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Pirata One is a gothic textura font, simplified and optimized to work well on screen and pixel displays. Its condensed structure and spacing give it an excellent performance and rhythm on texts so it can be used as a header font or in shorts paragraphs. Designed by Rodrigo Fuenzalida and Nicolas Massi. To contribute to the project contact Rodrigo Fuenzalida.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Pixelify Sans": { + "name": "Pixelify Sans", + "designer": [ + "Stefie Justprince" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Pixelify Sans fonts are a unique style of typography that originated in the 1980s with the rise of computer graphics and video games. Pixel fonts are characterized by their blocky, pixelated appearance, which is achieved by using a grid of small, square pixels to create each letterform. To contribute, please see github.com/eifetx/Pixelify-Sans.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Plaster": { + "name": "Plaster", + "designer": [ + "Sorkin Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Plaster is a very low contrast extremely geometric design done in the tradition of the work of Joseph Albers. However many of the solutions to the glyph design vary from Alber's choices. Plaster is suitable for use in medium to large sizes including headlines. This font deviates from most similar fonts because the space between letters is larger. The gaps in the stencil style letters makes letter identification more difficult. A wider letter space helps make the letters easy to read again.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Platypi": { + "name": "Platypi", + "designer": [ + "David Sargent" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Drawing inspiration from the unusual blend of characteristics observed in the Australian platypus, Platypi combines sharp, heavy wedge serifs usually seen in display faces with more conventional curves and proportions to achieve a practical text typeface with a unique and distinctive visual rhythm. The heavier weights push this tension further with increased stroke tapering and overall contrast. Platypi features six weights with matching italic styles. It supports Indigenous Australian and Vietnamese languages, and includes the full Google Fonts Latin Plus Character Set. The word Platypi is commonly used as the plural of platypus; however, it is a form of pseudo-Latin. The correct plural is platypuses. To contribute, see github.com/d-sargent/platypi.", + "minisite_url": null + }, + "Play": { + "name": "Play", + "designer": [ + "Jonas Hecksher" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Play is a minimalistic sans serif typeface designed by Jonas Hecksher during his time as Type Director of Playtype Type Foundry. All letters in Play derive from the 'O' \u2013 square and circular at the same time. Play is designed with large, open counters, ample lowercase x-heights and a corporate, yet friendly appearance. The combination of these qualities give Play both a high legibility and readability.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Playball": { + "name": "Playball", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "An athletic look was the inspiration for Playball. Take advantage of the sweeping swashes to give a true sports look. Perfect for baseball banners and the like. Playball comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/play-ball.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Playfair": { + "name": "Playfair", + "designer": [ + "Claus Eggers S\u00f8rensen" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "Playfair is well suited for general purpose typesetting. Playfair can be interpolated in three dimensions: Width, Weight and Optical Size. The optical size axis is the most extreme of the axes. Along that axis you can seamlessly change the letterforms from the extremely small Agate (5pt) to the extremely big Needlepoint (1200pt). The Agate has a very low contrast between the thickest and thinnest parts of its strokes, in fact the contrast is even slightly negative, meaning the the horisontal strokes are heavier than the vertical strokes. At the other end the Needlepoint is as high contrast as practically possible. The thinnest strokes are but a single unit wide, meaning that if you were to typeset in 1000 points using a Needlepoint weight, the resulting thinnest strokes would be one point wide. The weight axis adds a second dimension by allowing you to seamlessly change from a light regular to a dark black. An update in June 2023 slightly modifies the width axis, giving the text a narrower appearance. In February 2025, a glyphset update improves the language support by adding African. To contribute, see github.com/googlefonts/Playfair.", + "minisite_url": null + }, + "Playfair Display": { + "name": "Playfair Display", + "designer": [ + "Claus Eggers S\u00f8rensen" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Playfair is a transitional design. In the European Enlightenment in the late 18th century, broad nib quills were replaced by pointed steel pens as the popular writing tool of the day. Together with developments in printing technology, ink, and paper making, it became fashionable to print letterforms of high contrast and delicate hairlines that were increasingly detached from the written letterforms. This design lends itself to this period, and while it is not a revival of any particular design, it takes influence from the designs of John Baskerville and from \u2018Scotch Roman\u2019 designs. This typeface was initially published in 2011, and had a major update in 2017. Being a Display (large size) design in the transitional genre, functionally and stylistically it can accompany Georgia or Gelasio for body text. It was succeeded in 2023 by the complete Playfair design, which as a variable font includes body text designs in the optical size axis. This is the main family, with a sibling Playfair Display SC small caps family. The main family downloaded font files include a full set of small caps, common ligatures, and discretionary ligatures. The Playfair project is led by Claus Eggers S\u00f8rensen, a type designer based in Amsterdam, Netherlands. To contribute, see github.com/clauseggers/Playfair-Display", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Playfair Display SC": { + "name": "Playfair Display SC", + "designer": [ + "Claus Eggers S\u00f8rensen" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Playfair is a transitional design. In the European Enlightenment in the late 18th century, broad nib quills were replaced by pointed steel pens as the popular writing tool of the day. Together with developments in printing technology, ink, and paper making, it became fashionable to print letterforms of high contrast and delicate hairlines that were increasingly detached from the written letterforms. This design lends itself to this period, and while it is not a revival of any particular design, it takes influence from the designs of John Baskerville and from \u2018Scotch Roman\u2019 designs. This typeface was initially published in 2011, and had a major update in 2017. Being a Display (large size) design in the transitional genre, functionally and stylistically it can accompany Georgia or Gelasio for body text. It was succeeded in 2023 by the complete Playfair design, which as a variable font includes body text designs in the optical size axis. This is the Small Cap sibling family to the main Playfair Display family. The main family downloaded font files include a full set of small caps, common ligatures, and discretionary ligatures. The Playfair project is led by Claus Eggers S\u00f8rensen, a type designer based in Amsterdam, Netherlands. To contribute, see github.com/clauseggers/Playfair-Display", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Playpen Sans": { + "name": "Playpen Sans", + "designer": [ + "TypeTogether", + "Laura Meseguer", + "Veronika Burian", + "Jos\u00e9 Scaglione", + "Kostas Bartsokas", + "Vera Evstafieva", + "Tom Grace", + "Yorlmar Campos" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "emoji", + "greek", + "latin", + "latin-ext", + "math", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playpen Sans was designed by TypeTogether after over two years of primary research into handwriting education for Latin-based languages, available at primarium.info. It is a variable font with a weight range from Thin (100) to ExtraBold (800) and supports three different writing systems\u2014Latin, Greek, and Cyrillic\u2014that cover over 700 Latin languages, including Vietnamese and 619 Sub-Saharan African languages, 54 Cyrillic languages, and Greek, along with 26 emoji. The Playpen Sans superfamily also includes an Arabic (Playpen Sans Arabic), Devanagari (Playpen Sans Deva), Hebrew (Playpen Sans Hebrew), and Thai (Playpen Sans Thai) fonts that expand the language support of the system. Playpen Sans provides seven different glyphs for each character that are automatically applied as you type, using a built-in shuffler that both ensures variety and avoids repetition. This adds to the overall organic, spontaneous, and authentic feel of the handwritten style. To contribute, see github.com/TypeTogether/Playpen-Sans Watch the video on Youtube A casual handwriting font Some typefaces do more than one thing well, and others excel at just one thing. The Playpen Sans font family excels at imitating casual handwriting with a completely natural look \u2014 the aesthetic form of something made by hand \u2013 combined with all the functionality of a professional typeface. The font world has a general tension between what\u2019s organic and what\u2019s digital. When scribbling a quick note, written letters have slight differences, but all look similar because they come from the same person. Digital typefaces are instead almost always very consistent \u2014 each character is exactly the same, every time you type it. The goal of a typeface that is both casual in look and digital in nature is to appear authentically human within the bounds of digital technology: A typeface with a set of characters that are \u201cthe same, but different\u201d that carries the authenticity which everyone craves. The main problem with typical casual fonts is not having enough alternate characters to look real. When a family has more than one alternate, another problem arises in controlling how and when a character gets replaced. To solve these problems, Playpen Sans was designed with seven versions of each character, plus a novel and automatic shuffler, so no single shape is repeated in close proximity. The result is text with spontaneous inconsistencies that feel fun and organic\u2026 all the benefits of a modern, professional typeface that looks natural. The family was made for non-designers, and it shines within short, informal settings: greeting cards and invitations; casual signs; fun documents, and of course, children\u2019s books and educational materials, comic books, and graphic novels. The straight and curved endings for \u2018i, l, y\u2019, the two-story \u2018a\u2019, and optional shapes for \u2018f, G, I, M\u2019 are notable features. Playpen Sans combines technological and aesthetic values, showing the best of both worlds with digital capabilities and a casual, handmade look. Is it spontaneous? Is it authentic? Thankfully, yes, and yes. Greek and Cyrillic Greek and Cyrillic follow the same principles as Latin, giving the idea that they are all written by the same person. All the writing systems approach letterform construction with casual and continuous strokes; typical stroke boundaries are not always respected due to the relaxed mood of writing; and the in-strokes and out-strokes allow for a natural transition from one letter to the other. Each is a set of clear letterforms that are easy to write and recognize. The design forms a bridge between handwritten and typographic letters, friendly to both little readers and adults. Emojis Playpen Sans has emojis for breezy and encouraging uses, that each match the eight named weights of the Latin. Find here the list of all the emojis available. You can copy and paste them into your document editor when using the font. \ud83d\ude09 \ud83c\udf1e \ud83d\ude0d \u2620 \u2639 \ud83d\ude09 \u270f \ud83d\udcd6 \ud83c\udfe0 \u270d \ud83e\udde9 \ud83e\udd96 \ud83e\ude90 \u2708 \ud83c\udf20 \ud83c\udf82 \ud83c\udfa8 \ud83d\udce3 \ud83d\udc46 \ud83d\udc4d \ud83d\udc4e \ud83c\udfaf \ud83e\udeab \u2705 \u274c \ud83c\udfc5 \ud83e\udd84", + "minisite_url": "https://www.type-together.com/making-playpen-sans" + }, + "Playpen Sans Arabic": { + "name": "Playpen Sans Arabic", + "designer": [ + "TypeTogether", + "Azza Alameddine", + "Laura Meseguer", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "arabic", + "emoji", + "latin", + "latin-ext", + "math" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": "Arab", + "article": "Playpen Sans Arabic was designed by TypeTogether after over two years of primary research into handwriting education for Latin-based languages, available at primarium.info. Playpen Sans Arabic is a variable font with a weight range from Thin (100) to ExtraBold (800). It supports two different writing systems: Arabic and Latin, covering 6 Arabic-based languages and over 332 Latin-based ones, along with a set of \u201creward icons\u201d as emoji. The superfamily also includes a Pan-African Latin, Greek, Cyrillic (Playpen Sans), Devanagari (Playpen Sans Deva), Hebrew (Playpen Sans Hebrew), and Thai (Playpen Sans Thai) fonts that expand the language support of the system. It has alternate glyphs for each character that are automatically applied as you type, with a built-in shuffler that both ensures variety and avoids repetition. This adds to the overall organic, spontaneous, and authentic feel of the handwritten style. To contribute, see github.com/TypeTogether/Playpen-Sans Watch the video on Youtube Arabic Playpen Sans Arabic follows the same fun and relaxed aesthetic as its Latin counterpart, maintaining a cohesive and playful handwriting style across writing systems. Designed with the same tools and writing hand, it seamlessly integrates with the overall design philosophy of the font family. The Arabic writing system features variations in letter shapes and subtle shifts in the positioning of diacritic marks, enhancing its organic and spontaneous feel. Additionally, it includes Ruq\u02bfah alternates, offering further stylistic flexibility while preserving the authentic, handwritten charm that defines Playpen Sans. A casual handwriting font Some typefaces excel at just one thing, while others do multiple things well. Playpen Sans stands out by perfectly imitating casual handwriting, blending the organic feel of something made by hand with the precision of a professional digital typeface. Handwritten text is naturally inconsistent, but digital fonts aim for uniformity. Playpen Sans bridges this gap by offering a set of characters that are \u201cthe same, but different,\u201d creating an authentic and human-like appearance within the constraints of digital design. It has a set of clear letterforms that are easy to write and recognize. The design forms a bridge between handwritten and typographic letters, friendly to both little readers and adults. To achieve this, Playpen Sans includes multiple versions of each character and a built-in shuffler, ensuring no two shapes repeat too closely. This results in text that feels spontaneous, fun, and organic, while maintaining the functionality of a modern typeface. Designed with non-designers in mind, it shines in informal settings like greeting cards, invitations, children\u2019s books, and graphic novels. Its clarifying features, such as straight and curved endings for certain letters and optional shapes, add to its versatility. Playpen Sans combines the best of both worlds: the aesthetic charm of handwritten text and the technological capabilities of a digital font. It\u2019s spontaneous, authentic, and effortlessly bridges the gap between the organic and the digital. Emojis Playpen Sans has emojis for breezy and encouraging uses, that each match the eight named weights of the Latin. Find here the list of all the emojis available. You can copy and paste them into your document editor when using the font. \ud83d\ude09 \ud83c\udf1e \ud83d\ude0d \u2620 \u2639 \ud83d\ude09 \u270f \ud83d\udcd6 \ud83c\udfe0 \u270d \ud83e\udde9 \ud83e\udd96 \ud83e\ude90 \u2708 \ud83c\udf20 \ud83c\udf82 \ud83c\udfa8 \ud83d\udce3 \ud83d\udc46 \ud83d\udc4d \ud83d\udc4e \ud83c\udfaf \ud83e\udeab \u2705 \u274c \ud83c\udfc5 \ud83e\udd84", + "minisite_url": "https://www.type-together.com/making-playpen-sans" + }, + "Playpen Sans Deva": { + "name": "Playpen Sans Deva", + "designer": [ + "TypeTogether", + "Pooja Saxena", + "Gunjan Panchal", + "Laura Meseguer", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "devanagari", + "emoji", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": "Deva", + "article": "Playpen Sans Devanagari was designed by TypeTogether after over two years of primary research into handwriting education for Latin-based languages, available at primarium.info. It is a variable font with a weight range from Thin (100) to ExtraBold (800). It supports two different writing systems: Devanagari and Latin, covering 3 Devanagari languages and over 332 Latin-based ones, along with a set of \u201creward icons\u201d as emoji. The superfamily also includes a Pan-African Latin, Greek, Cyrillic (Playpen Sans), Arabic (Playpen Sans Arabic), Hebrew (Playpen Sans Hebrew), and Thai (Playpen Sans Thai) fonts that expand the language support of the system. Playpen Sans Devanagari has alternate glyphs for each character that are automatically applied as you type, with a built-in shuffler that both ensures variety and avoids repetition. This adds to the overall organic, spontaneous, and authentic feel of the handwritten style. To contribute, see github.com/TypeTogether/Playpen-Sans Watch the video on Youtube Devanagari Playpen Sans Devanagari is a thoughtfully designed typeface that celebrates the natural beauty and diversity of handwritten Devanagari script. Built on the backbone of countless hours spent drawing and redrawing Devanagari letters and combinations by hand, the design carefully selects and refines the most organic and intuitive shapes. Subtle variations, including minor gaps in the headlines, add an organic texture that mimics the imperfections of real handwriting. The font emphasizes intuitive retracing, with carefully crafted imperfect joins and even a sprinkle of strategically placed overlaps, creating a warm and approachable handwritten appearance. Moving away from rigid calligraphic rules, Playpen Sans Devanagari honors the everyday ways people draw their letters, incorporating small idiosyncrasies that make the text feel friendly, relatable, and full of character. This design is a tribute to the human touch, blending authenticity with readability for a truly inviting typographic experience. A casual handwriting font Some typefaces excel at just one thing, while others do multiple things well. Playpen Sans stands out by perfectly imitating casual handwriting, blending the organic feel of something made by hand with the precision of a professional digital typeface. Handwritten text is naturally inconsistent, but digital fonts aim for uniformity. Playpen Sans bridges this gap by offering a set of characters that are \u201cthe same, but different,\u201d creating an authentic and human-like appearance within the constraints of digital design. It has a set of clear letterforms that are easy to write and recognize. The design forms a bridge between handwritten and typographic letters, friendly to both little readers and adults. To achieve this, Playpen Sans includes multiple versions of each character and a built-in shuffler, ensuring no two shapes repeat too closely. This results in text that feels spontaneous, fun, and organic, while maintaining the functionality of a modern typeface. Designed with non-designers in mind, it shines in informal settings like greeting cards, invitations, children\u2019s books, and graphic novels. Its clarifying features, such as straight and curved endings for certain letters and optional shapes, add to its versatility. Playpen Sans combines the best of both worlds: the aesthetic charm of handwritten text and the technological capabilities of a digital font. It\u2019s spontaneous, authentic, and effortlessly bridges the gap between the organic and the digital. Emojis Playpen Sans has emojis for breezy and encouraging uses, that each match the eight named weights of the Latin. Find here the list of all the emojis available. You can copy and paste them into your document editor when using the font. \ud83d\ude09 \ud83c\udf1e \ud83d\ude0d \u2620 \u2639 \ud83d\ude09 \u270f \ud83d\udcd6 \ud83c\udfe0 \u270d \ud83e\udde9 \ud83e\udd96 \ud83e\ude90 \u2708 \ud83c\udf20 \ud83c\udf82 \ud83c\udfa8 \ud83d\udce3 \ud83d\udc46 \ud83d\udc4d \ud83d\udc4e \ud83c\udfaf \ud83e\udeab \u2705 \u274c \ud83c\udfc5 \ud83e\udd84", + "minisite_url": "https://www.type-together.com/making-playpen-sans" + }, + "Playpen Sans Hebrew": { + "name": "Playpen Sans Hebrew", + "designer": [ + "TypeTogether", + "Tom Grace", + "Laura Meseguer", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "emoji", + "hebrew", + "latin", + "latin-ext", + "math" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": "Hebr", + "article": "Playpen Sans Hebrew was designed by TypeTogether after over two years of primary research into handwriting education for Latin-based languages, available at primarium.info. It is a variable font with a weight range from Thin (100) to ExtraBold (800). It supports two different writing systems: Hebrew and Latin, covering four Hebrew languages and over 332 Latin-based ones, along with a set of \u201creward icons\u201d as emoji. The Playpen Sans superfamily also includes a Pan-African Latin, Greek, Cyrillic (Playpen Sans), Arabic (Playpen Sans Arabic), Devanagari (Playpen Sans Deva), and Thai (Playpen Sans Thai) fonts that expand the language support of the system. Playpen Sans Hebrew has alternate glyphs for each character that are automatically applied as you type, with a built-in shuffler that both ensures variety and avoids repetition. This adds to the overall organic, spontaneous, and authentic feel of the handwritten style. To contribute, see github.com/TypeTogether/Playpen-Sans Watch the video on Youtube Hebrew Playpen Sans Hebrew is a warm and inviting cursive script that seamlessly integrates into the Playpen Sans type family. Its lively, organic forms and irregular curves evoke the charm of natural handwriting, giving it a friendly and informal personality. Designed with versatility in mind, the font comes in eight carefully crafted weights, each optically balanced to ensure comfortable legibility across various applications. Whether used for headlines, short text paragraphs, or creative projects, Playpen Sans Hebrew maintains a visually harmonious relationship with the other scripts in the Playpen Sans family, making it a cohesive yet distinctive addition. Its approachable aesthetic and thoughtful design make it perfect for adding a touch of warmth and humanity to any typographic composition. A casual handwriting font Some typefaces excel at just one thing, while others do multiple things well. Playpen Sans stands out by perfectly imitating casual handwriting, blending the organic feel of something made by hand with the precision of a professional digital typeface. Handwritten text is naturally inconsistent, but digital fonts aim for uniformity. Playpen Sans bridges this gap by offering a set of characters that are \u201cthe same, but different,\u201d creating an authentic and human-like appearance within the constraints of digital design. It has a set of clear letterforms that are easy to write and recognize. The design forms a bridge between handwritten and typographic letters, friendly to both little readers and adults. To achieve this, Playpen Sans includes multiple versions of each character and a built-in shuffler, ensuring no two shapes repeat too closely. This results in text that feels spontaneous, fun, and organic, while maintaining the functionality of a modern typeface. Designed with non-designers in mind, it shines in informal settings like greeting cards, invitations, children\u2019s books, and graphic novels. Its clarifying features, such as straight and curved endings for certain letters and optional shapes, add to its versatility. Playpen Sans combines the best of both worlds: the aesthetic charm of handwritten text and the technological capabilities of a digital font. It\u2019s spontaneous, authentic, and effortlessly bridges the gap between the organic and the digital. Emojis Playpen Sans has emojis for breezy and encouraging uses, that each match the eight named weights of the Latin. Find here the list of all the emojis available. You can copy and paste them into your document editor when using the font. \ud83d\ude09 \ud83c\udf1e \ud83d\ude0d \u2620 \u2639 \ud83d\ude09 \u270f \ud83d\udcd6 \ud83c\udfe0 \u270d \ud83e\udde9 \ud83e\udd96 \ud83e\ude90 \u2708 \ud83c\udf20 \ud83c\udf82 \ud83c\udfa8 \ud83d\udce3 \ud83d\udc46 \ud83d\udc4d \ud83d\udc4e \ud83c\udfaf \ud83e\udeab \u2705 \u274c \ud83c\udfc5 \ud83e\udd84", + "minisite_url": "https://www.type-together.com/making-playpen-sans" + }, + "Playpen Sans Thai": { + "name": "Playpen Sans Thai", + "designer": [ + "TypeTogether", + "Sirin Gunkloy", + "Laura Meseguer", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "emoji", + "latin", + "latin-ext", + "math", + "thai" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": "Thai", + "article": "Playpen Sans Thai was designed by TypeTogether after over two years of primary research into handwriting education for Latin-based languages, available at primarium.info. It is a variable font with a weight range from Thin (100) to ExtraBold (800). It supports two different writing systems: Thai and Latin, covering Thai and over 332 Latin-based languages, along with a set of \u201creward icons\u201d as emoji. The superfamily also includes a Pan-African Latin, Greek, Cyrillic (Playpen Sans), Arabic (Playpen Sans Arabic), Devanagari (Playpen Sans Deva), and Hebrew (Playpen Sans Hebrew) fonts that expand the language support of the system. Playpen Sans Thai has alternate glyphs for each character that are automatically applied as you type, with a built-in shuffler that both ensures variety and avoids repetition. This adds to the overall organic, spontaneous, and authentic feel of the handwritten style. To contribute, see github.com/TypeTogether/Playpen-Sans Watch the video on Youtube Thai Playpen Sans Thai is a playful and distinctive typeface that reimagines the traditional Thai script with a unique twist. Unlike conventional Thai fonts that rely on simple looped or loopless terminals, this design introduces a subtle yet innovative feature: hook-shaped terminals that hint at the natural starting point of each letter. Inspired by extensive research into the most legible letterforms for graphic novels, this detail not only enhances readability but also adds a touch of whimsy. The flowing strokes capture the fluid, continuous nature of Thai writing, striking a perfect balance between casual and steady\u2014a rhythm that feels neither too fast nor too slow. The result is a font with a lively, fun-loving personality, designed to bring joy and clarity to every word. A casual handwriting font Some typefaces excel at just one thing, while others do multiple things well. Playpen Sans stands out by perfectly imitating casual handwriting, blending the organic feel of something made by hand with the precision of a professional digital typeface. Handwritten text is naturally inconsistent, but digital fonts aim for uniformity. Playpen Sans bridges this gap by offering a set of characters that are \u201cthe same, but different,\u201d creating an authentic and human-like appearance within the constraints of digital design. It has a set of clear letterforms that are easy to write and recognize. The design forms a bridge between handwritten and typographic letters, friendly to both little readers and adults. To achieve this, Playpen Sans includes multiple versions of each character and a built-in shuffler, ensuring no two shapes repeat too closely. This results in text that feels spontaneous, fun, and organic, while maintaining the functionality of a modern typeface. Designed with non-designers in mind, it shines in informal settings like greeting cards, invitations, children\u2019s books, and graphic novels. Its clarifying features, such as straight and curved endings for certain letters and optional shapes, add to its versatility. Playpen Sans combines the best of both worlds: the aesthetic charm of handwritten text and the technological capabilities of a digital font. It\u2019s spontaneous, authentic, and effortlessly bridges the gap between the organic and the digital. Emojis Playpen Sans has emojis for breezy and encouraging uses, that each match the eight named weights of the Latin. Find here the list of all the emojis available. You can copy and paste them into your document editor when using the font. \ud83d\ude09 \ud83c\udf1e \ud83d\ude0d \u2620 \u2639 \ud83d\ude09 \u270f \ud83d\udcd6 \ud83c\udfe0 \u270d \ud83e\udde9 \ud83e\udd96 \ud83e\ude90 \u2708 \ud83c\udf20 \ud83c\udf82 \ud83c\udfa8 \ud83d\udce3 \ud83d\udc46 \ud83d\udc4d \ud83d\udc4e \ud83c\udfaf \ud83e\udeab \u2705 \u274c \ud83c\udfc5 \ud83e\udd84", + "minisite_url": "https://www.type-together.com/making-playpen-sans" + }, + "Playwrite AR": { + "name": "Playwrite AR", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Primary school curricula in Argentina focus on writing mostly from a comprehension and composition standpoint rather than from the perspective of handwriting. Even so, primary school students learn how to write with joined upright cursive letters from first or second grade. In the initial level, students learn print-style uppercase letters, followed by print lowercase letters in the first grade, and finally, cursive writing. Playwrite Argentina is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling font with Guides, Playwrite AR Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Argentina characteristics As it happens in many South American countries, handwriting for primary education is rooted in the tradition of French Normal schools. It is a round, continuous cursive style, and some of its most recognizable features are the long ascenders and descender loops, semi-connected uppercase letters, curved entry strokes on x-height, the knot in the letter 'o', and a crossbar in 'q' that requires a pen lift. Family name in font menus Playwrite Argentina appears in font menus with a two-letter country code \u2018AR\u2019, Playwrite AR, and features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Argentina, see primarium.info/countries/argentina. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite AR\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/argentina" + }, + "Playwrite AR Guides": { + "name": "Playwrite AR Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Argentina Guides is a single-weight font companion that harmonizes seamlessly with the main family, Playwrite Argentina. It includes guidelines on the baseline, x-height, ascenders, and descenders. These guides provide a visual aid for primary school children that helps young learners grasp the proportions of letterforms and assists them in drawing letters with confidence and accuracy. Primary school curricula in Argentina focus on writing mostly from a comprehension and composition standpoint rather than from the perspective of handwriting. Even so, primary school students learn how to write with joined upright cursive letters from first or second grade. In the initial level, students learn print-style uppercase letters, followed by print lowercase letters in the first grade, and finally, cursive writing. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Argentina Guides characteristics Guidelines are present in all characters except for those used for letter/word spacing. To create a versatile tool for teachers when designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. In Playwrite Guides fonts the underscore prints only the guidelines, and matches the width of the normal word space. Find the detailed characteristics of this country's Model in Playwrite Argentina. Family name in font menus Playwrite Argentina Guides appears in font menus with a two-letter country code \u2018AR\u2019, Playwrite AR Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Argentina, see primarium.info/countries/argentina. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite AR Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/argentina" + }, + "Playwrite AT": { + "name": "Playwrite AT", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "The Austrian Elementary School Curriculum, updated in 2003, stipulates that by the end of the second grade, students should achieve legible and fluent handwriting based on the \u00d6sterreichische Schulschrift, or Austrian school script. This model was originally created in 1946 drawing upon the foundations of German S\u00fctterlinschrift, but underwent several reforms before its last version was introduced in 1995. Playwrite \u00d6sterreich is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite AT Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite \u00d6sterreich characteristics This cursive style, available in upright and slanted (italic) versions, features oval foundational forms and medium-length extenders. It favors fast writing and it is mostly joined, but some letters with crossbars require pen lifts. Uppercase letters are cursive and semi-joined. Notable shapes include Kurrent-style 't,' an 'f' with a loopless descender, a crossbar in 'Z', and knots in certain lower cases. Family name in font menus Playwrite \u00d6sterreich appears in font menus with a two-letter country code \u2018AT\u2019, Playwrite AT, and features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in England, see primarium.info/countries/austria. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold style, so please avoid applying it in text editors. If you use the common 'B' button, you will automatically generate a low-quality style. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite AT\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/austria" + }, + "Playwrite AT Guides": { + "name": "Playwrite AT Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite \u00d6sterreich Guides is a single-weight font designed to harmonize seamlessly with its companion, Playwrite \u00d6sterreich. This font includes guideline markers on the baseline, x-height, ascenders, and descenders, providing a visual aid for primary school children. These guides help young learners grasp the proportions of letterforms and assist them in drawing letters with confidence and accuracy. The Austrian Elementary School Curriculum, updated in 2003, stipulates that by the end of the second grade, students should achieve legible and fluent handwriting based on the \u00d6sterreichische Schulschrift, or Austrian school script. This model was originally created in 1946 drawing upon the foundations of German S\u00fctterlinschrift, but underwent several reforms before its last version was introduced in 1995. To contribute, see github.com/TypeTogether/Playwrite. Playwrite \u00d6sterreich Guides characteristics Guidelines are present in all characters except for those used for letter spacing. To create a versatile font for teachers designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. It replaces the glyph shape with the guidelines and matches the width of the letter space. Find the detailed characteristics of this country's Model in Playwrite \u00d6sterreich. Family name in font menus Playwrite \u00d6sterreich Guides appears in font menus with a two-letter country code \u2018AT\u2019, Playwrite AT Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in England, see primarium.info/countries/austria. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold style, so please avoid applying it in text editors. If you use the common 'B' button, you will automatically generate a low-quality style. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite AT Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/austria" + }, + "Playwrite AU NSW": { + "name": "Playwrite AU NSW", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "All Australian provinces employ modern cursive letters for handwriting education, which are taught in a progressive manner. But each state teaches its own version of this style, locally known as \u2018script\u2018, and state-level departments of education offer guidelines and, in some cases, resources for schools and teachers. The adoption of the current models and approach can be traced back to 1990, when the Australian Education Council (AEC) recommended that all schools in the country should adopt a handwriting style based on Scottish calligrapher Tom Gourdie\u2019s Simple Modern Hand. The AEC advocated for a consistent style in handwriting instruction across the country so students relocating across states and territories would not face difficulties. Despite starting from the same source, today the five main handwriting models have diverged somewhat in their details. Playwrite Australia NSW is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite AU NSW Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Australia NSW characteristics This semi-connected, slanted modern cursive features print-style capital letters. It is characterized by loopless extenders and letters with descenders that do not connect to the following letter. Construction exhibits an overall high stroke speed. Key features include an open 'G' without a crossbar and a uniquely designed 'Y'. The lowercase 'f' is disconnected and has a straight descender. The letters 'b' and 'p' feature closed bowls, enhancing their distinctiveness. Both 'r' and 'z' are presented in an italic style, contributing to the script's elegant and streamlined. Family name in font menus Playwrite Australia NSW appears in font menus with a two-letter country code \u2018AU\u2019 and a the \u2018NSW\u2019 abbreviation Playwrite AU NSW. It features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in australia, see primarium.info/countries/australia. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite AU NSW\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/australia" + }, + "Playwrite AU NSW Guides": { + "name": "Playwrite AU NSW Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Australia NSW Guides is a single-weight font designed to harmonize seamlessly with its companion, Playwrite Australia NSW. This font includes guideline markers on the baseline, x-height, ascenders, and descenders, providing a visual aid for primary school children. These guides help young learners grasp the proportions of letterforms and assist them in drawing letters with confidence and accuracy. All Australian provinces employ modern cursive letters for handwriting education, which are taught in a progressive manner. But each state teaches its own version of this style, locally known as \u2018script\u2018, and state-level departments of education offer guidelines and, in some cases, resources for schools and teachers. The adoption of the current models and approach can be traced back to 1990, when the Australian Education Council (AEC) recommended that all schools in the country should adopt a handwriting style based on Scottish calligrapher Tom Gourdie\u2019s Simple Modern Hand. The AEC advocated for a consistent style in handwriting instruction across the country so students relocating across states and territories would not face difficulties. Despite starting from the same source, today the five main handwriting models have diverged somewhat in their details. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Australia NSW Guides characteristics Guidelines are present in all characters except for those used for letter spacing. To create a versatile font for teachers designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. It replaces the glyph shape with the guidelines and matches the width of the letter space. Find the detailed characteristics of this country's Model in Playwrite Australia NSW. Family name in font menus Playwrite Australia NSW Guides appears in font menus with a two-letter country code \u2018AU\u2019 and a the \u2018NSW\u2019 abbreviation Playwrite AU NSW Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in australia, see primarium.info/countries/australia. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite AU NSW Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/australia" + }, + "Playwrite AU QLD": { + "name": "Playwrite AU QLD", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "All Australian provinces employ modern cursive letters for handwriting education, which are taught in a progressive manner. But each state teaches its own version of this style, locally known as \u2018script\u2018, and state-level departments of education offer guidelines and, in some cases, resources for schools and teachers. The adoption of the current models and approach can be traced back to 1990, when the Australian Education Council (AEC) recommended that all schools in the country should adopt a handwriting style based on Scottish calligrapher Tom Gourdie\u2019s Simple Modern Hand. The AEC advocated for a consistent style in handwriting instruction across the country so students relocating across states and territories would not face difficulties. Despite starting from the same source, today the five main handwriting models have diverged somewhat in their details. Playwrite Australia QLD is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite AU QLD Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Australia QLD characteristics This semi-connected, slanted modern cursive features print-style capital letters. The extenders are loopless, and letters with descenders do not connect to the next letter, allowing for a fluid and fast writing pace. Notably, 'm' and 'n' start with curved entry strokes. Distinctive features include an open 'G' without a crossbar and a serifed 'I', adding a unique touch. The 'Y' is peculiar in its form. The lowercase 'f' is disconnected and features a straight descender. The 'q' concludes with a short exit stroke, while the 's' maintains a cursive style. The 'z' is designed to be wide and open with a descender, enhancing readability and style. Family name in font menus Playwrite Australia QLD appears in font menus with a two-letter country code \u2018AU\u2019 and a the \u2018QLD\u2019 abbreviation Playwrite AU QLD. It features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in australia, see primarium.info/countries/australia. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite AU QLD\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/australia" + }, + "Playwrite AU QLD Guides": { + "name": "Playwrite AU QLD Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Australia QLD Guides is a single-weight font designed to harmonize seamlessly with its companion, Playwrite Australia QLD. This font includes guideline markers on the baseline, x-height, ascenders, and descenders, providing a visual aid for primary school children. These guides help young learners grasp the proportions of letterforms and assist them in drawing letters with confidence and accuracy. All Australian provinces employ modern cursive letters for handwriting education, which are taught in a progressive manner. But each state teaches its own version of this style, locally known as \u2018script\u2018, and state-level departments of education offer guidelines and, in some cases, resources for schools and teachers. The adoption of the current models and approach can be traced back to 1990, when the Australian Education Council (AEC) recommended that all schools in the country should adopt a handwriting style based on Scottish calligrapher Tom Gourdie\u2019s Simple Modern Hand. The AEC advocated for a consistent style in handwriting instruction across the country so students relocating across states and territories would not face difficulties. Despite starting from the same source, today the five main handwriting models have diverged somewhat in their details. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Australia QLD Guides characteristics Guidelines are present in all characters except for those used for letter spacing. To create a versatile font for teachers designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. It replaces the glyph shape with the guidelines and matches the width of the letter space. Find the detailed characteristics of this country's Model in Playwrite Australia QLD. Family name in font menus Playwrite Australia QLD Guides appears in font menus with a two-letter country code \u2018AU\u2019 and a the \u2018QLD\u2019 abbreviation Playwrite AU QLD Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in australia, see primarium.info/countries/australia. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite AU QLD Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/australia" + }, + "Playwrite AU SA": { + "name": "Playwrite AU SA", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "All Australian provinces employ modern cursive letters for handwriting education, which are taught in a progressive manner. But each state teaches its own version of this style, locally known as \u2018script\u2018, and state-level departments of education offer guidelines and, in some cases, resources for schools and teachers. The adoption of the current models and approach can be traced back to 1990, when the Australian Education Council (AEC) recommended that all schools in the country should adopt a handwriting style based on Scottish calligrapher Tom Gourdie\u2019s Simple Modern Hand. The AEC advocated for a consistent style in handwriting instruction across the country so students relocating across states and territories would not face difficulties. Despite starting from the same source, today the five main handwriting models have diverged somewhat in their details. Playwrite Australia SA is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite AU SA Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Australia SA characteristics This semi-connected, slanted modern cursive features print-style capital letters. The extenders are loopless, and letters with descenders do not connect to the next letter, facilitating a brisk writing pace. Key characteristics include an open 'G' without a crossbar, a serifed 'I', and the 'Y', which also stands out with its unusual design. The lowercase 'f' is disconnected and comes with a straight descender. The 'q' is noted for its short exit stroke, while the 'k' is uniquely designed with two strokes. Both 'r' and 'z' are presented in an italic style, contributing to the elegance of this script. Family name in font menus Playwrite Australia SA appears in font menus with a two-letter country code \u2018AU\u2019 and a the \u2018SA\u2019 abbreviation Playwrite AU SA. It features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in australia, see primarium.info/countries/australia. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite AU SA\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/australia" + }, + "Playwrite AU SA Guides": { + "name": "Playwrite AU SA Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Australia SA Guides is a single-weight font designed to harmonize seamlessly with its companion, Playwrite Australia SA. This font includes guideline markers on the baseline, x-height, ascenders, and descenders, providing a visual aid for primary school children. These guides help young learners grasp the proportions of letterforms and assist them in drawing letters with confidence and accuracy. All Australian provinces employ modern cursive letters for handwriting education, which are taught in a progressive manner. But each state teaches its own version of this style, locally known as \u2018script\u2018, and state-level departments of education offer guidelines and, in some cases, resources for schools and teachers. The adoption of the current models and approach can be traced back to 1990, when the Australian Education Council (AEC) recommended that all schools in the country should adopt a handwriting style based on Scottish calligrapher Tom Gourdie\u2019s Simple Modern Hand. The AEC advocated for a consistent style in handwriting instruction across the country so students relocating across states and territories would not face difficulties. Despite starting from the same source, today the five main handwriting models have diverged somewhat in their details. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Australia SA Guides characteristics Guidelines are present in all characters except for those used for letter spacing. To create a versatile font for teachers designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. It replaces the glyph shape with the guidelines and matches the width of the letter space. Find the detailed characteristics of this country's Model in Playwrite Australia SA. Family name in font menus Playwrite Australia SA Guides appears in font menus with a two-letter country code \u2018AU\u2019 and a the \u2018SA\u2019 abbreviation Playwrite AU SA Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in australia, see primarium.info/countries/australia. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite AU SA Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/australia" + }, + "Playwrite AU TAS": { + "name": "Playwrite AU TAS", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "All Australian provinces employ modern cursive letters for handwriting education, which are taught in a progressive manner. But each state teaches its own version of this style, locally known as \u2018script\u2018, and state-level departments of education offer guidelines and, in some cases, resources for schools and teachers. The adoption of the current models and approach can be traced back to 1990, when the Australian Education Council (AEC) recommended that all schools in the country should adopt a handwriting style based on Scottish calligrapher Tom Gourdie\u2019s Simple Modern Hand. The AEC advocated for a consistent style in handwriting instruction across the country so students relocating across states and territories would not face difficulties. Despite starting from the same source, today the five main handwriting models have diverged somewhat in their details. Playwrite Australia Tasmania is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite AU TAS Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Australia Tasmania characteristics This semi-connected, slanted modern cursive features print-style capital letters. The lowercase letters are loopless, and characters with descenders, as well as the letter 's', do not connect to the following letter, allowing for faster writing. The style is characterized by a high stroke speed. Notably, the letter 'G' is open, and 'Y' has a peculiar design. The 'f' is disconnected with a curved descender. The letters 'b' and 'p' have closed bowls, while 'r' and 'z' are presented in an italic style. Additionally, 'q' finishes with a small exit stroke, contributing to the fluidity and distinctiveness of this handwriting style. Family name in font menus Playwrite Australia Tasmania appears in font menus with a two-letter country code \u2018AU\u2019 and a the \u2018TAS\u2019 abbreviation Playwrite AU TAS. It features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in australia, see primarium.info/countries/australia. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite AU TAS\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/australia" + }, + "Playwrite AU TAS Guides": { + "name": "Playwrite AU TAS Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Australia TAS Guides is a single-weight font designed to harmonize seamlessly with its companion, Playwrite Australia TAS. This font includes guideline markers on the baseline, x-height, ascenders, and descenders, providing a visual aid for primary school children. These guides help young learners grasp the proportions of letterforms and assist them in drawing letters with confidence and accuracy. All Australian provinces employ modern cursive letters for handwriting education, which are taught in a progressive manner. But each state teaches its own version of this style, locally known as \u2018script\u2018, and state-level departments of education offer guidelines and, in some cases, resources for schools and teachers. The adoption of the current models and approach can be traced back to 1990, when the Australian Education Council (AEC) recommended that all schools in the country should adopt a handwriting style based on Scottish calligrapher Tom Gourdie\u2019s Simple Modern Hand. The AEC advocated for a consistent style in handwriting instruction across the country so students relocating across states and territories would not face difficulties. Despite starting from the same source, today the five main handwriting models have diverged somewhat in their details. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Australia Tasmania Guides characteristics Guidelines are present in all characters except for those used for letter spacing. To create a versatile font for teachers designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. It replaces the glyph shape with the guidelines and matches the width of the letter space. Find the detailed characteristics of this country's Model in Playwrite Australia TAS. Family name in font menus Playwrite Australia Tasmania Guides appears in font menus with a two-letter country code \u2018AU\u2019 and a the \u2018TAS\u2019 abbreviation Playwrite AU TAS Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in australia, see primarium.info/countries/australia. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite AU TAS Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/australia" + }, + "Playwrite AU VIC": { + "name": "Playwrite AU VIC", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "All Australian provinces employ modern cursive letters for handwriting education, which are taught in a progressive manner. But each state teaches its own version of this style, locally known as \u2018script\u2018, and state-level departments of education offer guidelines and, in some cases, resources for schools and teachers. The adoption of the current models and approach can be traced back to 1990, when the Australian Education Council (AEC) recommended that all schools in the country should adopt a handwriting style based on Scottish calligrapher Tom Gourdie\u2019s Simple Modern Hand. The AEC advocated for a consistent style in handwriting instruction across the country so students relocating across states and territories would not face difficulties. Despite starting from the same source, today the five main handwriting models have diverged somewhat in their details. Playwrite Australia Victoria is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite AU VIC Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Australia Victoria characteristics This modern cursive includes elements of continuous cursive styles, such as the open bowls in 'b' and 'p'. The only loop is on the ascender of 'f', while 'm' and 'n' feature curved entry strokes. Letters with descenders, except for 'f', do not connect to the next letter, giving a more distinct and clear semi-connected appearance. The 'z' has a very open design with a descender. In line with other Australian models, 'g' also features an open design. 'M' is noted for its plain legs, and 'q' ends with a small exit stroke. Family name in font menus Playwrite Australia Victoria appears in font menus with a two-letter country code \u2018AU\u2019 and a the \u2018VIC\u2019 abbreviation Playwrite AU VIC. It features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in australia, see primarium.info/countries/australia. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite AU VIC\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/australia" + }, + "Playwrite AU VIC Guides": { + "name": "Playwrite AU VIC Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Australia Victoria Guides is a single-weight font designed to harmonize seamlessly with its companion, Playwrite Australia Victoria. This font includes guideline markers on the baseline, x-height, ascenders, and descenders, providing a visual aid for primary school children. These guides help young learners grasp the proportions of letterforms and assist them in drawing letters with confidence and accuracy. All Australian provinces employ modern cursive letters for handwriting education, which are taught in a progressive manner. But each state teaches its own version of this style, locally known as \u2018script\u2018, and state-level departments of education offer guidelines and, in some cases, resources for schools and teachers. The adoption of the current models and approach can be traced back to 1990, when the Australian Education Council (AEC) recommended that all schools in the country should adopt a handwriting style based on Scottish calligrapher Tom Gourdie\u2019s Simple Modern Hand. The AEC advocated for a consistent style in handwriting instruction across the country so students relocating across states and territories would not face difficulties. Despite starting from the same source, today the five main handwriting models have diverged somewhat in their details. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Australia Victoria Guides characteristics Guidelines are present in all characters except for those used for letter spacing. To create a versatile font for teachers designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. It replaces the glyph shape with the guidelines and matches the width of the letter space. Find the detailed characteristics of this country's Model in Playwrite Australia Victoria. Family name in font menus Playwrite Australia Victoria Guides appears in font menus with a two-letter country code \u2018AU\u2019 and a the \u2018VIC\u2019 abbreviation Playwrite AU VIC Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in australia, see primarium.info/countries/australia. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite AU VIC Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/australia" + }, + "Playwrite BE VLG": { + "name": "Playwrite BE VLG", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "The Dutch-French language divide in Belgium, a phenomenon with roots stretching back to the Middle Ages, continues to be relevant in the country today. Traditions of handwriting education exemplify this circumstance and reflect the country's historical ties to France and the Netherlands. Regardless of the handwriting model adopted, students learn print-style script letters in kindergarten and progress to connected letters in primary school. In Flanders, there is a preference for sloped continuous cursive writing, reminiscent of Dutch handwriting models, whereas the French-speaking community in the Walloon region opts for upright cursive writing, a style that enjoys popularity in France. This diversity in handwriting education is a direct response to Belgium's rich linguistic culture, leading to the introduction of a second official language early in the school years. Playwrite Belgi\u00eb Vlaanderen is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite BE VLG Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Belgi\u00eb Vlaanderen characteristics This style is a slanted, fully connected continuous cursive. It features decorative capital letters, some of which, like 'A', closely resemble a cursive structure. The extenders are of medium length, enhancing the fluidity. 'T' and 'Z' are designed with a crossbar, while 'X' includes loops that facilitates continuous writing without lifting the pen. The 'S' maintains a straight spine. The lowercase 'f' features only a top loop, connecting from its crossbar, and the 't' has a crossbar that extends only to the right, giving it a distinctive appearance. Family name in font menus Playwrite Belgi\u00eb Vlaanderen appears in font menus with a two-letter country code \u2018BE\u2019 and a the \u2018VLG\u2019 abbreviation Playwrite BE VLG. It features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in australia, see primarium.info/countries/belgium. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite BE VLG\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/belgium" + }, + "Playwrite BE VLG Guides": { + "name": "Playwrite BE VLG Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Belgi\u00eb Vlaanderen Guides is a single-weight font designed to harmonize seamlessly with its companion, Playwrite Belgi\u00eb Vlaanderen. This font includes guideline markers on the baseline, x-height, ascenders, and descenders, providing a visual aid for primary school children. These guides help young learners grasp the proportions of letterforms and assist them in drawing letters with confidence and accuracy. The Dutch-French language divide in Belgium, a phenomenon with roots stretching back to the Middle Ages, continues to be relevant in the country today. Traditions of handwriting education exemplify this circumstance and reflect the country's historical ties to France and the Netherlands. Regardless of the handwriting model adopted, students learn print-style script letters in kindergarten and progress to connected letters in primary school. In Flanders, there is a preference for sloped continuous cursive writing, reminiscent of Dutch handwriting models, whereas the French-speaking community in the Walloon region opts for upright cursive writing, a style that enjoys popularity in France. This diversity in handwriting education is a direct response to Belgium's rich linguistic culture, leading to the introduction of a second official language early in the school years. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Belgi\u00eb Vlaanderen characteristics Guidelines are present in all characters except for those used for letter spacing. To create a versatile font for teachers designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. It replaces the glyph shape with the guidelines and matches the width of the letter space. Find the detailed characteristics of this country's Model in Playwrite Belgi\u00eb Vlaanderen. Family name in font menus Playwrite Belgi\u00eb Vlaanderen Guides appears in font menus with a two-letter country code \u2018BE\u2019 and a the \u2018VLG\u2019 abbreviation Playwrite BE VLG Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in australia, see primarium.info/countries/belgium. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite BE VLG Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/belgium" + }, + "Playwrite BE WAL": { + "name": "Playwrite BE WAL", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "The Dutch-French language divide in Belgium, a phenomenon with roots stretching back to the Middle Ages, continues to be relevant in the country today. Traditions of handwriting education exemplify this circumstance and reflect the country's historical ties to France and the Netherlands. Regardless of the handwriting model adopted, students learn print-style script letters in kindergarten and progress to connected letters in primary school. In Flanders, there is a preference for sloped continuous cursive writing, reminiscent of Dutch handwriting models, whereas the French-speaking community in the Walloon region opts for upright cursive writing, a style that enjoys popularity in France. This diversity in handwriting education is a direct response to Belgium's rich linguistic culture, leading to the introduction of a second official language early in the school years. Playwrite Belgique Wallonie-Bruxelles is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite BE WAL Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Belgique Wallonie-Bruxelles characteristics This upright cursive style features very long extenders and is executed at a slow speed. The capitals are decorative, with features like crossbars in 'T' and 'Z', and a vertical spine in 'S'. The lowercase letters adhere to a continuous, fully connected cursive style, incorporating loops, knots, and curved entry strokes. Notable details include a flat-topped 'z' with a knot and a 't' with a single-sided crossbar, enhancing the ornate nature of this script. Family name in font menus Playwrite Belgique Wallonie-Bruxelles appears in font menus with a two-letter country code \u2018BE\u2019 and a the \u2018WAL\u2019 abbreviation Playwrite BE WAL. It features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in australia, see primarium.info/countries/belgium. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite BE WAL\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/belgium" + }, + "Playwrite BE WAL Guides": { + "name": "Playwrite BE WAL Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Belgique Wallonie-Bruxelles Guides is a single-weight font designed to harmonize seamlessly with its companion, Playwrite Belgique Wallonie-Bruxelles. This font includes guideline markers on the baseline, x-height, ascenders, and descenders, providing a visual aid for primary school children. These guides help young learners grasp the proportions of letterforms and assist them in drawing letters with confidence and accuracy. The Dutch-French language divide in Belgium, a phenomenon with roots stretching back to the Middle Ages, continues to be relevant in the country today. Traditions of handwriting education exemplify this circumstance and reflect the country's historical ties to France and the Netherlands. Regardless of the handwriting model adopted, students learn print-style script letters in kindergarten and progress to connected letters in primary school. In Flanders, there is a preference for sloped continuous cursive writing, reminiscent of Dutch handwriting models, whereas the French-speaking community in the Walloon region opts for upright cursive writing, a style that enjoys popularity in France. This diversity in handwriting education is a direct response to Belgium's rich linguistic culture, leading to the introduction of a second official language early in the school years. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Belgique Wallonie-Bruxelles Guides characteristics Guidelines are present in all characters except for those used for letter spacing. To create a versatile font for teachers designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. It replaces the glyph shape with the guidelines and matches the width of the letter space. Find the detailed characteristics of this country's Model in Playwrite Belgique Wallonie-Bruxelles. Family name in font menus Playwrite Belgique Wallonie-Bruxelles Guides appears in font menus with a two-letter country code \u2018BE\u2019 and a the \u2018WAL\u2019 abbreviation Playwrite BE WAL Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in australia, see primarium.info/countries/belgium. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite BE WAL Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/belgium" + }, + "Playwrite BR": { + "name": "Playwrite BR", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Educational Vertical cursive models first appeared in the 19th century in France, England, and the USA as simplified forms of their predecessors, Roundhand and Spencerian styles, respectively. The upright cursive writing did not enjoy a long period of popularity in northern European and Anglo-American countries. It was, however, widely adopted in Spain, Portugal, Italy, and France, where it is still used. From these countries, it traveled to erstwhile colonies such as Brazil, Argentina, Uruguay, and Chile, among others. In Brazil, this resulted in the replacement of the then-popular models of handwriting, such as Palmer from the US and commercial Roundhand script from England, with the vertical cursive approach. Playwrite Brasil is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite BR Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Brasil characteristics This style features a vertical continuous cursive with medium-length extenders, round letters, and a slow curve speed. The capital letters are predominantly cursive, with many designed to connect seamlessly to the following lowercase letters. 'Q' is notably distinctive in shape. Many lowercase letters begin with curved entry strokes. The letter 'q' includes a crossbar, 'f' features a mirrored bottom loop, and 'z' is characterized by a round form with a looped descender. Family name in font menus Playwrite Brasil appears in font menus with a two-letter country code \u2018BR\u2019, Playwrite BR, and features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Brasil, see primarium.info/countries/Brasil. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite BR\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/brazil" + }, + "Playwrite BR Guides": { + "name": "Playwrite BR Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Brasil Guides is a single-weight font designed to harmonize seamlessly with its companion, Playwrite Brasil. This font includes guideline markers on the baseline, x-height, ascenders, and descenders, providing a visual aid for primary school children. These guides help young learners grasp the proportions of letterforms and assist them in drawing letters with confidence and accuracy. Educational Vertical cursive models first appeared in the 19th century in France, England, and the USA as simplified forms of their predecessors, Roundhand and Spencerian styles, respectively. The upright cursive writing did not enjoy a long period of popularity in northern European and Anglo-American countries. It was, however, widely adopted in Spain, Portugal, Italy, and France, where it is still used. From these countries, it traveled to erstwhile colonies such as Brazil, Argentina, Uruguay, and Chile, among others. In Brazil, this resulted in the replacement of the then-popular models of handwriting, such as Palmer from the US and commercial Roundhand script from England, with the vertical cursive approach. Playwrite Brasil Guides is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Brasil Guides characteristics Guidelines are present in all characters except for those used for letter spacing. To create a versatile font for teachers designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. It replaces the glyph shape with the guidelines and matches the width of the letter space. Find the detailed characteristics of this country's Model in Playwrite Brasil. Family name in font menus Playwrite Brasil Guides appears in font menus with a two-letter country code \u2018BR\u2019, Playwrite BR Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Brasil, see primarium.info/countries/Brasil. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite BR Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/brazil" + }, + "Playwrite CA": { + "name": "Playwrite CA", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "The traditional method of handwriting instruction in Canada is called MacLean\u2019s Method of Writing, and was developed by educator Henry Boyver MacLean in the mid-20th century. Building upon letter shapes devised by Austin Norman Palmer in the United States, MacLean introduced several changes to suit the needs of school instruction, such as modifications to teaching methods and the addition of motor preparation exercises. Even though MacLean\u2019s books have not been used in Canada for several years, his letter shapes survive in schoolbooks published by regional governments and private publishing houses. They are widely used in the majority of Canadian primary schools. Playwrite Canada is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite CA Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Canada characteristics This slanted continuous cursive style is influenced by the Zaner-Bloser and D'Nealian models. It includes cursive uppercase letters, with some particularly intricate ones like 'I', 'J', and 'G'. The lowercase letters feature medium-length extenders with loops, which are consistent even in letters like 'p' and 'q', and are constructed using medium-speed strokes. Additionally, several lowercase letters such as 'm', 'n', 'v', 'w', 'y', and 'z' start with curved entry strokes at the x-height. Family name in font menus Playwrite Canada appears in font menus with a two-letter country code \u2018CA\u2019, Playwrite CA, and features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Canada, see primarium.info/countries/canada. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite CA\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/canada" + }, + "Playwrite CA Guides": { + "name": "Playwrite CA Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Canada Guides is a single-weight font designed to harmonize seamlessly with its companion, Playwrite Canada. This font includes guideline markers on the baseline, x-height, ascenders, and descenders, providing a visual aid for primary school children. These guides help young learners grasp the proportions of letterforms and assist them in drawing letters with confidence and accuracy. The traditional method of handwriting instruction in Canada is called MacLean\u2019s Method of Writing, and was developed by educator Henry Boyver MacLean in the mid-20th century. Building upon letter shapes devised by Austin Norman Palmer in the United States, MacLean introduced several changes to suit the needs of school instruction, such as modifications to teaching methods and the addition of motor preparation exercises. Even though MacLean\u2019s books have not been used in Canada for several years, his letter shapes survive in schoolbooks published by regional governments and private publishing houses. They are widely used in the majority of Canadian primary schools. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Canada Guides characteristics Guidelines are present in all characters except for those used for letter spacing. To create a versatile font for teachers designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. It replaces the glyph shape with the guidelines and matches the width of the letter space. Find the detailed characteristics of this country's Model in Playwrite Canada. Family name in font menus Playwrite Canada Guides appears in font menus with a two-letter country code \u2018CA\u2019, Playwrite CA Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Canada, see primarium.info/countries/canada. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite CA Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/canada" + }, + "Playwrite CL": { + "name": "Playwrite CL", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "The most prevalent style of handwriting taught in Chile is known as \u2018letra ligada\u2019, or joined letters. This form of cursive handwriting is introduced to children as early as 6 years old, either alongside print letters or as a standalone style. It can be seen as a slantless variant of English roundhand, a calligraphic style that emerged in England, gaining widespread popularity in the 18th century, but Chilean type designers note that, while there are structural similarities between the two styles, there are also notable differences. For instance, letra ligada typically features shorter ascenders and descenders, and its uppercase letters are less ornate. This divergence is present in both contemporary typographic and calligraphic examples. Playwrite Chile is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite CL Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Chile characteristics This upright continuous cursive features a mix of uppercase styles. Letters like 'A' and 'N' are plain and cursive, whereas others such as 'Q' and 'T' are more decorative and intricate. The lowercase letters have medium-length extenders with loops and are characterized by their rounded forms and slow stroke speed. The letter 'q' is distinguished by a mirrored loop on its descender. The 'o' includes a knot, and the letters 'm', 'n', 'v', 'w', 'y', and 'z' begin with curved entry strokes. Family name in font menus Playwrite Chile appears in font menus with a two-letter country code \u2018CL\u2019, Playwrite CL, and features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Chile, see primarium.info/countries/Chile. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite CL\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/chile" + }, + "Playwrite CL Guides": { + "name": "Playwrite CL Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Chile Guides is a single-weight font designed to harmonize seamlessly with its companion, Playwrite Chile. This font includes guideline markers on the baseline, x-height, ascenders, and descenders, providing a visual aid for primary school children. These guides help young learners grasp the proportions of letterforms and assist them in drawing letters with confidence and accuracy. The most prevalent style of handwriting taught in Chile is known as \u2018letra ligada\u2019, or joined letters. This form of cursive handwriting is introduced to children as early as 6 years old, either alongside print letters or as a standalone style. It can be seen as a slantless variant of English roundhand, a calligraphic style that emerged in England, gaining widespread popularity in the 18th century, but Chilean type designers note that, while there are structural similarities between the two styles, there are also notable differences. For instance, letra ligada typically features shorter ascenders and descenders, and its uppercase letters are less ornate. This divergence is present in both contemporary typographic and calligraphic examples. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Chile Guides characteristics Guidelines are present in all characters except for those used for letter spacing. To create a versatile font for teachers designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. It replaces the glyph shape with the guidelines and matches the width of the letter space. Find the detailed characteristics of this country's Model in Playwrite Chile. Family name in font menus Playwrite Chile Guides appears in font menus with a two-letter country code \u2018CL\u2019, Playwrite CL, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Chile, see primarium.info/countries/Chile. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite CL\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/chile" + }, + "Playwrite CO": { + "name": "Playwrite CO", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "The Colombian cursive style \u2018letra pegada\u2019 is visibly rooted in the traditions of the Palmer method, created by Austin Palmer (1860\u20131927) in the United States at the turn of the last century. It has many similarities with cursive writing models in North American countries ( United States, M\u00e9xico, and Canada), which also descend from the same style. This influence can be seen in the \u2018cartillas\u2019 or handwriting education booklets produced by private publishers, which play an essential role in the teaching of reading and writing in the country. Playwrite Colombia is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite CO Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Colombia characteristics Following the tradition and current use of these booklets, Playwrite Colombia is a very slanted continuous cursive. Its lowercase letters have medium-length ascenders and descenders with loops that favor writing whole words without pen lifts. Based on the Palmer style, these loops are mirrored in the descending strokes of letters 'f' and 'q'. Some uppercase letters, such as the 'G', 'L' and 'Z', have decorative and complex cursive shapes. Family name in font menus Playwrite Colombia appears in font menus with a two-letter country code \u2018CO\u2019, Playwrite CO, and features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Colombia, see primarium.info/countries/colombia. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite CO\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/colombia" + }, + "Playwrite CO Guides": { + "name": "Playwrite CO Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Colombia Guides is a single-weight font companion that harmonizes seamlessly with the main family, Playwrite Colombia. It includes guidelines on the baseline, x-height, ascenders, and descenders. These guides provide a visual aid for primary school children that helps young learners grasp the proportions of letterforms and assists them in drawing letters with confidence and accuracy. The Colombian cursive style \u2018letra pegada\u2019 is visibly rooted in the traditions of the Palmer method, created by Austin Palmer (1860\u20131927) in the United States at the turn of the last century. It has many similarities with cursive writing models in North American countries ( United States, M\u00e9xico, and Canada), which also descend from the same style. This influence can be seen in the \u2018cartillas\u2019 or handwriting education booklets produced by private publishers, which play an essential role in the teaching of reading and writing in the country. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Colombia Guides characteristics Guidelines are present in all characters except for those used for letter/word spacing. To create a versatile tool for teachers when designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. In Playwrite Guides fonts the underscore prints only the guidelines, and matches the width of the normal word space. Find the detailed characteristics of this country's Model in Playwrite Colombia. Family name in font menus Playwrite Colombia Guides appears in font menus with a two-letter country code \u2018CO\u2019, Playwrite CO Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Colombia, see primarium.info/countries/colombia. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite CO Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/colombia" + }, + "Playwrite CU": { + "name": "Playwrite CU", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Literacy education in Cuba is notable for its distinctive approach: students are introduced to two different styles of letters from the outset, one for reading and the other for writing. Textbooks feature print-style, typographic letters represented by either geometric or grotesque sans serifs for reading. These styles are consistent across all workbooks and textbooks, with the exception of those focused on writing and calligraphy. For these, a fully-joined, cursive style is used, drawing inspiration from calligraphic models from the United States, notably the Palmer Method, created by Austin Palmer , and the Zaner-Bloser method, developed by Charles Paxton Zaner and his partner Elmer Ward Bloser. Playwrite Cuba is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite CU Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Cuba characteristics This style is a very slanted continuous cursive that draws inspiration from the Zaner-Bloser and D'Nealian models. It features cursive uppercase letters, some of which are quite complex, such as 'I', 'J', and 'G'. The lowercase letters have medium-length extenders with loops, present even in letters like 'p' and 'q', and are formed using slow strokes. Notably, this style includes an italic-style 'r' and a 'z' with a flat top and a loop. Family name in font menus Playwrite Cuba appears in font menus with a two-letter country code \u2018CU\u2019, Playwrite CU, and features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Cuba, see primarium.info/countries/cuba. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite CU\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/cuba" + }, + "Playwrite CU Guides": { + "name": "Playwrite CU Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Cuba Guides is a single-weight font designed to harmonize seamlessly with its companion, Playwrite Cuba. This font includes guideline markers on the baseline, x-height, ascenders, and descenders, providing a visual aid for primary school children. These guides help young learners grasp the proportions of letterforms and assist them in drawing letters with confidence and accuracy. Literacy education in Cuba is notable for its distinctive approach: students are introduced to two different styles of letters from the outset, one for reading and the other for writing. Textbooks feature print-style, typographic letters represented by either geometric or grotesque sans serifs for reading. These styles are consistent across all workbooks and textbooks, with the exception of those focused on writing and calligraphy. For these, a fully-joined, cursive style is used, drawing inspiration from calligraphic models from the United States, notably the Palmer Method, created by Austin Palmer , and the Zaner-Bloser method, developed by Charles Paxton Zaner and his partner Elmer Ward Bloser. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Cuba Guides characteristics Guidelines are present in all characters except for those used for letter spacing. To create a versatile font for teachers designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. It replaces the glyph shape with the guidelines and matches the width of the letter space. Find the detailed characteristics of this country's Model in Playwrite Cuba. Family name in font menus Playwrite Cuba Guides appears in font menus with a two-letter country code \u2018CU\u2019, Playwrite CU Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info. To learn more about handwriting education in Cuba, see primarium.info/countries/cuba. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite CU Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/cuba" + }, + "Playwrite CZ": { + "name": "Playwrite CZ", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "There are two main models used for handwriting education in the Czech Republic. The first, known as Zjednodu\u0161en\u00e1 psac\u00ed latinka, or Simplified Latin script, is a continuous cursive hand. This model was officially ratified by the education ministry of erstwhile Czechoslovakia in 1932 and underwent its last revision in 1978. The second model, Comenia Script, features unjoined letters and was endorsed by the ministry in 2012. The national curriculum, which was last published in 2013, provides no further prescriptions about handwriting, and as a result, schools have the autonomy to select either model for instruction. Playwrite \u010cesko is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite CZ Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite \u010cesko characteristics This sloped continuous cursive style includes decorative capital letters. 'A' and 'H' feature looped crossbars, while 'G' has a cursive structure but lacks a descending stroke. 'M' and 'N' are constructed differently, with only one following a cursive format. The lowercase letters have looped ascenders and descenders. Curved entry strokes appear in 'm', 'n', and 'v', but are absent in 'w'. The letter 'q' includes a mirrored loop in its descender. Family name in font menus Playwrite \u010cesko appears in font menus with a two-letter country code \u2018CZ\u2019, Playwrite CZ, and features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Cesko, see primarium.info/countries/czech-republic. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite CZ\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/czech-republic" + }, + "Playwrite CZ Guides": { + "name": "Playwrite CZ Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite \u010cesko Guides is a single-weight font designed to harmonize seamlessly with its companion, Playwrite \u010cesko. This font includes guideline markers on the baseline, x-height, ascenders, and descenders, providing a visual aid for primary school children. These guides help young learners grasp the proportions of letterforms and assist them in drawing letters with confidence and accuracy. There are two main models used for handwriting education in the Czech Republic. The first, known as Zjednodu\u0161en\u00e1 psac\u00ed latinka, or Simplified Latin script, is a continuous cursive hand. This model was officially ratified by the education ministry of erstwhile Czechoslovakia in 1932 and underwent its last revision in 1978. The second model, Comenia Script, features unjoined letters and was endorsed by the ministry in 2012. The national curriculum, which was last published in 2013, provides no further prescriptions about handwriting, and as a result, schools have the autonomy to select either model for instruction. To contribute, see github.com/TypeTogether/Playwrite. Playwrite \u010cesko Guides characteristics Guidelines are present in all characters except for those used for letter spacing. To create a versatile font for teachers designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. It replaces the glyph shape with the guidelines and matches the width of the letter space. Find the detailed characteristics of this country's Model in Playwrite \u010cesko. Family name in font menus Playwrite \u010cesko Guides appears in font menus with a two-letter country code \u2018CZ\u2019, Playwrite CZ Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Cesko, see primarium.info/countries/czech-republic. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite CZ Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/czech-republic" + }, + "Playwrite DE Grund": { + "name": "Playwrite DE Grund", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "In Germany, education is regulated at the state level rather than at the national level. Each state defines its own models and methods of teaching handwriting in primary schools. The common goal is acquiring a personal style of connected handwriting at the end of primary school in fourth grade (10-11 years old). Emphasis is on the flow of connected writing, letter recognition, and legibility, not the exact imitation of individual letters. In most states, teachers and schools can choose from three cursive styles: Ausgangsschrift (LA), Vereinfachte Ausgangsschrift (VA), and Schulausgangsschrift (SAS). But in 2010, the Grundschulverband, or Association of Primary Schools, presented an alternative progressive approach for handwriting teaching: Grundschrift, based primarily on a print-style script with some added cursive elements, like H\u00e4ckchen, or exit strokes. Some German states, like Bremen and Hamburg, allow this method to be used in schools, in addition to the dominant Ausgangschrift systems. According to Das Deutsche Schulportal, Grundschrift is taught in 10% of all German schools. Playwrite Deutschland Grundschrift is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite DE Grund Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Deutschland Grundschrift characteristics This style is a simple precursive, entirely disconnected. The uppercase letters are simplified print forms, notable for a two-stroke 'R' and an 'M' with a raised middle point. Several lowercase letters retain the characteristic exit stroke typical of precursives. The letter 'k' is constructed using two strokes, and the 'f' features a straight descender, distinguishing it within this straightforward style. Family name in font menus Playwrite Deutschland Grundschrift appears in font menus with a two-letter country code \u2018DE\u2019 and a the \u2018Grund\u2019 abbreviation, Playwrite DE Grund. It features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Germany, see primarium.info/countries/germany. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite DE Grund\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/germany" + }, + "Playwrite DE Grund Guides": { + "name": "Playwrite DE Grund Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Deutschland Grundschrift Guides is a single-weight font designed to harmonize seamlessly with its companion, Playwrite Deutschland Grundschrift. This font includes guideline markers on the baseline, x-height, ascenders, and descenders, providing a visual aid for primary school children. These guides help young learners grasp the proportions of letterforms and assist them in drawing letters with confidence and accuracy. In Germany, education is regulated at the state level rather than at the national level. Each state defines its own models and methods of teaching handwriting in primary schools. The common goal is acquiring a personal style of connected handwriting at the end of primary school in fourth grade (10-11 years old). Emphasis is on the flow of connected writing, letter recognition, and legibility, not the exact imitation of individual letters. In most states, teachers and schools can choose from three cursive styles: Ausgangsschrift (LA), Vereinfachte Ausgangsschrift (VA), and Schulausgangsschrift (SAS). But in 2010, the Grundschulverband, or Association of Primary Schools, presented an alternative progressive approach for handwriting teaching: Grundschrift, based primarily on a print-style script with some added cursive elements, like H\u00e4ckchen, or exit strokes. Some German states, like Bremen and Hamburg, allow this method to be used in schools, in addition to the dominant Ausgangschrift systems. According to Das Deutsche Schulportal, Grundschrift is taught in 10% of all German schools. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Deutschland Grundschrift Guides characteristics Guidelines are present in all characters except for those used for letter spacing. To create a versatile font for teachers designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. It replaces the glyph shape with the guidelines and matches the width of the letter space. Find the detailed characteristics of this country's Model in Playwrite Deutschland Grundschrift. Family name in font menus Playwrite Deutschland Grundschrift Guides appears in font menus with a two-letter country code \u2018DE\u2019 and a the \u2018Grund\u2019 abbreviation, Playwrite DE Grund Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Germany, see primarium.info/countries/germany. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite DE Grund Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/germany" + }, + "Playwrite DE LA": { + "name": "Playwrite DE LA", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "In Germany, education is regulated at the state level rather than at the national level. Each state defines its own models and methods of teaching handwriting in primary schools. The common goal is acquiring a personal style of connected handwriting at the end of primary school in fourth grade (10-11 years old). Emphasis is on the flow of connected writing, letter recognition, and legibility, not the exact imitation of individual letters. In most states, teachers and schools can choose from three cursive styles: Ausgangsschrift (LA), Vereinfachte Ausgangsschrift (VA), and Schulausgangsschrift (SAS). But in 2010, the Grundschulverband, or Association of Primary Schools, presented an alternative progressive approach for handwriting teaching: Grundschrift, based primarily on a print-style script with some added cursive elements, like H\u00e4ckchen, or exit strokes. Some German states, like Bremen and Hamburg, allow this method to be used in schools, in addition to the dominant Ausgangschrift systems. According to Das Deutsche Schulportal, Grundschrift is taught in 10% of all German schools. Playwrite Deutschland Lateinische Ausgangsschrift is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite DE LA Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Deutschland Lateinische Ausgangsschrift characteristics This style is a very slanted continuous cursive with slightly decorative uppercase letters. Notably, 'A' includes a looped bar, 'S' has a straight spine, 'Z' features a crossbar, and 'X' showcases a double loop, allowing it to be drawn in a single fluid movement, similar to its lowercase counterpart. The lowercase letters have short ascenders and descenders, most with loops facilitating continuous writing. Letters 'm', 'n', 'r', 'v', 'w' begin with curved entry strokes, while 'r' and 'z' display an italic structure. The letter 'f' is characterized by an ascender loop and a straight descender. Family name in font menus Playwrite Deutschland Lateinische Ausgangsschrift appears in font menus with a two-letter country code \u2018DE\u2019 and a the \u2018LA\u2018 abbreviation, Playwrite DE LA. It features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Germany, see primarium.info/countries/germany. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite DE LA\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/germany" + }, + "Playwrite DE LA Guides": { + "name": "Playwrite DE LA Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Deutschland Lateinische Ausgangsschrift Guides is a single-weight font designed to harmonize seamlessly with its companion, Playwrite Deutschland Lateinische Ausgangsschrift. This font includes guideline markers on the baseline, x-height, ascenders, and descenders, providing a visual aid for primary school children. These guides help young learners grasp the proportions of letterforms and assist them in drawing letters with confidence and accuracy. In Germany, education is regulated at the state level rather than at the national level. Each state defines its own models and methods of teaching handwriting in primary schools. The common goal is acquiring a personal style of connected handwriting at the end of primary school in fourth grade (10-11 years old). Emphasis is on the flow of connected writing, letter recognition, and legibility, not the exact imitation of individual letters. In most states, teachers and schools can choose from three cursive styles: Ausgangsschrift (LA), Vereinfachte Ausgangsschrift (VA), and Schulausgangsschrift (SAS). But in 2010, the Grundschulverband, or Association of Primary Schools, presented an alternative progressive approach for handwriting teaching: Grundschrift, based primarily on a print-style script with some added cursive elements, like H\u00e4ckchen, or exit strokes. Some German states, like Bremen and Hamburg, allow this method to be used in schools, in addition to the dominant Ausgangschrift systems. According to Das Deutsche Schulportal, Grundschrift is taught in 10% of all German schools. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Deutschland Lateinische Ausgangsschrift Guides characteristics Guidelines are present in all characters except for those used for letter spacing. To create a versatile font for teachers designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. It replaces the glyph shape with the guidelines and matches the width of the letter space. Find the detailed characteristics of this country's Model in Playwrite Deutschland Lateinische Ausgangsschrift. Family name in font menus Playwrite Deutschland Lateinische Ausgangsschrift Guides appears in font menus with a two-letter country code \u2018DE\u2019 and a the \u2018LA\u2018 abbreviation, Playwrite DE LA Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Germany, see primarium.info/countries/germany. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite DE LA Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/germany" + }, + "Playwrite DE SAS": { + "name": "Playwrite DE SAS", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "In Germany, education is regulated at the state level rather than at the national level. Each state defines its own models and methods of teaching handwriting in primary schools. The common goal is acquiring a personal style of connected handwriting at the end of primary school in fourth grade (10-11 years old). Emphasis is on the flow of connected writing, letter recognition, and legibility, not the exact imitation of individual letters. In most states, teachers and schools can choose from three cursive styles: Ausgangsschrift (LA), Vereinfachte Ausgangsschrift (VA), and Schulausgangsschrift (SAS). But in 2010, the Grundschulverband, or Association of Primary Schools, presented an alternative progressive approach for handwriting teaching: Grundschrift, based primarily on a print-style script with some added cursive elements, like H\u00e4ckchen, or exit strokes. Some German states, like Bremen and Hamburg, allow this method to be used in schools, in addition to the dominant Ausgangschrift systems. According to Das Deutsche Schulportal, Grundschrift is taught in 10% of all German schools. Playwrite Deutschland Schulausgangschrift is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite DE SAS Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Deutschland Schulausgangschrift characteristics This continuous cursive features a medium slope, short extenders, and a deliberately slow stroke speed. The capital letters present a restrained appearance, with only a few exhibiting decorative or cursive traits. The lowercase letters have looped ascenders and descenders, and 'm', 'n', and 'r' begin with a curved entry stroke. This typeface displays a German-style 't' that can be executed without lifting the pen. The letter 'f' has a straight and loopless descender, while 'r' and 'z' are designed with an italic structure. Family name in font menus Playwrite Deutschland Schulausgangschrift appears in font menus with a two-letter country code \u2018DE\u2019 and a the \u2018SAS\u2019 abbreviation Playwrite DE SAS. It features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Germany, see primarium.info/countries/germany. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite DE SAS\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/germany" + }, + "Playwrite DE SAS Guides": { + "name": "Playwrite DE SAS Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Deutschland Schulausgangschrift Guides is a single-weight font designed to harmonize seamlessly with its companion, Playwrite Deutschland Schulausgangschrift. This font includes guideline markers on the baseline, x-height, ascenders, and descenders, providing a visual aid for primary school children. These guides help young learners grasp the proportions of letterforms and assist them in drawing letters with confidence and accuracy. In Germany, education is regulated at the state level rather than at the national level. Each state defines its own models and methods of teaching handwriting in primary schools. The common goal is acquiring a personal style of connected handwriting at the end of primary school in fourth grade (10-11 years old). Emphasis is on the flow of connected writing, letter recognition, and legibility, not the exact imitation of individual letters. In most states, teachers and schools can choose from three cursive styles: Ausgangsschrift (LA), Vereinfachte Ausgangsschrift (VA), and Schulausgangsschrift (SAS). But in 2010, the Grundschulverband, or Association of Primary Schools, presented an alternative progressive approach for handwriting teaching: Grundschrift, based primarily on a print-style script with some added cursive elements, like H\u00e4ckchen, or exit strokes. Some German states, like Bremen and Hamburg, allow this method to be used in schools, in addition to the dominant Ausgangschrift systems. According to Das Deutsche Schulportal, Grundschrift is taught in 10% of all German schools. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Deutschland Schulausgangschrift Guides characteristics Guidelines are present in all characters except for those used for letter spacing. To create a versatile font for teachers designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. It replaces the glyph shape with the guidelines and matches the width of the letter space. Find the detailed characteristics of this country's Model in Playwrite Deutschland Schulausgangschrift. Family name in font menus Playwrite Deutschland Schulausgangschrift Guides appears in font menus with a two-letter country code \u2018DE\u2019 and a the \u2018SAS\u2019 abbreviation Playwrite DE SAS Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Germany, see primarium.info/countries/germany. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite DE SAS Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/germany" + }, + "Playwrite DE VA": { + "name": "Playwrite DE VA", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "In Germany, education is regulated at the state level rather than at the national level. Each state defines its own models and methods of teaching handwriting in primary schools. The common goal is acquiring a personal style of connected handwriting at the end of primary school in fourth grade (10-11 years old). Emphasis is on the flow of connected writing, letter recognition, and legibility, not the exact imitation of individual letters. In most states, teachers and schools can choose from three cursive styles: Ausgangsschrift (LA), Vereinfachte Ausgangsschrift (VA), and Schulausgangsschrift (SAS). But in 2010, the Grundschulverband, or Association of Primary Schools, presented an alternative progressive approach for handwriting teaching: Grundschrift, based primarily on a print-style script with some added cursive elements, like H\u00e4ckchen, or exit strokes. Some German states, like Bremen and Hamburg, allow this method to be used in schools, in addition to the dominant Ausgangschrift systems. According to Das Deutsche Schulportal, Grundschrift is taught in 10% of all German schools. Playwrite Deutschland Vereinfachte Ausgangsschrift is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite DE VA Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Deutschland Vereinfachte Ausgangsschrift characteristics This continuous cursive has a medium slope and short extenders with a medium stroke speed. The capital letters are designed with a restrained look, though some display decorative or cursive elements. Lowercase letters include looped ascenders and descenders, with 'm', 'n', and 'r' lacking a curved entry stroke. The typeface showcases a German-style 't' that can be written without lifting the pen. The letter 'f' has a straight and loopless descender, while 'z' features a looped descender. Family name in font menus Playwrite Deutschland Vereinfachte Ausgangsschrift appears in font menus with a two-letter country code \u2018DE\u2019 and a the \u2018VA\u2019 abbreviation Playwrite DE VA. It features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Germany, see primarium.info/countries/germany. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite DE VA\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/germany" + }, + "Playwrite DE VA Guides": { + "name": "Playwrite DE VA Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Deutschland Vereinfachte Ausgangsschrift Guides is a single-weight font designed to harmonize seamlessly with its companion, Playwrite Deutschland Vereinfachte Ausgangsschrift. This font includes guideline markers on the baseline, x-height, ascenders, and descenders, providing a visual aid for primary school children. These guides help young learners grasp the proportions of letterforms and assist them in drawing letters with confidence and accuracy. In Germany, education is regulated at the state level rather than at the national level. Each state defines its own models and methods of teaching handwriting in primary schools. The common goal is acquiring a personal style of connected handwriting at the end of primary school in fourth grade (10-11 years old). Emphasis is on the flow of connected writing, letter recognition, and legibility, not the exact imitation of individual letters. In most states, teachers and schools can choose from three cursive styles: Ausgangsschrift (LA), Vereinfachte Ausgangsschrift (VA), and Schulausgangsschrift (SAS). But in 2010, the Grundschulverband, or Association of Primary Schools, presented an alternative progressive approach for handwriting teaching: Grundschrift, based primarily on a print-style script with some added cursive elements, like H\u00e4ckchen, or exit strokes. Some German states, like Bremen and Hamburg, allow this method to be used in schools, in addition to the dominant Ausgangschrift systems. According to Das Deutsche Schulportal, Grundschrift is taught in 10% of all German schools. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Deutschland Vereinfachte Ausgangsschrift Guides characteristics Guidelines are present in all characters except for those used for letter spacing. To create a versatile font for teachers designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. It replaces the glyph shape with the guidelines and matches the width of the letter space. Find the detailed characteristics of this country's Model in Playwrite Deutschland Vereinfachte Ausgangsschrift. Family name in font menus Playwrite Deutschland Vereinfachte Ausgangsschrift Guides appears in font menus with a two-letter country code \u2018DE\u2019 and a the \u2018VA\u2019 abbreviation Playwrite DE VA Guides. It features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Germany, see primarium.info/countries/germany. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite DE VA Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/germany" + }, + "Playwrite DK Loopet": { + "name": "Playwrite DK Loopet", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "In 2019, the Ministry of Children and Education outlined the government's primary education requirements in a document called \"Danish Common Goals\". It specifies that second-grade students must be able to write upper and lowercase letters by hand and using the keyboard, and by fourth grade they are expected to write in legible, connected handwriting. Accordingly, handwriting instruction starts during preschool with simplified print letters. Given the autonomy to choose their preferred teaching methods and models, teachers and schools opt between two cursive models during the middle of the second or the beginning of the third year \u2014 the unlooped Grundskrift, or its looped variation known as Grundskrift med l\u00f8kker. Playwrite Danmark Loopet is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite DK Loopet Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Danmark Loopet characteristics This typographic hybrid draws from fully joined modern cursives but includes looped ascenders. It features a slanted orientation with short ascenders and descenders, creating a round and restrained appearance. The capital letters are mostly simplified and print-like, with a very distinctive 'G' that lacks both a descender and a crossbar. The lowercase letters connect with each other, except for 'q'. A standout feature is the lowercase 'b', which combines a modern cursive shape and connecting stroke with an uncharacteristic loop on its ascender. Family name in font menus Playwrite Danmark Loopet appears in font menus with a two-letter country code \u2018DK\u2019 and a the word \u2018Loopet\u2019 abbreviation Playwrite DK Loopet. It features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in australia, see primarium.info/countries/denmark. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to DK used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to DK used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to DK manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite DK Loopet\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts DKlow\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. AdoDK InDesign: Open the Paragraph Panel and select AdoDK \"World-Ready Paragraph Composer\" from the contextual menu. AdoDK Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. AdoDK Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/denmark" + }, + "Playwrite DK Loopet Guides": { + "name": "Playwrite DK Loopet Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Danmark Loopet Guides is a single-weight font designed to harmonize seamlessly with its companion, Playwrite Danmark Loopet. This font includes guideline markers on the baseline, x-height, ascenders, and descenders, providing a visual aid for primary school children. These guides help young learners grasp the proportions of letterforms and assist them in drawing letters with confidence and accuracy. In 2019, the Ministry of Children and Education outlined the government's primary education requirements in a document called \"Danish Common Goals\". It specifies that second-grade students must be able to write upper and lowercase letters by hand and using the keyboard, and by fourth grade they are expected to write in legible, connected handwriting. Accordingly, handwriting instruction starts during preschool with simplified print letters. Given the autonomy to choose their preferred teaching methods and models, teachers and schools opt between two cursive models during the middle of the second or the beginning of the third year \u2014 the unlooped Grundskrift, or its looped variation known as Grundskrift med l\u00f8kker. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Danmark Loopet Guides characteristics Guidelines are present in all characters except for those used for letter spacing. To create a versatile font for teachers designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. It replaces the glyph shape with the guidelines and matches the width of the letter space. Find the detailed characteristics of this country's Model in Playwrite Danmark Loopet. Family name in font menus Playwrite Danmark Loopet Guides appears in font menus with a two-letter country code \u2018DK\u2019 and a the word \u2018Loopet\u2019 abbreviation Playwrite DK Loopet Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in australia, see primarium.info/countries/denmark. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to DK used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to DK used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to DK manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite DK Loopet Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts DKlow\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. AdoDK InDesign: Open the Paragraph Panel and select AdoDK \"World-Ready Paragraph Composer\" from the contextual menu. AdoDK Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. AdoDK Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/denmark" + }, + "Playwrite DK Uloopet": { + "name": "Playwrite DK Uloopet", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "In 2019, the Ministry of Children and Education outlined the government's primary education requirements in a document called \"Danish Common Goals\". It specifies that second-grade students must be able to write upper and lowercase letters by hand and using the keyboard, and by fourth grade they are expected to write in legible, connected handwriting. Accordingly, handwriting instruction starts during preschool with simplified print letters. Given the autonomy to choose their preferred teaching methods and models, teachers and schools opt between two cursive models during the middle of the second or the beginning of the third year \u2014 the unlooped Grundskrift, or its looped variation known as Grundskrift med l\u00f8kker. Playwrite Danmark Uloopet is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite DK Uloopet Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Danmark Uloopet characteristics This slanted modern cursive features no loops, creating a streamlined appearance with short ascenders and descenders. It maintains a round and restrained look. The capital letters are largely simplified and print-like, highlighted by a distinctive 'G' that lacks both a descender and a crossbar. Lowercase letters with descenders, such as 'g' and 'y', do not connect to the following letter, and 'm' and 'n' start without a curved entry stroke. Despite its italic structure, 'b' and 'p' are designed with connecting strokes. Family name in font menus Playwrite Danmark Uloopet appears in font menus with a two-letter country code \u2018DK\u2019 and a the word \u2018Uloopet\u2019 abbreviation Playwrite DK Uloopet. It features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in australia, see primarium.info/countries/denmark. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to DK used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to DK used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to DK manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite DK Uloopet\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts DKlow\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. AdoDK InDesign: Open the Paragraph Panel and select AdoDK \"World-Ready Paragraph Composer\" from the contextual menu. AdoDK Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. AdoDK Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/denmark" + }, + "Playwrite DK Uloopet Guides": { + "name": "Playwrite DK Uloopet Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Danmark Uloopet Guides is a single-weight font designed to harmonize seamlessly with its companion, Playwrite Danmark Uloopet. This font includes guideline markers on the baseline, x-height, ascenders, and descenders, providing a visual aid for primary school children. These guides help young learners grasp the proportions of letterforms and assist them in drawing letters with confidence and accuracy. In 2019, the Ministry of Children and Education outlined the government's primary education requirements in a document called \"Danish Common Goals\". It specifies that second-grade students must be able to write upper and lowercase letters by hand and using the keyboard, and by fourth grade they are expected to write in legible, connected handwriting. Accordingly, handwriting instruction starts during preschool with simplified print letters. Given the autonomy to choose their preferred teaching methods and models, teachers and schools opt between two cursive models during the middle of the second or the beginning of the third year \u2014 the unlooped Grundskrift, or its looped variation known as Grundskrift med l\u00f8kker. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Danmark Uloopet Guides characteristics Guidelines are present in all characters except for those used for letter spacing. To create a versatile font for teachers designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. It replaces the glyph shape with the guidelines and matches the width of the letter space. Find the detailed characteristics of this country's Model in Playwrite Danmark Uloopet. Family name in font menus Playwrite Danmark Uloopet Guides appears in font menus with a two-letter country code \u2018DK\u2019 and a the word \u2018Uloopet\u2019 abbreviation Playwrite DK Uloopet Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in australia, see primarium.info/countries/denmark. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to DK used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to DK used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to DK manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite DK Uloopet Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts DKlow\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. AdoDK InDesign: Open the Paragraph Panel and select AdoDK \"World-Ready Paragraph Composer\" from the contextual menu. AdoDK Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. AdoDK Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/denmark" + }, + "Playwrite ES": { + "name": "Playwrite ES", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Primary school handwriting in Spain features letters that are cursive from a structural standpoint but have no slant. These upright cursive letters are either taught in the form of a hybrid style, which uses joined cursive lowercase letters with unjoined simplified print uppercase, or as a fully cursive style, which features ornate, and more traditional and decorative uppercase letters. The hybrid style is used in textbooks by major educational publishers, such as Cuadernos Rubio, Santillana Educaci\u00f3n, Editorial Barcanova, and Tekman Education. Playwrite Espa\u00f1a is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite ES Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Espa\u00f1a characteristics This continuous cursive is inspired by traditional French models, featuring medium-length ascenders and descenders with loops. Several lowercase letters begin with curved entry strokes, and a few, such as 'b' and 'p', include knots. The letter 'z' is distinctively styled in italic fashion, adding a recognizable touch to this script. The uppercase letters are simplified and print-like, with the letter 'I' notably having serifs. Family name in font menus Playwrite Espa\u00f1a appears in font menus with a two-letter country code \u2018ES\u2019 Playwrite ES, and features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Spain, see primarium.info/countries/spain. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite ES\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/spain" + }, + "Playwrite ES Deco": { + "name": "Playwrite ES Deco", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Primary school handwriting in Spain features letters that are cursive from a structural standpoint but have no slant. These upright cursive letters are either taught in the form of a hybrid style, which uses joined cursive lowercase letters with unjoined simplified print uppercase, or as a fully cursive style, which features ornate, and more traditional and decorative uppercase letters. The hybrid style is used in textbooks by major educational publishers, such as Cuadernos Rubio, Santillana Educaci\u00f3n, Editorial Barcanova, and Tekman Education. Playwrite Espa\u00f1a Decorativa is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite ES Deco Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Espa\u00f1a Decorativa characteristics This continuous cursive is influenced by traditional French models and features medium-length ascenders and descenders with loops. Several lowercase letters begin with curved entry strokes, and some incorporate knots. The 'z' is uniquely styled in italic fashion, which stands out in this script. In contrast to its more simplified sibling, this model boasts cursive-style capital letters. Notably, the 'X' includes a double knot, and the 'T' is distinguished by a decorative crossbar. Family name in font menus Playwrite Espa\u00f1a Decorativa appears in font menus with a two-letter country code \u2018ES\u2019 and a the \u2018Deco\u2019 abbreviation, Playwrite ES Deco. It features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Spain, see primarium.info/countries/spain. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite ES Deco\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/spain" + }, + "Playwrite ES Deco Guides": { + "name": "Playwrite ES Deco Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Espa\u00f1a Decorativa Guides is a single-weight font designed to harmonize seamlessly with its companion, Playwrite Espa\u00f1a Decorativa. This font includes guideline markers on the baseline, x-height, ascenders, and descenders, providing a visual aid for primary school children. These guides help young learners grasp the proportions of letterforms and assist them in drawing letters with confidence and accuracy. Primary school handwriting in Spain features letters that are cursive from a structural standpoint but have no slant. These upright cursive letters are either taught in the form of a hybrid style, which uses joined cursive lowercase letters with unjoined simplified print uppercase, or as a fully cursive style, which features ornate, and more traditional and decorative uppercase letters. The hybrid style is used in textbooks by major educational publishers, such as Cuadernos Rubio, Santillana Educaci\u00f3n, Editorial Barcanova, and Tekman Education. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Espa\u00f1a Decorativa Guides characteristics Guidelines are present in all characters except for those used for letter spacing. To create a versatile font for teachers designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. It replaces the glyph shape with the guidelines and matches the width of the letter space. Find the detailed characteristics of this country's Model in Playwrite Espa\u00f1a Decorativa. Family name in font menus Playwrite Espa\u00f1a Decorativa Guides appears in font menus with a two-letter country code \u2018ES\u2019 and a the \u2018Deco\u2019 abbreviation, Playwrite ES Deco Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Spain, see primarium.info/countries/spain. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite ES Deco Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/spain" + }, + "Playwrite ES Guides": { + "name": "Playwrite ES Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Espa\u00f1a Guides is a single-weight font designed to harmonize seamlessly with its companion, Playwrite Espa\u00f1a. This font includes guideline markers on the baseline, x-height, ascenders, and descenders, providing a visual aid for primary school children. These guides help young learners grasp the proportions of letterforms and assist them in drawing letters with confidence and accuracy. Primary school handwriting in Spain features letters that are cursive from a structural standpoint but have no slant. These upright cursive letters are either taught in the form of a hybrid style, which uses joined cursive lowercase letters with unjoined simplified print uppercase, or as a fully cursive style, which features ornate, and more traditional and decorative uppercase letters. The hybrid style is used in textbooks by major educational publishers, such as Cuadernos Rubio, Santillana Educaci\u00f3n, Editorial Barcanova, and Tekman Education. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Espa\u00f1a Guides characteristics Guidelines are present in all characters except for those used for letter spacing. To create a versatile font for teachers designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. It replaces the glyph shape with the guidelines and matches the width of the letter space. Find the detailed characteristics of this country's Model in Playwrite Espa\u00f1a. Family name in font menus Playwrite Espa\u00f1a Guides appears in font menus with a two-letter country code \u2018ES\u2019 Playwrite ES Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Spain, see primarium.info/countries/spain. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite ES Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/spain" + }, + "Playwrite FR Moderne": { + "name": "Playwrite FR Moderne", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "The \u2018\u00e9criture cursive\u2019, or traditional vertical cursive, is the most used approach to handwriting teaching in schools in France. Its forms are inspired by the \u2018Lettre Ronde\u2019, originally written with a broad nib pen and ink. Students learn \u2018\u00e9criture cursive\u2018 by writing letters over S\u00e9y\u00e8s lines, which are introduced during kindergarten (age ~5). Created in 1892, S\u00e9y\u00e8s lines are a system of horizontal and vertical guidelines that govern the proportions of letters, and their ascending and descending strokes. In an attempt to reform and modernize handwriting teaching in schools, the Minist\u00e8re released two digital typeface families in 2013 \u2014 \u00c9criture A by Laurence Bedoin-Collard and Helo\u00edsa Tissot, and \u00c9criture B, by Marion Andrews. Both fonts follow a modern cursive style and are available for free on the Minist\u00e8re\u2019s website, along with information for teachers about the shapes and proportions of letters, and how to connect them to form words in the most logical way possible. Playwrite France Moderne is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite FR Moderne Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite France Moderne characteristics This modern, upright cursive features no loops, medium to long ascenders and descenders, and a relatively fast construction. The capital letters are simplified and print-like, with the only distinctive feature being the raised apex in 'M'. Lowercase letters with descenders, such as 'g' and 'y', do not connect to the following letter, and 'm' and 'n' start without a curved entry stroke. Despite its italic structure, 'b' and 'p' include connecting strokes. The letter 'f' is notable for its descender with a curved stroke. Family name in font menus Playwrite France Moderne appears in font menus with a two-letter country code \u2018FR\u2019 and a the word \u2018Moderne\u2019, Playwrite FR Moderne. It features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in France, see primarium.info/countries/france. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite FR Moderne\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/france" + }, + "Playwrite FR Moderne Guides": { + "name": "Playwrite FR Moderne Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite France Moderne Guides is a single-weight font designed to harmonize seamlessly with its companion, Playwrite France Moderne. This font includes guideline markers on the baseline, x-height, ascenders, and descenders, providing a visual aid for primary school children. These guides help young learners grasp the proportions of letterforms and assist them in drawing letters with confidence and accuracy. The \u2018\u00e9criture cursive\u2019, or traditional vertical cursive, is the most used approach to handwriting teaching in schools in France. Its forms are inspired by the \u2018Lettre Ronde\u2019, originally written with a broad nib pen and ink. Students learn \u2018\u00e9criture cursive\u2019 by writing letters over S\u00e9y\u00e8s lines, which are introduced during kindergarten (age ~5). Created in 1892, S\u00e9y\u00e8s lines are a system of horizontal and vertical guidelines that govern the proportions of letters, and their ascending and descending strokes. In an attempt to reform and modernize handwriting teaching in schools, the Minist\u00e8re released two digital typeface families in 2013 \u2014 \u00c9criture A by Laurence Bedoin-Collard and Helo\u00edsa Tissot, and \u00c9criture B, by Marion Andrews. Both fonts follow a modern cursive style and are available for free on the Minist\u00e8re\u2019s website, along with information for teachers about the shapes and proportions of letters, and how to connect them to form words in the most logical way possible. To contribute, see github.com/TypeTogether/Playwrite. Playwrite France Moderne Guides characteristics Guidelines are present in all characters except for those used for letter spacing. To create a versatile font for teachers designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. It replaces the glyph shape with the guidelines and matches the width of the letter space. Find the detailed characteristics of this country's Model in Playwrite France Moderne. Family name in font menus Playwrite France Moderne Guides appears in font menus with a two-letter country code \u2018FR\u2019 and a the word \u2018Moderne\u2019, Playwrite FR Moderne Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in France, see primarium.info/countries/france. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite FR Moderne Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/france" + }, + "Playwrite FR Trad": { + "name": "Playwrite FR Trad", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "The \u2018\u00e9criture cursive\u2019, or traditional vertical cursive, is the most used approach to handwriting teaching in schools in France. Its forms are inspired by the \u2018Lettre Ronde\u2019, originally written with a broad nib pen and ink. Students learn \u2018\u00e9criture cursive\u2018 by writing letters over S\u00e9y\u00e8s lines, which are introduced during kindergarten (age ~5). Created in 1892, S\u00e9y\u00e8s lines are a system of horizontal and vertical guidelines that govern the proportions of letters, and their ascending and descending strokes. In an attempt to reform and modernize handwriting teaching in schools, the Minist\u00e8re released two digital typeface families in 2013 \u2014 \u00c9criture A by Laurence Bedoin-Collard and Helo\u00edsa Tissot, and \u00c9criture B, by Marion Andrews. Both fonts follow a modern cursive style and are available for free on the Minist\u00e8re\u2019s website, along with information for teachers about the shapes and proportions of letters, and how to connect them to form words in the most logical way possible. Playwrite France Traditionnelle is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite FR Trad Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite France Traditionnelle characteristics Closely following the \u00c9criture Droite structure, this upright continuous cursive showcases very long ascenders and descenders and is characterized by round shapes that are executed slowly. The uppercase letters are decorative, with some, like 'R' and 'Y', designed to facilitate connections to subsequent letters. The lowercase 'f' features a mirrored bottom loop. Additionally, letters 'm', 'n', 'v', 'w', 'y', and notably 'z', start with a curved entry stroke, enhancing the fluidity of the script. Family name in font menus Playwrite France Traditionnelle appears in font menus with a two-letter country code \u2018FR\u2019 and a the \u2018Trad\u2019 abbreviation, Playwrite FR Trad. It features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in France, see primarium.info/countries/france. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite FR Trad\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/france" + }, + "Playwrite FR Trad Guides": { + "name": "Playwrite FR Trad Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite France Traditionnelle Guides is a single-weight font designed to harmonize seamlessly with its companion, Playwrite France Traditionnelle. This font includes guideline markers on the baseline, x-height, ascenders, and descenders, providing a visual aid for primary school children. These guides help young learners grasp the proportions of letterforms and assist them in drawing letters with confidence and accuracy. The \u2018\u00e9criture cursive\u2019, or traditional vertical cursive, is the most used approach to handwriting teaching in schools in France. Its forms are inspired by the \u2018Lettre Ronde\u2019, originally written with a broad nib pen and ink. Students learn \u2018\u00e9criture cursive\u2018 by writing letters over S\u00e9y\u00e8s lines, which are introduced during kindergarten (age ~5). Created in 1892, S\u00e9y\u00e8s lines are a system of horizontal and vertical guidelines that govern the proportions of letters, and their ascending and descending strokes. In an attempt to reform and modernize handwriting teaching in schools, the Minist\u00e8re released two digital typeface families in 2013 \u2014 \u00c9criture A by Laurence Bedoin-Collard and Helo\u00edsa Tissot, and \u00c9criture B, by Marion Andrews. Both fonts follow a modern cursive style and are available for free on the Minist\u00e8re\u2019s website, along with information for teachers about the shapes and proportions of letters, and how to connect them to form words in the most logical way possible. To contribute, see github.com/TypeTogether/Playwrite. Playwrite France Traditionnelle characteristics Guidelines are present in all characters except for those used for letter spacing. To create a versatile font for teachers designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. It replaces the glyph shape with the guidelines and matches the width of the letter space. Find the detailed characteristics of this country's Model in Playwrite France Traditionnelle. Family name in font menus Playwrite France Traditionnelle Guides appears in font menus with a two-letter country code \u2018FR\u2019 and a the \u2018Trad\u2019 abbreviation, Playwrite FR Trad Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in France, see primarium.info/countries/france. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite FR Trad Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/france" + }, + "Playwrite GB J": { + "name": "Playwrite GB J", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "England has been the incubator for several prominent handwriting styles that still influence teaching around the world. One of the earliest examples is the English Roundhand, which was used in business and education in the 19th century. The implementation of modern cursive styles in classrooms is probably the most influential development for contemporary handwriting education. They draw from the ideas of the Italic Handwriting Revival movement of the early 20th century, and the work of its proponents. Alfred Fairbank (1895\u20131982) proposed modern italic writing, based on chancery models, as a new approach to teaching handwriting with the aim of simplification and faster writing speed. Recently, it has been one of the most popular approaches to handwriting teaching in England. Of the twenty-three methods described in the National Handwriting Association\u2019s 2013 guide to writing methods for teaching, thirteen were fully joined or semi-joined modern cursive styles. Important among these are Nelson Handwriting, Tom Gourdie Modern Hand, Jarman Handwriting, Marion Richardson, and Sassoon-Williams model. Playwrite England Joined is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite GB J Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite England Joined characteristics This fully connected modern cursive has short, loopless ascenders and looped descenders, and is available in two flavors: upright and slanted (italic). It has simplified print upper cases. The most identifiable features are the open 'G' with no crossbar and the 'M' with splain legs. Lowercase 'f' is its more recognizable feature, with an ascender that requires lifting the pen. As expected in this style, the letters 'r' and 'z' have an italic cursive structure. Family name in font menus Playwrite England Joined appears in font menus with a two-letter country code \u2018GB\u2019 and a \u2018J\u2019 for the Joined variant, Playwrite GB J. The font features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info, and to learn more about handwriting education in England, see primarium.info/countries/england. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite GB J\", and click OK. If some text is already selected, the font choice will apply. Note: This font family doesn't include Bold style, so please avoid applying it in text editors. If you use the common 'B' button, you will automatically generate a low-quality style. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/england" + }, + "Playwrite GB J Guides": { + "name": "Playwrite GB J Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite England Joined Guides is a single-weight font designed to harmonize seamlessly with its companion, Playwrite England Joined. This font includes guideline markers on the baseline, x-height, ascenders, and descenders, providing a visual aid for primary school children. These guides help young learners grasp the proportions of letterforms and assist them in drawing letters with confidence and accuracy. England has been the incubator for several prominent handwriting styles that still influence teaching around the world. One of the earliest examples is the English Roundhand, which was used in business and education in the 19th century. The implementation of modern cursive styles in classrooms is probably the most influential development for contemporary handwriting education. They draw from the ideas of the Italic Handwriting Revival movement of the early 20th century, and the work of its proponents. Alfred Fairbank (1895\u20131982) proposed modern italic writing, based on chancery models, as a new approach to teaching handwriting with the aim of simplification and faster writing speed. Recently, it has been one of the most popular approaches to handwriting teaching in England. Of the twenty-three methods described in the National Handwriting Association\u2019s 2013 guide to writing methods for teaching, thirteen were fully joined or semi-joined modern cursive styles. Important among these are Nelson Handwriting, Tom Gourdie Modern Hand, Jarman Handwriting, Marion Richardson, and Sassoon-Williams model. To contribute, see github.com/TypeTogether/Playwrite. Playwrite England Joined Guides characteristics Guidelines are present in all characters except for those used for letter spacing. To create a versatile font for teachers designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. It replaces the glyph shape with the guidelines and matches the width of the letter space. Find the detailed characteristics of this country's Model in Playwrite England Joined. Family name in font menus Playwrite England Joined Guides appears in font menus with a two-letter country code \u2018GB\u2019 and a \u2018J\u2019 for the Joined variant, Playwrite GB J Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info, and to learn more about handwriting education in England, see primarium.info/countries/england. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite GB J Guides\", and click OK. If some text is already selected, the font choice will apply. Note: This font family doesn't include Bold style, so please avoid applying it in text editors. If you use the common 'B' button, you will automatically generate a low-quality style. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/england" + }, + "Playwrite GB S": { + "name": "Playwrite GB S", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "England has been the incubator for several prominent handwriting styles that still influence teaching around the world. One of the earliest examples is the English Roundhand, which was used in business and education in the 19th century. The implementation of modern cursive styles in classrooms is probably the most influential development for contemporary handwriting education. They draw from the ideas of the Italic Handwriting Revival movement of the early 20th century, and the work of its proponents. Alfred Fairbank (1895\u20131982) proposed modern italic writing, based on chancery models, as a new approach to teaching handwriting with the aim of simplification and faster writing speed. Recently, it has been one of the most popular approaches to handwriting teaching in England. Of the twenty-three methods described in the National Handwriting Association\u2019s 2013 guide to writing methods for teaching, thirteen were fully joined or semi-joined modern cursive styles. Important among these are Nelson Handwriting, Tom Gourdie Modern Hand, Jarman Handwriting, Marion Richardson, and Sassoon-Williams model. Playwrite England SemiJoined is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite GB S Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite England SemiJoined characteristics This semi-connected modern cursive is offered in both upright and slanted (italic) versions. It features short, loopless ascenders and descenders, with simplified print-like uppercase letters. Notable characteristics include an open 'G' without a crossbar and an 'M' with plain legs. The lowercase 'f' has a curved descending stroke, and the 'q' is distinguished by a flick in its descender. True to this style, there are no curved entry strokes, and letters ending in a right-to-left stroke, such as 'b', 'p', 'g', and 's', do not connect to the following letter. Family name in font menus Playwrite England SemiJoined appears in font menus with a two-letter country code \u2018GB\u2019 and an \u2018S\u2019 for the SemiJoined, Playwrite GB S. The font features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in England, see primarium.info/countries/england. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold style, so please avoid applying it in text editors. If you use the common 'B' button, you will automatically generate a low-quality style. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite GB S\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/england" + }, + "Playwrite GB S Guides": { + "name": "Playwrite GB S Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite England SemiJoined Guides is a single-weight font designed to harmonize seamlessly with its companion, Playwrite England SemiJoined. This font includes guideline markers on the baseline, x-height, ascenders, and descenders, providing a visual aid for primary school children. These guides help young learners grasp the proportions of letterforms and assist them in drawing letters with confidence and accuracy. England has been the incubator for several prominent handwriting styles that still influence teaching around the world. One of the earliest examples is the English Roundhand, which was used in business and education in the 19th century. The implementation of modern cursive styles in classrooms is probably the most influential development for contemporary handwriting education. They draw from the ideas of the Italic Handwriting Revival movement of the early 20th century, and the work of its proponents. Alfred Fairbank (1895\u20131982) proposed modern italic writing, based on chancery models, as a new approach to teaching handwriting with the aim of simplification and faster writing speed. Recently, it has been one of the most popular approaches to handwriting teaching in England. Of the twenty-three methods described in the National Handwriting Association\u2019s 2013 guide to writing methods for teaching, thirteen were fully joined or semi-joined modern cursive styles. Important among these are Nelson Handwriting, Tom Gourdie Modern Hand, Jarman Handwriting, Marion Richardson, and Sassoon-Williams model. To contribute, see github.com/TypeTogether/Playwrite. Playwrite England SemiJoined Guides characteristics Guidelines are present in all characters except for those used for letter spacing. To create a versatile font for teachers designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. It replaces the glyph shape with the guidelines and matches the width of the letter space. Find the detailed characteristics of this country's Model in Playwrite England SemiJoined. Family name in font menus Playwrite England SemiJoined Guides appears in font menus with a two-letter country code \u2018GB\u2019 and an \u2018S\u2019 for the SemiJoined, Playwrite GB S Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in England, see primarium.info/countries/england. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold style, so please avoid applying it in text editors. If you use the common 'B' button, you will automatically generate a low-quality style. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite GB S Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/england" + }, + "Playwrite HR": { + "name": "Playwrite HR", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "The seeds for the standardization of Croatian handwriting education were sown in 2007 when the Ministry of Education promoted a series of research projects that yielded numerous resources focused on Croatian language education, particularly for reading and writing. Among these was a handbook for handwriting education by Ante Be\u017een and Sini\u0161a Reberski, an influential work in the standardization of handwriting instruction from 2013 onwards. In first grade, students match letters with sounds and learn to recognize them in the context of words by means of print-style letters. From second grade, students must write using a continuous and fully joined cursive called \u2018rukopisno pismo\u2019. Playwrite Hrvatska is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite HR Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Hrvatska characteristics This is a slanted continuous cursive handwriting model with short looped ascenders and descenders. The uppercase letters are slightly decorative, with some designed to facilitate connecting strokes. Distinctively, the lowercase letters 'm' and 'n' do not have a curved entry stroke, whereas 'r', 'v', 'w', and 'y' do. The construction of these letters is characterized by a slow, rounded, and careful approach. Family name in font menus Playwrite Hrvatska appears in font menus with a two-letter country code \u2018HR\u2019, Playwrite HR, and features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Hrvatska, see primarium.info/countries/croatia. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite HR\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/croatia" + }, + "Playwrite HR Guides": { + "name": "Playwrite HR Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Hrvatska Guides is a single-weight font designed to harmonize seamlessly with its companion, Playwrite Hrvatska. This font includes guideline markers on the baseline, x-height, ascenders, and descenders, providing a visual aid for primary school children. These guides help young learners grasp the proportions of letterforms and assist them in drawing letters with confidence and accuracy. The seeds for the standardization of Croatian handwriting education were sown in 2007 when the Ministry of Education promoted a series of research projects that yielded numerous resources focused on Croatian language education, particularly for reading and writing. Among these was a handbook for handwriting education by Ante Be\u017een and Sini\u0161a Reberski, an influential work in the standardization of handwriting instruction from 2013 onwards. In first grade, students match letters with sounds and learn to recognize them in the context of words by means of print-style letters. From second grade, students must write using a continuous and fully joined cursive called \u2018rukopisno pismo\u2019. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Hrvatska Guides characteristics Guidelines are present in all characters except for those used for letter spacing. To create a versatile font for teachers designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. It replaces the glyph shape with the guidelines and matches the width of the letter space. Find the detailed characteristics of this country's Model in Playwrite Hrvatska. Family name in font menus Playwrite Hrvatska Guides appears in font menus with a two-letter country code \u2018HR\u2019, Playwrite HR Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Hrvatska, see primarium.info/countries/croatia. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite HR Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/croatia" + }, + "Playwrite HR Lijeva": { + "name": "Playwrite HR Lijeva", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "The seeds for the standardization of Croatian handwriting education were sown in 2007 when the Ministry of Education promoted a series of research projects that yielded numerous resources focused on Croatian language education, particularly for reading and writing. Among these was a handbook for handwriting education by Ante Be\u017een and Sini\u0161a Reberski, an influential work in the standardization of handwriting instruction from 2013 onwards. In first grade, students match letters with sounds and learn to recognize them in the context of words by means of print-style letters. From second grade, students must write using a continuous and fully joined cursive called \u2018rukopisno pismo\u2019. Playwrite Hrvatska Lijeva is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite HR Lijeva Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Hrvatska Lijeva characteristics This is a slanted continuous cursive handwriting model with short looped ascenders and descenders. The uppercase letters are slightly decorative, with some designed to facilitate connecting strokes. Distinctively, the lowercase letters 'm' and 'n' do not have a curved entry stroke, whereas 'r', 'v', 'w', and 'y' do. The construction of these letters is characterized by a slow, rounded, and careful approach. Family name in font menus Playwrite Hrvatska-Lijeva appears in font menus with a two-letter country code \u2018HR\u2019 and the word \u2019Lijeva\u2019, Playwrite HR Lijeva, and features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Hrvatska-Lijeva, see primarium.info/countries/croatia. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite HR Lijeva\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/croatia" + }, + "Playwrite HR Lijeva Guides": { + "name": "Playwrite HR Lijeva Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Playwrite Hrvatska Lijeva Guides is a single-weight font designed to harmonize seamlessly with its companion, Playwrite Playwrite Hrvatska Lijeva. This font includes guideline markers on the baseline, x-height, ascenders, and descenders, providing a visual aid for primary school children. These guides help young learners grasp the proportions of letterforms and assist them in drawing letters with confidence and accuracy. The seeds for the standardization of Croatian handwriting education were sown in 2007 when the Ministry of Education promoted a series of research projects that yielded numerous resources focused on Croatian language education, particularly for reading and writing. Among these was a handbook for handwriting education by Ante Be\u017een and Sini\u0161a Reberski, an influential work in the standardization of handwriting instruction from 2013 onwards. In first grade, students match letters with sounds and learn to recognize them in the context of words by means of print-style letters. From second grade, students must write using a continuous and fully joined cursive called \u2018rukopisno pismo\u2019. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Hrvatska Lijeva Guides characteristics Guidelines are present in all characters except for those used for letter spacing. To create a versatile font for teachers designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. It replaces the glyph shape with the guidelines and matches the width of the letter space. Find the detailed characteristics of this country's Model in Playwrite Playwrite Hrvatska Lijeva. Family name in font menus Playwrite Hrvatska Lijeva appears in font menus with a two-letter country code \u2018HR\u2019 and the word \u2019Lijeva\u2019, Playwrite HR Lijeva Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Hrvatska-Lijeva, see primarium.info/countries/croatia. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite HR Lijeva Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/croatia" + }, + "Playwrite HU": { + "name": "Playwrite HU", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "The most recent version of the National Core Curriculum, published in 2020, describes exercises aimed at preparing students for writing and emphasizes the acquisition of reading skills and comprehension. It does not mention any models for handwriting instruction. However, an official teacher\u2019s manual called Tan\u00edt\u00f3i K\u00e9zik\u00f6nyv prescribes the use of workbooks published by the Minisztere through its Oktat\u00e1si Hivatal, or Educational Authority. There are several handwriting instruction books in the catalog. Among them, the most popular series are \u00cdr\u00e1s Munkaf\u00fczet and Betubarangolo, both edited by the staff of the Oktat\u00e1si Hivatal and with visual and typographic design by L\u00e1szl\u00f3 Kajt\u00e1r. These publications follow the most common approach used in handwriting education in Hungary: both print and cursive letters are introduced from first grade, and the cursive letters are upright, wide, round, and have looped extenders. Playwrite Magyarorsz\u00e1g is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite HU Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Magyarorsz\u00e1g characteristics Inspired by the S\u00fctterlin German style, this vertical continuous cursive features short and sometimes looped ascenders and descenders. The script is rounded and slowly constructed, with subtly decorative uppercase letters. The lowercase 'f' features a single loop in its ascender and connects to the next letter from its crossbar. The letter 'r' is unique in this model as it is the only letter that starts with a curved entry stroke at the x-height. Family name in font menus Playwrite Magyarorsz\u00e1g appears in font menus with a two-letter country code \u2018HU\u2019, Playwrite HU, and features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Tanzania, see primarium.info/countries/hungary. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite HU\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/hungary" + }, + "Playwrite HU Guides": { + "name": "Playwrite HU Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Magyarorsz\u00e1g Guides is a single-weight font designed to harmonize seamlessly with its companion, Playwrite Magyarorsz\u00e1g. This font includes guideline markers on the baseline, x-height, ascenders, and descenders, providing a visual aid for primary school children. These guides help young learners grasp the proportions of letterforms and assist them in drawing letters with confidence and accuracy. The most recent version of the National Core Curriculum, published in 2020, describes exercises aimed at preparing students for writing and emphasizes the acquisition of reading skills and comprehension. It does not mention any models for handwriting instruction. However, an official teacher\u2019s manual called Tan\u00edt\u00f3i K\u00e9zik\u00f6nyv prescribes the use of workbooks published by the Minisztere through its Oktat\u00e1si Hivatal, or Educational Authority. There are several handwriting instruction books in the catalog. Among them, the most popular series are \u00cdr\u00e1s Munkaf\u00fczet and Betubarangolo, both edited by the staff of the Oktat\u00e1si Hivatal and with visual and typographic design by L\u00e1szl\u00f3 Kajt\u00e1r. These publications follow the most common approach used in handwriting education in Hungary: both print and cursive letters are introduced from first grade, and the cursive letters are upright, wide, round, and have looped extenders. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Magyarorsz\u00e1g Guides characteristics Guidelines are present in all characters except for those used for letter spacing. To create a versatile font for teachers designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. It replaces the glyph shape with the guidelines and matches the width of the letter space. Find the detailed characteristics of this country's Model in Playwrite Magyarorsz\u00e1g. Family name in font menus Playwrite Magyarorsz\u00e1g Guides appears in font menus with a two-letter country code \u2018HU\u2019, Playwrite HU Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Tanzania, see primarium.info/countries/hungary. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite HU Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/hungary" + }, + "Playwrite ID": { + "name": "Playwrite ID", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "The Indonesian Ministry of Education and Culture introduced a standard, national model for handwriting education through an official decree in 1983. The model was updated in 2009, but the original is still preferred. According to the model, students first \u2018learn huruf\u2018 lepas, or loose letters, followed by \u2018huruf sambung\u2018, or cursive letters. Across the country, handwriting is taught using this model, and it is featured in workbooks produced by popular private publishers in Indonesia. Playwrite Indonesia is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite ID Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Indonesia characteristics This style uses the traditional French model as its basis. It features upright, connected cursive letters with notably long ascenders and descenders. The letters, characterized by their rounded shapes, are written slowly. Capital letters blend printed and decorative elements, notably in 'Q', 'K', and 'L'. The lowercase 'f' has a mirrored bottom loop. Letters 'm', 'n', 'v', 'w', and especially 'z', begin with a curved entry stroke. The lowercase 'b' is distinguished by a knot, and interestingly, the 's' does not adopt a cursive form. Family name in font menus Playwrite Indonesia appears in font menus with a two-letter country code \u2018ID\u2019, Playwrite ID and features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Indonesia, see primarium.info/countries/indonesia. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite ID\", and click OK. If some text is already selected, the font choice will apply. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/indonesia" + }, + "Playwrite ID Guides": { + "name": "Playwrite ID Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Indonesia Guides is a single-weight font designed to harmonize seamlessly with its companion, Playwrite Indonesia. This font includes guideline markers on the baseline, x-height, ascenders, and descenders, providing a visual aid for primary school children. These guides help young learners grasp the proportions of letterforms and assist them in drawing letters with confidence and accuracy. The Indonesian Ministry of Education and Culture introduced a standard, national model for handwriting education through an official decree in 1983. The model was updated in 2009, but the original is still preferred. According to the model, students first \u2018learn huruf\u2018 lepas, or loose letters, followed by \u2018huruf sambung\u2018, or cursive letters. Across the country, handwriting is taught using this model, and it is featured in workbooks produced by popular private publishers in Indonesia. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Indonesia Guides characteristics Guidelines are present in all characters except for those used for letter spacing. To create a versatile font for teachers designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. It replaces the glyph shape with the guidelines and matches the width of the letter space. Find the detailed characteristics of this country's Model in Playwrite Indonesia. Family name in font menus Playwrite Indonesia Guides appears in font menus with a two-letter country code \u2018ID\u2019, Playwrite ID Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Indonesia, see primarium.info/countries/indonesia. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite ID Guides\", and click OK. If some text is already selected, the font choice will apply. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/indonesia" + }, + "Playwrite IE": { + "name": "Playwrite IE", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "The NCAA publishes the national curriculum, and issues of language are dealt with in the \u201cPrimary Language Curriculum\u201d, which was last published in 2019. This document is fully bilingual in English and Irish Gaelic. An additional guideline document for teachers called \u201dPrimary Language Curriculum. Support Material for teachers. Writing\u201d, is also published by the NCAA. This devotes a full section to handwriting and suggests that children can be introduced to cursive writing as early as the junior infant level. In practice, however, each school can choose its own methods for teaching handwriting. Most teachers start with either print script (locally called \u201cmanuscript\u201d) or precursive letters in junior and senior infant levels. From Class 1 onwards, students are taught to add exit strokes to letters and then connect them to achieve a cursive hand. Playwrite Ireland is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite IE Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Ireland characteristics This model showcases a sloped, continuous cursive style where uppercase letters connect to the following letter whenever possible. The letter 'H' is notable for its distinctive crossbar shape. Unlike other models in this category, lowercase letters have short extenders with loops but do not start with curved entry strokes. The construction of the bowls in 'b' and 'p' differs significantly from each other. The letter 'z' features a curved top and a looped descender. Family name in font menus Playwrite Ireland appears in font menus with a two-letter country code \u2018IE\u2019, Playwrite IE, and features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Ireland, see primarium.info/countries/ireland. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite IE\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/ireland" + }, + "Playwrite IE Guides": { + "name": "Playwrite IE Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Ireland Guides is a single-weight font designed to harmonize seamlessly with its companion, Playwrite Ireland. This font includes guideline markers on the baseline, x-height, ascenders, and descenders, providing a visual aid for primary school children. These guides help young learners grasp the proportions of letterforms and assist them in drawing letters with confidence and accuracy. The NCAA publishes the national curriculum, and issues of language are dealt with in the \u201cPrimary Language Curriculum\u201d, which was last published in 2019. This document is fully bilingual in English and Irish Gaelic. An additional guideline document for teachers called \u201dPrimary Language Curriculum. Support Material for teachers. Writing\u201d, is also published by the NCAA. This devotes a full section to handwriting and suggests that children can be introduced to cursive writing as early as the junior infant level. In practice, however, each school can choose its own methods for teaching handwriting. Most teachers start with either print script (locally called \u201cmanuscript\u201d) or precursive letters in junior and senior infant levels. From Class 1 onwards, students are taught to add exit strokes to letters and then connect them to achieve a cursive hand. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Ireland characteristics Guidelines are present in all characters except for those used for letter spacing. To create a versatile font for teachers designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. It replaces the glyph shape with the guidelines and matches the width of the letter space. Find the detailed characteristics of this country's Model in Playwrite Ireland. Family name in font menus Playwrite Ireland appears in font menus with a two-letter country code \u2018IE\u2019, Playwrite IE Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Ireland, see primarium.info/countries/ireland. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite IE Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/ireland" + }, + "Playwrite IN": { + "name": "Playwrite IN", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "According to the Indian National Curriculum Framework, students must be taught three languages, starting with their home tongue, and English can be among the languages they learn. Students should learn how to write in Grades 1 and 2, but the document does not specify any methods or models for teaching handwriting. The new NCERT textbooks for English are titled Mridang. The book for grade 1 teaches students print-style letterforms. No cursive writing instruction appears in this or the grade 2 textbook. However, NCERT\u2019s previous English textbook series, called Marigold, focused on cursive writing in grade 2 (7\u20138 years old) and showed samples in a style similar to one developed by Irish-born British diplomat, Vere Foster, in the second half of the nineteenth century. Further, handwriting textbooks produced by a major private publisher directly attribute the samples in their volumes to Foster\u2019s model. Playwrite India is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite IN Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite India characteristics This slanted continuous cursive style features medium-length extenders and draws inspiration from Vere Foster's New Civil Service writing models. The script includes decorative capital letters, with 'A' and 'H' particularly notable for their elaborated crossbars. Lowercase letters are designed with loops on both ascenders and descenders, and several letters begin with curved entry strokes. The letter 'r' is distinguished by a knot, and 'q' is characterized by a short exit stroke in its descender. Family name in font menus Playwrite India appears in font menus with a two-letter country code \u2018IN\u2019, Playwrite IN, and features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in India, see primarium.info/countries/india. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite IN\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/india" + }, + "Playwrite IN Guides": { + "name": "Playwrite IN Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite India Guides is a single-weight font designed to harmonize seamlessly with its companion, Playwrite India. This font includes guideline markers on the baseline, x-height, ascenders, and descenders, providing a visual aid for primary school children. These guides help young learners grasp the proportions of letterforms and assist them in drawing letters with confidence and accuracy. According to the Indian National Curriculum Framework, students must be taught three languages, starting with their home tongue, and English can be among the languages they learn. Students should learn how to write in Grades 1 and 2, but the document does not specify any methods or models for teaching handwriting. The new NCERT textbooks for English are titled Mridang. The book for grade 1 teaches students print-style letterforms. No cursive writing instruction appears in this or the grade 2 textbook. However, NCERT\u2019s previous English textbook series, called Marigold, focused on cursive writing in grade 2 (7\u20138 years old) and showed samples in a style similar to one developed by Irish-born British diplomat, Vere Foster, in the second half of the nineteenth century. Further, handwriting textbooks produced by a major private publisher directly attribute the samples in their volumes to Foster\u2019s model. To contribute, see github.com/TypeTogether/Playwrite. Playwrite India Guides characteristics Guidelines are present in all characters except for those used for letter spacing. To create a versatile font for teachers designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. It replaces the glyph shape with the guidelines and matches the width of the letter space. Find the detailed characteristics of this country's Model in Playwrite India. Family name in font menus Playwrite India Guides appears in font menus with a two-letter country code \u2018IN\u2019, Playwrite IN Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in India, see primarium.info/countries/india. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite IN Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/india" + }, + "Playwrite IS": { + "name": "Playwrite IS", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "The latest edition of the national curriculum, published in 2014, requires that at the end of fourth grade, students must \u201cwrite all the letters, write clearly and understandably.\u201d Handwriting teaching in Iceland happens during grades 1-3 (6-9 years old), and books by the MMS adhere to a progressive system based on simplified modern italic styles. According to this system, students should first be introduced to the lowercase letters of Grunnskrift or the initial model. These are simplified and unconnected letters, slightly slanted and with exit strokes. This should be followed by uppercase letters of the same model. Finally, in the third grade (8-9 years old), students learn Tengiskrift or joined letters. Playwrite \u00cdsland is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite IS Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite \u00cdsland characteristics This slanted modern cursive handwriting is crafted for high-speed writing and features print-style uppercase letters, with 'M' notably having splain legs. The lowercase letters are inspired by early Italic calligraphies, including the chancery style. Letters that end with a descender do not connect to the subsequent character, making this a semi-connected model. Both 'b' and 'p' feature closed bowls, while 'z' and 'r' are designed with an italic structure, stressing the script\u2019s aesthetic and functional attributes. Family name in font menus Playwrite \u00cdsland appears in font menus with a two-letter country code \u2018IS\u2019, Playwrite IS, and features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in \u00cdsland, see primarium.info/countries/iceland. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite IS\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/iceland" + }, + "Playwrite IS Guides": { + "name": "Playwrite IS Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite \u00cdsland Guides is a single-weight font designed to harmonize seamlessly with its companion, Playwrite \u00cdsland. This font includes guideline markers on the baseline, x-height, ascenders, and descenders, providing a visual aid for primary school children. These guides help young learners grasp the proportions of letterforms and assist them in drawing letters with confidence and accuracy. The latest edition of the national curriculum, published in 2014, requires that at the end of fourth grade, students must \u201cwrite all the letters, write clearly and understandably.\u201d Handwriting teaching in Iceland happens during grades 1-3 (6-9 years old), and books by the MMS adhere to a progressive system based on simplified modern italic styles. According to this system, students should first be introduced to the lowercase letters of Grunnskrift or the initial model. These are simplified and unconnected letters, slightly slanted and with exit strokes. This should be followed by uppercase letters of the same model. Finally, in the third grade (8-9 years old), students learn Tengiskrift or joined letters. To contribute, see github.com/TypeTogether/Playwrite. Playwrite \u00cdsland characteristics Guidelines are present in all characters except for those used for letter spacing. To create a versatile font for teachers designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. It replaces the glyph shape with the guidelines and matches the width of the letter space. Find the detailed characteristics of this country's Model in Playwrite \u00cdsland. Family name in font menus Playwrite \u00cdsland appears in font menus with a two-letter country code \u2018IS\u2019, Playwrite IS Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in \u00cdsland, see primarium.info/countries/iceland. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite IS Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/iceland" + }, + "Playwrite IT Moderna": { + "name": "Playwrite IT Moderna", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Italy holds an important place in the historical development of handwriting styles. Handwriting produced in the Latin script finds its roots in the models produced during the Italian Renaissance. The most prevalent form of handwriting taught in Italy is an upright cursive style developed in the early to mid-20th century, which, according to handwriting expert Francesco Ascoli, was prescribed in the country\u2019s national guidelines in 1945. At the beginning of the 21st century, the decline in the quality of handwriting in Italy caught the attention of the educational community. To rectify this situation, educators and handwriting experts started to explore different ways to improve instruction in primary schools by revamping approaches and resources for traditional handwriting education, or introducing new teaching schemes. The Scrittura Corsiva modern cursive project has gained significant recognition among the latter. Playwrite Italia Moderna is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite IT Moderna Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Italia Moderna characteristics This is a fully joined modern cursive, completely upright, with short ascenders and descenders. it has simplified print style capital letters. Identity traits: It has serifs and 'M' has splain legs. Lowercases use descender loops to connect with the next letter in 'f', 'g', 'j' and 'y'. 'p' and 'b' have closed bowls, 'k' is written with two strokes, and 'f' is missing its top loop. Family name in font menus Playwrite Italia Moderna appears in font menus with a two-letter country code \u2018IT\u2018 and a the word \u2018Moderna\u2018, Playwrite IT Moderna. It features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info, and to learn more about handwriting education in Italy, see primarium.info/countries/italy. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite IT Moderna\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/italy" + }, + "Playwrite IT Moderna Guides": { + "name": "Playwrite IT Moderna Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Italia Moderna Guides is a single-weight font designed to harmonize seamlessly with its companion, Playwrite Italia Moderna. This font includes guideline markers on the baseline, x-height, ascenders, and descenders, providing a visual aid for primary school children. These guides help young learners grasp the proportions of letterforms and assist them in drawing letters with confidence and accuracy. Italy holds an important place in the historical development of handwriting styles. Handwriting produced in the Latin script finds its roots in the models produced during the Italian Renaissance. The most prevalent form of handwriting taught in Italy is an upright cursive style developed in the early to mid-20th century, which, according to handwriting expert Francesco Ascoli, was prescribed in the country\u2019s national guidelines in 1945. At the beginning of the 21st century, the decline in the quality of handwriting in Italy caught the attention of the educational community. To rectify this situation, educators and handwriting experts started to explore different ways to improve instruction in primary schools by revamping approaches and resources for traditional handwriting education, or introducing new teaching schemes. The Scrittura Corsiva modern cursive project has gained significant recognition among the latter. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Italia Moderna Guides characteristics Guidelines are present in all characters except for those used for letter spacing. To create a versatile font for teachers designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. It replaces the glyph shape with the guidelines and matches the width of the letter space. Find the detailed characteristics of this country's Model in Playwrite Italia Moderna. Family name in font menus Playwrite Italia Moderna Guides appears in font menus with a two-letter country code \u2018IT\u2018 and a the word \u2018Moderna\u2018, Playwrite IT Moderna Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info, and to learn more about handwriting education in Italy, see primarium.info/countries/italy. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite IT Moderna Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/italy" + }, + "Playwrite IT Trad": { + "name": "Playwrite IT Trad", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Italy holds an important place in the historical development of handwriting styles. Handwriting produced in the Latin script finds its roots in the models produced during the Italian Renaissance. The most prevalent form of handwriting taught in Italy is an upright cursive style developed in the early to mid-20th century, which, according to handwriting expert Francesco Ascoli, was prescribed in the country\u2019s national guidelines in 1945. At the beginning of the 21st century, the decline in the quality of handwriting in Italy caught the attention of the educational community. To rectify this situation, educators and handwriting experts started to explore different ways to improve instruction in primary schools by revamping approaches and resources for traditional handwriting education or introducing new teaching schemes. The Scrittura Corsiva modern cursive project has gained significant recognition among the latter. Playwrite Italia Tradizionale is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite IT Trad Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Italia Tradizionale characteristics This upright, fully joined, modern cursive features short ascenders and descenders. It utilizes simplified print-style capital letters. Distinctive identity traits include a serifed 'I' and an 'M' with splain legs. Lowercase letters 'f', 'g', 'j', and 'y' employ descender loops to connect to the next letter seamlessly. Both 'p' and 'b' are designed with closed bowls, 'k' is constructed with two strokes, and 'f' is notable for the absence of its top loop, creating a recognizable handwriting model. Family name in font menus Playwrite Italia Tradizionale appears in font menus with a two-letter country code, \u2018IT\u2019 and a the \u2018Trad\u2019 abbreviation, Playwrite IT Trad. It features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Italy, see primarium.info/countries/italy. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite IT Trad\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/italy" + }, + "Playwrite IT Trad Guides": { + "name": "Playwrite IT Trad Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Italia Tradizionale Guides is a single-weight font designed to harmonize seamlessly with its companion, Playwrite Italia Tradizionale. This font includes guideline markers on the baseline, x-height, ascenders, and descenders, providing a visual aid for primary school children. These guides help young learners grasp the proportions of letterforms and assist them in drawing letters with confidence and accuracy. Italy holds an important place in the historical development of handwriting styles. Handwriting produced in the Latin script finds its roots in the models produced during the Italian Renaissance. The most prevalent form of handwriting taught in Italy is an upright cursive style developed in the early to mid-20th century, which, according to handwriting expert Francesco Ascoli, was prescribed in the country\u2019s national guidelines in 1945. At the beginning of the 21st century, the decline in the quality of handwriting in Italy caught the attention of the educational community. To rectify this situation, educators and handwriting experts started to explore different ways to improve instruction in primary schools by revamping approaches and resources for traditional handwriting education or introducing new teaching schemes. The Scrittura Corsiva modern cursive project has gained significant recognition among the latter. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Italia Tradizionale characteristics Guidelines are present in all characters except for those used for letter spacing. To create a versatile font for teachers designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. It replaces the glyph shape with the guidelines and matches the width of the letter space. Find the detailed characteristics of this country's Model in Playwrite Italia Tradizionale. Family name in font menus Playwrite Italia Tradizionale appears in font menus with a two-letter country code, \u2018IT\u2019 and a the \u2018Trad\u2019 abbreviation, Playwrite IT Trad Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Italy, see primarium.info/countries/italy. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite IT Trad Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/italy" + }, + "Playwrite MX": { + "name": "Playwrite MX", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Since the 1992 educational reform, the curricula for primary education no longer provide details about handwriting instruction or specific writing models. Moreover, it grants teachers the freedom to choose teaching methods for reading and writing instruction during the earliest stages. However, nearly all private schools and most public ones teach cursive writing \u2014 either alongside or sequentially \u2014 with print letters. But the resources they use for teaching cursive writing are privately acquired from publishing houses or created by teachers themselves. In this context, local type designers have been commissioned to create typefaces that match the styles familiar to teachers. These typefaces are usually similar to North American penmanship models, more likely, a derivative from the National Commission of Free Textbooks workbooks dating back to the 1960s. Playwrite M\u00e9xico is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite MX Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite M\u00e9xico characteristics This slanted continuous cursive closely mirrors North American models such as Palmer or Zaner-Bloser. The uppercase letters are cursive and include some complex shapes, notably in 'F', 'I', and 'G'. The lowercase letters feature medium-length extenders, with 'f' and 'q' displaying mirrored descender loops that add intricacy. The letter 'z' is designed with a curved top, while 'b', 'v', and 'w' incorporate knots, contributing to the overall ornate style. The construction of the letters is characterized by a slow and complex execution, emphasizing the deliberate and decorative nature of this handwriting style. Family name in font menus Playwrite M\u00e9xico appears in font menus with a two-letter country code \u2018MX\u2019, Playwrite MX, and features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Mexico, see primarium.info/countries/mexico. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite MX\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/mexico" + }, + "Playwrite MX Guides": { + "name": "Playwrite MX Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite M\u00e9xico Guides is a single-weight font designed to harmonize seamlessly with its companion, Playwrite M\u00e9xico. This font includes guideline markers on the baseline, x-height, ascenders, and descenders, providing a visual aid for primary school children. These guides help young learners grasp the proportions of letterforms and assist them in drawing letters with confidence and accuracy. Since the 1992 educational reform, the curricula for primary education no longer provide details about handwriting instruction or specific writing models. Moreover, it grants teachers the freedom to choose teaching methods for reading and writing instruction during the earliest stages. However, nearly all private schools and most public ones teach cursive writing \u2014 either alongside or sequentially \u2014 with print letters. But the resources they use for teaching cursive writing are privately acquired from publishing houses or created by teachers themselves. In this context, local type designers have been commissioned to create typefaces that match the styles familiar to teachers. These typefaces are usually similar to North American penmanship models, more likely, a derivative from the National Commission of Free Textbooks workbooks dating back to the 1960s. To contribute, see github.com/TypeTogether/Playwrite. Playwrite M\u00e9xico Guides characteristics Guidelines are present in all characters except for those used for letter spacing. To create a versatile font for teachers designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. It replaces the glyph shape with the guidelines and matches the width of the letter space. Find the detailed characteristics of this country's Model in Playwrite M\u00e9xico. Family name in font menus Playwrite M\u00e9xico Guides appears in font menus with a two-letter country code \u2018MX\u2019, Playwrite MX Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Mexico, see primarium.info/countries/mexico. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite MX Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/mexico" + }, + "Playwrite NG Modern": { + "name": "Playwrite NG Modern", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "In Nigeria, there is an emphasis on students receiving instruction in the language they hear and use every day. This poses a challenge in a country with limited resources and great linguistic diversity. Apart from four widely spoken languages \u2014 Hausa, Igbo, Yoruba and English \u2014 there are hundreds of regional languages as well as dialects. As a result, teacher training and educational resources are required for several languages. In the past, before the widespread use of computers, there was greater emphasis on handwriting. Today, while private schools with more resources may adopt foreign models like Nelson Handwriting, public schools face financial constraints, impacting their ability to prioritize handwriting education. Given these circumstances, the handwriting style learned by students is often influenced by the habits of their parents and teachers, and they end up mimicking what they see around them. Playwrite Nigeria Modern is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite NG Modern Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Nigeria Modern characteristics Following the tradition and current use of these booklets, Playwrite Nigeria Modern is a very slanted continuous cursive. Its lowercase letters have medium-length ascenders and descenders with loops that favor writing whole words without pen lifts. Based on the Palmer style, these loops are mirrored in the descending strokes of letters 'f' and 'q'. Some uppercase letters, such as the 'G', 'L', and 'Z', have decorative and complex cursive shapes. Family name in font menus Playwrite Nigeria Modern appears in font menus with a two-letter country code \u2018NG\u2019 and the word \u2018Modern\u2019, Playwrite NG Modern. It features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Nigeria, see primarium.info/countries/nigeria. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite NG Modern\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/nigeria" + }, + "Playwrite NG Modern Guides": { + "name": "Playwrite NG Modern Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Nigeria Modern Guides is a single-weight font designed to harmonize seamlessly with its companion, Playwrite Nigeria Modern. This font includes guideline markers on the baseline, x-height, ascenders, and descenders, providing a visual aid for primary school children. These guides help young learners grasp the proportions of letterforms and assist them in drawing letters with confidence and accuracy. In Nigeria, there is an emphasis on students receiving instruction in the language they hear and use every day. This poses a challenge in a country with limited resources and great linguistic diversity. Apart from four widely spoken languages \u2014 Hausa, Igbo, Yoruba and English \u2014 there are hundreds of regional languages as well as dialects. As a result, teacher training and educational resources are required for several languages. In the past, before the widespread use of computers, there was greater emphasis on handwriting. Today, while private schools with more resources may adopt foreign models like Nelson Handwriting, public schools face financial constraints, impacting their ability to prioritize handwriting education. Given these circumstances, the handwriting style learned by students is often influenced by the habits of their parents and teachers, and they end up mimicking what they see around them. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Nigeria Modern Guides characteristics Guidelines are present in all characters except for those used for letter spacing. To create a versatile font for teachers designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. It replaces the glyph shape with the guidelines and matches the width of the letter space. Find the detailed characteristics of this country's Model in Playwrite Nigeria Modern. Family name in font menus Playwrite Nigeria Modern Guides appears in font menus with a two-letter country code \u2018NG\u2019 and the word \u2018Modern\u2019, Playwrite NG Modern Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Nigeria, see primarium.info/countries/nigeria. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite NG Modern Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/nigeria" + }, + "Playwrite NL": { + "name": "Playwrite NL", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "In The Netherlands, handwriting education commonly begins in Groep 3 after students have learned fine and gross motor skills in previous years. The most widely used handwriting model in classrooms is verbonden schrift, a slanted continuous cursive with loops. However, teachers have increasingly opted for blokschrift, which features unjoined, simplified print letters. Some teachers choose to instruct in both models: one after another, together, or in a permutation that suits their students. Playwrite Netherland is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite NL Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Netherland characteristics This slanted fully joined handwriting style includes cursive uppercases, with the exception of 'S', and features complex shapes in letters such as 'I' and 'J'. The lowercase letters showcase long ascenders and descenders, each furnished with loops, enhancing the fluidity of the script. Curved entry strokes are present in the letters 'm', 'n', 'v', 'w', 'x', and 'y', contributing to the overall smooth and flowing appearance. The letter 'z' stands out as it is specifically constructed in an italic style, adding a distinct contrast within the script. Family name in font menus Playwrite Netherland appears in font menus with a two-letter country code \u2018NL\u2019, Playwrite NL, and features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Netherland, see primarium.info/countries/the-netherlands. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite NL\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/the-netherlands" + }, + "Playwrite NL Guides": { + "name": "Playwrite NL Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Netherland Guides is a single-weight font designed to harmonize seamlessly with its companion, Playwrite Netherland. This font includes guideline markers on the baseline, x-height, ascenders, and descenders, providing a visual aid for primary school children. These guides help young learners grasp the proportions of letterforms and assist them in drawing letters with confidence and accuracy. In The Netherlands, handwriting education commonly begins in Groep 3 after students have learned fine and gross motor skills in previous years. The most widely used handwriting model in classrooms is verbonden schrift, a slanted continuous cursive with loops. However, teachers have increasingly opted for blokschrift, which features unjoined, simplified print letters. Some teachers choose to instruct in both models: one after another, together, or in a permutation that suits their students. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Netherland Guides characteristics Guidelines are present in all characters except for those used for letter spacing. To create a versatile font for teachers designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. It replaces the glyph shape with the guidelines and matches the width of the letter space. Find the detailed characteristics of this country's Model in Playwrite Netherland. Family name in font menus Playwrite Netherland Guides appears in font menus with a two-letter country code \u2018NL\u2019, Playwrite NL Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Netherland, see primarium.info/countries/the-netherlands. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite NL Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/the-netherlands" + }, + "Playwrite NO": { + "name": "Playwrite NO", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "In Norway, the most prevalent form of handwriting in education is the stavskrift. It is an unlooped modern cursive style that borrows elements from continuous cursive writing. Students are taught uppercase and lowercase letters in trykkskrift, a simplified print script, in the first grade. In the middle of the second or beginning of the third grade, they are introduced to stavskrift and learn joining strokes between letters. This path may vary at the discretion of the teacher or the school, but in fourth grade, students are expected to have well-formed and legible handwriting with a certain degree of fluency. Playwrite Norge is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite NO Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Norge characteristics This modern cursive, semi-connected typeface includes elements from continuous cursive handwriting styles. The uppercase letters are decorative, with 'G' and 'Y' featuring descenders with loops that connect to the following letter. Lowercase letters have medium-length, loopless ascenders and descenders. Distinctive features include a straight descender on 'f', a loopless cursive shape in 'z', and cursive styles for 'p' and 'b'. Family name in font menus Playwrite Norge appears in font menus with a two-letter country code \u2018NO\u2019, Playwrite NO, and features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Norge, see primarium.info/countries/norway. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite NO\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/norway" + }, + "Playwrite NO Guides": { + "name": "Playwrite NO Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Norge Guides is a single-weight font designed to harmonize seamlessly with its companion, Playwrite Norge. This font includes guideline markers on the baseline, x-height, ascenders, and descenders, providing a visual aid for primary school children. These guides help young learners grasp the proportions of letterforms and assist them in drawing letters with confidence and accuracy. In Norway, the most prevalent form of handwriting in education is the stavskrift. It is an unlooped modern cursive style that borrows elements from continuous cursive writing. Students are taught uppercase and lowercase letters in trykkskrift, a simplified print script, in the first grade. In the middle of the second or beginning of the third grade, they are introduced to stavskrift and learn joining strokes between letters. This path may vary at the discretion of the teacher or the school, but in fourth grade, students are expected to have well-formed and legible handwriting with a certain degree of fluency. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Norge Guides characteristics Guidelines are present in all characters except for those used for letter spacing. To create a versatile font for teachers designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. It replaces the glyph shape with the guidelines and matches the width of the letter space. Find the detailed characteristics of this country's Model in Playwrite Norge. Family name in font menus Playwrite Norge Guides appears in font menus with a two-letter country code \u2018NO\u2019, Playwrite NO Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Norge, see primarium.info/countries/norway. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite NO Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/norway" + }, + "Playwrite NZ": { + "name": "Playwrite NZ", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "The style of handwriting currently taught in New Zealand is specified in Teaching Handwriting, a Ministry of Education publication, which was developed in response to teachers\u2019 requests for guidance on the style of handwriting that should be taught in primary school. Teachers and schools usually create their own resources for handwriting instruction based on the style advocated in this document. It was first released in 1985 and again in digital format in 2008. Even though Teaching Handwriting outlines a progressive handwriting system that advances from simplified print script to cursive writing, sometimes teachers will not teach the latter if it is not practical given their students' learning levels and other curriculum needs. Playwrite New Zealand is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite NZ Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite New Zealand characteristics This modern cursive style is extremely fast and slanted, featuring simplified print-style uppercase letters. Notable are the open 'G' without a crossbar, a serifed 'I', and a 'Y' with a slanted stem. The lowercase letters are semi-connected, exhibiting a very fast and angular construction typical of modern cursive styles based on italic forms. The letter 'f' has a straight descender, and 'q' is distinguished by a short exit stroke that serves as a finial, enhancing the dynamic and streamlined appearance of the script. Family name in font menus Playwrite New-Zealand appears in font menus with a two-letter country code \u2018NZ\u2019, Playwrite NZ, and features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in New-Zealand, see primarium.info/countries/new-zealand. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite NZ\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/new-zealand" + }, + "Playwrite NZ Guides": { + "name": "Playwrite NZ Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite New Zealand Guides is a single-weight font designed to harmonize seamlessly with its companion, Playwrite New Zealand. This font includes guideline markers on the baseline, x-height, ascenders, and descenders, providing a visual aid for primary school children. These guides help young learners grasp the proportions of letterforms and assist them in drawing letters with confidence and accuracy. The style of handwriting currently taught in New Zealand is specified in Teaching Handwriting, a Ministry of Education publication, which was developed in response to teachers\u2019 requests for guidance on the style of handwriting that should be taught in primary school. Teachers and schools usually create their own resources for handwriting instruction based on the style advocated in this document. It was first released in 1985 and again in digital format in 2008. Even though Teaching Handwriting outlines a progressive handwriting system that advances from simplified print script to cursive writing, sometimes teachers will not teach the latter if it is not practical given their students' learning levels and other curriculum needs. To contribute, see github.com/TypeTogether/Playwrite. Playwrite New Zealand Guides characteristics Guidelines are present in all characters except for those used for letter spacing. To create a versatile font for teachers designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. It replaces the glyph shape with the guidelines and matches the width of the letter space. Find the detailed characteristics of this country's Model in Playwrite New Zealand. Family name in font menus Playwrite New Zealand appears in font menus with a two-letter country code \u2018NZ\u2019, Playwrite NZ Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in New-Zealand, see primarium.info/countries/new-zealand. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite NZ Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/new-zealand" + }, + "Playwrite PE": { + "name": "Playwrite PE", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Due to the absence of handwriting education guidelines in the curriculum and no prescribed model, there is a great deal of diversity in the approaches to handwriting teaching. The most widespread method is to teach uppercase print-style letters first and connected cursive writing second. However, in some schools, students may start with cursive writing in the first grade itself, and in others, cursive writing is not taught at all. An important difference is seen in private schools, where handwriting may be taught using models imported from abroad. For instance, Spanish-English bilingual schools teach using the Sassoon model that was developed in England. Playwrite Per\u00fa is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite PE Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Per\u00fa characteristics This upright continuous cursive handwriting model features medium-length ascenders and descenders. The capital letters are cursive and include a few complex shapes, notably in 'F', 'R', and 'O'. The letter 'G' is distinctive, appearing to be influenced by American styles rather than the traditional French vertical cursives. The lowercase letters have looped extenders and showcase a unique two-stroke construction of 'k'. The letter 'f' is characterized by a straight descender, while 'v' and 'w' are noted for their knots, adding to the distinctiveness of this cursive style. Family name in font menus Playwrite Peru appears in font menus with a two-letter country code \u2018PE\u2019, Playwrite PE, and features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Peru, see primarium.info/countries/peru. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite PE\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/peru" + }, + "Playwrite PE Guides": { + "name": "Playwrite PE Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Per\u00fa Guides is a single-weight font designed to harmonize seamlessly with its companion, Playwrite Per\u00fa. This font includes guideline markers on the baseline, x-height, ascenders, and descenders, providing a visual aid for primary school children. These guides help young learners grasp the proportions of letterforms and assist them in drawing letters with confidence and accuracy. Due to the absence of handwriting education guidelines in the curriculum and no prescribed model, there is a great deal of diversity in the approaches to handwriting teaching. The most widespread method is to teach uppercase print-style letters first and connected cursive writing second. However, in some schools, students may start with cursive writing in the first grade itself, and in others, cursive writing is not taught at all. An important difference is seen in private schools, where handwriting may be taught using models imported from abroad. For instance, Spanish-English bilingual schools teach using the Sassoon model that was developed in England. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Per\u00fa Guides characteristics Guidelines are present in all characters except for those used for letter spacing. To create a versatile font for teachers designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. It replaces the glyph shape with the guidelines and matches the width of the letter space. Find the detailed characteristics of this country's Model in Playwrite Per\u00fa. Family name in font menus Playwrite Peru appears in font menus with a two-letter country code \u2018PE\u2019, Playwrite PE Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Peru, see primarium.info/countries/peru. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite PE Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/peru" + }, + "Playwrite PL": { + "name": "Playwrite PL", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Poland\u2019s podstawa programowa, or core curriculum, is published by the Ministerstwo, and available online, where it is continuously maintained. It mentions handwriting education very briefly, stating that the country\u2019s goal is that students must learn to write by hand, legibly and fluently, in sentences and continuous text. In Poland, the prevalent handwriting education model is a loopless, fully-joined vertical cursive, and students are taught upper and lower cases simultaneously. Handwriting primers show samples of this style alongside instructions on how to draw them. When it comes to reading, students learn that through a serif typeface. Playwrite Polska is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite PL Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Polska characteristics This vertical continuous cursive features decorative uppercase letters, with 'G', 'J', and 'Y' having descender loops that facilitate connections to subsequent letters. The lower cases have medium to long extenders and a restrained appearance. Ascenders are loopless, except for 'f', while 'g', 'j', and 'y' include looped descenders that complement the style of their corresponding uppercase forms. The letter 'k' is constructed in two strokes, and 'm', 'n', and 'r' start with curved entry strokes. Family name in font menus Playwrite Polska appears in font menus with a two-letter country code \u2018PL\u2019, Playwrite PL, and features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Poland, see primarium.info/countries/poland. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite PL\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/poland" + }, + "Playwrite PL Guides": { + "name": "Playwrite PL Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Polska Guides is a single-weight font designed to harmonize seamlessly with its companion, Playwrite Polska. This font includes guideline markers on the baseline, x-height, ascenders, and descenders, providing a visual aid for primary school children. These guides help young learners grasp the proportions of letterforms and assist them in drawing letters with confidence and accuracy. Poland\u2019s podstawa programowa, or core curriculum, is published by the Ministerstwo, and available online, where it is continuously maintained. It mentions handwriting education very briefly, stating that the country\u2019s goal is that students must learn to write by hand, legibly and fluently, in sentences and continuous text. In Poland, the prevalent handwriting education model is a loopless, fully-joined vertical cursive, and students are taught upper and lower cases simultaneously. Handwriting primers show samples of this style alongside instructions on how to draw them. When it comes to reading, students learn that through a serif typeface. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Polska Guides characteristics Guidelines are present in all characters except for those used for letter spacing. To create a versatile font for teachers designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. It replaces the glyph shape with the guidelines and matches the width of the letter space. Find the detailed characteristics of this country's Model in Playwrite Polska. Family name in font menus Playwrite Polska Guides appears in font menus with a two-letter country code \u2018PL\u2019, Playwrite PL Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Poland, see primarium.info/countries/poland. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite PL Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/poland" + }, + "Playwrite PT": { + "name": "Playwrite PT", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Even though writing may be introduced in preschool, systematic teaching of handwriting only happens in the 1\u00b0 Cycle. Since schools have pedagogic autonomy in Portugal, there are differences in how handwriting is taught. However, it should be noted that they must meet the curriculum goals set out by the government and are subject to periodic external evaluations. Schools usually begin with \u2018letra impressa\u2019, or print script letters, starting with capital letters for students aged 5\u20136 years old, before moving to a fully joined, vertical cursive writing, known as \u2018escrita vertical\u2019. There are also some traditional schools that start handwriting teaching with letra de m\u00e3o/manuscrita, or cursive letters from the beginning. Playwrite Portugal is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite PT Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Portugal characteristics This upright continuous cursive model features decorative capital letters, with a notably distinctive 'Q' and an 'S' with a vertical stem. The lowercase letters are constructed slowly and carefully, displaying medium-length, looped ascenders and descenders. Letters 'm', 'n', 'v', and 'w' begin with curved entry strokes, while 'z' is characterized by a flat top. Additionally, the letter 'f' has a mirrored descender loop, and the letters 'o', 'v', 'w', and 'z' include knots, enhancing the stylistic intricacy of this handwriting model. Family name in font menus Playwrite Portugal appears in font menus with a two-letter country code \u2018PT\u2019, Playwrite PT, and features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Portugal, see primarium.info/countries/portugal. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite PT\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/portugal" + }, + "Playwrite PT Guides": { + "name": "Playwrite PT Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Portugal Guides is a single-weight font designed to harmonize seamlessly with its companion, Playwrite Portugal. This font includes guideline markers on the baseline, x-height, ascenders, and descenders, providing a visual aid for primary school children. These guides help young learners grasp the proportions of letterforms and assist them in drawing letters with confidence and accuracy. Even though writing may be introduced in preschool, systematic teaching of handwriting only happens in the 1\u00b0 Cycle. Since schools have pedagogic autonomy in Portugal, there are differences in how handwriting is taught. However, it should be noted that they must meet the curriculum goals set out by the government and are subject to periodic external evaluations. Schools usually begin with \u2018letra impressa\u2019, or print script letters, starting with capital letters for students aged 5\u20136 years old, before moving to a fully joined, vertical cursive writing, known as \u2018escrita vertical\u2019. There are also some traditional schools that start handwriting teaching with letra de m\u00e3o/manuscrita, or cursive letters from the beginning. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Portugal Guides characteristics Guidelines are present in all characters except for those used for letter spacing. To create a versatile font for teachers designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. It replaces the glyph shape with the guidelines and matches the width of the letter space. Find the detailed characteristics of this country's Model in Playwrite Portugal. Family name in font menus Playwrite Portugal Guides appears in font menus with a two-letter country code \u2018PT\u2019, Playwrite PT Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Portugal, see primarium.info/countries/portugal. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite PT Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/portugal" + }, + "Playwrite RO": { + "name": "Playwrite RO", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "The curriculum goals for Comunicare \u00een limba rom\u00e2n\u0103, or Communication in the Romanian language, place importance on teaching handwriting. Instruction happens during the early years of primary education, specifically in preparatory, first, and second grades. While schools and teachers have some flexibility in their methods, the instruction process, its stages, and writing models are widely standardized. Handwriting education begins in preparatory grade with a focus on print script alphabet, also known as \u2018scris de tipar\u2018 or \u2018litere bloc\u2019, and on development of communication skills. In first grade, students gradually transition to a cursive writing model called \u2018litere de m\u00e2n\u0103\u2018. It is a continuous cursive style with a 18\u00ba slope, and its narrow proportions follow a grid. Playwrite Rom\u00e2nia is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite RO Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Rom\u00e2nia characteristics This slanted continuous cursive features a slow stroke speed and medium-length looped ascenders and descenders. The uppercase letters are decorative, highlighted by a straight spine in 'S' and a distinguishable shape in 'G'. Both capital and lowercase versions of 'X' and 'Z' include crossbars as a unifying stylistic element. The lowercase letters often incorporate knots, enhancing the complex appearance of the script. The letter 'f' has a loopless descender and connects to the next letter via its crossbar, while 'q' is notable for a short exit stroke in its descender. Family name in font menus Playwrite Romania appears in font menus with a two-letter country code \u2018RO\u2019, Playwrite RO, and features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Romania, see primarium.info/countries/romania. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite RO\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/romania" + }, + "Playwrite RO Guides": { + "name": "Playwrite RO Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Rom\u00e2nia Guides is a single-weight font designed to harmonize seamlessly with its companion, Playwrite Rom\u00e2nia. This font includes guideline markers on the baseline, x-height, ascenders, and descenders, providing a visual aid for primary school children. These guides help young learners grasp the proportions of letterforms and assist them in drawing letters with confidence and accuracy. The curriculum goals for Comunicare \u00een limba rom\u00e2n\u0103, or Communication in the Romanian language, place importance on teaching handwriting. Instruction happens during the early years of primary education, specifically in preparatory, first, and second grades. While schools and teachers have some flexibility in their methods, the instruction process, its stages, and writing models are widely standardized. Handwriting education begins in preparatory grade with a focus on print script alphabet, also known as \u2018scris de tipar\u2018 or \u2018litere bloc\u2019, and on development of communication skills. In first grade, students gradually transition to a cursive writing model called \u2018litere de m\u00e2n\u0103\u2018. It is a continuous cursive style with a 18\u00ba slope, and its narrow proportions follow a grid. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Rom\u00e2nia Guides characteristics Guidelines are present in all characters except for those used for letter spacing. To create a versatile font for teachers designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. It replaces the glyph shape with the guidelines and matches the width of the letter space. Find the detailed characteristics of this country's Model in Playwrite Rom\u00e2nia. Family name in font menus Playwrite Romania appears in font menus with a two-letter country code \u2018RO\u2019, Playwrite RO Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Romania, see primarium.info/countries/romania. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite RO Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/romania" + }, + "Playwrite SK": { + "name": "Playwrite SK", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "In 2020, the latest iteration of the R\u00e1mcov\u00fd U\u010debn\u00fd Pl\u00e1n, or Framework Curriculum, was published by the Ministerstvo. It provides a sample of fully-joined, cursive writing based on \u2018Zjednodu\u0161en\u00e1 psac\u00ed latinka\u2018, or Simplified Latin script, which was ratified by the government of erstwhile Czechoslovakia in 1932. According to the curriculum, students must learn to write based on this model, following its letter shapes as well as slant. The Ministerstvo has been sharing this model with private publishers since 1993, and in the absence of official digitization, publishers have produced their own versions for use in their textbooks. Until 2020, schools only received government funding for purchasing textbooks if they did so from state-verified publishers, though that is no longer the case. Playwrite Slovensko is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite SK Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Slovensko characteristics This slanted continuous cursive features medium to short extenders and is executed at a slow stroke speed. The capital letters maintain a cursive, mostly unadorned structure, with distinctive traits such as an unusually constructed 'Q' and a vertical spine in 'S'. Lowercase letters have loops on extenders but lack knots, with the exception of the German-style 't'. Several lowercase letters begin with curved entry strokes. The letter 'z' is styled in a plain italic form and does not have a descender. Family name in font menus Playwrite Slovensko appears in font menus with a two-letter country code \u2018SK\u2019, Playwrite SK, and features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Slovakia, see primarium.info/countries/slovakia. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite SK\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/slovakia" + }, + "Playwrite SK Guides": { + "name": "Playwrite SK Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Slovensko Guides is a single-weight font designed to harmonize seamlessly with its companion, Playwrite Slovensko. This font includes guideline markers on the baseline, x-height, ascenders, and descenders, providing a visual aid for primary school children. These guides help young learners grasp the proportions of letterforms and assist them in drawing letters with confidence and accuracy. The Ministerstvo has been sharing this model with private publishers since 1993, and in the absence of official digitization, publishers have produced their own versions for use in their textbooks. Until 2020, schools only received government funding for purchasing textbooks if they did so from state-verified publishers, though that is no longer the case. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Slovensko Guides characteristics Guidelines are present in all characters except for those used for letter spacing. To create a versatile font for teachers designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. It replaces the glyph shape with the guidelines and matches the width of the letter space. Find the detailed characteristics of this country's Model in Playwrite Slovensko. Family name in font menus Playwrite Slovensko Guides appears in font menus with a two-letter country code \u2018SK\u2019, Playwrite SK Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Slovakia, see primarium.info/countries/slovakia. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite SK Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/slovakia" + }, + "Playwrite TZ": { + "name": "Playwrite TZ", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "The primary school curriculum, published by the Ministry of Education, Science and Technology, and the Tanzania Institute of Education (TIE), was last updated in 2015. The first section, centered on the first two years of primary education (Standards 1 and 2) focuses on developing competencies in reading, writing and arithmetic. The TIE also publishes a syllabus that provides specific guidelines for the implementation of the curriculum. The syllabus states that students should learn print style letters first followed by cursive writing, but no models or samples are shown. In practice, Standard 1 students learn an almost upright precursive and progress to a fully-joined cursive from Standard 2 onwards. The primers available through the free online library services supply detailed samples and practice materials that are used in classrooms. Playwrite Tanzania is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite TZ Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Tanzania characteristics This sloped continuous cursive style includes decorative capital letters. 'A' and 'H' feature looped crossbars, while 'G' has a cursive structure but lacks a descending stroke. 'M' and 'N' are constructed differently, with only one following a cursive format. The lowercase letters have looped ascenders and descenders. Curved entry strokes appear in 'm', 'n', and 'v', but are absent in 'w'. The letter 'q' includes a mirrored loop in its descender. Family name in font menus Playwrite Tanzania appears in font menus with a two-letter country code \u2018TZ\u2019, Playwrite TZ, and features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Tanzania, see primarium.info/countries/tanzania. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite TZ\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/tanzania" + }, + "Playwrite TZ Guides": { + "name": "Playwrite TZ Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Tanzania Guides is a single-weight font designed to harmonize seamlessly with its companion, Playwrite Tanzania. This font includes guideline markers on the baseline, x-height, ascenders, and descenders, providing a visual aid for primary school children. These guides help young learners grasp the proportions of letterforms and assist them in drawing letters with confidence and accuracy. The primary school curriculum, published by the Ministry of Education, Science and Technology, and the Tanzania Institute of Education (TIE), was last updated in 2015. The first section, centered on the first two years of primary education (Standards 1 and 2) focuses on developing competencies in reading, writing and arithmetic. The TIE also publishes a syllabus that provides specific guidelines for the implementation of the curriculum. The syllabus states that students should learn print style letters first followed by cursive writing, but no models or samples are shown. In practice, Standard 1 students learn an almost upright precursive and progress to a fully-joined cursive from Standard 2 onwards. The primers available through the free online library services supply detailed samples and practice materials that are used in classrooms. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Tanzania Guides characteristics Guidelines are present in all characters except for those used for letter spacing. To create a versatile font for teachers designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. It replaces the glyph shape with the guidelines and matches the width of the letter space. Find the detailed characteristics of this country's Model in Playwrite Tanzania. Family name in font menus Playwrite Tanzania Guides appears in font menus with a two-letter country code \u2018TZ\u2019, Playwrite TZ Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Tanzania, see primarium.info/countries/tanzania. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite TZ Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/tanzania" + }, + "Playwrite US Modern": { + "name": "Playwrite US Modern", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "In the absence of a unified national approach, elementary education in the United States is supported by several private companies that espouse different approaches to teaching handwriting. According to American handwriting expert Kate Gladstone, it is difficult to confidently determine which handwriting models are most commonly taught in the country, but among the most widespread are Zaner-Bloser and D\u2019Nealian, both following a traditional style, and Handwriting Without Tears. Two other programs featuring modern cursive models \u2014 Getty-Dubay and Barchowsky Fluent Hand \u2014 are rapidly gaining interest as writing models not only for children but also for adults seeking to improve their handwriting. Playwrite USA Modern is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite US Modern Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite USA Modern characteristics This style is a straightforward, completely upright modern cursive. The uppercase letters adopt a simplified print style, with notable features including a serif on 'I' and an 'M' with a raised center. The lowercase letters are semi-connected and designed with loopless, medium-length ascenders and descenders. Unusually for this style, the letters 'm', 'n', and 'r' begin with a curved entry stroke, which adds a subtle complexity to the otherwise streamlined appearance of the script. Family name in font menus Playwrite USA Modern appears in font menus with a two-letter country code \u2018US\u2019 and a the word \u2018Modern\u2019, Playwrite US Modern. It features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in the United States of America, see primarium.info/countries/united-states-of-america. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite USA Modern\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/united-states-of-america" + }, + "Playwrite US Modern Guides": { + "name": "Playwrite US Modern Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite USA Modern Guides is a single-weight font designed to harmonize seamlessly with its companion, Playwrite USA Modern. This font includes guideline markers on the baseline, x-height, ascenders, and descenders, providing a visual aid for primary school children. These guides help young learners grasp the proportions of letterforms and assist them in drawing letters with confidence and accuracy. In the absence of a unified national approach, elementary education in the United States is supported by several private companies that espouse different approaches to teaching handwriting. According to American handwriting expert Kate Gladstone, it is difficult to confidently determine which handwriting models are most commonly taught in the country, but among the most widespread are Zaner-Bloser and D\u2019Nealian, both following a traditional style, and Handwriting Without Tears. Two other programs featuring modern cursive models \u2014 Getty-Dubay and Barchowsky Fluent Hand \u2014 are rapidly gaining interest as writing models not only for children but also for adults seeking to improve their handwriting. To contribute, see github.com/TypeTogether/Playwrite. Playwrite USA Modern Guides characteristics Guidelines are present in all characters except for those used for letter spacing. To create a versatile font for teachers designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. It replaces the glyph shape with the guidelines and matches the width of the letter space. Find the detailed characteristics of this country's Model in Playwrite USA Modern. Family name in font menus Playwrite USA Modern Guides appears in font menus with a two-letter country code \u2018US\u2019 and a the word \u2018Modern\u2019, Playwrite US Modern Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in the United States of America, see primarium.info/countries/united-states-of-america. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite USA Modern Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/united-states-of-america" + }, + "Playwrite US Trad": { + "name": "Playwrite US Trad", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "In the absence of a unified national approach, elementary education in the United States is supported by several private companies that espouse different approaches to teaching handwriting. According to American handwriting expert Kate Gladstone, it is difficult to confidently determine which handwriting models are most commonly taught in the country, but among the most widespread are Zaner-Bloser and D\u2019Nealian, both following a traditional style, and Handwriting Without Tears. Two other programs featuring modern cursive models \u2014 Getty-Dubay and Barchowsky Fluent Hand \u2014 are rapidly gaining interest as writing models not only for children but also for adults seeking to improve their handwriting. Playwrite USA Traditional is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite US Trad Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite USA Traditional characteristics This style follows the traditional American style of Zaner-Bloser and D'Nealian, featuring a slanted continuous cursive. Capital letters vary in appearance, with some like 'I', 'H', and 'G' being more decorative, and others such as 'A', 'N', and 'M' maintaining a cursive style. The construction of the letters appears fast and is complex in certain characters. Ascenders and descenders include loops to facilitate continuous writing, with mirrored loops in 'p' and 'q' enhancing the flow. Consistent with other English-speaking models, the entry strokes for 'v' and 'w' are distinctly different. Family name in font menus Playwrite USA Traditional appears in font menus with a two-letter country code \u2018US\u2019 and a the \u2018Trad\u2019 abbreviation, Playwrite US Trad. It features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in the United States of America, see primarium.info/countries/united-states-of-america. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in font editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite USA Trad\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/united-states-of-america" + }, + "Playwrite US Trad Guides": { + "name": "Playwrite US Trad Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite USA Traditional Guides is a single-weight font designed to harmonize seamlessly with its companion, Playwrite USA Traditional. This font includes guideline markers on the baseline, x-height, ascenders, and descenders, providing a visual aid for primary school children. These guides help young learners grasp the proportions of letterforms and assist them in drawing letters with confidence and accuracy. In the absence of a unified national approach, elementary education in the United States is supported by several private companies that espouse different approaches to teaching handwriting. According to American handwriting expert Kate Gladstone, it is difficult to confidently determine which handwriting models are most commonly taught in the country, but among the most widespread are Zaner-Bloser and D\u2019Nealian, both following a traditional style, and Handwriting Without Tears. Two other programs featuring modern cursive models \u2014 Getty-Dubay and Barchowsky Fluent Hand \u2014 are rapidly gaining interest as writing models not only for children but also for adults seeking to improve their handwriting. To contribute, see github.com/TypeTogether/Playwrite. Playwrite USA Traditional Guides characteristics Guidelines are present in all characters except for those used for letter spacing. To create a versatile font for teachers designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. It replaces the glyph shape with the guidelines and matches the width of the letter space. Find the detailed characteristics of this country's Model in Playwrite USA Traditional. Family name in font menus Playwrite USA Traditional Guides appears in font menus with a two-letter country code \u2018US\u2019 and a the \u2018Trad\u2019 abbreviation, Playwrite US Trad Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in the United States of America, see primarium.info/countries/united-states-of-america. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in font editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite USA Trad Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/united-states-of-america" + }, + "Playwrite VN": { + "name": "Playwrite VN", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "In Vietnam, an official handwriting model for teaching in primary schools was adopted in 2002. It is called the m\u1eabu ch\u1eef th\u1ea3o ti\u1ebfng vi\u1ec7t, or Vietnamese official cursive script, and has been in use from academic year 2002-03 onwards. Based on this model, students learn to write in both upright and (optionally) sloped cursive letters, without ever being taught print letters. Nevertheless, they do practice drawing the basic strokes that make up letters in preparation. Handwriting education happens between Grades 1 to 3, and while students are introduced to writing using a pencil, they graduate to writing with fountain pens while they are still in primary school. Playwrite Vi\u1ec7t Nam is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite VN Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Vi\u1ec7t Nam characteristics The model follows the structure and proportions of the upright, monolinear version of the Vietnamese official cursive script. These are the versions that are prioritized for teaching, while others may be introduced if the situation is conducive. The letter shapes derive from the French traditional vertical cursive writing, featuring long ascenders and descenders and round and fully joined lowercases. Letters 'b', 'r', 'v', and 'w' make use of knots to change the stroke direction, 'n' and 'm' have curved entry strokes and 'x' is created by means of two mirrored curves. Notable upper case features are the triangular yet decorative shapes of 'A', 'V' and 'W', and an 'S' with an upright spine. Family name in font menus Playwrite Vi\u1ec7t Nam appears in font menus with a two-letter country code \u2018VN\u2019, Playwrite VN, and features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Vi\u1ec7t Nam, see primarium.info/countries/vietnam. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite VN\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/vietnam" + }, + "Playwrite VN Guides": { + "name": "Playwrite VN Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite Vi\u1ec7t Nam Guides is a single-weight font designed to harmonize seamlessly with its companion, Playwrite Vi\u1ec7t Nam. This font includes guideline markers on the baseline, x-height, ascenders, and descenders, providing a visual aid for primary school children. These guides help young learners grasp the proportions of letterforms and assist them in drawing letters with confidence and accuracy. In Vietnam, an official handwriting model for teaching in primary schools was adopted in 2002. It is called the m\u1eabu ch\u1eef th\u1ea3o ti\u1ebfng vi\u1ec7t, or Vietnamese official cursive script, and has been in use from academic year 2002-03 onwards. Based on this model, students learn to write in both upright and (optionally) sloped cursive letters, without ever being taught print letters. Nevertheless, they do practice drawing the basic strokes that make up letters in preparation. Handwriting education happens between Grades 1 to 3, and while students are introduced to writing using a pencil, they graduate to writing with fountain pens while they are still in primary school. To contribute, see github.com/TypeTogether/Playwrite. Playwrite Vi\u1ec7t Nam Guides characteristics Guidelines are present in all characters except for those used for letter spacing. To create a versatile font for teachers designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. It replaces the glyph shape with the guidelines and matches the width of the letter space. Find the detailed characteristics of this country's Model in Playwrite Vi\u1ec7t Nam. Family name in font menus Playwrite Vi\u1ec7t Nam Guides appears in font menus with a two-letter country code \u2018VN\u2019, Playwrite VN Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in Vi\u1ec7t Nam, see primarium.info/countries/vietnam. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite VN Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/vietnam" + }, + "Playwrite ZA": { + "name": "Playwrite ZA", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Through its website, the Department of Basic Education produces and distributes documents that outline curricula, educational goals and guidelines, implementation notes, and assessment policies. The Curriculum Assessment Policy Statements (CAPS) outlines the steps and objectives for handwriting instruction and specifies that students learn motor skills in Grade R, and unjoined upper and lowercase letters in Grade 1. They then gain speed and proficiency in Grade 2, and proceed to cursive writing. The document does not, however, prescribe any handwriting models that should be used for teaching. Despite the absence of a recommended model, teachers, specialized publishers, and educational resource providers have converged on their choice of fonts for handwriting education. Geometric \u201cball and stick\u201d letters are used for the first stage of instruction, and a very slanted continuous cursive style is used thereafter. Playwrite South Africa is a variable font with a weight range from Thin (100) to Regular (400), and supports over 150 Latin-based languages. It has a single-weight sibling with Guides, Playwrite ZA Guides, designed to harmonize seamlessly with this main font while providing a visual aid for primary school children. To contribute, see github.com/TypeTogether/Playwrite. Playwrite South Africa characteristics This continuous cursive features a gentle slope and a relatively slow pace of construction. The uppercase letters incorporate cursive elements, with looped descenders in 'G', 'J', 'Y', and 'Z', enhancing their fluidity. The lowercase letters have looped ascenders and descenders to support seamless connections between letters. Notably, this style does not include curved entry strokes in 'm', 'n', 'v', and 'w', which is a departure from typical continuous cursives. However, it includes distinctly curved shapes in the letters 'x' and 'z', adding a dynamic element to the overall script. Family name in font menus Playwrite South Africa appears in font menus with a two-letter country code \u2018ZA\u2019, Playwrite ZA, and features four styles: Thin, ExtraLight, Light, and Regular. The download .zip file includes the variable font and standard static ttf fonts for each style. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in South Africa, see primarium.info/countries/south-africa. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite ZA\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/south-africa" + }, + "Playwrite ZA Guides": { + "name": "Playwrite ZA Guides", + "designer": [ + "TypeTogether", + "Veronika Burian", + "Jos\u00e9 Scaglione" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Playwrite South Africa Guides is a single-weight font designed to harmonize seamlessly with its companion, Playwrite South Africa. This font includes guideline markers on the baseline, x-height, ascenders, and descenders, providing a visual aid for primary school children. These guides help young learners grasp the proportions of letterforms and assist them in drawing letters with confidence and accuracy. Through its website, the Department of Basic Education produces and distributes documents that outline curricula, educational goals and guidelines, implementation notes, and assessment policies. The Curriculum Assessment Policy Statements (CAPS) outlines the steps and objectives for handwriting instruction and specifies that students learn motor skills in Grade R, and unjoined upper and lowercase letters in Grade 1. They then gain speed and proficiency in Grade 2, and proceed to cursive writing. The document does not, however, prescribe any handwriting models that should be used for teaching. Despite the absence of a recommended model, teachers, specialized publishers, and educational resource providers have converged on their choice of fonts for handwriting education. Geometric \u201cball and stick\u201d letters are used for the first stage of instruction, and a very slanted continuous cursive style is used thereafter. To contribute, see github.com/TypeTogether/Playwrite. Playwrite South Africa Guides characteristics Guidelines are present in all characters except for those used for letter spacing. To create a versatile font for teachers designing practice sheets that feature guidelines without corresponding letters, the underscore is used as a key character. It replaces the glyph shape with the guidelines and matches the width of the letter space. Find the detailed characteristics of this country's Model in Playwrite South Africa. Family name in font menus Playwrite South Africa Guides appears in font menus with a two-letter country code \u2018ZA\u2019, Playwrite ZA Guides, and features a single Regular weight. The download .zip file includes the static font for this guided version. Playwrite fonts for schools The Playwrite school fonts are based on the findings of Primarium, a groundbreaking educational effort that documents the history and current practice of handwriting models taught to primary school students worldwide. This typographic engine serves teachers, educators, and parents by generating localized libre fonts. These Playwrite fonts are complemented by Playpen Sans, an informal and fun typeface designed for annotations, instructions, and student notes \u2013 that also includes emojis. For more information about the Primarium project, visit primarium.info and to learn more about handwriting education in South Africa, see primarium.info/countries/south-africa. How to install the fonts? Windows: Download the font file to your computer. Navigate to where you saved the font file and double-click it to open. Click the \"Install\" button at the top of the font preview window. The font is now installed and ready to be used across your apps. macOS: After downloading the font file to your Mac, right-click it in Finder and select \"Open With\" > \"Font Book\". Then, click \"Install Font\" in the font preview window that pops up. The font is now installed and ready to be used across your apps. How to use the fonts in apps? The Playwrite font family uses complex OpenType features to generate connected writing. Some common applications require these features to be manually activated. Note: This font family doesn't include Bold or Italic styles, so please avoid applying them in text editors. If you use the common 'B' and 'I' buttons, you will automatically generate low-quality styles. Google Docs and Slides: From the font selector drop-down, go to \"More Fonts\" and search for the desired font name, in this case, \"Playwrite ZA Guides\", and click OK. If some text is already selected, the font choice will apply. Microsoft Word: Go to Format in the Menu bar, select Font, and then the Advanced tab. Activate \"Contextual Alternates\" and \"Kerning for fonts below\" to apply these settings to all text sizes. LibreOffice: In macOS, to select the different styles, go to Format in the Menu bar, select Character, and use the Typeface menu. Adobe InDesign: Open the Paragraph Panel and select Adobe \"World-Ready Paragraph Composer\" from the contextual menu. Adobe Illustrator: Navigate to Preferences > Type, check the \"Show Indic Options\" box, and close preferences. Then open the Paragraph Panel and select \"Middle Eastern Composer\" from the contextual menu. Adobe Photoshop: Access the Paragraph Panel, then choose \"World-Ready Layout\" from the contextual menu. The above instructions are also available in PDF format here.", + "minisite_url": "https://primarium.info/countries/south-africa" + }, + "Plus Jakarta Sans": { + "name": "Plus Jakarta Sans", + "designer": [ + "Tokotype" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Plus Jakarta Sans is a fresh take on geometric sans serif styles, designed by Gumpita Rahayu from Tokotype. The fonts were originally commissioned by 6616 Studio for Jakarta Provincial Government program's +Jakarta City of Collaboration identity in 2020. Taking inspiration in Neuzeit Grotesk, Futura, and 1930s grotesque sans serifs with almost monolinear contrast and pointy curves, the fonts consist of modern and clean cut forms, the x-height dimension slightly taller to provide clear spaces between caps and x-height, and also equipped with open counters and balanced spaces to preserve the legibility at a large range of sizes. The beauty of diversity captured in typography. Like the city itself, the uniqueness of this font is that in some glyphs it has its own diversity and characteristic of various explorations of forms that enrich the expressions and stories that coexist. The charms of Plus Jakarta Sans fonts appear when one looks closer, manifesting in a beauty that emerges once seen as a whole. Each alternate in the family contains several alternative characters, divided into three stylistic sets which Lancip (Sharp), Lurus (Straight), and Lingkar (Swirl). As part of +Jakarta City of Collaboration, the fonts are made available for public use under the SIL Open Font License. To contribute, see github.com/tokotype/PlusJakartaSans.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Pochaevsk": { + "name": "Pochaevsk", + "designer": [ + "Aleksandr Andreev" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Pochaevsk is a contemporary Church Slavonic font that reproduces the typeface used in editions published by the Holy Dormition Pochaiv Lavra in the late 19th century and, subsequently, in editions published in the 20th century by Holy Trinity Monastery in Jordanville, New York. Due to its small vertical metrics, this font is convenient for use in bilingual editions featuring Church Slavonic text and text in another languages. To contribute, please see github.com/slavonic/pochaevsk.", + "primary_script": "Cyrl", + "article": null, + "minisite_url": null + }, + "Podkova": { + "name": "Podkova", + "designer": [ + "Cyreal" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Podkova is the Russian word for Horseshoe, and this is a monoline slab serif with diagonal terminals. The wide proportions and clean features aid legibility at small sizes, while the unusual letterforms provide enough character to be useful for display typography too. Initially designed by Ilya Yudin in 2010, it was carefully refined and expanded by Alexei Vanyashin into a wider range of weights (that made the bold style a little lighter) in January 2017. In September 2019, the family is now a variable font. To contribute, see github.com/cyrealtype/Podkova.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Poetsen One": { + "name": "Poetsen One", + "designer": [ + "Rodrigo Fuenzalida", + "Pablo Impallari" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Inspired by the hand painted signs in supermarkets, and the roman structures of the classical alphabets. Poetsen is a display font, but it's not just intended to be used on big 'straight to the eye' titles. Since it has a large x-height, it can be used on short paragraphs in relatively small bodies of text too.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Poiret One": { + "name": "Poiret One", + "designer": [ + "Denis Masharov" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "A fresh decorative geometric grotesque with a hint of Art Deco and c\u0091onstructivism. Poiret One is a unique typeface with light forms and pure elegance. Sleek and simple. Based on geometric forms, it has stylish lines and graceful curves. The font is applicable for large signs, labels, titles, headlines and any type of graphic design on the web, in motion graphics, or in print - from t-shirts to posters and logos. It is also well-suited for short texts and advertising where style is desired. Complete with a lower-case letters, the Poiret One is also useful for all-caps usage. To contribute to the project contact Denis Masharov.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Poller One": { + "name": "Poller One", + "designer": [ + "Yvonne Sch\u00fcttler" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Poller is a high contrast semi-extended style Sans Serif. Poller is both readable and full of personality. Because of the higher contrast it is best used from medium sizes to larger display settings. Poller was inspired by hand lettering on early 20th century German posters.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Poltawski Nowy": { + "name": "Poltawski Nowy", + "designer": [ + "Adam P\u00f3\u0142tawski", + "Mateusz Machalski", + "Borys Kosmynka", + "Ania Wielu\u0144ska" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "P\u00f3\u0142tawski Nowy is a digitisation project the Antykwa P\u00f3\u0142tawskiego typeface. A key aspect of the design of the digital version of the typeface from 1928 was the approach to the issue of developing the shape of characters from sources. Historical research was carried out in parallel with the preparation of the computer version, which allowed to learn about the unique story of this most recognizable Polish font design. The P\u00f3\u0142tawski Nowy type family is intended for typesetting in sizes from 10 to 18 pt. The project is implemented thanks to the support of the Digital Culture 2020 program of the Ministry of Culture and National Heritage. In the P\u00f3\u0142tawski Nowy digitisation, the source of the study were scans of a type specimen book from the Id\u017akowski i S-ka foundry, a set of drawings, punch patterns and punches made by Monotype in Salfords, Great Britain in 1934-1955. They were made available by the Type Archive London. Thanks to the standardization of characters and the balancing of the typographic rhythm, in the digital version, the typeface retains its ornamental character, while working well in smaller text sizes. The basic character set available in the sources has been extended with further variants of diacritics, small caps, subscript and superscript, variants of numbers (tabular, proportional, nautical) and a set of OpenType features. To contribute see github.com/kosmynkab/Poltawski-Nowy", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Poly": { + "name": "Poly", + "designer": [ + "Nicol\u00e1s Silva" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Poly is a medium contrast serif font. With short ascenders and a very high x-height, Poly is efficient in small sizes. Thanks to its careful balance between the x-height and glyph widths, it allows more economy and legibility than standard web serifs, even in small sizes. This font was originally designed to compose texts in agglutinative languages; these contain very long words. The goal was to develop a typeface that would tolerate cramped tracking and that would increase the number of letters on a single line. Poly is a Unicode typeface family that supports Open Type features and languages that use the Latin script and its variants, especially Native South American language families.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Pompiere": { + "name": "Pompiere", + "designer": [ + "Karolina Lach" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Pompiere is a low contrast condensed sans serif font. However unlike most sans it has very tall ascenders and and very small x height. Pompiere is playful and even a little sweet. This font was inspired by a handmade sign seen outside of NYC firefighters Squad Co. 18 in the West Village of Manhattan. Because of its small x height and modest weight it will work best at medium to large sizes.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ponnala": { + "name": "Ponnala", + "designer": [ + "Appaji Ambarisha Darbha" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "telugu" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Ponnala is a Telugu font. Designed by Appaji Ambarisha Darbha in 2013 and made available by Silicon Andhra under the SIL Open Font License v1.1. The Ponnala project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India. To contribute, see github.com/appajid/ponnala", + "primary_script": "Telu", + "article": null, + "minisite_url": null + }, + "Ponomar": { + "name": "Ponomar", + "designer": [ + "Aleksandr Andreev" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Ponomar is a contemporary Church Slavonic font that reproduces the typeface used in editions published by the Synodal Press of the Russian Orthodox Church in the early twentieth century. It is presently used in various liturgical books published by the Moscow Patriarchate. It also contains characters needed to typeset liturgical texts in Romanian (Moldovan) Cyrillic, Aleut, and Sakha (Yakut). To contribute, please see github.com/slavonic/Ponomar.", + "primary_script": "Cyrl", + "article": null, + "minisite_url": null + }, + "Pontano Sans": { + "name": "Pontano Sans", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Pontano Sans is a minimalist and light weighted Sans Serif. Pontano is designed mainly for use as a display font but is useable as a text font too. Pontano Sans has been designed to be used freely across the internet by web browsers on desktop computers, laptops and mobile devices. In February 2023, the font becomes variable (light to bold) and presents several improvements in terms of rendering and supported languages. To contribute, see github.com/googlefonts/PontanoSansFont.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Poor Story": { + "name": "Poor Story", + "designer": [ + "Yoon Design" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "korean", + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Poor Story is a Korean and Latin font.", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "Poppins": { + "name": "Poppins", + "designer": [ + "Indian Type Foundry", + "Jonny Pinhorn", + "Ninad Kale" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Geometric sans serif typefaces have always been popular, and with support for both the Devanagari and Latin writing systems, Poppins is an internationalist addition to the genre. Many of the Latin glyphs (such as the ampersand) are more constructed and rationalist than is typical. The Devanagari design was particularly novel when it was first published in 2015, and was the first ever Devanagari typeface with a range of weights in this genre. Just like the Latin, the Devanagari is based on pure geometry, particularly circles. Each letterform is nearly monolinear, with optical corrections applied to stroke joints where necessary to maintain an even typographic color. The Devanagari base character height and the Latin ascender height are equal; Latin capital letters are shorter than the Devanagari characters, and the Latin x-height is set rather high. The project was developed by Indian Type Foundry (ITF). The Devanagari was initially designed by Ninad Kale, while the Latin was initially designed by Jonny Pinhorn. Following their principal phase of designing the first 5 styles, the typeface was later refined, and expanded to include multiple weights and italics, by the ITF studio team. To contribute, see github.com/itfoundry/poppins", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Port Lligat Sans": { + "name": "Port Lligat Sans", + "designer": [ + "Tipo" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Port Lligat Sans is a display typeface. It has a soft variation in strokes, condensed structure, vertical stress, and a well balance groovy rhythm. It is particularly useful for both short text and headlines, but it is also comfortable for reading on screen. It is designed to become a super family with styles in many different typographical categories matching the exactly weight and width across the whole family. As a result they can be used together in many different ways. The first releases are the regular Roman styles of the Sans and Slab families. The Sans is the basic structure for the rest of the styles. It has a white interior simple form, non showy terminals. The strokes are not straight, they have entasis on them, also in the end of the strokes as terminals.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Port Lligat Slab": { + "name": "Port Lligat Slab", + "designer": [ + "Tipo" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Port Lligat Slab is a display typeface. It has a soft variation in strokes, condensed structure, vertical stress, and a well balance groovy rhythm. It is particularly useful for both short text and headlines, but it is also comfortable for reading on screen. It is designed to become a super family with styles in many different typographical categories matching the exactly weight and width across the whole family. As a result they can be used together in many different ways. The first releases are the regular Roman styles of the Sans and Slab families. The Slab matches exactly with the Sans but it has heavy slab serifs and rounded terminals. In small sizes it looks like a groovy serif typeface.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Potta One": { + "name": "Potta One", + "designer": [ + "Font Zone 108" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "japanese", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Potta One is a single style family which features letterforms that have been inspired by brush lettering. To contribute to the project, visit github.com/go108go/Potta", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "Pragati Narrow": { + "name": "Pragati Narrow", + "designer": [ + "Omnibus-Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Pragati Narrow is a libre Devanagari typeface family designed as a complement to Archivo Narrow. It is a sans-serif family with vertical and horizontal cuts. Pragati Narrow comes in 2 weights (Regular and Bold) and was specially developed for screen as webfont and desktop font, too. The Devanagari was designed by Marcela Romero, Pablo Cosgaya and Nicol\u00e1s Silva. The Latin version of Pragati is reminiscent of late nineteenth century American typefaces. It includes four Narrow styles and four Normal styles (in development), was derived from Chivo (designed by H\u00e9ctor Gatti) and was developed with the collaboration of the Omnibus-Type team. Pragati (\u092a\u094d\u0930\u0917\u0924\u093f) is the Hindi word for \u2018progress\u2019. This project is led by Omnibus-Type, a type foundry based in Argentina. To contribute, visit github.com/Omnibus-Type/PragatiNarrow.", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Praise": { + "name": "Praise", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Praise is a versatile script with variations from Casual (non-connecting) to Formal appeal. With nearly 3400 glyphs, the five stylistic sets gives a powerful solution to the design needs of the graphic design professional. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/praise-script.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Prata": { + "name": "Prata", + "designer": [ + "Cyreal" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Prata is an elegant Didone typeface with sharp features and organic teardrops. There is a certain tension in the contrast of its virile serifs and soft refined curves. Its triangular serifs complement and accent the thin strokes, and the high contrast means it will work best in display sizes. Designed by Ivan Petrov for Cyreal.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Preahvihear": { + "name": "Preahvihear", + "designer": [ + "Danh Hong" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "khmer", + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Preahvihear is a Khmer font for headlines, titles and subtitles, and even banner designs. To contribute, see github.com/danhhong/Preahvihear.", + "primary_script": "Khmr", + "article": null, + "minisite_url": null + }, + "Press Start 2P": { + "name": "Press Start 2P", + "designer": [ + "CodeMan38" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Press Start 2P is a bitmap font based on the font design from 1980s Namco arcade games. It works best at sizes of 8px, 16px and other multiples of 8. Although the design of uppercase letters and digits dates back to Atari's \"Sprint\" (1977), the specific glyph forms in this TrueType conversion are based on those from \"Return of Ishtar\" (1986), one of the first games to include and regularly use lowercase as well as uppercase letters in its screen font. Unlike the original font from the \"Return of Ishtar\" ROM, Press Start 2P includes a wide variety of non-ASCII Unicode characters for pan-European use, including Greek and Cyrillic. It could be expanded to support other scripts. To contribute to the project contact Cody \"CodeMan38\" Boisclair.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Pridi": { + "name": "Pridi", + "designer": [ + "Cadson Demak" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "thai", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Pridi means \u201cjoyful\u201d in Thai. Pridi is a slab serif Latin and looped Thai typeface that is well-suited for both body text and display. The looped Terminal Thai is designed specifically within loopless terminal concepts, and works well with the slab serif Latin without adding any slabs to any Thai glyphs. This font can be used as a body text in various media such as magazines, advertisements, and other print media. A similarity between some glyphs such as \u0e01 \u0e16 \u0e20 \u0e24 \u0e26, \u0e0e \u0e0f, \u0e1a \u0e1b, and \u0e02 \u0e0a is something to take into consideration because it might lead to confusion when typesetting very short texts. Pridi has a specific approach to the thick and thin strokes of Thai glyphs. Other type designers of Thai fonts may like to use this approach as a reference. Informal looped Thai typefaces have slightly simplified details, as compared to formal ones, and this allows designers to extend the font to heavier weights. The size and position of Thai vowel and tone marks need to be managed carefully, because they are all relevant to readability, legibility, and overall texture. The Pridi project is led by Cadson Demak, a type foundry in Thailand. To contribute, see github.com/cadsondemak/pridi", + "primary_script": "Thai", + "article": null, + "minisite_url": null + }, + "Princess Sofia": { + "name": "Princess Sofia", + "designer": [ + "Tart Workshop" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "She's a real princess who rules the casa with love, grace and fancy penmanship. A casual italic calligraphy inspired style perfect for titling with a little flair. Designed by Crystal Kluge of Tart Workshop (a DBA of Font Diner, Inc). To contribute to the project contact the Font Diner at support@fontdiner.com", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Prociono": { + "name": "Prociono", + "designer": [ + "Barry Schwartz" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Prociono (pro-tsee-O-no) is an Esperanto word meaning either the star Procyon or the animal species known as the raccoon. It is a roman with blackletter elements. To learn more, see bitbucket.org/sortsmill/sortsmill-fonts and theleagueofmoveabletype.com/prociono", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Prompt": { + "name": "Prompt", + "designer": [ + "Cadson Demak" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "thai", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Prompt in Thai means \u201cready,\u201d the same as in English. Prompt is a loopless Thai and sans Latin typeface. The simple and geometric Latin was developed to work harmoniously with the loopless Thai that has wide proportions and airy negative space. It is suitable for both web and print usage, such as magazines, newspapers, and posters. A similarity between some glyphs such as \u0e01 \u0e16 \u0e20 \u0e24 \u0e26, \u0e0e \u0e0f, \u0e1a \u0e1b, \u0e02 \u0e0a is something to take into consideration because it might lead to confusion when typesetting very short texts. Formal loopless Thai typefaces are simplified, compared to traditional looped Thai types, and this simplification has to be done properly in order to preserve the essense of each character. The size and position of Thai vowel and tone marks has been managed carefully, because they are all relevant to readability, legibility, and overall texture. The Prompt project is led by Cadson Demak, a type foundry in Thailand. To contribute, see github.com/cadsondemak/prompt", + "primary_script": "Thai", + "article": null, + "minisite_url": null + }, + "Prosto One": { + "name": "Prosto One", + "designer": [ + "Jovanny Lemonad", + "Pavel Emelyanov" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "This font was created during a 6 month collaboration by two designers in Russia, Jovanny Lemonad and Pavel Emelyanov. They wanted to make a modern 'accidental grotesque,' useful for logos and presentations. The project's initiator and chief designer is Pavel Emelyanov, who worked with his mentor Ivan Gladkikh, known as Jovanny Lemonad, who helped with technical expertize to finalize the font. To contribute to the project contact Jovanny Lemonad and Pavel Emelyanov.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Protest Guerrilla": { + "name": "Protest Guerrilla", + "designer": [ + "Octavio Pardo" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "math", + "symbols", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "The Protest Types began as personal project by designer Octavio Pardo to reflect on the shapes and voices of protest signs. So far it spans four font families, each with a different voice. Protest Guerrilla is an stencil version of Strike. An import and novel design feature of the project as a whole:Strike, Guerrilla and Riot all share the same spacing and kerning. This means designers have the possibility to write a message, and then decide the level of passion (or anger) that they want to express that message with, without altering any line lengths or page layouts. To contribute, please see github.com/octaviopardo/Protest.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Protest Revolution": { + "name": "Protest Revolution", + "designer": [ + "Octavio Pardo" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "math", + "symbols", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "The Protest Types began as personal project by designer Octavio Pardo to reflect on the shapes and voices of protest signs. So far it spans four font families, each with a different voice. Protest Revolution expresses the furious and messy painted signs. An import and novel design feature of the project as a whole:Strike, Guerrilla and Riot all share the same spacing and kerning. This means designers have the possibility to write a message, and then decide the level of passion (or anger) that they want to express that message with, without altering any line lengths or page layouts. To contribute, please see github.com/octaviopardo/Protest.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Protest Riot": { + "name": "Protest Riot", + "designer": [ + "Octavio Pardo" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "math", + "symbols", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "The Protest Types began as personal project by designer Octavio Pardo to reflect on the shapes and voices of protest signs. So far it spans four font families, each with a different voice. Protest Riot captures the shapes of naive and informal street signs. An import and novel design feature of the project as a whole:Strike, Guerrilla and Riot all share the same spacing and kerning. This means designers have the possibility to write a message, and then decide the level of passion (or anger) that they want to express that message with, without altering any line lengths or page layouts. To contribute, please see github.com/octaviopardo/Protest.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Protest Strike": { + "name": "Protest Strike", + "designer": [ + "Octavio Pardo" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "math", + "symbols", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "The Protest Types began as personal project by designer Octavio Pardo to reflect on the shapes and voices of protest signs. So far it spans four font families, each with a different voice. Protest Strike is a solid but peaceful Sans Serif typeface. An import and novel design feature of the project as a whole:Strike, Guerrilla and Riot all share the same spacing and kerning. This means designers have the possibility to write a message, and then decide the level of passion (or anger) that they want to express that message with, without altering any line lengths or page layouts. To contribute, please see github.com/octaviopardo/Protest.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Proza Libre": { + "name": "Proza Libre", + "designer": [ + "Jasper de Waard" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Proza Libre is the libre version of the retail Proza type family, by Bureau Roffa. It is made to render exceptionally well on screens across different operating systems, especially Windows, using ttfautohint. The Proza Libre project is led by Jasper de Waard, a type designer based in the Netherlands. To contribute, see github.com/jasperdewaard/Proza-Libre", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Public Sans": { + "name": "Public Sans", + "designer": [ + "USWDS", + "Dan Williams", + "Pablo Impallari", + "Rodrigo Fuenzalida" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Based on Libre Franklin, Public Sans is a strong, neutral typeface for interfaces, text, and headings. It was Developed by the United States Web Design System. The family was upgraded to a variable font in May 2022. To contribute, see github.com/uswds/public-sans", + "primary_script": null, + "article": null, + "minisite_url": "https://public-sans.digital.gov/" + }, + "Puppies Play": { + "name": "Puppies Play", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Puppies Play is a fun, bouncy script with connectors that give a playful flow. Perfect for baby shower invitations, nursery rhymes, and other items that require a fun, children's look. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/puppies-play.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Puritan": { + "name": "Puritan", + "designer": [ + "Ben Weiner" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "I started drawing letters with a computer when I first got one of my own in 1997. I\u2019d been studying sans serif type as a project on the Typography & Graphic Communication course that I was taking at Reading University, and learning about the different strands of development: \u2018grotesques\u2019 such as the delightful Monotype Series 215 were designed by type cutters or draftsmen, while geometric and humanist sans serifs like Futura and Gill Sans were constructed with compasses or quills by rationalist typographers and calligraphers. In the end, of course, they all needed a little wash and brush-up from the typefounder \u2013 to say nothing of the type designs. I was also in thrall of a typeface called Ehrhardt, a Monotype revival typeface that is based on a seventeenth century design by Miklos Kis. It too had endured a lot of cleaning, but though they were hard on the source material, those responsible created a very elegant condensed typeface. The result looks a bit like a house on an Amsterdam canal. Puritan was my response to these influences; it was also a way (I thought) that I could get hold of an interesting typeface without unofficially borrowing from the Typography department. It might be flawed, but it was mine! Well, I learned a lot from the experience. I wrote a short essay about Puritan as a project in my final year as an undergraduate. Rather than repeat it all here, I have converted the essay (presented as a booklet) into a PDF file of around 1200K which you can download. In October 1999, I submitted Puritan to the 3rd International Type Design Contest, where it made absolutely no impact.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Purple Purse": { + "name": "Purple Purse", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Purple Purse draws its inspiration from a vintage Ivory Soap ad from the 1950's. Somewhat of a cross between Bodoni and Pixie, this font finds that it never truly takes itself seriously. The fun little bounce of the typeface gives it a perky personality. To contribute to the project contact Brian J. Bonislawsky.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Qahiri": { + "name": "Qahiri", + "designer": [ + "Khaled Hosny" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "arabic", + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Qahiri is a Kufic typeface based on the modernized and regularized old manuscript Kufic calligraphy style of the late master of Arabic calligraphy, Mohammad Abdul Qadir. Following the convention of naming Kufic styles after the cities they appeared in, Qahiri (\u0642\u0627\u0647\u0631\u064a) is named after the city of Cairo, Egypt (\u0627\u0644\u0642\u0627\u0647\u0631\u0629). To contribute, see github.com/alif-type/qahiri", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Quando": { + "name": "Quando", + "designer": [ + "Joana Correia" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Quando is a serifed text typeface inspired by brushy handwritten letters seen on an italian poster from the second world war. Quando is a flexible text typeface made for the web whose personality consistently shows in both small and large sizes. Quando's low contrast design helps it work better on screens and smaller sizes. Especially distinctive letterforms include letters like the a, g, x and Q. Quando's friendly feeling along with its clarity and familiarity makes it suitable for a broad range of uses.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Quantico": { + "name": "Quantico", + "designer": [ + "MADType" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Quantico is an angular typeface family that was inspired by old beer packaging and military lettering. It utilizes 30 degree angles and completely straight lines to form unique character shapes. Documentation can be found at www.madtype.com and to contribute to the project contact Matthew Desmond at mattdesmond@gmail.com", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Quattrocento": { + "name": "Quattrocento", + "designer": [ + "Impallari Type" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Classic, elegant, sober and strong, the Quattrocento typeface has wide and open letterforms. The generous x-height makes it very legible for body text at small sizes, while the tiny details can only be seen at larger sizes mean it is also a great choice for display typography. Some of their distinctive characteristics are: Low Contrast. The thins are just a tad thiner than the thicks, almost monotone. Cupped, tapered stems that flows naturally into the serifs. Distinctive K, R and & tail. Cupped B, D, E, F, P, Q, R and T. The Q is a humble expression of admiration and gratitude for Doyald Young. Alternate M, Two W alternates. Narrow L, T for better fit. Almost flat top serif on the lowercases. Shoulders of the m and n rise above the serif. Serif-less bottom j and y. It's the perfect sans-serif companion for Quattrocento Sans.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Quattrocento Sans": { + "name": "Quattrocento Sans", + "designer": [ + "Impallari Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Quattrocento Sans is a classic, elegant and sober typeface family. Warm, readable and not intrusive. It's the perfect sans-serif companion for Quattrocento. The wide and open letterforms and large x-height make it very legible for body text at small sizes. All the tiny details that only shows up at bigger sizes make it also great for display use.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Questrial": { + "name": "Questrial", + "designer": [ + "Joe Prince", + "Laura Meseguer" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Questrial is the perfect font for body text and headlines on a website. It's modern style, suited with past characteristics of great typefaces, make it highly readable in any context. The full-circle curves on many characters make Questrial a great font to blend seamlessly with other fonts while still maintaining it's uniqueness. It is heavily influenced by Swiss design, similar to a grotesk style which is closely found in Helvetica. The numbers in Questrial are tabular figures so they can be used in tables and forms to enable maximum satisfaction. Questrial language support includes African Latin and full coverage of Vietnamese, additional to all Western, Central, and South-Eastern European languages. To contribute see github.com/googlefonts/questrial Giving African languages more Latin font choices Questrial font provides pan-African Latin support Due to the scarcity of open source fonts for African languages, Google has released Questrial, offering more font choices for digital Africa. During colonial times, European colonial powers in Africa made their languages (English, Dutch, French, Portuguese, Spanish, and more) the official languages in government, educational, cultural, and other state institutions in African countries. In post-colonial times, African countries aiming to maintain their native (non-colonial) languages face a major roadblock: not enough fonts with Pan-African support that provide all of the letters and diacritics (or accent) marks for the proper spelling of their languages. Proper spelling isn\u2019t just for school tests and national spelling competitions, it\u2019s vital for communication and for language survival. Educational institutions and users need fonts that can show the orthography (proper spelling) for each language, so that students can learn how to write correctly. Otherwise, if pupils see the same word written in different ways, with different kinds of punctuation marks replacing diacritics, they may never learn the proper way to spell. Without standard spelling, students could confuse words that may look similar but have different meanings. These are some examples of words in African languages with similar spellings and different meanings: f\u0254 (to say) and fo (to greet) in Bambara mot\u00f3 (head) and m\u0254\u0301t\u0254 (fire) in Lingala o\u0323\u0300ta\u0301 (enemy) and ota (bullet) in Yoruba To learn more, read: Giving African languages more Latin font choices (English) Offrir plus de choix de polices latines pour les langues africaines (French)", + "minisite_url": null + }, + "Quicksand": { + "name": "Quicksand", + "designer": [ + "Andrew Paglinawan" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Quicksand is a display sans serif with rounded terminals. The project was initiated by Andrew Paglinawan in 2008 using geometric shapes as a core foundation. It is designed for display purposes but kept legible enough to use in small sizes as well. In 2016, in collaboration with Andrew, it was thoroughly revised by Thomas Jockin to improve the quality. In 2019, Mirko Velimirovic converted the family into a variable font. To contribute, see github.com/andrew-paglinawan/QuicksandFamily.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Quintessential": { + "name": "Quintessential", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "The Quintessential typeface is a calligraphic lettering style based on the Italic Hand. As speed became more essential in writing hands, styles became less formal and more relaxed. Classic, clean, and casual, Quintessential fits a lot of design uses - hence its name. To contribute to the project contact Brian J. Bonislawsky.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Qwigley": { + "name": "Qwigley", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Qwigley is both beautiful and contemporary with a few untraditional forms that add to it's modern look. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/qwigley.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Qwitcher Grypen": { + "name": "Qwitcher Grypen", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Inspired by the letterforms that come from using an architectural ruling pen, Qwitcher Grypen is a casual brush script with a bit of an edge. It comes in two styles, Regular and Bold, with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/qwitcher-grypen.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "REM": { + "name": "REM", + "designer": [ + "Octavio Pardo" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "The REM font family is a sans serif font ready for corporate and display uses. It features a heavy low contrast combined with outstrokes that get slightly thinner, which is the opposite of the conventional approach. All together gives it a contemporary feeling suitable for modern branding. With more than 960 glyphs the font is ready for complex type setting with four sets of figures, Small Caps and some alternate glyphs. The name REM is an acronym for \"Rapid Eye Movement,\" which refers to a stage of sleep characterized by quick, random eye movements. I dreamt of it and began drawing it from my dream. To contribute, see github.com/octaviopardo/REM", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Racing Sans One": { + "name": "Racing Sans One", + "designer": [ + "Impallari Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Around 1800 (100 years before Helvetica and Univers) the first Sans Serif typefaces to include lowercase letters used to have very High Contrast (the difference between thick and thin lines). Maybe because the were derived from the more traditional serif typefaces of the time. But for same reason, as the genre evolved, the fashion was to create 'monoline' sans, of very little contrast. Today, contrasted Sans are very rare, and only a few are successful. While digging in old specimens, we found three that immediately caught our attention: Doric Italic and Taylor Gothic from American Type Founders (1897), and Charter Oak from Keystone Type Foundry of Philadelphia (1906). Racing Sans is a current high contrast sans, paying tribute to this forgotten genre.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Radio Canada": { + "name": "Radio Canada", + "designer": [ + "Charles Daoud", + "Coppers and Brasses", + "Alexandre Saumier Demers", + "Jacques Le Bailly" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "canadian-aboriginal", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "CBC/Radio-Canada is Canada's national public broadcaster. Their mandate is to inform, enlighten and entertain, in order to strengthen Canadian culture on radio, television and digital platforms. The Radio-Canada font was created in 2017 by Montreal-based designer and typographer Charles Daoud, in collaboration with Coppers and Brasses and Alexandre Saumier Demers. It was designed specifically for CBC/Radio-Canada as a brand unifying information font for all the Public Broadcaster\u2019s platforms. Fittingly, for a Public Broadcaster, this is a peoples\u2019 font and the humanistic style stands out with distinctive angles and subtle curves. Its x-height ensures excellent legibility and respects digital accessibility standards, making it very effective when used in continuous text. In 2018, the Radio-Canada font won three awards, in the Font Design category at Communication Arts Typography, Applied Arts Design Annual and at Grand Prix Grafika. Several optimizations saw the light of day in 2021. The number of supported languages has increased from 106 to 317 Latin languages. In 2023, Jacques Le Bailly (Baron von Fonthausen) expanded the font to include the support of Indigenous languages. To contribute, see github.com/cbcrc/radiocanadafonts. To learn more, read You can now use Radio-Canada\u2019s brand typeface: The award-winning variable font comes to Google Fonts (English), Voici Radio-Canada, la police de caract\u00e8res du diffuseur public canadien, plusieurs fois prim\u00e9e et maintenant disponible sur Google Fonts (French).", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Radio Canada Big": { + "name": "Radio Canada Big", + "designer": [ + "\u00c9tienne Aubert Bonn" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "CBC/Radio-Canada is Canada's national public broadcaster. Their mandate is to inform, enlighten, and entertain in order to strengthen Canadian culture on radio, television, and digital platforms. Radio Canada Big is a variable font with a weight axis that spans from Regular (400) to Bold (700), offering a spectrum of options to suit diverse design needs. To contribute, see github.com/googlefonts/radiocanadadisplay.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Radley": { + "name": "Radley", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Radley is based on lettering originally drawn and designed for woodcarved titling work. It was later digitized and extended to be used on the web. Radley is a practical face, based on letterforms used by hand carvers who cut letters quickly, efficiently, and with style. It can be used for both titling and text typography. The basic letterforms in Radley grew out of sketching and designing directly into wood with traditional carving chisels. These were scanned and traced into FontForge and cleaned up digitally, then the character set was expanded. There is something unique about carving letters into wood with traditional hand tools, and hopefully Radley carries some of the original spirit of these hand carved letterforms. Since the initial launch in 2012, Radley was updated by Vernon Adams adding an Italic and support for more Latin languages. He made many glyph refinements throughout the family based on user feedback. In 2017 the family was updated by Marc Foley to complete the work started by Vernon. To contribute, see github.com/googlefonts/RadleyFont", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rajdhani": { + "name": "Rajdhani", + "designer": [ + "Indian Type Foundry" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Rajdhani has modularized letterforms and supports the Devanagari and Latin writing systems. The squared and condensed appearance may be interpreted as technical or even futuristic. Typically round bowls and other letterform elements have straight sides in Rajdhani. The stroke terminals typically end in flat line segments that are horizontal or vertical, rather than diagonal. Their corners are slightly rounded, giving stroke-endings a softer feeling, rather than a pointy one. Satya Rajpurohit and Jyotish Sonowal developed the Devanagari component together, while the Latin was designed by Shiva Nalleperumal. To contribute, see github.com/itfoundry/rajdhani", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Rakkas": { + "name": "Rakkas", + "designer": [ + "Zeynep Akay" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "arabic", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Rakkas is single-weight display typeface that supports the Arabic and Latin scripts. The two scripts share a united style, with neither pretending to be the other, and each interesting in its own right. The Arabic design is inspired by Ruq'ah lettering on Egyptian movie posters from the 50s and 60s, and makes use of contextual alternates to emulate calligraphy. It offers different forms for many letter position and it cascades vertically, giving the user an opportunity to play. The Latin design infuses a blackletter design with informality. The Rakkas project is led by Zeynep Akay, a type designer based in London, UK. To contribute, see github.com/zeynepakay/Rakkas", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Raleway": { + "name": "Raleway", + "designer": [ + "Matt McInerney", + "Pablo Impallari", + "Rodrigo Fuenzalida" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Raleway is an elegant sans-serif typeface family. Initially designed by Matt McInerney as a single thin weight, it was expanded into a 9 weight family by Pablo Impallari and Rodrigo Fuenzalida in 2012 and iKerned by Igino Marini. A thorough review and italic was added in 2016. It is a display face and the download features both old style and lining numerals, standard and discretionary ligatures, a pretty complete set of diacritics, as well as a stylistic alternate inspired by more geometric sans-serif typefaces than its neo-grotesque inspired default character set. It also has a sister family, Raleway Dots. More information can be found at theleagueofmoveabletype.com/raleway and impallari.com/fonts/raleway To contribute to the project, visit github.com/impallari/Raleway", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Raleway Dots": { + "name": "Raleway Dots", + "designer": [ + "Matt McInerney", + "Pablo Impallari", + "Rodrigo Fuenzalida", + "Brenda Gallo" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "A dotted version of Raleway, for posters and big headlines. It is a display face and the downloadable font features both old-style and lining numerals, standard and discretionary ligatures, as well as stylistic alternates that are inspired by more geometric sans-serif typefaces than the default which is neo-grotesque. To contribute to the project, visit github.com/impallari/Raleway", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ramabhadra": { + "name": "Ramabhadra", + "designer": [ + "Purushoth Kumar Guttula" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "telugu" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Ramabhadra is a Telugu font developed for use in headlines, posters and at large sizes. The letterforms are very round and have a uniform thickness, and the terminals have a small temple shape that appear like a sans-serif design. This font includes unique Telugu conjunct letters. Ramabhadra is named after the Telugu poet from the court of the king Krishnadevaraya, and was one of the Astadiggajalu (literally eight legends) there. The Telugu is designed and developed by Purushoth Kumar Guttula in 2013 and made available by Silicon Andhra under the SIL Open Font License v1.1. The Latin is designed by Steve Matteson at Monotype, an internaional type foundry, and initially published as Arimo. The Ramabhadra project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India. To contribute, see github.com/appajid/ramabhadra", + "primary_script": "Telu", + "article": null, + "minisite_url": null + }, + "Ramaraja": { + "name": "Ramaraja", + "designer": [ + "Appaji Ambarisha Darbha" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "telugu" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Ramaraja is an Open Source typeface supporting both the Telugu and Latin scripts. It was developed mainly for use in news publications and is suitable for text, headings, posters, and invitations. Developed by Appaji Ambarisha Darbha in 2013 and made available by Silicon Andhra under the SIL Open Font License v1.1. The Ramaraja project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India. To contribute, see github.com/appajid/ramaraja", + "primary_script": "Telu", + "article": null, + "minisite_url": null + }, + "Rambla": { + "name": "Rambla", + "designer": [ + "Martin Sommaruga" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Rambla is a humanist sans for medium-long texts. It\u2019s slightly condensed, with a generous x-height and short ascenders and descenders. Its proportions are economical in both height and width. It\u2019s elegant at large sizes and legible at the same time, with a lot of rhythm in small sizes. To contribute to the project contact Martin Sommaruga.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rammetto One": { + "name": "Rammetto One", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Rammetto is a typeface based on the Stephenson Blake uppercase display font, Basuto, released in 1926. The Rammetto design refines some of the old font's forms, introduces a full set of lowercase characters and adds extended support for European languages. To contribute, see github.com/googlefonts/RammettoFont.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rampart One": { + "name": "Rampart One", + "designer": [ + "Fontworks Inc." + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Rampart is a unique outline shadow font made in the image of 3-D blocks. It is best used for added impact or to demonstrate strength and stability. To contribute to the project, visit github.com/fontworks-fonts/Rampart", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "Ranchers": { + "name": "Ranchers", + "designer": [ + "Impallari Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Ranchers is one of the many hand-lettering artists' relaxed interpretations of sans serif type, typical of the 1950s. It's great for big posters and fun headlines. Use it bigger than 40px for maximum effect.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rancho": { + "name": "Rancho", + "designer": [ + "Sideshow" + ], + "license": "apache2", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Rancho is a comfortable brush script typeface that works just as well in a barn or at the country club.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ranga": { + "name": "Ranga", + "designer": [ + "TipTopTyp" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Once Allan was a sign painter in Berlin. Grey paneling work in the subway, bad materials, a city split in two. Now things have changed. His (character) palette of activities have expanded tremendously: even Indian flavours are are no longer foreign to him. Bolder brush is used when there is need for true impact. Sensitive subjects are treated with subtlety of regular style. Slightly inclined. This project is led by TipTopTyp, a type foundry based in Berlin, Germany. To contribute, see Ranga on GitHub.", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Rasa": { + "name": "Rasa", + "designer": [ + "Rosetta", + "Anna Giedry\u015b", + "David B\u0159ezina" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "gujarati", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Intended for continuous reading on the web (longer articles in online news, magazines, blogs), Rasa supports over 92 languages in Latin and 2 in Gujarati script (Gujarati and Kachchi). The fonts supports a wide array of basic and compound syllables used in Gujarati. A Latin-only version is available as Yrsa. In terms of glyphs included Rasa is a superset of Yrsa and includes the complete Latin, but in Rasa the Latin may be adjusted to support the primary Gujarati font. It is a deliberate experiment in remixing existing typefaces: The Latin part began with Eben Sorkin's Merriweather. The Gujarati began with David B\u0159ezina\u2019s Skolar Gujarati. To contribute, see github.com/rosettatype/yrsa.", + "primary_script": "Gujr", + "article": null, + "minisite_url": null + }, + "Rationale": { + "name": "Rationale", + "designer": [ + "Cyreal" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Rationale One is a compact monoline webfont designed to work well on screen from large headlines to 12 pt body copy. The concept was to create a modular-based font with optical corrections guided by snap eye judgements. Such irregularities add a warm impression to the overall strict geometrical logic. The idea of subtle stroke cuts originated from the letter n, and was selectively incorporated throughout the characters. This feature becomes visible from 36 pt and above. In body sizes stroke cuts enrich the typographic color with light nuances. Designed by Alexei Vanyashin in cooperation with Olexa Volochay and Vladimir Pavlikov.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ravi Prakash": { + "name": "Ravi Prakash", + "designer": [ + "Appaji Ambarisha Darbha" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "telugu" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Ravi Prakash is a Telugu display typeface, mainly suitable for headings, posters and decorative invitations. As a web font it should be used in very large pixel sizes, while in print the design may be used in a broader range of sizes, perhaps even as small as at 16pt. The Telugu is designed by Appaji Ambarisha Darbha in 2013 and made available by Silicon Andhra under the SIL Open Font License v1.1. The Latin is designed by Eduardo Tunni and originally published as Joti One. The Ravi Prakash project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India. To contribute, see github.com/appajid/raviprakash", + "primary_script": "Telu", + "article": null, + "minisite_url": null + }, + "Readex Pro": { + "name": "Readex Pro", + "designer": [ + "Thomas Jockin", + "Nadine Chahine", + "Bonnie Shaver-Troup", + "Santiago Orozco", + "H\u00e9ctor G\u00f3mez" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "arabic", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Arab", + "article": "Could a new typeface make it easier for the more than 400 million Arabic speakers around the world to read? Type designers Dr. Nadine Chahine and Thomas Jockin joined forces to find out. They created Readex Pro in Arabic using the methodology behind Lexend, made for Latin. The name Readex was chosen as a shortened form of \u201creading expanded.\u201d When Dr. Bonnie Shaver-Troup started the Lexend project, her goal was to help people to read more easily and fluently by reducing visual noise. The Lexend fonts have distinct letterforms, and offer the option to widen tracking (the spacing between letters) together with widening the shapes of individual letterforms themselves. This novel functionality is based on a theory known as the \u201cShaver-Troup Formulation,\u201d which was described in detail in a 2003 USA patent application. To learn more, read The Design of Readex Pro (English) and \u062e\u0637 \u200fReadex Pro: \u0627\u0633\u062a\u0643\u0634\u0627\u0641 \u062d\u062f\u0648\u062f \u0633\u0647\u0648\u0644\u0629 \u0642\u0631\u0627\u0621\u0629 \u0627\u0644\u0646\u0635 \u0645\u0646 \u062e\u0644\u0627\u0644 \u062e\u0637 \u0639\u0631\u0628\u064a \u062c\u062f\u064a\u062f (Arabic)", + "minisite_url": null + }, + "Recursive": { + "name": "Recursive", + "designer": [ + "Arrow Type", + "Stephen Nixon" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Recursive is typographic palette for UI & code. It draws inspiration from single-stroke casual, a style of brush writing used in signpainting that is stylistically flexible and warmly energetic. Recursive adapts this aesthetic basis into an extensive variable font family, designed to excel in digital interactive environments, including data-rich user interfaces, technical documentation, and code editors. Recursive offers a lot more styles than you see here! To download the full Recursive Sans & Mono family, learn more about its 5 variable axes, and to configure advanced Google Fonts URL embed code for access to Recursive\u2019s full stylistic range, check out its website at: \u2192 recursive.design The Recursive project is led by Arrow Type, a type foundry based in Brooklyn, NY, USA. To contribute, see its GitHub repo. Update, April 2021: the Google Fonts release of Recursive has been updated to incorporate various changes from its initial release. This includes fixes that correct printing issues, ensure consistent default line heights between styles on macOS, improve the handling of combining accents, add localization features for several languages, and resolve various other earlier issues.", + "primary_script": null, + "article": null, + "minisite_url": "https://recursive.design" + }, + "Red Hat Display": { + "name": "Red Hat Display", + "designer": [ + "MCKL" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Red Hat is a family of typefaces produced in 2 optical sizes and a monospace style, in a range of weights with italics. The fonts were originally commissioned by Paula Scher, Pentagram and designed by Jeremy Mickel, MCKL for the new Red Hat identity. Red Hat is a fresh take on the geometric sans genre, taking inspiration from a range of American sans serifs including Tempo and Highway Gothic. The Display styles are low contrast and spaced tightly, with a large x-height and open counters. The Text styles have a slightly smaller x-height and narrower width for better legibility, are spaced more generously, and have thinned joins for better performance at small sizes. The two families can be used together seamlessly at a range of sizes. The family has been upgraded to variable fonts with a weight axis (Light to Bold) in June 2021. The November 2024 update addresses a frequently reported weight issue. The Medium and SemiBold weights now have slightly different weight compared to the previous version, ensuring better weight distribution within the design space and improved fluidity in the variable font. To contribute, see github.com/RedHatOfficial/RedHatFont", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Red Hat Mono": { + "name": "Red Hat Mono", + "designer": [ + "MCKL" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "monospace" + ], + "description": "Red Hat is a family of typefaces produced in 2 optical sizes and this monospace style, each with a range of weights and with italics. The fonts were originally commissioned by Paula Scher at Pentagram, and designed by Jeremy Mickel at MCKL for a new Red Hat brand identity. The Red Hat typefaces are a fresh take on the geometric sans genre, taking inspiration from a range of American sans serifs including Tempo and Highway Gothic. The Display styles are low contrast and spaced tightly, with a large x-height and open counters. The Text styles have a slightly smaller x-height and narrower width for better legibility, are spaced more generously, and have thinned joins for better performance at small sizes. The two families can be used together seamlessly at a range of sizes. The November 2024 update addresses a frequently reported weight issue. The Medium and SemiBold weights now have slightly different weight compared to the previous version, ensuring better weight distribution within the design space and improved fluidity in the variable font. To contribute, see github.com/RedHatOfficial/RedHatFont", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Red Hat Text": { + "name": "Red Hat Text", + "designer": [ + "MCKL" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Red Hat is a family of typefaces produced in 2 optical sizes and a monospace style, in a range of weights with italics. The fonts were originally commissioned by Paula Scher, Pentagram and designed by Jeremy Mickel, MCKL for the new Red Hat identity. Red Hat is a fresh take on the geometric sans genre, taking inspiration from a range of American sans serifs including Tempo and Highway Gothic. The Display styles are low contrast and spaced tightly, with a large x-height and open counters. The Text styles have a slightly smaller x-height and narrower width for better legibility, are spaced more generously, and have thinned joins for better performance at small sizes. The two families can be used together seamlessly at a range of sizes. The family has been upgraded to variable fonts with a weight axis (Light to Bold) in June 2021. The November 2024 update addresses a frequently reported weight issue. The Medium and SemiBold weights now have slightly different weight compared to the previous version, ensuring better weight distribution within the design space and improved fluidity in the variable font. To contribute, see github.com/RedHatOfficial/RedHatFont", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Red Rose": { + "name": "Red Rose", + "designer": [ + "Jaikishan Patel" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Red Rose Pro is a latin display typeface designed by Jaikishan Patel. It was exclusively designed for posters of Genre: Love, Romance, Drama, Thriller, Noir and Passion. The current version of the family includes 3 weights; Light, Regular and Bold. Each font includes 640 glyphs that covers Western, Central and South Latin as well as Vietnamese. To contribute, see github.com/magictype/redrose", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Redacted": { + "name": "Redacted", + "designer": [ + "Christian Naths" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "symbols", + "display" + ], + "description": null, + "primary_script": null, + "article": "Redacted and Redacted Script are suitable for wireframing and rapid prototyping. Designed to be unreadable, it keeps your wireframes free of distracting Lorem Ipsum or other dummy text. To contribute, see github.com/christiannaths/redacted-font. Flow and Redacted: Check out these new options for wireframes and other early-stage designs Give your simulated text a realistic look while making it easy to add copy later on with Dan Ross\u2019s Flow Fonts and Christian Naths\u2019s Redacted. Showing text in an early-stage wireframe can be distracting, even if it\u2019s just Lorem ipsum placeholder copy. After all, a successful wireframe is clean and simple, with just enough information to communicate an idea. But how do you convey \u201cthis is text\u201d without showing text? One popular technique is to draw shapes that resemble a block of redacted text. (Redacted text is usually used as a security or privacy measure in a document to make certain words unreadable.) Another technique is to use handwritten scribbles. This creates a sketch-like look that\u2019s especially suited to quick concepting. To learn more, visit Flow and Redacted: Check out these new options for wireframes and other early-stage designs", + "minisite_url": null + }, + "Redacted Script": { + "name": "Redacted Script", + "designer": [ + "Christian Naths" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "symbols", + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "Redacted and Redacted Script are suitable for wireframing and rapid prototyping. Designed to be unreadable, it keeps your wireframes free of distracting Lorem Ipsum or other dummy text. To contribute, see github.com/christiannaths/redacted-font. Flow and Redacted: Check out these new options for wireframes and other early-stage designs Give your simulated text a realistic look while making it easy to add copy later on with Dan Ross\u2019s Flow Fonts and Christian Naths\u2019s Redacted. Showing text in an early-stage wireframe can be distracting, even if it\u2019s just Lorem ipsum placeholder copy. After all, a successful wireframe is clean and simple, with just enough information to communicate an idea. But how do you convey \u201cthis is text\u201d without showing text? One popular technique is to draw shapes that resemble a block of redacted text. (Redacted text is usually used as a security or privacy measure in a document to make certain words unreadable.) Another technique is to use handwritten scribbles. This creates a sketch-like look that\u2019s especially suited to quick concepting. To learn more, visit Flow and Redacted: Check out these new options for wireframes and other early-stage designs", + "minisite_url": null + }, + "Reddit Mono": { + "name": "Reddit Mono", + "designer": [ + "Stephen Hutchings", + "OrangeRed" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "monospace" + ], + "description": "Reddit Mono is a humanist sans-serif designed for Reddit. Reddit Mono is complemented by Reddit Sans and Reddit Sans Condensed. To contribute to this project, see github.com/reddit/redditsans", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Reddit Sans": { + "name": "Reddit Sans", + "designer": [ + "Stephen Hutchings", + "OrangeRed" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Reddit Sans is a humanist sans-serif designed for Reddit. Reddit Sans is complemented by Reddit Sans Condensed and Reddit Mono. To contribute to this project, see github.com/reddit/redditsans", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Reddit Sans Condensed": { + "name": "Reddit Sans Condensed", + "designer": [ + "Stephen Hutchings", + "OrangeRed" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Reddit Sans Condensed is a humanist sans-serif designed for Reddit. Reddit Sans Condensed is complemented by Reddit Sans and Reddit Mono. To contribute to this project, see github.com/reddit/redditsans", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Redressed": { + "name": "Redressed", + "designer": [ + "Astigmatic" + ], + "license": "apache2", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Redressed is a medium weight typeface which blends script and italic letterforms together in an upright non-connecting style. Open spacing and stylish letterforms lend themselves to titling, but also to clean legibility at smaller sizes as body copy.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Reem Kufi": { + "name": "Reem Kufi", + "designer": [ + "Khaled Hosny", + "Santiago Orozco" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "arabic", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Reem Kufi is a Kufic typeface based on early Kufic (Mushafi) models, but retrofitted to the Fatimid Kufic grid and with borrowing from its forms. Reem Kufi is largely based on the Kufic designs of the late master of Arabic calligraphy Mohammed Abdul Qadir who revived this art in the 20th century and formalised its rules. Reem Kufi is particularly suitable for display settings, in titles or decorations. Due to its unmistakable old Kufic style, it gives a feeling of something old, historical, or Islamic. The Arabic component was designed by Khaled Hosny, who combined it with the Latin component by Santiago Orozco. Reem is an Arabic female name that literally means \u201ca white deer,\u201d and is also the name of Khaled's daughter. To contribute, see github.com/alif-type/reem-kufi", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Reem Kufi Fun": { + "name": "Reem Kufi Fun", + "designer": [ + "Khaled Hosny", + "Santiago Orozco" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "arabic", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Reem Kufi Fun is a Kufic typeface based on early Kufic (Mushafi) models, but retrofitted to the Fatimid Kufic grid and with borrowing from its forms. Reem Kufi Ink is largely based on the Kufic designs of the late master of Arabic calligraphy Mohammed Abdul Qadir who revived this art in the 20th century and formalised its rules. Reem Kufi Fun is particularly suitable for display settings, in titles or decorations. Due to its unmistakable old Kufic style, it gives a feeling of something old, historical, or Islamic. The Arabic component was designed by Khaled Hosny, who combined it with the Latin component by Santiago Orozco. Reem is an Arabic female name that literally means \u201ca white deer,\u201d and is also the name of Khaled's daughter. This font uses the COLRv0 and CPAL tables. Please visit the gf-guide color page to learn more about Color Fonts technology. To contribute, see github.com/alif-type/reem-kufi", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Reem Kufi Ink": { + "name": "Reem Kufi Ink", + "designer": [ + "Khaled Hosny", + "Santiago Orozco" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "arabic", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Reem Kufi Ink is a Kufic typeface based on early Kufic (Mushafi) models, but retrofitted to the Fatimid Kufic grid and with borrowing from its forms. Reem Kufi Ink is largely based on the Kufic designs of the late master of Arabic calligraphy Mohammed Abdul Qadir who revived this art in the 20th century and formalised its rules. Reem Kufi Ink is particularly suitable for display settings, in titles or decorations. Due to its unmistakable old Kufic style, it gives a feeling of something old, historical, or Islamic. The Arabic component was designed by Khaled Hosny, who combined it with the Latin component by Santiago Orozco. Reem is an Arabic female name that literally means \u201ca white deer,\u201d and is also the name of Khaled's daughter. This font uses the COLRv1, CPAL and SVG tables. Please visit the gf-guide color page to learn more about Color Fonts technology. To contribute, see github.com/alif-type/reem-kufi", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Reenie Beanie": { + "name": "Reenie Beanie", + "designer": [ + "James Grieshaber" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Reene Beanie is a fun font based on basic ball-point pen handwriting. It has a playful and loose look, which lends itself to casual and informal messages. With a little imagination, Reenie Beanie could be used to represent the scribbling of a mad scientist, or the recipes of a genius chef.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Reggae One": { + "name": "Reggae One", + "designer": [ + "Fontworks Inc." + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "japanese", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Reggae is a very popular display font often used in Japanese boys' magazines and digital content. The sharpened ends give off a dynamic pulse, making this font ideal to express rhythm, movement and energy, or for emphasis. To contribute to the project, visit github.com/fontworks-fonts/Reggae", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "Rethink Sans": { + "name": "Rethink Sans", + "designer": [ + "Hans Thiessen" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Rethink is one of the largest global independent creative agencies. Founded in Vancouver in 1999, it now has offices in New York, Toronto, Vancouver, and Montr\u00e9al. Rethink Sans was created in 2023 by Rethink's ECD of Design Hans Thiessen. It was developed specifically to help everyone design with greater confidence and craft in Google Workspace. Rethink Sans is a fork of DM Sans by Colophon Foundry, which in turn is a fork of Poppins by Indian Type Foundry. Deceptively simple, Rethink Sans is filled with thoughtfully turbocharged features, including: weight-specific tracking, two styles of circled numbers a simple keystroke away, and tabular lining figures right out-of-the-box. To contribute, see github.com/hans-thiessen/Rethink-Sans", + "minisite_url": null + }, + "Revalia": { + "name": "Revalia", + "designer": [ + "Johan Kallas", + "Mihkel Virkus" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Revalia is a display sans-serif typeface design, loosely based on the packaging labels of 20th century canned goods. The design has a high x-height, wide letter shapes and the design flirts with medieval letterforms. To contribute to the project contact Johan Kallas and Mihkel Virkus.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rhodium Libre": { + "name": "Rhodium Libre", + "designer": [ + "James Puckett" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Rhodium Libre was designed for use on screens at small sizes and the Latin and Devanagari scripts. To that end, the design is generally uncomplicated and coarse, lacking the small details that are lost on screens; this also reduces the file size to improve latency when used as a web font. The letters are designed slightly wide, with open counters, a large x-height in the Latin glyphs, and so on. The Devanagari glyphs are the same height as the Latin capitals to allow them to stand alongside the oversized Latin lowercase. Historical models for Rhodium\u2019s design are Fortune (AKA Volta) by Konrad Bauer and Walter Baum, and Rex by Intertype. Matthew Carter\u2019s Verdana provided insight into designing type for small sizes and adverse reading environments. The Devanagari glyph set supports contemporary Hindi, Marathi, and Nepali. The Latin glyph set supports Adobe\u2019s Latin-3 character set. This project is led by Dunwich Type Founders, a type foundry based in Denver, Colorado, USA, who design contemporary typeface families. To contribute, see github.com/DunwichType/RhodiumLibre", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ribeye": { + "name": "Ribeye", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Ribeye and Ribeye Marrow are reminiscent of a cartoon tattoo style of lettering, but exhibit a playfulness that breaks traditional weight distribution across its letterforms. An edgy attitude, friendly syncopation, and highly legible letterforms makes these fonts a real pair of charmers.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ribeye Marrow": { + "name": "Ribeye Marrow", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Ribeye and Ribeye Marrow are reminiscent of a cartoon tattoo style of lettering, but exhibit a playfulness that breaks traditional weight distribution across its letterforms. An edgy attitude, friendly syncopation, and highly legible letterforms makes these fonts a real pair of charmers.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Righteous": { + "name": "Righteous", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Righteous was initially inspired by the all capitals letterforms from the deco posters of Hungarian artist Robert Ber\u00e9ny for Modiano. Grid based and geometric in execution, the letterforms are highly readable at a range of point sizes. Unlike that of the inspiration source, Righteous has a full lowercase to increase flexibility of use.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Risque": { + "name": "Risque", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Risque finds its inspiration from the title screen of the 1962 Looney Toons cartoon called \"Martian through Georgia\". Originally an all Capitals reference, it has been created with a lowercase as lively as the irregular latin-esque Capitals. A frolicking fun typeface for retro and all-around offbeat occasions. To contribute to the project contact Brian J. Bonislawsky.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Road Rage": { + "name": "Road Rage", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Road Rage is a return to the days of grunge. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/road-rage.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Roboto": { + "name": "Roboto", + "designer": [ + "Christian Robertson", + "Paratype", + "Font Bureau" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext", + "math", + "symbols", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Roboto has a dual nature. It has a mechanical skeleton and the forms are largely geometric. At the same time, the font features friendly and open curves. While some grotesks distort their letterforms to force a rigid rhythm, Roboto doesn\u2019t compromise, allowing letters to be settled into their natural width. This makes for a more natural reading rhythm more commonly found in humanist and serif types. Updated July 2020: Upgraded to a variable font with Weight and Width axes, that closely match the previous static fonts released as two families, this one and a sibling Roboto Condensed family. Roboto is part of a superfamily set that includes Roboto Slab and Roboto Mono To report issues or contribute, see github.com/TypeNetwork/Roboto. This repository also contains further font builds for different platforms.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Roboto Condensed": { + "name": "Roboto Condensed", + "designer": [ + "Christian Robertson" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Roboto has a dual nature. It has a mechanical skeleton and the forms are largely geometric. At the same time, the font features friendly and open curves. While some grotesks distort their letterforms to force a rigid rhythm, Roboto doesn\u2019t compromise, allowing letters to be settled into their natural width. This makes for a more natural reading rhythm more commonly found in humanist and serif types. This is the Condensed family, which can be used alongside the normal Roboto family and the Roboto Slab family. In August 2023, the family has been upgraded to a variable font. To contribute, please see github.com/googlefonts/roboto-classic.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Roboto Flex": { + "name": "Roboto Flex", + "designer": [ + "Font Bureau", + "David Berlow", + "Santiago Orozco", + "Irene Vlachou", + "Ilya Ruderman", + "Yury Ostromentsky", + "Mikhail Strukov" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Watch the introduction video on YouTube There\u2019s no perfect typeface that works for every size, every device, every application, every style, and every mood. But as the default for Android, with over 2.5 billion active users spanning over 190 countries, and as Google Fonts\u2019 most popular download, Roboto needs to be as flexible as possible. The Roboto superfamily has grown over time, being updated over the years to improve its language support and aesthetic qualities. Initially launched in 2011 as sans and condensed with slab and mono companions, and expanded with Roboto Serif, Roboto Flex is the latest step forward for this powerful typeface system. Roboto Flex is Google Fonts\u2019 biggest project to date. With a huge range of weights and widths across a full set of optical sizes, plus additional capabilities for fine-tuning, Roboto Flex was designed by Font Bureau to be super scalable, adaptable, customizable, and optimizable. With Flex, you can customize Roboto to express and finesse your text in ways never before possible. Today, people are constantly switching between devices, resizing browsers, and spreading our viewports across multiple screens. So Google commissioned Font Bureau to re-imagine Roboto to \u201cflex\u201d along with us, with a special emphasis on large-screen capabilities. This was achieved by amplifying the original design to an extreme range of weights, grades, widths and optical sizes. The second benefit of Roboto Flex is the designer\u2019s ability to fitness and fine-tune their designs with parametric axes. Font Bureau first demonstrated the concept of parametric axes in Amstelvar Alpha (2017), to provide the ultimate in typographic flexibility. With early prototypes of Roboto Flex, Font Bureau demonstrated new solutions to the typographic problems that digital designers face. Demonstrations of high quality justification, better dark-mode typography and other uses of parametric axes are documented at variablefonts.typenetwork.com The needs of developers, designers, and \u2014 of course \u2014 end-user readers were prioritized and aligned during development. To make Roboto Flex production-ready for all print and digital media, Font Bureau expanded the glyph set with careful planning and development, in partnership with script experts for Cyrillic and Greek. Rigorous testing of each glyph across every axis required new type design tools to be developed, like typeroof, which can be used to explore the depth of the design. The final file size of the complete package is remarkably small, given the range of expressive styles now available. By driving variable fonts technology to its limits, it offers the most interesting and useful typographic tools for end users and designers. With a fully loaded Optical Size axis, Roboto Flex makes the layout of texts with deep hierarchies more straightforward and heightens the quality of every design that uses it. And none of this would be possible without the long list of contributors involved. Special thanks to David Berlow, Santiago Orozco, Ilya Ruderman, Irene Vlachou, Yury Ostromentsky, Mikhail Strukov, Dave Crossland, Damien Correll, Marc Foley, David Jonathan Ross, Chris Lewis, Eben Sorkin, Viktoriya Grabowska, Adam Twardoch, Roel Nieksens, Laurence Penney, and Thomas Linard. Roboto Flex is developed by Font Bureau for Google, based on the design initiated by Christian Robertson. To learn more, read Roboto \u2026 But Make It Flex on the Material Design blog.", + "minisite_url": null + }, + "Roboto Mono": { + "name": "Roboto Mono", + "designer": [ + "Christian Robertson" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "monospace" + ], + "description": "Roboto Mono is a monospaced addition to the Roboto type family. Like the other members of the Roboto family, the fonts are optimized for readability on screens across a wide variety of devices and reading environments. While the monospaced version is related to its variable width cousin, it doesn\u2019t hesitate to change forms to better fit the constraints of a monospaced environment. For example, narrow glyphs like \u2018I\u2019, \u2018l\u2019 and \u2018i\u2019 have added serifs for more even texture while wider glyphs are adjusted for weight. Curved caps like \u2018C\u2019 and \u2018O\u2019 take on the straighter sides from Roboto Condensed. Special consideration is given to glyphs important for reading and writing software source code. Letters with similar shapes are easy to tell apart. Digit \u20181\u2019, lowercase \u2018l\u2019 and capital \u2018I\u2019 are easily differentiated as are zero and the letter \u2018O\u2019. Punctuation important for code has also been considered. For example, the curly braces \u2018{ }\u2019 have exaggerated points to clearly differentiate them from parenthesis \u2018( )\u2019 and braces \u2018[ ]\u2019. Periods and commas are also exaggerated to identify them more quickly. The scale and weight of symbols commonly used as operators have also been optimized.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Roboto Serif": { + "name": "Roboto Serif", + "designer": [ + "Commercial Type", + "Greg Gazdowicz" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Roboto Serif is a variable typeface family designed to create a comfortable and frictionless reading experience. Minimal and highly functional, it is useful anywhere (even for app interfaces) due to the extensive set of weights and widths across a broad range of optical sizes. While it was carefully crafted to work well in digital media, across the full scope of sizes and resolutions we have today, it is just as comfortable to read and work in print media. To contribute, see github.com/googlefonts/roboto-serif. Say hello to Roboto Serif The newest member of the Roboto superfamily is designed to make reading more comfortable at any size, in any format. Get it on Google Fonts and check out the specimen: Getting Comfortable With Roboto Serif. It's been almost 20 years since the introduction of Matthew Carter\u2019s Georgia\u2014one of the first serif typefaces designed to make reading easier on the low-resolution screens of the time. That year (1993), Americans with Internet access spent fewer than 30 minutes a month surfing the Web. Now we spend almost seven hours a day. Thankfully, reading on-screen has gotten a lot more comfortable since the 90\u2019s. For one thing, you can pick up your device and move over to the sofa. Letterforms are also crisper, smoother, and more legible on today\u2019s screens/devices\u2014and they render more quickly. But another huge (though perhaps less obvious) factor in all of this is the advancement of font technology. Georgia was one of the first eleven \u201cCore Fonts for the Web\u201d that paved the way for OpenType and, eventually, variable fonts. Today, a well-designed, OpenType serif can be just as readable on-screen as it is in print. And a well-designed variable serif can give readers additional benefits on-screen. Enter: Roboto Serif. To learn more, read Say Hello to Roboto Serif.", + "minisite_url": "https://fonts.withgoogle.com/roboto-serif" + }, + "Roboto Slab": { + "name": "Roboto Slab", + "designer": [ + "Christian Robertson" + ], + "license": "apache2", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SLAB_SERIF", + "classifications": [], + "description": "Roboto has a dual nature. It has a mechanical skeleton and the forms are largely geometric. At the same time, the font features friendly and open curves. While some grotesks distort their letterforms to force a rigid rhythm, Roboto doesn\u2019t compromise, allowing letters to be settled into their natural width. This makes for a more natural reading rhythm more commonly found in humanist and serif types. This is the Roboto Slab family, which can be used alongside the normal Roboto family and the Roboto Condensed family. In November 2019, the family was updated with a variable font \"Weight\" axis. To contribute, see github.com/googlefonts/robotoslab.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rochester": { + "name": "Rochester", + "designer": [ + "Sideshow" + ], + "license": "apache2", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "On the town with the latest sensation they call Rochester! This dapper fresh face is dressed to the nines and ready for action! Inspired by elegant calligraphic forms from the early age of Victorian and Art Deco, Rochester is the perfect selection when you want to add a touch of class or a smart looking formal style to any correspondence or memorandum!", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rock 3D": { + "name": "Rock 3D", + "designer": [ + "Shibuya Font" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "japanese", + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "This is a font based on the sketch of 3D letters by handicapped artists, refined & created by design major students, capturing the solidness of the 3D with two dimensional sketch. This is one of the work of Shibuya Font project, a collaboration of design major students and handicapped artist living in Shibuya city, officially approved by Shibuya city in Tokyo. Shibuya font Official Site: http://www.shibuyafont.jp To contribute to the project, visit github.com/shibuyafont/3d-rock-font", + "primary_script": "Hira", + "article": null, + "minisite_url": null + }, + "Rock Salt": { + "name": "Rock Salt", + "designer": [ + "Sideshow" + ], + "license": "apache2", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Rock Salt was hand-crafted with felt-tip markers for a personal look you can pepper throughout your next project.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "RocknRoll One": { + "name": "RocknRoll One", + "designer": [ + "Fontworks Inc." + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "RocknRoll is an original pop-style font. The strokes of varying intensity add momentum and the rounded dots create a lively and dynamic feel. To contribute to the project, visit github.com/fontworks-fonts/RocknRoll", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "Rokkitt": { + "name": "Rokkitt", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SLAB_SERIF", + "classifications": [], + "description": "Rokkitt was initiated by Vernon Adams when he was inspired by the type forms of a number of distinctive geometric slab serifs, sometimes called Egyptians, popular in the late nineteenth and early to mid twentieth centuries. In 1910 the Inland Type Foundry published Litho Antique and similar types were published by American Type Founders in the 1920s and Monotype Corporation in the 1930s. Rokkitt is intended for use as a display font, in headings and headlines, though it can also be used as an alternative to sans serif designs at text sizes. Update January 2017: Vernon Adams began the project in 2011, and developed the typeface until 2014. During 2016 Kalapi Gajjar completed Vernon's original work and released a substantial update with a full set of 9 weights, and support for more Latin languages. Update July 2019: The family has been converted into a variable font. Update January 2023: The family has now an italic. To contribute, see github.com/googlefonts/RokkittFont.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Romanesco": { + "name": "Romanesco", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "The Romanesco typeface is a refined, semi-bold and narrow hand crafted calligraphic style. With stabbing strokes that nod to historical styles, and modern flair leaning towards the current, Romanesco lends itself to a wide array of stylistic uses for a narrow typestyle.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ropa Sans": { + "name": "Ropa Sans", + "designer": [ + "Botjo Nikoltchev" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Ropa Sans is an open-source subset of the Ropa Sans Pro family. Ropa Sans Pro consists of 8 weights plus extra designed italics and small caps, with extensive coverage of Latin and essential coverage of Cyrillic and Greek scripts, and is available commercially from lettersoup.de. This Open Font License version, Ropa Sans, consists of the regular weight and the corresponding italic, and covers Latin-based languages only. While the upright styles pay a distant homage to the technical aesthetics of the early-20th century DIN series, the strongly humanistic italics breathe in quirky freshness and create a unique flavour. The step to a remarkable Italic with its extreme ink-traps caused a hard change of nearly all shapes of the first slices of Roman.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rosario": { + "name": "Rosario", + "designer": [ + "Omnibus-Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Omnibus Type proudly presents Rosario, a new typeface of classic proportions, subtle contrast and weak endings. Carefully produced, elegant, ideal for magazines and academic journals. Rosario is the name of the city of the designer, H\u00e9ctor Gatti. Rosario was initially developed for private use in 2003. In September 2019, The family has been converted to a variable font family. To contribute, see github.com/Omnibus-Type/Rosario.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rosarivo": { + "name": "Rosarivo", + "designer": [ + "Pablo Ugerman" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "handwriting" + ], + "description": "Rosarivo is a typeface designed for use in letterpress printing. It is an elegant and luxurious typeface with high quality details. It works especially well in delicate editorial design. Its letterpress origins mean it has a lighter color than a typical Roman text type. Its features include carefully designed serifs, gradual stroke and marked contrast, calligraphic and humanistic forms, and large ascenders and descenders. It is designed to work well in long texts with generous line spacing. It originates from work presented to the post-graduate course in Typeface Design at the University of Buenos Aires in 2011. Rosarivo is a Unicode typeface family that supports languages that use the Latin script and its variants, and could be expanded to support other scripts. To contribute to the project contact Pablo Ugerman.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rouge Script": { + "name": "Rouge Script", + "designer": [ + "Sabrina Mariela Lopez" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Rouge Script is a formal script type, initiall drawn by hand with a copperplate nib and redrawn with the termination style of a brush script. This gives it the flavor of a casual script. It is very soft and has fast curves, while its low slant angle makes it very legible and improves the render on-screen. It works perfectly for titles or short phrases in branding, magazines, food, feminine and fashion related typography.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rowdies": { + "name": "Rowdies", + "designer": [ + "Jaikishan Patel" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Rowdies is a Latin display typeface inspired by the rough & tough Indian action cinema. Roughness and oddness of each individual letter contribute collectively as a typeface to the fantasy of being bold, fearless and strong. Designed by Jaikishan Patel for action, drama, adventure, thriller, noir & crime genres of storytelling. The font family includes 600+ glyphs in 3 weights; Light, Regular, and Bold. To contribute, see https://github.com/magictype/rowdies", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rozha One": { + "name": "Rozha One", + "designer": [ + "Indian Type Foundry" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Rozha One is a very high contrast Open Source font, which currently offers support for the Devanagari and Latin scripts. Created primarily for display use, the extreme difference between its letters\u2019 thick and thin strokes make it an excellent choice for large headlines and poster-sized graphics. The Indian Type Foundry released Rozha One in 2014; its Devanagari character set was designed by Tim Donaldson and Jyotish Sonowal. Shiva Nallaperumal designed the Latin. The font\u2019s Latin characters are drawn in a fat face \u2018modern\u2019 or \u2018Didone\u2019 style, similar to letters that were commonly used in 19th century advertising posters in the West. Rozha One\u2019s Latin characters barely differentiate between upper and lowercase letter sizes; the x-height of its lowercase letters is so high \u2013 and the size of its capital letters so small \u2013 that these virtually blend into one another in a line of text. Nevertheless, the Devanagari letters are drawn in such a way that they harmonise with the font\u2019s Latin very well in settings where texts in multiple languages sit alongside one another. The headline of the Devanagari base characters is the same thickness as the Latin letters\u2019 serifs. Certain Devanagari letter strokes and vowel marks bare visually similarity to the font\u2019s Latin letters. However, Rozha One does not appear Latinized or un-Devanagari. The font includes 1,095 glyphs, offering full support for the conjuncts and ligatures required by languages written with the Devanagari script. When used in on-screen design environments, Rozha One should be used in very large pixel sizes. However in print, the design may be used in a broader range of sizes, perhaps even as small as at 16 or 18 points. The Rozha project is led by Indian Type Foundry, a type design foundry based in Ahmedabad, India. To contribute, see github.com/itfoundry/rozhaone", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Rubik": { + "name": "Rubik", + "designer": [ + "Hubert and Fischer", + "Meir Sadan", + "Cyreal", + "Daniel Grumer", + "Omaima Dajani" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "arabic", + "cyrillic", + "cyrillic-ext", + "hebrew", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Rubik is a sans serif font family with slightly rounded corners designed by Philipp Hubert and Sebastian Fischer at Hubert & Fischer as part of the Chrome Cube Lab project. Rubik is a 5 weight family with Roman and Italic styles, that accompanies Rubik Mono One, a monospaced variation of the Black roman design. Meir Sadan redesigned the Hebrew component in 2015. Alexei Vanyashin redesigned the Cyrillic component in 2016. To contribute, see github.com/googlefonts/Rubik.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rubik 80s Fade": { + "name": "Rubik 80s Fade", + "designer": [ + "NaN", + "Luke Prowse" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "hebrew", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. Check for more Rubik \"Filtered\" fonts! To contribute, see github.com/NaN-xyz/Rubik-Filtered.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rubik Beastly": { + "name": "Rubik Beastly", + "designer": [ + "NaN", + "Luke Prowse" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "hebrew", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. Check for more Rubik \"Filtered\" fonts!. To contribute, see github.com/NaN-xyz/Rubik-Filtered.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rubik Broken Fax": { + "name": "Rubik Broken Fax", + "designer": [ + "NaN", + "Luke Prowse" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "hebrew", + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. Check for more Rubik \"Filtered\" fonts! To contribute, see github.com/NaN-xyz/Rubik-Filtered.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rubik Bubbles": { + "name": "Rubik Bubbles", + "designer": [ + "NaN", + "Luke Prowse" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "hebrew", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. Check for more Rubik \"Filtered\" fonts!. To contribute, see github.com/NaN-xyz/Rubik-Filtered.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rubik Burned": { + "name": "Rubik Burned", + "designer": [ + "NaN", + "Luke Prowse" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "hebrew", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. Check for more Rubik \"Filtered\" fonts! To contribute, see github.com/NaN-xyz/Rubik-Filtered.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rubik Dirt": { + "name": "Rubik Dirt", + "designer": [ + "NaN", + "Luke Prowse" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "hebrew", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. Check for more Rubik \"Filtered\" fonts! To contribute, see github.com/NaN-xyz/Rubik-Filtered.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rubik Distressed": { + "name": "Rubik Distressed", + "designer": [ + "NaN", + "Luke Prowse" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "hebrew", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. Check for more Rubik \"Filtered\" fonts! To contribute, see github.com/NaN-xyz/Rubik-Filtered.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rubik Doodle Shadow": { + "name": "Rubik Doodle Shadow", + "designer": [ + "NaN", + "Luke Prowse" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "hebrew", + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. Check for more Rubik \"Filtered\" fonts! To contribute, see github.com/NaN-xyz/Rubik-Filtered.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rubik Doodle Triangles": { + "name": "Rubik Doodle Triangles", + "designer": [ + "NaN", + "Luke Prowse" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "hebrew", + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. Check for more Rubik \"Filtered\" fonts! To contribute, see github.com/NaN-xyz/Rubik-Filtered.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rubik Gemstones": { + "name": "Rubik Gemstones", + "designer": [ + "NaN", + "Luke Prowse" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "hebrew", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. Check for more Rubik \"Filtered\" fonts! To contribute, see github.com/NaN-xyz/Rubik-Filtered.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rubik Glitch": { + "name": "Rubik Glitch", + "designer": [ + "NaN", + "Luke Prowse" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "hebrew", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. Check for more Rubik \"Filtered\" fonts!. To contribute, see github.com/NaN-xyz/Rubik-Filtered.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rubik Glitch Pop": { + "name": "Rubik Glitch Pop", + "designer": [ + "NaN", + "Luke Prowse" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "hebrew", + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. Check for more Rubik \"Filtered\" fonts! To contribute, see github.com/NaN-xyz/Rubik-Filtered.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rubik Iso": { + "name": "Rubik Iso", + "designer": [ + "NaN", + "Luke Prowse" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "hebrew", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. Check for more Rubik \"Filtered\" fonts! To contribute, see github.com/NaN-xyz/Rubik-Filtered.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rubik Lines": { + "name": "Rubik Lines", + "designer": [ + "NaN", + "Luke Prowse" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "hebrew", + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. Check for more Rubik \"Filtered\" fonts! To contribute, see github.com/NaN-xyz/Rubik-Filtered.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rubik Maps": { + "name": "Rubik Maps", + "designer": [ + "NaN", + "Luke Prowse" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "hebrew", + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. Check for more Rubik \"Filtered\" fonts! To contribute, see github.com/NaN-xyz/Rubik-Filtered.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rubik Marker Hatch": { + "name": "Rubik Marker Hatch", + "designer": [ + "NaN", + "Luke Prowse" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "hebrew", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. Check for more Rubik \"Filtered\" fonts! To contribute, see github.com/NaN-xyz/Rubik-Filtered.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rubik Maze": { + "name": "Rubik Maze", + "designer": [ + "NaN", + "Luke Prowse" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "hebrew", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. Check for more Rubik \"Filtered\" fonts! To contribute, see github.com/NaN-xyz/Rubik-Filtered.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rubik Microbe": { + "name": "Rubik Microbe", + "designer": [ + "NaN", + "Luke Prowse" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "hebrew", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. Check for more Rubik \"Filtered\" fonts!. To contribute, see github.com/NaN-xyz/Rubik-Filtered.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rubik Mono One": { + "name": "Rubik Mono One", + "designer": [ + "Hubert and Fischer" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "monospace" + ], + "description": "Rubik is a sans serif font family with slightly rounded corners designed by Philipp Hubert and Sebastian Fischer at Hubert & Fischer as part of the Chrome Cube Lab project. Rubik Mono One is a monospaced sister of the Black roman style in the Rubik family, which has 5 weights.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rubik Moonrocks": { + "name": "Rubik Moonrocks", + "designer": [ + "NaN", + "Luke Prowse" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "hebrew", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. Check for more Rubik \"Filtered\" fonts!. To contribute, see github.com/NaN-xyz/Rubik-Filtered.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rubik Pixels": { + "name": "Rubik Pixels", + "designer": [ + "NaN", + "Luke Prowse" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "hebrew", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. Check for more Rubik \"Filtered\" fonts! To contribute, see github.com/NaN-xyz/Rubik-Filtered.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rubik Puddles": { + "name": "Rubik Puddles", + "designer": [ + "NaN", + "Luke Prowse" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "hebrew", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. Check for more Rubik \"Filtered\" fonts!. To contribute, see github.com/NaN-xyz/Rubik-Filtered.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rubik Scribble": { + "name": "Rubik Scribble", + "designer": [ + "NaN", + "Luke Prowse" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "hebrew", + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. Check for more Rubik \"Filtered\" fonts! To contribute, see github.com/NaN-xyz/Rubik-Filtered.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rubik Spray Paint": { + "name": "Rubik Spray Paint", + "designer": [ + "NaN", + "Luke Prowse" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "hebrew", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. Check for more Rubik \"Filtered\" fonts! To contribute, see github.com/NaN-xyz/Rubik-Filtered.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rubik Storm": { + "name": "Rubik Storm", + "designer": [ + "NaN", + "Luke Prowse" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "hebrew", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. Check for more Rubik \"Filtered\" fonts! To contribute, see github.com/NaN-xyz/Rubik-Filtered.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rubik Vinyl": { + "name": "Rubik Vinyl", + "designer": [ + "NaN", + "Luke Prowse" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "hebrew", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. Check for more Rubik \"Filtered\" fonts! To contribute, see github.com/NaN-xyz/Rubik-Filtered.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rubik Wet Paint": { + "name": "Rubik Wet Paint", + "designer": [ + "NaN", + "Luke Prowse" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "hebrew", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. Check for more Rubik \"Filtered\" fonts!. To contribute, see github.com/NaN-xyz/Rubik-Filtered.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ruda": { + "name": "Ruda", + "designer": [ + "Mariela Monsalve", + "Angelina Sanchez" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Ruda is a sans serif typeface originally developed for a specific context of use, product labels. Designed by Mariela Monsalve and Angelina Sanchez, Ruda features a very large x-height, low cap-height and open forms. In Febraury 2020, the family has been upgraded to a variable font. To contribute, see github.com/marmonsalve/Ruda-new. Ruda is a collaboration between marie monsalve and Angelina Saanchez.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rufina": { + "name": "Rufina", + "designer": [ + "Martin Sommaruga" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Rufina combines features of several typographic styles with Bodoni forms found in the calligraphy of flexible tip pens. High contrast enables it to work well in text and headlines. To contribute to the project contact Martin Sommaruga.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ruge Boogie": { + "name": "Ruge Boogie", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Smack a pi\u00f1ata or celebrate Cinco de Mayo with Ruge Boogie. This two-font set is a fun and bouncy style with a joyful flair. Great for scrapbooking, tubes, and other fun stuff. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/ruge-boogie.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ruluko": { + "name": "Ruluko", + "designer": [ + "Ana Sanfelippo", + "Ang\u00e9lica D\u00edaz", + "Meme Hern\u00e1ndez" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Ruluko is a typeface designed to aid those learning to read. The shapes you see are related to the handwriting typically used at schools in Argentina. The concept is that those who have learned to read this handwriting style may recognise this type style more easily than other typefaces often used in this context. But as a warm and stylish sans serif text type, you may use Ruluko for any purpose. Designed by Ana Sanfelippo (@anasanfelippo), Ang\u00e9lica D\u00edaz (@angiecinadiaz) and Meme Hern\u00e1ndez (@memepeca).", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Rum Raisin": { + "name": "Rum Raisin", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Rum Raisin draws inspiration from a vintage Kelloggs Raisin Bran cereal box. Taken from a formerly unicase design, this has been developed as a caps/lowercase character set. The original unicase a is in the Delta character slot, as an alternate to a more suitable A. To contribute to the project contact Brian J. Bonislawsky.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ruslan Display": { + "name": "Ruslan Display", + "designer": [ + "Oleg Snarsky", + "Denis Masharov", + "Vladimir Rabdu" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "The Ruslan Display font is based on a 1970s typeface made by Ukrainian designer Oleg Snarsky, which evokes the ustav and semiustav styles of the 11th\u201316th centuries, known as the Ruthenian period. This is featured in the signage of Kiev's Teremky metro station, and in a collection of Snarsky's typefaces in the book \u201c\u0428\u0440\u0438\u0444\u0442\u044b-\u0430\u043b\u0444\u0430\u0432\u0438\u0442\u044b \u0434\u043b\u044f \u0440\u0435\u043a\u043b\u0430\u043c\u043d\u044b\u0445 \u0438 \u0434\u0435\u043a\u043e\u0440\u0430\u0442\u0438\u0432\u043d\u043e-\u043e\u0444\u043e\u0440\u043c\u0438\u0442\u0435\u043b\u044c\u0441\u043a\u0438\u0445 \u0440\u0430\u0431\u043e\u0442\u201c published in 1979 and available online. It was digitized and extended with an original Latin complement by Russian designer Denis Masharov, in collaboration with Vladimir Rabdu, in 2011. The name means \u2018lion\u2019. Suitable for lettering, Ruslan Display can also be used to set short texts and supports Latin and Cyrillic.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Russo One": { + "name": "Russo One", + "designer": [ + "Jovanny Lemonad" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Russo means Russian. It seems strange that in a such font there is no snow, vodka or bears. What I wanted to show is that Russian culture is quite varied and modern. In Russia, too, some people love good fonts and typography. Russo One is designed for headlines and logotypes. It is simple and original, stylish and casual.Russo One is a Unicode typeface family that supports languages that use the Cyrillic, Baltic, Turkish, Central Europe, Latin script and its variants, and could be expanded to support other scripts. To contribute to the project contact Jovanny Lemonad.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ruthie": { + "name": "Ruthie", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Ruthie is an elegant calligraphic script with ornate capital forms. To contribute, see github.com/googlefonts/ruthie.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ruwudu": { + "name": "Ruwudu", + "designer": [ + "SIL International" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "arabic", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Ruwudu is intended to provide a libre and open font family for Arabic script languages in West Africa that use the Rubutun Kano style. This font supports the characters known to be used by languages written in this style of Arabic script, but may not have the characters needed for other languages. Smart font routines automatically adjust the shape and position of characters. To contribute, please see github.com/silnrsi/font-ruwudu.", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Rye": { + "name": "Rye", + "designer": [ + "Nicole Fally" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Rye's bold attention getting shapes are useful for advertising. Rye is a medium contrast design inspired by posters using wood type. It gives off a feeling of the American West. It is suitable for use in medium to large sizes including headlines. This font was made specifically to be web type.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "STIX Two Text": { + "name": "STIX Two Text", + "designer": [ + "Tiro Typeworks", + "Ross Mills", + "John Hudson", + "Paul Hanslow" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "The Scientific and Technical Information eXchange (STIX) fonts are intended to satisfy the demanding needs of authors, publishers, printers, and others working in the scientific, medical, and technical fields. The STIX Two fonts consist of two variable text fonts (Roman and Italic), eight static text (Regular to Bold in both roman and italic variants) and one Math font (currently only available for direct download from the repository). Together, they provide a uniform set of fonts that can be used throughout the production process. The STIX project began through the joint efforts of American Mathematical Society (AMS), American Institute of Physics (AIP), American Physical Society (APS), American Chemical Society (ACS), The Institute of Electrical and Electronic Engineers (IEEE), and Elsevier. These companies are collectively known as the STI Pub companies. To contribute, see github.com/stipub/stixfonts.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "SUSE": { + "name": "SUSE", + "designer": [ + "Ren\u00e9 Bieder" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "SUSE was created to reflect the innovative and open-source spirit of the SUSE company. It provides clarity and legibility, making it ideal for both digital and print media. The hybrid design combines geometric precision with monospaced stability, ensuring a modern and efficient aesthetic. To contribute, see github.com/SUSE/suse-font. SUSE is a sans serif typeface designed by Ren\u00e9 Bieder, embodying a unique hybrid between geometric and monospaced features. It captures the essence of SUSE, a company renowned for its open-source solutions. This versatile typeface family includes the following styles: Thin, ExtraLight, Light, Regular, Medium, SemiBold, Bold, and ExtraBold. It stands out with its distinctive design, perfect for modern, open-source, and tech-focused projects. Its variety of weights allows for flexibility in design, from headlines to body text, ensuring consistency and harmony across different use cases. SUSE supports over 200 Latin-based languages", + "minisite_url": null + }, + "Sacramento": { + "name": "Sacramento", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "The Sacramento typeface is a monoline, semi-connected script inspired by hand-lettering artist brochure work of the 1950's and 1960's. It stands on a thin line between formal and casual lettering styles, yet it has a commanding presence for headlines and titles. To contribute to the project contact Brian J. Bonislawsky.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Sahitya": { + "name": "Sahitya", + "designer": [ + "Juan Pablo del Peral" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "devanagari", + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Sahitya is a Devanagari typeface family based on the Latin Alegreya fonts. It was designed to match the style and feel of the original Latin characters. Juan Pablo del Peral designed the Latin, and led the design of the Devanagari with Sol Matas. Thanks to Erin McLaughlin, Vaishnavi Murthyand, Noopur Datye, Dan Reynolds and Jos\u00e9 Nicol\u00e1s Silva for their support and feedback. The Sahitya project is led by Juan Pablo del Peral, a type designer based in Argentina. To contribute, see github.com/juandelperal/sahitya", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Sail": { + "name": "Sail", + "designer": [ + "Miguel Hernandez" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Sail is a Didot script for headline, display and poster uses. A fresh air comes to all the glyphs, its windy uppercases are especially suited for display texts and web navigation. Elegant swashes and a clean lowercases also make it suitable for larger paragraphs.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Saira": { + "name": "Saira", + "designer": [ + "Omnibus-Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Saira is a sans serif system. It features a huge range of weights and widths, ready for all kind of typographic challenges. This is the Normal family, which is part of the superfamily along with Semi Condensed, Condensed, and Extra Condensed, each with 9 weights. Saira has been upgraded in 2020 to a variable font with axes for weight and width, adding expanded widths to the superfamily. This typeface was designed by Hector Gatti and developed by the Omnibus Type team. To contribute to the project, visit github.com/Omnibus-Type/Saira", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Saira Condensed": { + "name": "Saira Condensed", + "designer": [ + "Omnibus-Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Saira is a sans serif system. It features a huge range of weights and widths, ready for all kind of typographic challenges. This is the Condensed family, which is part of the superfamily along with Normal, Semi Condensed, and Extra Condensed, each with 9 weights. This typeface was designed by Hector Gatti and developed by the Omnibus Type team. To contribute to the project, visit github.com/Omnibus-Type", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Saira Extra Condensed": { + "name": "Saira Extra Condensed", + "designer": [ + "Omnibus-Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Saira is a sans serif system. It features a huge range of weights and widths, ready for all kind of typographic challenges. This is the Extra Condensed family, which is part of the superfamily along with Normal, Semi Condensed, and Condensed, each with 9 weights. This typeface was designed by Hector Gatti and developed by the Omnibus Type team. To contribute to the project, visit github.com/Omnibus-Type", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Saira Semi Condensed": { + "name": "Saira Semi Condensed", + "designer": [ + "Omnibus-Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Saira is a sans serif system. It features a huge range of weights and widths, ready for all kind of typographic challenges. This is the Semi Condensed family, which is part of the superfamily along with Normal, Condensed, and Extra Condensed, each with 9 weights. This typeface was designed by Hector Gatti and developed by the Omnibus Type team. To contribute to the project, visit github.com/Omnibus-Type", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Saira Stencil One": { + "name": "Saira Stencil One", + "designer": [ + "Hector Gatti", + "Omnibus-Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Saira Stencil is the stencil version of Saira, designed by H\u00e9ctor Gatti and developed by Omnibus-Type Team. To contribute, see github.com/Omnibus-Type/Saira/tree/master/SairaStencilOne.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Salsa": { + "name": "Salsa", + "designer": [ + "John Vargas Beltr\u00e1n" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "handwriting" + ], + "description": "Salsa was inspired by the old LP album covers from the 1970s, which is why the name is of the main musical genre of Latin America. Avoiding any stereotypes of grunge, vernacular or decorated styles, the font was designed from the vertical structure of an italic, based on behavior and nature of the flat round brush stroke. Salsa was developed as the final project in the postgraduate programme in Typography at the University of Buenos Aires. Functionally it can be used in titles and short texts, and has been developed with Swash Caps.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Sanchez": { + "name": "Sanchez", + "designer": [ + "Daniel Hernandez" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SLAB_SERIF", + "classifications": [], + "description": "Sanchez is a slab serif typeface family from Chilean type foundry LatinoType.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Sancreek": { + "name": "Sancreek", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Sancreek has been designed for use mostly as a caps-only display webfont, though lowercase characters have also been included. Sancreek is a contemporary take on some of the large wooden poster fonts of the ninteenth century. Sancreek can be used freely across the internet by web browsers on desktop computers, laptops and mobile devices.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Sankofa Display": { + "name": "Sankofa Display", + "designer": [ + "Batsirai Madzonga" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Sankofa Display is a captivating African typeface that draws inspiration from a rich tapestry of African art styles, with a particular focus on straight-line geometric designs. This typeface embodies the essence of Africa's diverse cultural heritage, blending elements from various artistic traditions. To contribute, see github.com/batsimadz/Sankofa-Display.", + "primary_script": null, + "article": null, + "minisite_url": "https://www.sankofadisplay.com" + }, + "Sansation": { + "name": "Sansation", + "designer": [ + "Bernd Montag" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "greek", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Sansation is a sans serif typeface family.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Sansita": { + "name": "Sansita", + "designer": [ + "Omnibus-Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Sansita is a tasty new Omnibus Type font designed by Pablo Cosgaya. The flavor of Sansita's lowercase explores the relationship between typography and calligraphy. The elegance of Sansita's uppercase makes this an excellent choice for packaging, brief texts, branding and slogans.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Sansita Swashed": { + "name": "Sansita Swashed", + "designer": [ + "Omnibus-Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "An ornate version of Sansita, with curvy uppercase letters, certain alternative lowercase letters and new ligatures. Sansita Swashed is designed by Pablo Cosgaya (Omnibus-Type) and developed by Aldo De Losa. To contribute, please see github.com/Omnibus-Type/Sansita-Swashed.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Sarabun": { + "name": "Sarabun", + "designer": [ + "Suppakit Chalermlarp" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "thai", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Sarabun is an open source multi-script webfont that supports both Latin and Thai. It is the \"TH Sarabun New\" font, made available under the Open Font License. The name \"Sarabun\" (\u0e2a\u0e32\u0e23\u0e1a\u0e23\u0e23\u0e13, RTGS: Saraban) means documentary affairs. The font is used in the Government Gazette of Thailand newspaper, and you can read more details about this font project on Wikipedia's National Fonts page.", + "primary_script": "Thai", + "article": null, + "minisite_url": null + }, + "Sarala": { + "name": "Sarala", + "designer": [ + "Andres Torresi" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Sarala is a Devanagari typeface family designed by Andr\u00e9s Torresi and Carolina Giovagnoli for Huerta Tipogr\u00e1fica. It is based on the original Latin typeface Telex, a sans serif typeface for text. It is a humanist sans serif design, conceived to be a web font with nice legibility at normal text sizes. Originally based on grid fitting shapes it became a multi-purpose typeface with low contrast, open counter forms, wide proportions and a touch of freshness. Thanks to Jos\u00e9 Nicol\u00e1s Silva, Vaishnavi Murthy and Erin McLaughlin for their feedback. The Sarala project is led by Andr\u00e9s Torresi, a type designer based in Argentina. To contribute, see github.com/andrestelex/sarala", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Sarina": { + "name": "Sarina", + "designer": [ + "James Grieshaber" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Sarina is a display typeface with brush style letterforms. Sarina's medium contrast and wide setting offers a casual breezy feeling. Sarina is appropriate for medium to larger sizes.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Sarpanch": { + "name": "Sarpanch", + "designer": [ + "Indian Type Foundry" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Display families with extensive character sets are rare for any script. With Indian typefaces, large character sets are often even less common. The Indian Type Foundry\u2019s font families have been an exception, however. Sarpanch continues this trend. Sarpanch is an Open Source typeface supporting the Devanagari and Latin scripts. It was designed for use in large point sizes and pixel sizes. Sarpanch\u2019s letterforms are made up of strokes with a high contrast. They are also drawn with wide proportions, based on a squared construction principle. Six fonts make up the Sarpanch family, ranging in weight from Regular to Black. As weight increases along the family\u2019s axis, vertical strokes become thicker, but the typeface\u2019s horizontals retain the same thickness across each weight. While the rather wide Regular weight of the family is almost monolinear, the Black weight appears to have a very high degree of contrast. The Regular, Medium and Semibold fonts are recommended for use in short headlines, while Bold, Heavy and Black are intended primarily for setting single words or pairs. At display sizes, Sarpanch works equally well on screen or in print. Each font contains 1035 glyphs and offers full support for the conjuncts and ligatures required by languages written in the Devanagari script. The Medium\u2013Black weights of the Sarpanch family were design by Manushi Parikh at ITF in 2014. Jyotish Sonowal designed the Regular weight. Sarpanch is an excellent choice for use in advertising or for news tickers on television screens (breaking news, etc.) In Hindi, the word Sarpanch means \u2018the head of a village\u2019.", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Sassy Frass": { + "name": "Sassy Frass", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "SassyFrass is a fun little script font with lots of squiggles and giggles, especially in the uppercase forms. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/sassy-frass.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Satisfy": { + "name": "Satisfy", + "designer": [ + "Sideshow" + ], + "license": "apache2", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Looking for a brush script with a little pizazz? This new Sideshow typeface will fill the bill! Satisfy gives you the look of a timeless classic with a unique modern flair. Download this font by designer Squid and you'll be satisfied!", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Savate": { + "name": "Savate", + "designer": [ + "Plomb Type", + "Max Esn\u00e9e" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "Savate is a humanist sans-serif typeface with reverse contrast. Its name, borrowed from the French martial art, reflects the typeface\u2019s sense of motion. Its open, generous curves and assertive forms evoke wide gestures and dynamic rhythm. Designed with both flexibility and impact in mind, Savate comes in a full range of weights from Extralight to Black, with matching italics, making it well-suited for everything from bold headlines to confident, readable text. To contribute, see github.com/maxesnee/savate. This new release is a complete redraw of the original Savate, first published in 2016 by the We.ch collective (Max Esn\u00e9e and Hadrien Bulliat) through Velvetyne. While it stays true to the spirit of the original design, every glyph has been refined to improve rhythm, structure, and overall cohesion. The family has also been significantly expanded, now offering a full palette of styles and expanded language support, including Latin Pan-African, making Savate a versatile tool for a broad range of typographic needs. Your browser does not support the video tag. Your browser does not support the video tag. Your browser does not support the video tag. Your browser does not support the video tag. Your browser does not support the video tag.", + "minisite_url": "https://www.plombtype.com/savate" + }, + "Sawarabi Gothic": { + "name": "Sawarabi Gothic", + "designer": [ + "mshio" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "japanese", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Sawarabi Gothic (\u3055\u308f\u3089\u3073\u30b4\u30b7\u30c3\u30af) is a Japanese font by mshio. Carefully designed for high legibility, it works well in small text sizes. It already has many hiragana, katakana, ruled lines, and so on, but it does not yet have enough kanji glyphs. Only 4,469 kanji are available in this version, and the project is under active development. There is also another related family, Sawarabi Mincho. 6,945 glyphs. Now released under the SIL Open Font License.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Sawarabi Mincho": { + "name": "Sawarabi Mincho", + "designer": [ + "mshio" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "braille", + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Sawarabi Mincho (\u3055\u308f\u3089\u3073\u660e\u671d) is a Japanese font by mshio. With a delicate and beautiful design, it is suitable for text and headline usage. It already has many hiragana, katakana, ruled lines, and so on, and this version includes 3297 kanji glyphs. There is also another related family, Sawarabi Gothic. To contribute to the project, visit osdn.net/projects/sawarabi-fonts/", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "Scada": { + "name": "Scada", + "designer": [ + "Jovanny Lemonad" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "In 2005, Scada was designed as the corporate identity font for the Latvian design studio Scada.lv. In 2011 the design studio decided to make Scada a libre font. Over 6 months the font was reworked, improved and expanded into a family. It has a modern style, specifically designed for small sizes.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Scheherazade New": { + "name": "Scheherazade New", + "designer": [ + "SIL International" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "arabic", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Scheherazade New is a traditional naskh typeface, supporting all Arabic script characters in Unicode 14.0. It is named after the heroine of the classic Arabian Nights tale. In May 2022, the font has been upgraded, offering a more extensive glyphset. The April 2023 upgrade brings two new weights: Medium and SemiBold. The language support is also improved. This font was developed by SIL, and you can learn more about it at software.sil.org/scheherazade. To contribute, see github.com/silnrsi/font-scheherazade.", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Schibsted Grotesk": { + "name": "Schibsted Grotesk", + "designer": [ + "Bakken & B\u00e6ck", + "Henrik Kongsvoll" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Schibsted Grotesk is a digital-first font family crafted for user interfaces. Taking visual cues from Schibsted's proud history of printed media as well as our pioneering digital nature, Schibsted Grotesk was designed to become an active tool that empowers brand ambassadors and inspires internal and external audiences. Schibsted Grotesk covers the Underware Latin Plus character set, using 4 masters distributed across weights and italics. To contribute, see github.com/schibsted/schibsted-grotesk.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Schoolbell": { + "name": "Schoolbell", + "designer": [ + "Font Diner" + ], + "license": "apache2", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Do you hear it? It's the sweet sound that let's you know when it's time to eat lunch in the cafeteria, head out to recess, or hop on the bus to head home! It's Schoolbell, the delightfully playful handwriting font from the finest lettering artist in the 2nd Grade!", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Scope One": { + "name": "Scope One", + "designer": [ + "Dalton Maag" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Scope One is a light slab serif typeface with elegant expressions that make it broadly useful for many different contexts. The design is optimized for titling and display usage and is ideally used at 14 points and above. The tall vertical proportions of the lowercase mean that it can be used in a way similar to small caps, giving a more refined typographic impression. It supports a broad range of languages using the Latin writing system. The font has been enhanced for good on-screen display quality, and has been tested extensively in a variety of on-screen and print environments. Scope One is a Dalton Maag original design commissioned by Google Fonts for use in presentation slide decks. A foundry specimen is maintained at daltonmaag.github.io/scope-one To contribute, see github.com/daltonmaag/scope-one", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Seaweed Script": { + "name": "Seaweed Script", + "designer": [ + "Neapolitan" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Hear that? That's the sound of tropical ocean breezes as they whistle gently through your laptop! Grab a mai-tai, a hammock under a swaying palm tree and let your hair down as your fingers gently caress the keyboard just like seaweed! Enjoy Seaweed Script when a rustic tropical beachside script is called for and watch out for Squid! Designed by Dave 'Squid' Cohen of Neapolitan (a DBA of Font Diner, Inc.) To contribute to the project, contact the Font Diner.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Secular One": { + "name": "Secular One", + "designer": [ + "Michal Sahar" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "hebrew", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Secular One is an original Hebrew and Latin humanistic sans serif typeface with a single weight. At the time of publication (2016) there were not yet many Hebrew sans serif text typefaces. The designer Michal Sahar wanted to create a fresh, \u201ceasy going\u201d design, simple but not neutral, friendly but not flattering or over-styled, straight but not too much\u2026 and highly readable in small sizes and long paragraphs. The Secular letterforms work equally well when used at large sizes where the delicate and eccentric elements are revealed, making it useful for branding purposes as well as typsetting long-form texts. The June 2023 update features a bigger glyphset and some small fixes. The Secular project is led by Michal Sahar, a type designer based in Tel Aviv, Israel. To contribute, see github.com/MichalSahar/Secular", + "primary_script": "Hebr", + "article": null, + "minisite_url": null + }, + "Sedan": { + "name": "Sedan", + "designer": [ + "Sebasti\u00e1n Salazar" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Sedan is a Garalde typeface prized for its timeless elegance, perfect for enhancing publications. With balanced proportions, subtle contrasts, and graceful serifs, Sedan offer both clarity and sophistication. Its versatility makes it ideal for various print materials, from magazines to scholarly journals, ensuring text remains inviting and accessible while exuding classic charm. Sedan embodies the enduring allure of Garalde designs in publishing. Sedan SC is also available, a small caps sister family next to the Roman and Italic Sedan . To contribute, see github.com/googlefonts/sedan .", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Sedan SC": { + "name": "Sedan SC", + "designer": [ + "Sebasti\u00e1n Salazar" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Sedan is a Garalde typeface prized for its timeless elegance, perfect for enhancing publications. With balanced proportions, subtle contrasts, and graceful serifs, Sedan offer both clarity and sophistication. Its versatility makes it ideal for various print materials, from magazines to scholarly journals, ensuring text remains inviting and accessible while exuding classic charm. Sedan embodies the enduring allure of Garalde designs in publishing. Check out the classic Sedan family, with a Regular and Italic styles. To contribute, see github.com/googlefonts/sedan .", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Sedgwick Ave": { + "name": "Sedgwick Ave", + "designer": [ + "Pedro Vergani", + "Kevin Burke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "The Sedgwick Ave project expresses handwritten graffiti letterforms with two designs: This is Sedgwick Ave, ideal for text size usage, and accompanied by Sedgwick Ave Display, intended for larger size usage.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Sedgwick Ave Display": { + "name": "Sedgwick Ave Display", + "designer": [ + "Pedro Vergani", + "Kevin Burke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "The Sedgwick Ave project expresses handwritten graffiti letterforms with two designs: This is Sedgwick Ave Display, intended for larger size usage, accompanied by Sedgwick Ave, ideal for text size usage.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Sen": { + "name": "Sen", + "designer": [ + "Kosal Sen" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Sen \u2013 a Geohumanist sans, is Philatype\u2019s first typeface released under the SIL Open Font License (OFL). Sen is a geometrically constructed sans-serif with a sensible, friendly look. Think of it as a more neutral version of geometric classics such as Avenir or Futura with a humanist touch. It\u2019s unassuming, unique, and most importantly, easy to read. In June 2023, the font is updated as a variable font, going from Regular to ExtraBold. To contribute, please see github.com/philatype/Sen.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Send Flowers": { + "name": "Send Flowers", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Send Flowers is a mono-weight script font with clean connecting strokes and a highly legible style. It has a cute look, but since it is a cursive it has a bit more sophistication that is appropriate for an older audience. It's old school juvenile, with a delicate appeal. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/send-flowers.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Sevillana": { + "name": "Sevillana", + "designer": [ + "Brownfox" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Sevillana is named after a folk music style widespread in Seville (Andalusia) in Spain. The typeface is inspired by the lettering of commemorative plates which can be seen on house walls in Andalusia. Those ceramic plates are handmade and each one is unique. Individual handwriting may vary but the style is always recognizable. Sevillana is a generalized character based on that diversity, a headline typeface that can be used in middle and large sizes, it can be used for restaurant menus, concert posters, different kinds of signage etc. Designed by Olga Umpeleva for Brownfox. To contribute to the project contact Gayaneh Bagdasaryan.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Seymour One": { + "name": "Seymour One", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Seymour One is derived from the earlier webfont Sigmar One, but the forms have also been influenced by late nineteenth and early twentieth century British sans-serif typefaces. The result is a display face that is ideal for bold, unpretentious, and slightly playful display typography. Seymour One is designed to be used conventionally but also as an 'all caps' font. Seymour One is designed to be used freely across the internet by web browsers on desktop computers, laptops and mobile devices. The August 2023 update features a bigger glyphset and some minor aesthetic modifications. To contribute, see github.com/googlefonts/seymourFont.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Shadows Into Light": { + "name": "Shadows Into Light", + "designer": [ + "Kimberly Geswein" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "This clean, neat handwriting font has a feminine feel with nice rounded edges and curves. It is perfect for adding a personalized touch to your project.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Shadows Into Light Two": { + "name": "Shadows Into Light Two", + "designer": [ + "Kimberly Geswein" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "A totally revised and updated version of this popular clean, neat handwriting font. It has a feminine feel with nice rounded edges and curves. It is perfect for adding a personalized touch to your project.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Shafarik": { + "name": "Shafarik", + "designer": [ + "Aleksandr Andreev" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "glagolitic", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "The Shafarik font, named after Pavel Jozef \u0160af\u00e1rik (1795\u20131861), Slovak-born scholar and one of the founders of modern Slavic philology, is a specialized font intended for an academic presentation of Old Church Slavonic (OCS) texts written in either the Cyrillic or Glagolitic alphabets. To contribute, please see github.com/slavonic/Shafarik.", + "primary_script": "Cyrl", + "article": null, + "minisite_url": null + }, + "Shalimar": { + "name": "Shalimar", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Shalimar is an upright script inspired by the calligraphic strokes of a flat nib pen. There are script style capitals that may be substituted by more Roman forms with the stylistic set. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/shalimar.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Shantell Sans": { + "name": "Shantell Sans", + "designer": [ + "Shantell Martin", + "Arrow Type", + "Anya Danilova" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "handwriting" + ], + "description": null, + "primary_script": null, + "article": "British visual artist and philosopher Shantell Martin is famous for using words in her artwork in the Oculus at the World Trade Center, in New York City, and for her music and art collaboration with Kendrick Lamar at Art Basel in Miami. Her art has taken over the screens of New York\u2019s Times Square and the Lincoln Center stage, home of the New York City Ballet. Back in school, she was scared of spelling tests. However, outside of school, she felt that words were art and provided emotional relief. A discovery in her early 20s opened her eyes to why reading and writing were so difficult for her, and set in motion her desire to create the To inspire others to have fun with writing and words, she teamed up with Stephen Nixon of Arrow Type to create Shantell Sans. Shantell Martin, Stephen Nixon, and Anya Danilova share their experiences of the making of Shantell Sans. To learn more, visit The Story of Shantell Sans .", + "minisite_url": "https://www.shantellsans.com" + }, + "Shanti": { + "name": "Shanti", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Shanti One is a straightforward sans serif designed to be used freely across the internet by web browsers on desktop computers, laptops and mobile devices. The September 2023 update features a bigger glyphset, fractions and some minor aesthetic modifications. To contribute, see github.com/googlefonts/ShantiFont.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Share": { + "name": "Share", + "designer": [ + "Carrois Apostrophe" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Share is a sans serif family. There are two more related families, Share Tech and Share Tech Mono.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Share Tech": { + "name": "Share Tech", + "designer": [ + "Carrois Apostrophe" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Share Tech is a sans serif, based on the Share family. There is also Share Tech Mono.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Share Tech Mono": { + "name": "Share Tech Mono", + "designer": [ + "Carrois Apostrophe" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "monospace" + ], + "description": "Share Tech Mono is a monospaced sans serif, based on the Share family. There is also Share Tech, a proportionally spaced version. Updated, July 2015: 'fi' ligature issue fixed.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Shippori Antique": { + "name": "Shippori Antique", + "designer": [ + "FONTDASU" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Shippori Antique follows long-established standards for dialogue in manga and was created to provide people who draw manga in Japan a beautiful antique font for free. The Kana follow an antique, Ming Dynasty style design based on Shippori Mincho with thick lines. The Latin was designed in an old sans-serif style. Finally, the Kanji was created by modifying the SIL licensed Genseki Gothic. Shippori Antique is the standard version of the font. Shippori Antique B1 (https://fonts.google.com/specimen/Shippori+Antique+B1) has rounded corners and ink pooling. To contribute to the project, visit github.com/fontdasu/ShipporiAntique", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "Shippori Antique B1": { + "name": "Shippori Antique B1", + "designer": [ + "FONTDASU" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Shippori Antique follows long-established standards for dialogue in manga and was created to provide people who draw manga in Japan a beautiful antique font for free. The Kana follow an antique, Ming Dynasty style design based on Shippori Mincho with thick lines. The Latin was designed in an old sans-serif style. Finally, the Kanji was created by modifying the SIL licensed Genseki Gothic. Shippori Antique B1 features rounded corners and ink pooling. Shippori Antique (https://fonts.google.com/specimen/Shippori+Antique) is the standard version of the font. To contribute to the project, visit github.com/fontdasu/ShipporiAntique", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "Shippori Mincho": { + "name": "Shippori Mincho", + "designer": [ + "FONTDASU" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Shippori Mincho is an old-style Mincho style created to provide novel writers in Japan a beautiful Mincho style for free. It is based on The Tokyo Tsukiji Type Foundry No. 5 Mincho style, which had a great influence on the Japanese Mincho style, which is widely used today. The Regular was originally designed for long-form text setting in novels and the Extra Bold was originally designed for titles and headlines. Eventually it became a family of 5 weights from Regular to Extra Bold. Shippori Mincho is designed to be beautiful even when the characters are enlarged so that they can be used widely from amateurs to editorial designers. Alternate characters are also included for those who are particular about the characters. The Kanji are based on the SIL licensed font, Genryu Mincho. Shippori Mincho is the standard version of the font. Shippori Mincho B1 (https://fonts.google.com/specimen/Shippori+Mincho+B1) has rounded corners and ink pooling. To contribute to the project, visit github.com/fontdasu/ShipporiMincho", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "Shippori Mincho B1": { + "name": "Shippori Mincho B1", + "designer": [ + "FONTDASU" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Shippori Mincho is an old-style Mincho style created to provide novel writers in Japan a beautiful Mincho style for free. It is based on The Tokyo Tsukiji Type Foundry No. 5 Mincho style, which had a great influence on the Japanese Mincho style, which is widely used today. The Regular was originally designed for long-form text setting in novels and the Extra Bold was originally designed for titles and headlines. Eventually it became a family of 5 weights from Regular to Extra Bold. Shippori Mincho is designed to be beautiful even when the characters are enlarged so that they can be used widely from amateurs to editorial designers. Alternate characters are also included for those who are particular about the characters. The Kanji are based on the SIL licensed font, Genryu Mincho. Shippori Mincho is the standard version of the font. Shippori Mincho B1 (https://fonts.google.com/specimen/Shippori+Mincho+B1) has rounded corners and ink pooling. To contribute to the project, visit github.com/fontdasu/ShipporiMincho", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "Shizuru": { + "name": "Shizuru", + "designer": [ + "Shibuya Font" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "japanese", + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "This is a font based on the handwritten sketch by handicapped artists, refined & created by design major students. The unique lines create its exceptional atmosphere. This is one of the work of Shibuya Font project, a collaboration of design major students and handicapped artist living in Shibuya city, officially approved by Shibuya city in Tokyo. The Shibuya Font Project official site is at shibuyafont.jp To contribute to the project, visit github.com/shibuyafont/shizuru-font", + "primary_script": "Hira", + "article": null, + "minisite_url": null + }, + "Shojumaru": { + "name": "Shojumaru", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Shojumaru draws inspiration from a movie poster for a 1957 film titled Sayonara, starring Marlon Brando. It breaks the formula of a chop suey style by mixing chop suey and traditional letterforms to create a powerful and unique letterforms all its own.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Short Stack": { + "name": "Short Stack", + "designer": [ + "James Grieshaber" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Short Stack is a low contrast semi-geometric typeface inspired by childish written letters. It is sturdy, and clear but also whimsical and fun, and works well from medium text sizes to larger display sizes.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Shrikhand": { + "name": "Shrikhand", + "designer": [ + "Jonny Pinhorn" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "gujarati", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Shrikhand supports the Gujarati and Latin writing systems. The name (\u0ab6\u0acd\u0ab0\u0ac0\u0a96\u0a82\u0aa1) is a sweet and creamy Gujarati dessert that is a particular favourite of the designer, Jonny Pinhorn. In the three or four years prior to the initial development of this font in June 2015, Jonny lived in Ahmedabad, Gujarat, working for Indian Type Foundry. During this time India had a profound effect on his design philosophy and general worldview. Shrikhand is the culmination of three years absorbing the colourful and vibrant hand-painted lettering that can be seen on the streets in Gujarat. Big, bold, and unapologetic, Shrikhand is a display type that evolved from discussions with colleagues about how good the Gujarati script looks when it is free to be as curvaceous and expressive as possible. To contribute, see github.com/jonpinhorn/shrikhand", + "primary_script": "Gujr", + "article": null, + "minisite_url": null + }, + "Siemreap": { + "name": "Siemreap", + "designer": [ + "Danh Hong" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "khmer" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "The Siemreap fonts are designed for readable and beautiful rendering of text in the Khmer script, the national language of Cambodia. The designer, Danh Hong, has many years of experience creating fonts for Khmer and other Southeast Asian languages, and is actively involved in the KhmerOS project, dedicated to a vision where Cambodians can learn and use computers in their own language.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Sigmar": { + "name": "Sigmar", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Sigmar is a casual, display specific webfont. It's design is based upon various fonts found in mid twentieth century pulp magazine advertising. It's an improved version of Sigmar One, whose small caps have been replaced by basic lower cases, for the Summer of Type in 2023. To contribute, see github.com/googlefonts/sigmarone.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Sigmar One": { + "name": "Sigmar One", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Sigmar is a casual, display specific webfont. It's design is based upon various fonts found in mid twentieth century pulp magazine advertising.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Signika": { + "name": "Signika", + "designer": [ + "Anna Giedry\u015b" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Signika variable font is a sans-serif with a gentle character, developed for wayfinding, signage, and other media where clarity of information is required. It has a low contrast and tall x-height to improve readability of texts in small sizes as well as in large distances from the reader. Being a typical signage typeface it is inspired by typefaces such as Ronnia, Meta, and Tahoma. The typeface comes with a wide character set supporting Western European languages, Polish, and Czech. The figures are designed as tabular. In July 2023, a GRAD axis is added to solve the optical effects of negative text setting (dark color text on light background). To contribute, see github.com/googlefonts/Signika", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Signika Negative": { + "name": "Signika Negative", + "designer": [ + "Anna Giedry\u015b" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Signika is a sans-serif with a gentle character, developed for wayfinding, signage, and other media where clarity of information is required. It has a low contrast and tall x-height to improve readability of texts in small sizes as well as in large distances from the reader. Being a typical signage typeface it is inspired by typefaces such as Ronnia, Meta, and Tahoma. The typeface comes with a wide character set supporting Western European languages, Polish, and Czech. The figures are designed as tabular. Signika Negative is an alternative version, optimized to solve the effect of juxtaposed positive and negative text setting, where the text in negative tends to look thicker. The source code of Signika is available from Github.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Silkscreen": { + "name": "Silkscreen", + "designer": [ + "Jason Kottke" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Silkscreen is a pixel typeface that was designed for rendering type at small sizes for web graphics. It\u2019s got a chunky, retro-computing look that also works well when you use it big. Silkscreen includes two weights, regular and bold, that looks good on the web, mobile devices, and even in print. Since its release in 1999, it has been used by companies like Flickr, Herman Miller, Volvo, and Adobe, by pop stars like Britney Spears and Carly Rae Jepsen, and in movies like The Bourne Legacy. Learn more at www.kottke.org. To contribute, see github.com/googlefonts/silkscreen.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Simonetta": { + "name": "Simonetta", + "designer": [ + "Brownfox" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "The Simonetta font is named in honour of Simonetta Vespucci. She was considered to be the most beautiful woman in Renaissance Florence and was nicknamed 'La Bella Simonetta.' She was a model for Sandro Botticelli's painting 'The Birth of Venus' and many of his other female characters. The Simonetta font is inspired by Italian Humanistic typefaces, but it is contemporary and has many original features. It has one-sided serifs and soft drops, is slightly slanted (some two degrees) and the Italics have the same slant. The Romans and Italics differ from each other only in their shapes, with the italics being much more calligraphic and angular. Designed by Gayaneh Bagdasaryan for Brownfox. To contribute to the project contact Gayaneh Bagdasaryan.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Single Day": { + "name": "Single Day", + "designer": [ + "DXKorea Inc" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "korean" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Single Day is a Korean and Latin font.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Sintony": { + "name": "Sintony", + "designer": [ + "Eduardo Rodriguez Tunni" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Sintony is a modern sans serif typeface, drawn with a slightly square structure and smooth stroke modulation. Great for long passages of text, he provides any text with a calm and clear feeling.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Sirin Stencil": { + "name": "Sirin Stencil", + "designer": [ + "Cyreal" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Sirin Stencil is a display humanist sans typeface by Olga Karpushina with careful brush-inspired detailing. It is designed for large sizes, but works surprizingly well in small body copy, when its stencil gaps merge. Sirin will work well on colored backgrounds creating an optical 3D effect.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Six Caps": { + "name": "Six Caps", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Six Caps is a highly condensed and tight display font. It is a stripped down and normalized version of classic grotesque display letterforms.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Sixtyfour": { + "name": "Sixtyfour", + "designer": [ + "Jens Kut\u00edlek" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Sixtyfour and Workbench fonts are inspired by the article Raster CRT Typography (According to DEC) by Norbert Landsteiner. They are a rework of some old pixel versions of the Commodore 64 and Amiga Workbench fonts the author created years ago. The fonts now include two custom axes: Scanlines, which allows control of the height of the lines and, as a result of this, the amount of vertical space between the lines. And Bleed to change the amount of horizontal bleed of the pixels due to the phosphor latency found in CRT displays. Due to this project's specificity and the fonts' historical origin, they only support a limited set of glyphs. To contribute, see github.com/jenskutilek/homecomputer-fonts", + "primary_script": null, + "article": null, + "minisite_url": "https://jenskutilek.github.io/homecomputer-fonts/documentation/demo-sixtyfour.html" + }, + "Sixtyfour Convergence": { + "name": "Sixtyfour Convergence", + "designer": [ + "Simon Cozens", + "Jens Kut\u00edlek" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "latin", + "latin-ext", + "math", + "symbols" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "Sixtyfour Convergence is the COLRv1 companion of Sixtyfour a font inspired by the article Raster CRT Typography by Norbert Landsteiner, and is a rework of some old pixel versions of the Commodore 64. Due to this project's specificity and the fonts' historical origin, they only support a limited set of glyphs. This font uses the COLRv1 and CPAL tables. Please visit the gf-guide color page to learn more about Color Fonts technology. To contribute, see github.com/jenskutilek/homecomputer-fonts. Homecomputer Fonts These fonts are inspired by the interface fonts of two classic 1980s computers, the Commodore C64 (Sixtyfour) and Amiga (Workbench). When Jens Kutilek adapted them to the variable font technology, he did not just convert the pixel fonts, but tried to emulate the artifacts of rendering letters on a CRT screen. The above fonts include two custom axes: Scanlines, which allows control of the height of the lines and, as a result of this, the amount of vertical space between the lines. And Bleed to change the amount of horizontal bleed of the pixels due to the phosphor latency found in CRT displays. Sixtyfour Convergence Sixtyfour Convergence is Simon Cozens's COLRv1 take on Sixtyfour, which introduces two additional new custom axes: Horizontal Element Alignment and Vertical Element Alignment. These axes allow the control of the position of three painted layers, reproducing the control of the offset positions of the red, green, and blue colors common on CRT monitors.", + "minisite_url": null + }, + "Skranji": { + "name": "Skranji", + "designer": [ + "Neapolitan" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Skranji is primitive and exotic, evoking the thunder of Norse gods, designed by Dave 'Squid' Cohen of Neapolitan.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Slabo 13px": { + "name": "Slabo 13px", + "designer": [ + "John Hudson" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SLAB_SERIF", + "classifications": [], + "description": "Slabo is a collection of size-specific fonts for use in online advertising and other web uses. The collection currently includes this font, Slabo 13px, and Slabo 27px. Each font in the collection is fine-tuned for use at the pixel size in its name. The Slabo project is led by Tiro Typeworks, a type design foundry based in Canada. To contribute, see Slabo on GitHub.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Slabo 27px": { + "name": "Slabo 27px", + "designer": [ + "John Hudson" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SLAB_SERIF", + "classifications": [], + "description": "Slabo is a collection of size-specific fonts for use in online advertising and other web uses. The collection currently includes this font, Slabo 27px, and Slabo 13px. Each font in the collection is fine-tuned for use at the pixel size in its name. The Slabo project is led by Tiro Typeworks, a type design foundry based in Canada. To contribute, see Slabo on GitHub.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Slackey": { + "name": "Slackey", + "designer": [ + "Sideshow" + ], + "license": "apache2", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Don't let the name fool you! Slackey really pulls its weight when you need a fun, chunky display font. So next time you have a weighty headlining chore to do, let Slackey do all the heavy lifting! Designed with a good work ethic and plenty of manual labor by Squid.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Slackside One": { + "name": "Slackside One", + "designer": [ + "Maniackers Design" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "japanese", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Newly designed only for Google Fonts: sophisticated handwritten Japanese font. Slackside means loose end. To contribute to the project, visit github.com/ManiackersDesign/slackside", + "primary_script": "Hira", + "article": null, + "minisite_url": null + }, + "Smokum": { + "name": "Smokum", + "designer": [ + "Astigmatic" + ], + "license": "apache2", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Smokum is a western inspired slab-serif font with a little playful swagger to it. It's perfect for headlines and display uses that require a little loosened up country flair, but because of the contrast of thicks and thins, it will perform best as a WebFont at medium to large point sizes.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Smooch": { + "name": "Smooch", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Smooch is a brushy handwritten script font full of speedy personality. It has a contemporary feel often accomplished with stranded brush strokes. It is slightly bolder than other hand-lettered scripts by its creator and has up to five stylistic sets as well as initial and final positional forms expanding its utility. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/smooch.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Smooch Sans": { + "name": "Smooch Sans", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Smooch Sans was originally designed as a truncated font to be used to compliment the Smooch brush script file. It has been updated with an extensive character set and designed as a Variable font to a offer nine weight variations of this clean sans font. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/smooch-sans.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Smythe": { + "name": "Smythe", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Smythe is a reworking and mashing together of various typefaces from the late nineteenth and early twentieth centuries that can be best described as 'Arts and Crafts', or, 'Art Deco'. Smythe also has a touch of Batfink too!", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Sniglet": { + "name": "Sniglet", + "designer": [ + "Haley Fiege" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "A rounded display face that\u2019s great for headlines.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Snippet": { + "name": "Snippet", + "designer": [ + "Gesine Todt" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Snippet\u2019s light weight and unusual construction give texts a special flow and make you want to look twice! In headlines Snippet\u2019s many details show and help you create a clean but witty look.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Snowburst One": { + "name": "Snowburst One", + "designer": [ + "Annet Stirling" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Snowburst One is a low contrast serifed display typeface inspired by one of Annet Stirling's distinctive styles of lettering. Snowburst One's personality consistently shows in both small and large sizes. Because of the thin stokes this font is best used from medium to large sizes. Despite its surprising forms Snowburst is highly legible. Readers are likely to be both surprised and entertained by its unusual but friendly forms.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Sofadi One": { + "name": "Sofadi One", + "designer": [ + "Botjo Nikoltchev" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Sofadi is a fun font that blends jungle thoughts and liquid minds.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Sofia": { + "name": "Sofia", + "designer": [ + "LatinoType" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Sofia designed by Paula Nazal and Daniel Hern\u00e1ndez, is an upright script font with some unconventional ligatures. It is a coquettish, friendly and versatile typeface.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Sofia Sans": { + "name": "Sofia Sans", + "designer": [ + "Lettersoup", + "Botio Nikoltchev", + "Ani Petrova" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Originaly designed as a typeface for the capital city of Bulgaria, Sofia Sans is a comprehensive type system in four widths (Normal, SemiCondensed, Condensed and ExtraCondensed) with extended coverage of the Latin, Greek, and Cyrillic Scripts. Inspired by the early-twentieth-century so-called technical sans serifs typefaces with confident letterforms, a pronounced vertical impetus, and tense curves, Sofia Sans also has nice humanistic details and soft round corners that reminds print work with hot metal typesetting. With narrow proportions and a generous x-height, is a space-saving workhorse that would work well in very diverse environments. Sofia Sans is also a feature-rich OpenType family with a large character set including small caps, several figure styles, arrows, numerals in circles among others. To contribute, see github.com/lettersoup/Sofia-Sans.", + "primary_script": null, + "article": null, + "minisite_url": "https://www.lettersoup.de/sofia-sans/" + }, + "Sofia Sans Condensed": { + "name": "Sofia Sans Condensed", + "designer": [ + "Lettersoup", + "Botio Nikoltchev", + "Ani Petrova" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Originaly designed as a typeface for the capital city of Bulgaria, Sofia Sans is a comprehensive type system in four widths (Normal, SemiCondensed, Condensed and ExtraCondensed) with extended coverage of the Latin, Greek, and Cyrillic Scripts. Inspired by the early-twentieth-century so-called technical sans serifs typefaces with confident letterforms, a pronounced vertical impetus, and tense curves, Sofia Sans also has nice humanistic details and soft round corners that reminds print work with hot metal typesetting. With narrow proportions and a generous x-height, is a space-saving workhorse that would work well in very diverse environments. Sofia Sans is also a feature-rich OpenType family with a large character set including small caps, several figure styles, arrows, numerals in circles among others. To contribute, see github.com/lettersoup/Sofia-Sans.", + "primary_script": null, + "article": null, + "minisite_url": "https://www.lettersoup.de/sofia-sans/" + }, + "Sofia Sans Extra Condensed": { + "name": "Sofia Sans Extra Condensed", + "designer": [ + "Lettersoup", + "Botio Nikoltchev", + "Ani Petrova" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Originaly designed as a typeface for the capital city of Bulgaria, Sofia Sans is a comprehensive type system in four widths (Normal, SemiCondensed, Condensed and ExtraCondensed) with extended coverage of the Latin, Greek, and Cyrillic Scripts. Inspired by the early-twentieth-century so-called technical sans serifs typefaces with confident letterforms, a pronounced vertical impetus, and tense curves, Sofia Sans also has nice humanistic details and soft round corners that reminds print work with hot metal typesetting. With narrow proportions and a generous x-height, is a space-saving workhorse that would work well in very diverse environments. Sofia Sans is also a feature-rich OpenType family with a large character set including small caps, several figure styles, arrows, numerals in circles among others. To contribute, see github.com/lettersoup/Sofia-Sans.", + "primary_script": null, + "article": null, + "minisite_url": "https://www.lettersoup.de/sofia-sans/" + }, + "Sofia Sans Semi Condensed": { + "name": "Sofia Sans Semi Condensed", + "designer": [ + "Lettersoup", + "Botio Nikoltchev", + "Ani Petrova" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Originaly designed as a typeface for the capital city of Bulgaria, Sofia Sans is a comprehensive type system in four widths (Normal, SemiCondensed, Condensed and ExtraCondensed) with extended coverage of the Latin, Greek, and Cyrillic Scripts. Inspired by the early-twentieth-century so-called technical sans serifs typefaces with confident letterforms, a pronounced vertical impetus, and tense curves, Sofia Sans also has nice humanistic details and soft round corners that reminds print work with hot metal typesetting. With narrow proportions and a generous x-height, is a space-saving workhorse that would work well in very diverse environments. Sofia Sans is also a feature-rich OpenType family with a large character set including small caps, several figure styles, arrows, numerals in circles among others. To contribute, see github.com/lettersoup/Sofia-Sans.", + "primary_script": null, + "article": null, + "minisite_url": "https://www.lettersoup.de/sofia-sans/" + }, + "Solitreo": { + "name": "Solitreo", + "designer": [ + "Nathan Gross", + "Bryan Kirschen" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "hebrew", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "This font was developed by the Documenting Judeo-Spanish Project. Documenting Judeo-Spanish is a digital humanities project that began in 2019 under the leadership of Dr. Bryan Kirschen. Recalling his initial fascination with Solitreo and the limited resources available to learn this script, Dr. Kirschen decided to focus this project on the cursive variety that was once common to speakers of Judeo-Spanish around the world. A nearly-extinct alphabet to an endangered language, this style of writing can be found in documents ranging from journal entries and ledgers to personal correspondence and community minutes. Many of these very documents are sitting in basements and attics today and, to the untrained eye, are mistaken for Hebrew. Judeo-Spanish (Ladino) refers to the variety of Spanish that developed among Jewish populations who were expelled from Spain in 1492 and subsequently settled throughout Turkey and the Balkans, then of the Ottoman Empire. These Jews, known as Sephardim, preserved many features of Medieval (varieties of) Spanish, while incorporating linguistic elements from the languages spoken in their surroundings, including: Turkish, Greek, Serbo-Croatian, French, Italian, and Arabic. As a Jewish language, the Spanish of the Sephardim has always been in contact with Hebrew. And while Judeo-Spanish may sound like other Romance languages, in writing, it would have traditionally appeared more similar to a Semitic language. Solitreo refers to the Hebrew-based cursive script once used by Sephardim; it is the cursive variety of the Rashi alphabet. Solitreo, or Soletreo, is derived from Galician/Portuguese, meaning \u2018to spell.\u2019 For many Sephardim, Solitreo was simply known as ganchos, meaning \u2018hooks,\u2019 due to the ligatures that form between letters. This style of writing is distinct from the Ashkenazi-based alphabet used for cursive Hebrew today, making documents in Solitreo undecipherable to the untrained eye. A similar style of writing can also be found in documents written in Judeo-Arabic. Today, Solitreo is a relic of the past, as most writers of the language utilize Roman characters. Most non-Hebrew glyphs in this font were forked from Kalam. To contribute, see github.com/ladinoprojects/solitreo.", + "primary_script": "Hebr", + "article": null, + "minisite_url": null + }, + "Solway": { + "name": "Solway", + "designer": [ + "Mariya Lish", + "The Northern Block" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Solway is a playful slab-serif with a charming and understated tone of voice, inspired by the warmth of community and the idyll of rural-living. It is a contemporary family defined by the soft corners, ball terminals, rounded slabs that give it a welcoming and friendly appeal. Its monoline structure and minimal stroke contrast aspire to cohesion and stability. Available in five weights, it is suitable for a variety of projects. It could find perfect expression within lifestyle brands or nature, travel and foodie blogs. To contribute, see github.com/mashavp/Solway.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Sometype Mono": { + "name": "Sometype Mono", + "designer": [ + "Ryoichi Tsunekawa" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "monospace" + ], + "description": "Sometype Mono is a monospaced font family for coding and tabular layout. It is designed by Ryoichi Tsunekawa, a type designer based in Japan. To contribute, see github.com/googlefonts/sometype-mono.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Song Myung": { + "name": "Song Myung", + "designer": [ + "JIKJI" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "korean" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Song Myung is a Korean and Latin font. The Latin is based on Source Serif 4.", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "Sono": { + "name": "Sono", + "designer": [ + "Tyler Finck" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "monospace" + ], + "description": "Sono is a soft monospace (or proportional!) variable font. It has seven weights: ExtraLight through ExtraBold. The default style is fixed-width (and obviously not kerned), but thanks to the \"mono\" axis, you can add kerning and make the design proportional. To contribute, see github.com/sursly/sono.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Sonsie One": { + "name": "Sonsie One", + "designer": [ + "Riccardo De Franceschi" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Sonsie One is a heavy, medium contrast, large x-height script font. It was inspired by hand painted signs seen in Munich. Sonsie One improves on its sources by adding warmth, smoother flow and of touch of funkiness. Sonsie One is best used for display purposes at medium to large sizes.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Sora": { + "name": "Sora", + "designer": [ + "Jonathan Barnbrook", + "Juli\u00e1n Moncada" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Sora, meaning sky in Japanese, is a typeface family commissioned for the Sora decentralized autonomous economy focused on empowering projects that benefit society. Soramitsu, the developer of Sora, is a Japanese technology company specializing in blockchain development and well-known for creating the first central bank digital currency. Sora typeface was designed to capture Soramitsu's spirit and heritage resulting in a type family with cues of low-resolution aesthetics and early screen typography but without nostalgia, as every decision was considered towards the crisp digital environment of today. The particularly big x-height combined with evidently generous counters turns the family into a convenient tool for app and web interfaces, where clarity and effectiveness at any size is an imperative. To contribute, see github.com/sora-xor/sora-font", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Sorts Mill Goudy": { + "name": "Sorts Mill Goudy", + "designer": [ + "Barry Schwartz" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "A revival of Frederic Goudy's 'Goudy Oldstyle' with Regular and Italic styles, and extended Latin character coverage.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Sour Gummy": { + "name": "Sour Gummy", + "designer": [ + "Stefie Justprince" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "Sour Gummy Font is a fun and playful typeface that was first created in 2018 and has recently been updated to offer even more versatility and style. This font is perfect for adding a touch of whimsy and character to your designs. The letters are designed to look like they are made of bubbles, with rounded edges and a slightly irregular shape that adds to the playful nature of the font. Each letter is also slightly different, with some bubbles larger than others, creating a dynamic and interesting visual effect. The updated version of Sour Gummy Font now includes a full range of uppercase and lowercase letters, as well as numbers, punctuation, and special characters. This means that you can use this font for a wide range of projects, from headlines and logos to body text and social media posts. Whether you're designing a children's book cover, creating a playful logo for a brand, or just want to add a bit of fun to your designs, Product Bubble Font is the perfect choice. Its bold, bubbly letters are sure to catch the eye and bring a smile to your audience's faces. To contribute, see github.com/eifetx/Sour-Gummy-Fonts.", + "minisite_url": null + }, + "Source Code Pro": { + "name": "Source Code Pro", + "designer": [ + "Paul D. Hunt" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "monospace" + ], + "description": "Source Code was designed by Paul D. Hunt as a companion to Source Sans.This complementary family was adapted from the Source design due to a request to create a monospaced version for coding applications. Source Code preserves the design features and vertical proportions of Source Sans, but alters the glyph widths so that they are uniform across all glyphs and weights. Although this family was designed specifically for coding environments, for which a regular weight will typically suffice, Source Code has been made available in the same weight range as the corresponding Source Sans design.Source Code Pro currently supports a wide range of languages using the Latin script, and includes all the characters in the Adobe Latin 4 glyph set. As an open source project, it is expected that incremental updates will be made over time to extend glyph set coverage and functionality. In 2019, we have updated the family to Roman v2.030 and Italic v1.050. This update now supports Greek, Cyrillic, Vietnamese and Italic styles. To contribute, see github.com/adobe-fonts/source-code-pro.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Source Sans 3": { + "name": "Source Sans 3", + "designer": [ + "Paul D. Hunt" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Source\u00ae Sans Pro, Adobe's first open source typeface family, was designed by Paul D. Hunt. It is a sans serif typeface intended to work well in user interfaces. To contribute, see github.com/adobe-fonts/source-sans", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Source Serif 4": { + "name": "Source Serif 4", + "designer": [ + "Frank Grie\u00dfhammer" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Source Serif 4 is a serif typeface in the transitional style, designed to complement the Source Sans Pro family. The close companionship of Serif and Sans is achieved by a careful match of letter proportions and typographic color. Source Serif is loosely based on the work of Pierre Simon Fournier, and many idiosyncrasies typical to Fournier\u2019s designs (like the bottom serif on the b or the middle serif on the w) are also found in Source Serif. Without being a pure historical revival, Source Serif takes cues from Fournier and reworks them for a modern age. Both typeface families have different personalities because they spring from the hands of different designers: Source Serif was designed by Frank Grie\u00dfhammer, Source Sans was designed by Paul Hunt. Robert Slimbach consulted on both designs, which helped maintain the overall family harmony. Either design feels confident on its own but also works in combination with the other \u2014 just like their designers do. Source Serif continues Adobe\u2019s line of high-quality open source typefaces. Designed for a digital environment, the letter shapes are simplified and highly readable. Its historical roots, combined with expert guidance give the typeface a strong character of its own that will shine when used for extended text on paper or screen. Source Serif is an active Open Source project \u2013 if you are interested in contributing, please visit source-serif-pro on Github for more information.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Space Grotesk": { + "name": "Space Grotesk", + "designer": [ + "Florian Karsten" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Space Grotesk is a proportional sans-serif typeface variant based on Colophon Foundry's fixed-width Space Mono family (2016). Originally designed by Florian Karsten in 2018, Space Grotesk retains the monospace's idiosyncratic details while optimizing for improved readability at non-display sizes. \u2192 floriankarsten.github.io/space-grotesk Space Grotesk includes Latin Vietnamese, Pinyin, and all Western, Central, and South-Eastern European language support, as well as several OpenType features (old-style and tabular figures, superscript and subscript numerals, fractions, stylistic alternates). To contribute, see github.com/floriankarsten/space-grotesk.", + "primary_script": null, + "article": null, + "minisite_url": "https://floriankarsten.github.io/space-grotesk" + }, + "Space Mono": { + "name": "Space Mono", + "designer": [ + "Colophon Foundry" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "monospace" + ], + "description": null, + "primary_script": null, + "article": "Space Mono is an original fixed-width type family designed by Colophon Foundry for Google Design. It supports a Latin Extended glyph set, enabling typesetting for English and other Western European languages. Developed for editorial use in headline and display typography, the letterforms infuse a geometric foundation and grotesque details with qualities often found in headline typefaces of the 1960s (See: Microgramma, Eurostile), many of which have since been co-opted by science fiction films, television, and literature. Typographic features include old-style figures, superscript and subscript numerals, fractions, center-height and cap-height currency symbols, directional arrows, and multiple stylistic alternates. Colophon Foundry is a London and Los Angeles-based digital type foundry established in 2009. Its members comprise Benjamin Critton (US), Edd Harrington (UK), and Anthony Sheret (UK). The foundry's commissioned work in type design is complemented by work in editorial design, publishing, curation, and pedagogy. Visit colophon-foundry.org To contribute ideas and feedback, see github.com/googlefonts/spacemono Introducing Space Mono a monospaced typeface by Colophon Foundry for Google Fonts. As designers of type, we most often find ourselves composing a monospaced (sometimes called a fixed-width, fixed-pitch, or non-proportional) typeface in the service of building out the styles of an accompanying proportional type family or type system. It\u2019s about adapting the proportional type\u2019s forms and rules, and discovering how those letterforms behave within fixed limits to give the face new texture and capability. But what if that constraint was embraced? What if we set out to create a monospaced typeface that wasn\u2019t simply an extension, but rather something unto itself? To learn more, read Introducing Space Mono a new monospaced typeface by Colophon Foundry for Google Fonts.", + "minisite_url": null + }, + "Special Elite": { + "name": "Special Elite", + "designer": [ + "Astigmatic" + ], + "license": "apache2", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Special Elite mimics the Smith Corona Special Elite Type Number NR6 and Remington Noiseless typewriter models. A little bit of inked up grunge and a little old school analog flavor work together to give you a vintage typewriter typeface for your website and designs.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Special Gothic": { + "name": "Special Gothic", + "designer": [ + "Alistair McCready" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Special Gothic is a multi-width sans serif typeface built as a contemporary reimagining of the raw tenacity offered up by early 20th century Gothic type styles. Special Gothic was created for and in collaboration with Special Group to celebrate a monumental 15 years as an internationally renowned design and advertising studio. For the Expanded and Condensed versions, see Special Gothic Expanded and Special Gothic Condensed. To contribute, see github.com/AlistairMcCready/Special-Gothic.", + "minisite_url": null + }, + "Special Gothic Condensed One": { + "name": "Special Gothic Condensed One", + "designer": [ + "Alistair McCready" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Special Gothic is a multi-width sans serif typeface built as a contemporary reimagining of the raw tenacity offered up by early 20th century Gothic type styles. Special Gothic was created for and in collaboration with Special Group to celebrate a monumental 15 years as an internationally renowned design and advertising studio. For the Normal and Expanded versions, see Special Gothic and Special Gothic Expanded. To contribute, see github.com/AlistairMcCready/Special-Gothic.", + "minisite_url": null + }, + "Special Gothic Expanded One": { + "name": "Special Gothic Expanded One", + "designer": [ + "Alistair McCready" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "Special Gothic is a multi-width sans serif typeface built as a contemporary reimagining of the raw tenacity offered up by early 20th century Gothic type styles. Special Gothic was created for and in collaboration with Special Group to celebrate a monumental 15 years as an internationally renowned design and advertising studio. For the Normal and Condensed versions, see Special Gothic and Special Gothic Condensed. To contribute, see github.com/AlistairMcCready/Special-Gothic.", + "minisite_url": null + }, + "Spectral": { + "name": "Spectral", + "designer": [ + "Production Type" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Latn", + "article": "Spectral is a new and versatile serif face available in seven weights of roman and italic, with small caps. Spectral offers an efficient, beautiful design that\u2019s intended primarily for text-rich, screen-first environments and long-form reading. Brought to you by Production Type and commissioned by Google Fonts, Spectral is now free to use across Google Docs, Sheets, and Slides, or in any of your projects. To contribute, see github.com/productiontype/spectral Spectral: A New Screen-First Typeface Production Type introduces their latest commission for Google Fonts Spectral is a new and versatile serif face available in seven weights of roman and italic, with small caps. Intended primarily for text-rich, screen-first environments and long-form reading, Spectral is brought to you by Production Type, commissioned by Google Fonts, and free to use across Google Docs, Sheets, and Slides, or in any of your projects. Screen-first typefaces The history of early digital typefaces, though still fairly recent, has already proven that typeface design doesn\u2019t need to reinvent itself because of technical constraints. One only has to look back over the last 20 years to discover work that forged a viable path. Many early digital types (Trinit\u00e9, Demos, Colorado, and Georgia for example) set a powerful example by being unobtrusive, transparent designs that rely on commonly accepted shapes, while remaining innovative and fit-for-purpose. These giants, on whose shoulders Spectral aspires to stand, form a solid set of accomplished, serious designs. To learn more, read Spectral: A New Screen-First Typeface.", + "minisite_url": null + }, + "Spectral SC": { + "name": "Spectral SC", + "designer": [ + "Production Type" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Spectral is a new and versatile serif face available in seven weights of roman and italic, with small caps. Spectral offers an efficient, beautiful design that\u2019s intended primarily for text-rich, screen-first environments and long-form reading. Brought to you by Production Type and commissioned by Google Fonts, Spectral is now free to use across Google Docs, Sheets, and Slides, or in any of your projects. To contribute, see github.com/productiontype/Spectral.", + "primary_script": "Latn", + "article": null, + "minisite_url": null + }, + "Spicy Rice": { + "name": "Spicy Rice", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Casual and exciting, Spicy Rice has a festive flair to it that works for winter holidays as well as summertime jams. The extra heavy letterforms imbued with a little exotic flavor are waiting for you to bring it to the party!", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Spinnaker": { + "name": "Spinnaker", + "designer": [ + "Elena Albertoni" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Spinnaker is based on French and UK lettering found on posters for travel by ship. It is a low contrast and slightly wide sans serif design, with a youthful sense of whimsy combined with the expected utility of a sans serif. Spinnaker is suitable for use in medium to large sizes.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Spirax": { + "name": "Spirax", + "designer": [ + "Brenda Gallo" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "In geometry, a spirax is a curved line starting from a central point and moving progressively away and around that point. The Spirax font is inspired in this concept, trying to make you feel that you can go away from your starting point but you\u2019ll never be foreign. Spirax has a pronounced contrast and original curves. It can be used for headlines and shorter texts and is cute at all sizes. Designed by Brenda Gallo and Gustavo Dipre.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Splash": { + "name": "Splash", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Inspired by the splatters that come from a heavily inked architectural ruling pen gliding along the surface of a highly textured watercolor page \u2014 Splash! Just as water droplets splash the ocean\u2019s shore, no two splashes are exactly alike. The result is wonderfully organic and natural. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/splash.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Spline Sans": { + "name": "Spline Sans", + "designer": [ + "Eben Sorkin", + "Mirko Velimirovi\u0107" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Spline Sans is a grotesque sans serif typeface family, purpose-built for UI interfaces, checkout processes, and paragraphs of text. Space efficiency is accomplished by condensing traditional grotesque proportions. The cool and restrained tone is accented with strategic \"thorn\" traps, which blossom into view when set at larger sizes. Spline Sans is an original typeface initiated by the Spline Team, and designed by Eben Sorkin and Mirko Velimirovi\u0107, with project management by Faride Mereb, testing and design feedback by Gon\u00e7alo Teixeira, and concept by Alejandro Le\u00f3n. Spline Sans supports an extended Latin glyph set, enabling the typesetting of English, Western, Central and Eastern European languages. To contribute ideas and feedback, see github.com/SorkinType/SplineSans", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Spline Sans Mono": { + "name": "Spline Sans Mono", + "designer": [ + "Eben Sorkin", + "Mirko Velimirovi\u0107" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "monospace" + ], + "description": "Spline Sans Mono is a Monospaced Grotesque purpose-built for UI interfaces, checkout processes, and programming. The cool and restrained tone is accented with strategic \"thorn\" traps, which blossom into view when set at larger sizes. Spline Sans Mono is an original typeface initiated by the Spline Team and designed by Eben Sorkin and Mirko Velimirovic. Project manager - Faride Mereb. Testing and design feedback - Gon\u00e7alo Teixeira. Concept - Alejandro Le\u00f3n. Spline Sans Mono supports English, and Western European languages. To contribute ideas and feedback, see github.com/SorkinType/SplineSansMono", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Squada One": { + "name": "Squada One", + "designer": [ + "Joe Prince" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Squada One is the perfect font to make a lasting impression on any webpage. Its bold presence and geometric, condensed form allow for setting in any context. Squada One can be used at any size while still maintaining clarity and smoothness.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Square Peg": { + "name": "Square Peg", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "This happy font is great for scrapping and casual situations. Square Peg has a shaky, rough, and almost mono-weight with slightly heavier horizontal strokes. It's hand written style lends itself to situations that require playful and casual themes. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/square-peg.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Sree Krushnadevaraya": { + "name": "Sree Krushnadevaraya", + "designer": [ + "Purushoth Kumar Guttula" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "telugu" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Sree Krushnadevaraya is a Telugu font suitable for headlines, invitations and posters and is best used in large sizes. It is named after the king who encouraged Telugu literature and poetry through his court, Bhuavana-Vijayam. The Telugu is designed and developed by Purushoth Kumar Guttula in 2013 and made available by Silicon Andhra under the SIL Open Font License v1.1. The Latin is designed by Joana Correia da Silva for Sorkin Type Co, a type foundry in Boston USA, and originally published as Cantata One. The Sree Krushnadevaraya project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India. To contribute, see github.com/appajid/sreekrushnadevaraya.", + "primary_script": "Telu", + "article": null, + "minisite_url": null + }, + "Sriracha": { + "name": "Sriracha", + "designer": [ + "Cadson Demak" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "thai", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Sriracha is a new Thai + Latin handwriting typeface, with an informal loopless + sans serif design. It has 2 stylistic set alternate glyph designs and intelligent OpenType features to recreate the impression of handwriting. Thanks to Pablo Impallari for the initial OpenType handwriting feature development. The Sriracha project is led by Cadson Demak, a type foundry in Thailand. To contribute, see github.com/cadsondemak/sriracha", + "primary_script": "Thai", + "article": null, + "minisite_url": null + }, + "Srisakdi": { + "name": "Srisakdi", + "designer": [ + "Cadson Demak" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "thai", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Srisakdi is a Thai and Latin family which was inspired by the Rattanakosin period. Its hand written appearance works well for articles of a retrospective nature.", + "primary_script": "Thai", + "article": null, + "minisite_url": null + }, + "Staatliches": { + "name": "Staatliches", + "designer": [ + "Brian LaRossa", + "Erica Carras" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Staatliches is a clean cut display face with charmingly unconventional proportions. The alphabet was designed in response to Herbert Bayer\u2019s title lettering on the cover of the first Bauhaus exhibition catalogue, which was published in 1923. It features full sets of capitals, numbers, punctuation, and symbols, in addition to alternate widths, discretionary ligatures, and common Latin accents.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Stalemate": { + "name": "Stalemate", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Stalemate is a script of vintage origins but still modern flair. This script exudes confidence and carefree attitude and makes a bold statement in any design. Designed by Jim Lyles for Astigmatic (AOETI). To contribute to the project contact Brian J. Bonislawsky.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Stalinist One": { + "name": "Stalinist One", + "designer": [ + "Alexey Maslov", + "Jovanny Lemonad" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Imagine a post-apocalyptic world in the future. Imagine hiding in the underground: people, dirty air and despair. To transfer information, they still use fonts. But they have become simple, with a utilitarian and strong spirit. Stalinist is typeface for a post-apocalyptic time. Stalinist is a font made in Moscow at the end of the 21st century. That's the way it is. Stalinist One was designed collaboratively between Alexey Maslov and Jovanny Lemonad. Updated September 2015: Internal metadata corrected.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Stardos Stencil": { + "name": "Stardos Stencil", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Stardos is a stencilled serif font designed to be used a display-only webfont. Stardos Stencil has been designed to be used freely across the internet by web browsers on desktop computers, laptops, mobile devices, and Cloud systems. Stardos Stencil is a stencilled serif font designed to be used a display-only webfont. Stardos Stencil has been designed to be used freely across the internet by web browsers on desktop computers, laptops, mobile devices, and Cloud systems.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Stick": { + "name": "Stick", + "designer": [ + "Fontworks Inc." + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "True to its name, Stick is designed with straight lines that create a cute and playful feel. The pastoral ambience also gives this font wide versatility for use in both paper mediums and digital content. To contribute to the project, visit github.com/fontworks-fonts/Stick", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "Stick No Bills": { + "name": "Stick No Bills", + "designer": [ + "Mooniak" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "sinhala" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Stick No Bills is a stencil style typeface supporting Sinhala and Latin scripts. The Latin typeface was first developed by Mooniak as the bespoke brand typeface for Stick No Bills poster gallery in Galle, Sri Lanka. Mooniak in collaboration with Stick No Bills open sourced the project and designed Sinhala glyph set to match the Latin set. The project is led by Mooniak and is hosted and developed on Github Mooniak welcomes suggestions and contributions to further develop the project.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Stint Ultra Condensed": { + "name": "Stint Ultra Condensed", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SLAB_SERIF", + "classifications": [ + "display" + ], + "description": "Stint Ultra Condensed is an ultra condensed square serif typestyle developed based on the letterforms of the Syncopate Family. While Syncopate boasts extra wide unicase forms, Stint Ultra Condensed goes in the exact opposite direction, featuring narrow letterforms of both the capital and lowercase varieties. This is the opposite of the Stint Ultra Expanded typestyle. Highly legible even in this ultra condensed form, Stint Ultra Condensed is a perfect font for getting in as much information as possible into limited realty websites and designs.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Stint Ultra Expanded": { + "name": "Stint Ultra Expanded", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SLAB_SERIF", + "classifications": [ + "display" + ], + "description": "Stint Ultra Expanded is an ultra expanded square serif typestyle developed based on the letterforms of the Syncopate Family. Syncopate boasts extra wide unicase forms, and Stint Ultra Expanded follows this direction, featuring wide letterforms of both the capital and lowercase varieties. This is the opposite of the Stint Ultra Condensed typestyle. Highly legible and matching the Syncopate family width, Stint Ultra Expanded is a perfect font for powerful headlines and copy when realty on websites and designs is less of a concern. To contribute to the project contact Brian J. Bonislawsky at astigma@astigmatic.com", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Stoke": { + "name": "Stoke", + "designer": [ + "Nicole Fally" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Stoke is a semi-wide, high-contrast, serif text typeface. It is inspired by letters found on 20th century UK posters, showing an odd combination of seriousness of form with whimsical proportions and details. The low x-height makes it more suitable for use at medium to large sizes.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Strait": { + "name": "Strait", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "When the space available is small, Strait becomes very useful. A great quality condensed typeface that is suitable for both display and text usage, and with excellent reading performance at 12 point size. The February 2023 update features a bigger glyphset, fractions and some minor aesthetic modifications. To contribute, see github.com/etunni/Strait.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Style Script": { + "name": "Style Script", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Style Script is a beautiful upright script with looks that vary from Casual to Formal in appearance. It takes the look and simplicity of 1950s and 60s advertising and combines it with up to date design characteristics. With three main stylistic sets, Plain, Script and Formal, Style Script transforms the Retro look into a versatile, and powerful font that can be used for nostalgic work, or 21st Century design. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/style-script.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Stylish": { + "name": "Stylish", + "designer": [ + "AsiaSoft Inc" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "korean" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Stylish is a Korean and Latin font", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "Sue Ellen Francisco": { + "name": "Sue Ellen Francisco", + "designer": [ + "Kimberly Geswein" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Sue Ellen Francisco is a tall, skinny font based on my own handwriting. It was created in Adobe Illustrator, using a Wacom tablet. It is named after a nickname I used for a friend. It is one of my earlier fonts and is imperfect, but I still enjoy the tall, slender lines.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Suez One": { + "name": "Suez One", + "designer": [ + "Michal Sahar" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "hebrew", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Suez One is an original Hebrew and Latin display serif typeface with a single weight. The Hebrew design for a modern serif is inspired by Hebrew calligraphy. It is intended for use in headline and display typography that needs a strong contemporary style. The Suez project is led by Michal Sahar, a type designer based in Tel Aviv, Israel. To contribute, see github.com/MichalSahar/Suez", + "primary_script": "Hebr", + "article": null, + "minisite_url": null + }, + "Sulphur Point": { + "name": "Sulphur Point", + "designer": [ + "Dale Sattler" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Sulphur Point is a geometric sans serif typeface, with low contrast stems, high x-height, restrained ascenders and descenders and minimal optical adjustments away from pure geometric form. Sulphur Point is intended for both display and copy use. The typeface is the result of an exploration of theories of the political production of space as manifested in the port and recreational marine facilities of Sulphur Point in Tauranga, New Zealand. The Sulphur Point project is led by Dale Sattler, a type designer based in New Zealand. To contribute, see github.com/noponies/sulphur-point", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Sumana": { + "name": "Sumana", + "designer": [ + "Cyreal" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Sumana is a family of Latin and Devanagari fonts for text setting and web usage. Designed by Alexei Vanyashin in 2014-2015 for Cyreal. The Latin counterpart is derived from Lora by Olga Karpushina, Cyreal. Its vertical and horizontal metrics are adjusted to better match with the Devanagari. The meaning of Sumana in Sanskrit is flower, which is the meaning of Lora in Spanish. It was quite a challenge to match the graphical characteristics of each script and took many iterations to finalise the first release. I tried to keep the Devanagari closer to a traditional Indian calligraphic model while flavouring it with graphic solutions derived from Lora's Latin. It is my first attempt to design a Devanagari, and I am thankful to Google Fonts for making this project happen, and to all experts who consulted with me on this project, including: Fiona Ross, Eric McLaughlin, Vaishnavi Murthy, Pria Ravichandran, and Wei Huang. The comments and revision history can be found in this discussion in the Google Fonts forum. This project is led by Cyreal, an international type foundry focused on designing contemporary Latin and Cyrillic typefaces. To contribute, visit github.com/cyrealtype/Sumana", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Sunflower": { + "name": "Sunflower", + "designer": [ + "JIKJISOFT" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "korean" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Sunflower is a Korean and Latin font", + "primary_script": "Hang", + "article": null, + "minisite_url": null + }, + "Sunshiney": { + "name": "Sunshiney", + "designer": [ + "Sideshow" + ], + "license": "apache2", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Sunshiney is a little a ray of hand-crafted goodness that can lighten up the dreariest of domains.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Supermercado One": { + "name": "Supermercado One", + "designer": [ + "James Grieshaber" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Supermercado One is a low contrast semi geometric typeface inspired by naive industrial letters. It is not a typical mechanical sans because it incorporates unexpected swashes, especially in its capitals, and is surprisingly versatile. While distinctive when set at larges sizes, it can also work at fairly small sizes and in blocks of text.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Sura": { + "name": "Sura", + "designer": [ + "Carolina Giovagnoli" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Sura is a Devanagari typeface family designed by Carolina Giovagnoli. It is based on the original Latin typeface Andada, a serif typeface for text. Andada is a text font with an organic-slab serif, hybrid style, a solid design of medium stroke contrast. This font has received an award at the 2010 Ibero-America Design Biennial. The Biennial was shown in Spain, Argentina, Chile, El Salvador, Uruguay, Bolivia, Colombia and Venezuela. The Sura project is led by Carolina Giovagnoli, a type designer based in Argentina. To contribute, see github.com/CaroGiovagnoli/sura", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Suranna": { + "name": "Suranna", + "designer": [ + "Purushoth Kumar Guttula" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "telugu" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Suranna is a Telugu font developed mainly for the use in news publications. It has a unique shape due its heavy weight at the bottom of letters, and it includes many conjunct glyphs. Suranna is named after the Telugu poet from the court of the king Krishnadevaraya, and was one of the Astadiggajalu (literally eight legends) there. The Telugu is designed and developed by Purushoth Kumar Guttula in 2013 and made available by Silicon Andhra under the SIL Open Font License v1.1. The Latin is designed by Cyreal, a type foundry in Moscow Russia, and originally published as Prata. The Suranna project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India. To contribute, see github.com/appajid/suranna", + "primary_script": "Telu", + "article": null, + "minisite_url": null + }, + "Suravaram": { + "name": "Suravaram", + "designer": [ + "Purushoth Kumar Guttula" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "telugu" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Suravaram is a brush script font, suitable for headings, posters, invitations and anywhere you want to use a handwriting style. It is named after Suravaram Gurajada, whose literature and poetry enriched the Telugu people. The Telugu is designed and developed by Purushoth Kumar Guttula in 2013 and made available by Silicon Andhra under the SIL Open Font License v1.1. The Latin is designed by Vernon Adams and originally published as Tienne. The Suravaram project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India. To contribute, see github.com/appajid/suravaram", + "primary_script": "Telu", + "article": null, + "minisite_url": null + }, + "Suwannaphum": { + "name": "Suwannaphum", + "designer": [ + "Danh Hong" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "khmer", + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Suwannaphum is a Khmer font for body text, that pairs well with Latin serif fonts. To contribute, see github.com/danhhong/Suwannaphum.", + "primary_script": "Khmr", + "article": null, + "minisite_url": null + }, + "Swanky and Moo Moo": { + "name": "Swanky and Moo Moo", + "designer": [ + "Kimberly Geswein" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Swanky and Moo Moo is based on the handwriting of a young mom. I love the uniqueness of the letters and the personality it conveys. The name comes from the writer\u2019s family nicknames.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Syncopate": { + "name": "Syncopate", + "designer": [ + "Astigmatic" + ], + "license": "apache2", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Syncopate was designed in 2010 as a headline and display typeface. Light in weight with a wide body width, it is a unicase design where the traditional lowercase x-height has been abandoned and a single uppercase height rules the design of all of the alpha and numeric glyphs. Some uppercase glyphs are copied to their lowercase slots, where other lowercase glyphs such as the a, e, and r, are scaled up to uppercase heights. This motif allows for a vast array of setting possibilities. Though intended for display, Syncopate does work well for limited text runs. The letter forms are a modern and stylish sans serif inspired by the many trendy sans serif typefaces that are so prevalent today. The lighter weight and wide body impart a certain level of elegance, while the unicase approach keeps the look lively and fresh. A true bold was added in April 2011.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Syne": { + "name": "Syne", + "designer": [ + "Bonjour Monde", + "Lucas Descroix", + "George Triantafyllakos" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "greek", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "The Syne family was originally designed in 2017 for the Art Center \"Synesth\u00e9sie\", based in Saint-Denis \u2014 a suburb of Paris. The Art Center aims to gather diverse artistic personalities in order to create new and enriching situations. Based on that idea, Syne is an exploration of atypical associations of weights and styles. Syne Regular is the starting point of the family. It is quite an archetypal geometric sans-serif, giving the art center a practical asset for their daily use. When getting bolder, the typeface also gets wider, forcing radical graphic design choices. Checkout the other two members of this heteroclite family: Syne Mono and Syne Tactile. A Greek script designed by George Triantafyllakos has been added in March 2022. Syne was conceptualized by Bonjour Monde and designed by Lucas Descroix with the help of Arman Mohtadji. To contribute, see gitlab.com/bonjour-monde/fonderie/syne-typeface", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Syne Mono": { + "name": "Syne Mono", + "designer": [ + "Bonjour Monde", + "Lucas Descroix" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "monospace" + ], + "description": "The Syne family was originally designed in 2017 for the Art Center \"Synesth\u00e9sie\", based in Saint-Denis \u2014 a suburb of Paris. The Art Center aims to gather diverse artistic personalities in order to create new and enriching situations. Based on that idea, Syne is an exploration of atypical associations of weights and styles. Syne Mono is another take on letting go of control. Based on Syne Regular, it has been processed by Bonjour Monde\u2019s DataFace tool, automatically switching on-curve points into off-curve ones and vice-versa. Checkout the other two members of this heteroclite family: Syne and Syne Tactile. Syne was conceptualized by Bonjour Monde and designed by Lucas Descroix with the help of Arman Mohtadji. To contribute, see gitlab.com/bonjour-monde/fonderie/syne-typeface", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Syne Tactile": { + "name": "Syne Tactile", + "designer": [ + "Bonjour Monde", + "Lucas Descroix" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "The Syne family was originally designed in 2017 for the Art Center \"Synesth\u00e9sie\", based in Saint-Denis \u2014 a suburb of Paris. The Art Center aims to gather diverse artistic personalities in order to create new and enriching situations. Based on that idea, Syne is an exploration of atypical associations of weights and styles. Syne Tactile shares its x-height and optical weight with Syne Regular. The unusual exercice of trackpad-calligraphy, in association with handwriting models from the Renaissance, gives the font a rough yet flourished look. Checkout the other two members of this heteroclite family: Syne and Syne Mono. Syne was conceptualized by Bonjour Monde and designed by Lucas Descroix with the help of Arman Mohtadji. To contribute, see gitlab.com/bonjour-monde/fonderie/syne-typeface", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Tac One": { + "name": "Tac One", + "designer": [ + "Afrotype", + "Seyi Olusanya", + "Eyiyemi Adegbite", + "David Udoh", + "Mirko Velimirovi\u0107" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "math", + "symbols", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "Tac One is the initial release of a single style, bold weight, sans serif typeface project that is inspired by the wordmark of one of the most significant festivals in Africa's post-colonial history, Festac '77. As a inspired revival, it expands upon the six lowercase letters, single quotes and numeral 7 in the festival's wordmark, and the result is a contemporary font with comprehensive language support for all African languages that are commonly written with the Latin writing system. Tac is the second project from Afrotype. To contribute, see github.com/Afrotype/tac", + "minisite_url": null + }, + "Tagesschrift": { + "name": "Tagesschrift", + "designer": [ + "Yanone" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Tagesschrift (\u201cday-font\u201d) is the result of a one-day type design experiment. It was written with a broad-nib pen, digitized, and adjusted all in a single day. The mixture of the quirky but still traditional appearance of this casual Antiqua suggests Tagesschrift to be used in a broad range of packaging and advertising applications. To contribute, please see github.com/yanone/tagesschrift.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Tai Heritage Pro": { + "name": "Tai Heritage Pro", + "designer": [ + "SIL International" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "tai-viet", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Tavt", + "article": "Tai Heritage Pro is an open source font designed to reflect the traditional hand-written style of the Tai Viet script. The font is Unicode-encoded, based on The Unicode Standard version 5.2 or later, and is available in regular and bold weights, with both OpenType and Graphite rendering. Learn more at software.sil.org/taiheritage. To contribute, see github.com/silnrsi/font-taiheritagepro. SIL International recently released three typefaces for lesser-served writing systems (Tai Viet, Yi, Lepcha) used in Asia. SIL has also created Andika, which is specially designed to maximize legibility for new readers. SIL and lesser-served languages SIL International has a team of type designers who specialize in creating typefaces for lesser-served or non-dominant language communities. These are communities that exist alongside larger, more prominent language communities such as Chinese, English, or Arabic. These relatively smaller communities may have their own script, or they may have sounds in their language that are not represented in the script used by the majority language. Some non-dominant languages are endangered. According to UNESCO, about 40% of the estimated 7,000 languages are at risk of extinction. Without typefaces, these language communities can't survive online. To learn more, read New SIL Typefaces: Expanding type for legibility and lesser-served languages", + "minisite_url": null + }, + "Tajawal": { + "name": "Tajawal", + "designer": [ + "Boutros Fonts", + "Mourad Boutros", + "Soulaf Khalifeh" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "arabic", + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Tajawal is a distinctive low contrast Arabic and sans serif Latin typeface family in 7 weights was created and designed by Boutros\u2122 following a modern geometric style while still respecting the calligraphy rules of the Arabic script. Its fluid geometry makes it the perfect choice to use in both print and web applications, and alongside other Latin typefaces. To contribute, see github.com/googlefonts/tajawal", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Tangerine": { + "name": "Tangerine", + "designer": [ + "Toshi Omagari" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Tangerine is a calligraphic typeface inspired by many italic chancery hands from the 16th and 17th centuries. Its tall ascender, the most distinct characteristic of this type, takes a wide line space between lines and gives a graceful texture. Use Tangerine for titles or short texts at large sizes because of the short height of lowercase letters. Tangerine was named after a woman who encouraged Toshi to begin this work.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Tapestry": { + "name": "Tapestry", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Tapestry is a Roman calligraphic family with a slight rustic and country appearance. Its thick and thin strokes emulate the strokes of a flat nib pen. The capital letters are inspired by Roman serif forms, whilst the extra thin movements in the lowercase letters compliment the capitals and allows Tapestry to dance on the page. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/tapestry.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Taprom": { + "name": "Taprom", + "designer": [ + "Danh Hong", + "Neapolitan" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "khmer", + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Taprom is a Khmer font for body text. The Khmer design is inspired by a popular style of Khmer handwriting letterforms. The Latin design is a copy of Seaweed Script, by Neapolitan. To contribute, see github.com/danhhong/Taprom.", + "primary_script": "Khmr", + "article": null, + "minisite_url": null + }, + "Tauri": { + "name": "Tauri", + "designer": [ + "Yvonne Sch\u00fcttler" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Tauri is a semi condensed sans typeface with a sense of restraint, clarity and rigor. Tauri's unique qualities do not shout and instead emerge slowly and organically as it is used. Tauri is useful from small to medium sizes but has enough subtle detail to be used at large sizes as well if it is more tightly spaced.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Taviraj": { + "name": "Taviraj", + "designer": [ + "Cadson Demak" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "thai", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Taviraj is a serif Latin and looped Thai typeface that has a wide structure that ensures readability and legibility. It is well-suited for formal usage. Thai letters have thick and thin strokes, similar to the Latin, together with rounded and airy looped terminals. Taviraj is a 9 weight family that includes italics. Taviraj is a Thai word that refers to the last two kings of Krungsri Ayutthaya, the former capital of Thailand. People also metaphorically refer to Taviraj as the fall of a dynasty, and that is the reason why it appeared in the poem written by King Rama V regarding the situation of Siam being threatened by French expansionism, with his majesty expressing his sorrow towards the possibility of the end of his era. A traditional Thai style of typeface is called \u201cfarangses,\u201d which means french, and Taviraj is in this genre. This contradiction highlights its origin. A similarity between some glyphs such as \u0e01 \u0e16 \u0e20 \u0e24 \u0e26 and \u0e0e \u0e0f is something to take into consideration because it might lead to confusion when typesetting very short texts. Taviraj takes a specific approach when dealing with the thick and thin strokes of Thai glyphs. Other type designers of Thai fonts may like to use this approach as a reference. Formal looped Thai typefaces have delicate details so care must be taken when expanding them to heavier weights, to retain all the details. The size and position of Thai vowel and tone marks has been managed carefully because they are all relevant to readability, legibility, and overall texture. The Taviraj project is led by Cadson Demak, a type foundry in Thailand. To contribute, see github.com/cadsondemak/taviraj", + "primary_script": "Thai", + "article": null, + "minisite_url": null + }, + "Teachers": { + "name": "Teachers", + "designer": [ + "Alfredo Marco Pradil", + "Chank Diesel" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "greek-ext", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "The Teachers font is an educational font family created for use by publishers, teachers, students, and parents of children in grades K through 6. It is a clean geometric sans serif font intended to represent the letterforms of the alphabet as American children are taught to draw them in grade school. The font family was thoughtfully brought to life by a team of educators, designers and editors in 2023 for use in magazines and books, but is also well suited for class worksheets, newsletters, websites and other instructional and educational purposes. The Teachers font comes in 8 styles: Regular, SemiBold, Bold, and ExtraBold, with Italics. It is also available in variable font format with an adjustable weight axis, allowing designers more control over the font's display. The Teachers fonts and refined character sets were assembled by font designer Chank Diesel, making edits and updates to the previously existing opensource fonts Glacial Indifference (Regular and Bold) by Alfredo Marco Pradil of Hanken Design Co. To contribute, see github.com/chankfonts/Teachers-fonts.", + "minisite_url": null + }, + "Teko": { + "name": "Teko", + "designer": [ + "Indian Type Foundry" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Teko is an Open Source typeface that currently supports the Devanagari and Latin scripts. This font family has been created for use in headlines and other display-sized text on screen. Five font styles make up the initial release. Display families with extensive character sets are rare for any script. With Indian typefaces, however, large character sets are even less common. ITF\u2019s designs are an exception. The Teko typeface features letterforms with low stroke contrast, square proportions and a structure that appears visually simple. The Regular, Medium and Semibold fonts are recommended for use in long headlines, while Bold is intended primarily for setting just one or two words. The Light is a beautiful variant that may be put to exceptionally good use in large headlines on websites. At display sizes, Teko works equally well on screen or in print. Each font contains 1090 glyphs, offering full support for the conjuncts and ligatures required by languages written with the Devanagari script. Teko is an excellent choice for use in advertising or for news tickers on television screens (breaking news, etc.) Manushi Parikh designed the Teko typeface for the Indian Type Foundry, who published it in 2014. In 2023, Marc Foley converted the family to a variable font. To contribute, see github.com/googlefonts/teko.", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Tektur": { + "name": "Tektur", + "designer": [ + "Adam Jagosz" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Tektur is a constructed typeface featuring octagonal outlines and rectangular counters. This rudimentary principle is applied where rounds are typically found, but most of the diagonals are left intact which helps preserve good readability and a familiar stance. The x-height is set high and ascenders are aligned with the cap height allowing for compact typesetting. To contribute, see github.com/hyvyys/Tektur", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Telex": { + "name": "Telex", + "designer": [ + "Huerta Tipogr\u00e1fica" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Telex is a humanist sans serif conceived to be a web font with nice legibility at normal text sizes. Originally based on grid fitting shapes it became a multi-purpose typeface with low contrast, open counter forms, wide proportions and a touch of freshness. Designed by Andr\u00e9s Torresi for Huerta Tipogr\u00e1fica.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Tenali Ramakrishna": { + "name": "Tenali Ramakrishna", + "designer": [ + "Appaji Ambarisha Darbha" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "telugu" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Tenali Ramakrishna is an Open Source typeface developed for use in news publications and is suitable for text, headings, posters, and invitations. The Telugu is designed by Appaji Ambarisha Darbha in 2013 and made available by Silicon Andhra under the SIL Open Font License v1.1. The Latin is designed by Wojciech Kalinowski and originally published as Classica. The Tenali Ramakrishna project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India. To contribute, see github.com/appajid/tenaliramakrishna", + "primary_script": "Telu", + "article": null, + "minisite_url": null + }, + "Tenor Sans": { + "name": "Tenor Sans", + "designer": [ + "Denis Masharov" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Tenor Sans is a humanist sans-serif typeface designed by Denis Masharov. Intended for the setting of body text, it can also be applied to headlines. Optimized for print and web, it has excellent legibility characteristics in its letterforms. It contains an extended Latin and extended Cyrillic alphabets, Western and Central European, Cyrillic, Turkish, Baltic, Icelandic and Celtic.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Text Me One": { + "name": "Text Me One", + "designer": [ + "Julia Petretta" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Text Me One is a monolinear font that plays with the shapes of open counters and un-connecting lines. A relatively large x-height and prominent in-strokes and out-strokes aid legibility. Its flavour is playful, with a hint of pop, and is ideal for large format lettering or continuous body text. To contribute to the project contact Julia Petretta.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Texturina": { + "name": "Texturina", + "designer": [ + "Guillermo Torres", + "Omnibus-Type" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Texturina is a highly applicable typeface with the richness of Blackletter, yet maintaining fluidity by combining broken and softened curves. Texturina is designed by Guillermo Torres. To contribute, see github.com/Omnibus-Type/Texturina.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Thasadith": { + "name": "Thasadith", + "designer": [ + "Cadson Demak" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "thai", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Thasadith is a Thai and Latin family. It's a humanist sans serif with rounded corners. It was originally developed as part of the Srisakdi family.", + "primary_script": "Thai", + "article": null, + "minisite_url": null + }, + "The Girl Next Door": { + "name": "The Girl Next Door", + "designer": [ + "Kimberly Geswein" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "'the girl next door' is based on the handwriting of a middle school geography teacher. From her personality to her handwriting, she is the typical girl next door - she puts you at ease in every situation and is perfectly comfortable and confident in who she is. Her handwriting reflects that and is readable, neat, and yet comfortable and welcoming.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "The Nautigal": { + "name": "The Nautigal", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Inspired by the hand lettering design for a friend\u2019s yacht, this contemporary script style, The Nautigal is fluid yet formal with beautiful connectors. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/the-nautigal.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Tienne": { + "name": "Tienne", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Tienne is a display and text serif webfont designed to be used freely across the internet by web browsers on desktop computers, laptops and mobile devices. It was designed by 'remixing' Droid Serif and Artifika, two other fonts in the Google Font Directory that are available under the SIL Open Font License which allows for remixing fonts with interpolation techniques.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Tillana": { + "name": "Tillana", + "designer": [ + "Indian Type Foundry" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Tillana is a refreshingly informal family of typefaces for Devanagari and Latin. The fonts were first published by the Indian Type Foundry as an open source project in 2014. Coming in at 1,021 glyphs per weight, Tillana has all of the characters necessary to set a variety of European languages, as well as Indian languages like Hindi, Marathi, Nepali, and more. The Tillana family includes five styles, which range in weight from Regular through Extra Bold. Tillana\u2019s Latin do not connect; this part of the family is a non-joining script type. The Devanagari part is one of the few \u201ctrue cursive\u201d designs currently available for the script. Characters from both writing systems appear as if they were fluidly handwritten, particularly the Devanagari. Tillana\u2019s letterforms are slanted at a 10 degree angle. The strokes are show visible contrast, and the dynamic counter forms are one of the design\u2019s most prominent features. The forms involve many loops and hooks and most of the knots are loops rather than closed, black forms. All vertical strokes in both scripts have swelling at their tops and bottoms, and the Devanagari characters\u2019 central vertical strokes almost always break through the headline. Handwriting artefacts are present in the Latin letters, too, such as hook on the descender of the lowercase q. Tillana\u2019s Devanagari base character height falls vertically between the Latin upper and lowercase letter heights. The Latin characters have a small x-height and long ascenders and descenders. Lipi Raval designed the Devanagari components of Tillana, and worked together with Jonny Pinhorn on the Latin. This project is led by Indian Type Foundry, a type foundry based in Ahmedabad, Gujurat, India, who design contemporary Indian typeface families. To contribute, see github.com/itfoundry/tillana", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Tilt Neon": { + "name": "Tilt Neon", + "designer": [ + "Andy Clymer" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "Tilt is a family of type inspired by the dimensional lettering found in storefront signage. It\u2019s comprised of three related variable font styles that you might find in a shop window \u2014 Tilt Neon, Tilt Prism, and Tilt Warp. All three are based around the same letter model of a sign painter\u2019s geometric sans serif, similar to the typefaces Futura or Avant Garde, but with the kinds of details you might expect to see when the letter is built up with a brush. The three styles are designed and built as variable fonts. They allow users to rotate the orientation of their glyphs with \u201cRotation in X\u201d and \u201cRotation in Y\u201d axes. The rotation is limited to \u00b145\u00b0 so that the letterforms never rotate past a readable range. To contribute, see github.com/googlefonts/Tilt-Fonts. The most common axes used in variable fonts are Italic, Optical Size, Slant, Weight, and Width. And while you can sometimes get creative at the extremes of these axes, they're more often used to finesse type. For example, with Weight, you don't have to settle on what the type designer designated as the Bold style, you can tweak it to be a bit lighter or heavier so it's perfect for you. Variable fonts also open up many possibilities for creative expression! And Google Fonts is adding a bunch of fonts to your palette with new axes to get your juices flowing. First up are the Tilt fonts by Andy Clymer, Tilt Neon, Tilt Prism, and Tilt Warp: Initially sparked by the experience of seeing a neon sign from the side, Clymer was inspired to create fonts that allow the orientation of their glyphs to be rotated horizontally and vertically. \"With variable fonts, I thought it was kind of amazing how the physical form of a common sans-serif could inadvertently blend into something that looked like graffiti lettering,\" says Clymer. All three fonts are takes on dimensional storefront signage and are controlled by Rotation in X (HROT), and Rotation in Y (VROT) variable axes. The rotation is limited to \u00b145\u00b0 so that the letterforms are always within a readable range. To learn more, visit:Get ready for a windfall of new axes, starting with Tilt Neon, Tilt Prism, and Tilt Warp Tilt minisite", + "minisite_url": "https://fonts.withgoogle.com/tilt" + }, + "Tilt Prism": { + "name": "Tilt Prism", + "designer": [ + "Andy Clymer" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "Tilt is a family of type inspired by the dimensional lettering found in storefront signage. It\u2019s comprised of three related variable font styles that you might find in a shop window \u2014 Tilt Neon, Tilt Prism, and Tilt Warp. All three are based around the same letter model of a sign painter\u2019s geometric sans serif, similar to the typefaces Futura or Avant Garde, but with the kinds of details you might expect to see when the letter is built up with a brush. The three styles are designed and built as variable fonts. They allow users to rotate the orientation of their glyphs with \u201cRotation in X\u201d and \u201cRotation in Y\u201d axes. The rotation is limited to \u00b145\u00b0 so that the letterforms never rotate past a readable range. To contribute, see github.com/googlefonts/Tilt-Fonts. The most common axes used in variable fonts are Italic, Optical Size, Slant, Weight, and Width. And while you can sometimes get creative at the extremes of these axes, they're more often used to finesse type. For example, with Weight, you don't have to settle on what the type designer designated as the Bold style, you can tweak it to be a bit lighter or heavier so it's perfect for you. Variable fonts also open up many possibilities for creative expression! And Google Fonts is adding a bunch of fonts to your palette with new axes to get your juices flowing. First up are the Tilt fonts by Andy Clymer, Tilt Neon, Tilt Prism, and Tilt Warp: Initially sparked by the experience of seeing a neon sign from the side, Clymer was inspired to create fonts that allow the orientation of their glyphs to be rotated horizontally and vertically. \"With variable fonts, I thought it was kind of amazing how the physical form of a common sans-serif could inadvertently blend into something that looked like graffiti lettering,\" says Clymer. All three fonts are takes on dimensional storefront signage and are controlled by Rotation in X (HROT), and Rotation in Y (VROT) variable axes. The rotation is limited to \u00b145\u00b0 so that the letterforms are always within a readable range. To learn more, visit:Get ready for a windfall of new axes, starting with Tilt Neon, Tilt Prism, and Tilt Warp Tilt minisite", + "minisite_url": "https://fonts.withgoogle.com/tilt" + }, + "Tilt Warp": { + "name": "Tilt Warp", + "designer": [ + "Andy Clymer" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "Tilt is a family of type inspired by the dimensional lettering found in storefront signage. It\u2019s comprised of three related variable font styles that you might find in a shop window \u2014 Tilt Neon, Tilt Prism, and Tilt Warp. All three are based around the same letter model of a sign painter\u2019s geometric sans serif, similar to the typefaces Futura or Avant Garde, but with the kinds of details you might expect to see when the letter is built up with a brush. The three styles are designed and built as variable fonts. They allow users to rotate the orientation of their glyphs with \u201cRotation in X\u201d and \u201cRotation in Y\u201d axes. The rotation is limited to \u00b145\u00b0 so that the letterforms never rotate past a readable range. To contribute, see github.com/googlefonts/Tilt-Fonts. The most common axes used in variable fonts are Italic, Optical Size, Slant, Weight, and Width. And while you can sometimes get creative at the extremes of these axes, they're more often used to finesse type. For example, with Weight, you don't have to settle on what the type designer designated as the Bold style, you can tweak it to be a bit lighter or heavier so it's perfect for you. Variable fonts also open up many possibilities for creative expression! And Google Fonts is adding a bunch of fonts to your palette with new axes to get your juices flowing. First up are the Tilt fonts by Andy Clymer, Tilt Neon, Tilt Prism, and Tilt Warp: Initially sparked by the experience of seeing a neon sign from the side, Clymer was inspired to create fonts that allow the orientation of their glyphs to be rotated horizontally and vertically. \"With variable fonts, I thought it was kind of amazing how the physical form of a common sans-serif could inadvertently blend into something that looked like graffiti lettering,\" says Clymer. All three fonts are takes on dimensional storefront signage and are controlled by Rotation in X (HROT), and Rotation in Y (VROT) variable axes. The rotation is limited to \u00b145\u00b0 so that the letterforms are always within a readable range. To learn more, visit:Get ready for a windfall of new axes, starting with Tilt Neon, Tilt Prism, and Tilt Warp Tilt minisite", + "minisite_url": "https://fonts.withgoogle.com/tilt" + }, + "Timmana": { + "name": "Timmana", + "designer": [ + "Appaji Ambarisha Darbha" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "telugu" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Timmana is a Telugu display typeface, mainly suitable for headings, posters and decorative invitations. As a web font it should be used in very large pixel sizes, while in print the design may be used in a broader range of sizes, perhaps even as small as at 16pt. Designed by Appaji Ambarisha Darbha in 2013 and made available by Silicon Andhra under the SIL Open Font License v1.1. The Timmana project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India. To contribute, see github.com/appajid/timmana", + "primary_script": "Telu", + "article": null, + "minisite_url": null + }, + "Tinos": { + "name": "Tinos", + "designer": [ + "Steve Matteson" + ], + "license": "apache2", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "hebrew", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Tinos was designed by Steve Matteson as an innovative, refreshing serif design that is metrically compatible with Times New Roman\u2122. Tinos offers improved on-screen readability characteristics and the pan-European WGL character set and solves the needs of developers looking for width-compatible fonts to address document portability across platforms. Updated in May 2013 with improved hinting and released under the Apache 2.0 license.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Tiny5": { + "name": "Tiny5", + "designer": [ + "Stefan Schmidt" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "tiny5 is a variable-width, 5-pixel font playing with the concept of least amount of information while producing both legible and aesthetically pleasing text. It is inspired by the graphing calculators and digital gadgets of the 1980s-90s, where the constraints of limited pixel space demanded efficient and minimalist design. It can be used for invoking a retro or nostalgic feel, for conveying the idea of minimalism, or for efficiently presenting information on small displays. tiny5 supports the Google Fonts Latin Kernel, Latin Core, Latin Plus, Latin African, Greek Core, Cyrillic Core and Cyrillic Plus character set. To contribute, see github.com/Gissio/font_tiny5.", + "minisite_url": null + }, + "Tiro Bangla": { + "name": "Tiro Bangla", + "designer": [ + "Tiro Typeworks", + "John Hudson", + "Fiona Ross", + "Neelakash Kshetrimayum" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "bengali", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Beng", + "article": "Tiro Bangla has its origins in a typeface designed for the Murty Classical Library of India book series, so is especially suited to traditional literary publishing but also made with the needs of today\u2019s multiple print and screen media in mind. The design follows manuscript traditions of letterform construction, and was inspired by the proportions and overall texture of handset metal type used by leading Kolkata publishing houses in pre-mechanical typography. For the Open Font License release, Tiro Bangla has been extended to support additional characters, and features a new italic companion. Each font also includes a Latin subset including diacritics for transcription of Indian languages. Tiro Bangla was designed by John Hudson and Fiona Ross. The italic was adapted by Neelakash Kshetrimayum. To contribute, see github.com/TiroTypeworks/Indigo. Modern Tiro Indic collection for classical South Asian texts The beauty and challenges of bridging the old and the new Two type designers separated by an eight-hour time difference, an ocean, and pandemic travel bans collaborated over video calls and email to make a cohesive set of fonts in 8 South Asian languages. In 2012, Harvard University Press commissioned Fiona Ross and John Hudson, through Tiro Typeworks, to design typefaces for the Murty Classical Library of India book series. The publisher needed to reprint ancient Indian literary, historical, and religious texts, including Vedic and early Sanskrit works. Since these old texts had been printed using traditional letterforms and early Indian typography techniques, the new fonts needed to retain some of the traditional style of the old texts, yet be clear and legible in modern print and digital media. In 2019 Google Fonts approached Tiro to make an extended and updated version of the Murty Fonts to be released as open source fonts in the Tiro Indic collection, offering users traditional text styles suitable for a variety of uses. Study the classics and language structure Before designing the typefaces, it was important to research classical texts and understand the unique characteristics of the languages. \u201cWe looked at very lovely manuscripts or early Indian printed materials from the 18th or 19th Centuries,\u201d said John Hudson. To learn more, read Modern Tiro Indic collection for classical South Asian texts.", + "minisite_url": null + }, + "Tiro Devanagari Hindi": { + "name": "Tiro Devanagari Hindi", + "designer": [ + "Tiro Typeworks", + "John Hudson", + "Fiona Ross", + "Paul Hanslow" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Deva", + "article": "Tiro Devanagari Hindi has its origins in a typeface designed for the Murty Classical Library of India book series, so is especially suited to traditional literary publishing but also made with the needs of today\u2019s multiple print and screen media in mind. The Tiro Devanagari design applies a contemporary approach to the traditional styling of 19th and 20th Century metal types exemplified in those of the renowned Nirnaya Sagar Press, and is characterised by broader proportions, more generous counters, and strong diagonal strokes and terminals. The Hindi font balances traditional and modern forms of conjuncts. For the Open Font License release, Tiro Devanagari Hindi has been extended to support additional characters, and features a new italic companion. Each font also includes a Latin subset including diacritics for transcription of Indian languages. Tiro Devanagari Hindi was designed by John Hudson and Fiona Ross. The italic was adapted by Paul Hanslow. To contribute, see github.com/TiroTypeworks/Indigo. Modern Tiro Indic collection for classical South Asian texts The beauty and challenges of bridging the old and the new Two type designers separated by an eight-hour time difference, an ocean, and pandemic travel bans collaborated over video calls and email to make a cohesive set of fonts in 8 South Asian languages. In 2012, Harvard University Press commissioned Fiona Ross and John Hudson, through Tiro Typeworks, to design typefaces for the Murty Classical Library of India book series. The publisher needed to reprint ancient Indian literary, historical, and religious texts, including Vedic and early Sanskrit works. Since these old texts had been printed using traditional letterforms and early Indian typography techniques, the new fonts needed to retain some of the traditional style of the old texts, yet be clear and legible in modern print and digital media. In 2019 Google Fonts approached Tiro to make an extended and updated version of the Murty Fonts to be released as open source fonts in the Tiro Indic collection, offering users traditional text styles suitable for a variety of uses. Study the classics and language structure Before designing the typefaces, it was important to research classical texts and understand the unique characteristics of the languages. \u201cWe looked at very lovely manuscripts or early Indian printed materials from the 18th or 19th Centuries,\u201d said John Hudson. To learn more, read Modern Tiro Indic collection for classical South Asian texts.", + "minisite_url": null + }, + "Tiro Devanagari Marathi": { + "name": "Tiro Devanagari Marathi", + "designer": [ + "Tiro Typeworks", + "John Hudson", + "Fiona Ross", + "Paul Hanslow" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Deva", + "article": "Tiro Devanagari Marathi has its origins in a typeface designed for the Murty Classical Library of India book series, so is especially suited to traditional literary publishing but also made with the needs of today\u2019s multiple print and screen media in mind. The Tiro Devanagari design applies a contemporary approach to the traditional styling of 19th and 20th Century metal types exemplified in those of the renowned Nirnaya Sagar Press, and is characterised by broader proportions, more generous counters, and strong diagonal strokes and terminals. The Marathi font favours traditional, vertical forms of many conjuncts as still found in Marathi literary publishing. For the Open Font License release, Tiro Devanagari Marathi has been extended to support additional characters, and features a new italic companion. Each font also includes a Latin subset including diacritics for transcription of Indian languages. Tiro Devanagari Marathi was designed by John Hudson and Fiona Ross. The italic was adapted by Paul Hanslow. To contribute, see github.com/TiroTypeworks/Indigo. Modern Tiro Indic collection for classical South Asian texts The beauty and challenges of bridging the old and the new Two type designers separated by an eight-hour time difference, an ocean, and pandemic travel bans collaborated over video calls and email to make a cohesive set of fonts in 8 South Asian languages. In 2012, Harvard University Press commissioned Fiona Ross and John Hudson, through Tiro Typeworks, to design typefaces for the Murty Classical Library of India book series. The publisher needed to reprint ancient Indian literary, historical, and religious texts, including Vedic and early Sanskrit works. Since these old texts had been printed using traditional letterforms and early Indian typography techniques, the new fonts needed to retain some of the traditional style of the old texts, yet be clear and legible in modern print and digital media. In 2019 Google Fonts approached Tiro to make an extended and updated version of the Murty Fonts to be released as open source fonts in the Tiro Indic collection, offering users traditional text styles suitable for a variety of uses. Study the classics and language structure Before designing the typefaces, it was important to research classical texts and understand the unique characteristics of the languages. \u201cWe looked at very lovely manuscripts or early Indian printed materials from the 18th or 19th Centuries,\u201d said John Hudson. To learn more, read Modern Tiro Indic collection for classical South Asian texts.", + "minisite_url": null + }, + "Tiro Devanagari Sanskrit": { + "name": "Tiro Devanagari Sanskrit", + "designer": [ + "Tiro Typeworks", + "John Hudson", + "Fiona Ross", + "Paul Hanslow" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Deva", + "article": "Tiro Devanagari Sanskrit has its origins in a typeface designed for the Murty Classical Library of India book series, so is especially suited to traditional literary publishing but also made with the needs of today\u2019s multiple print and screen media in mind. The Tiro Devanagari design applies a contemporary approach to the traditional styling of 19th and 20th Century metal types exemplified in those of the renowned Nirnaya Sagar Press, and is characterised by broader proportions, more generous counters, and strong diagonal strokes and terminals. The Sanskrit font favours traditional forms of conjuncts. For the Open Font License release, Tiro Devanagari Sanskrit has been extended to support additional characters, including signs for Vedic texts, and features a new italic companion. Each font also includes a Latin subset including diacritics for transcription of Indian languages. Tiro Devanagari Sanskrit was designed by John Hudson and Fiona Ross. The italic was adapted by Paul Hanslow. To contribute, see github.com/TiroTypeworks/Indigo. Modern Tiro Indic collection for classical South Asian texts The beauty and challenges of bridging the old and the new Two type designers separated by an eight-hour time difference, an ocean, and pandemic travel bans collaborated over video calls and email to make a cohesive set of fonts in 8 South Asian languages. In 2012, Harvard University Press commissioned Fiona Ross and John Hudson, through Tiro Typeworks, to design typefaces for the Murty Classical Library of India book series. The publisher needed to reprint ancient Indian literary, historical, and religious texts, including Vedic and early Sanskrit works. Since these old texts had been printed using traditional letterforms and early Indian typography techniques, the new fonts needed to retain some of the traditional style of the old texts, yet be clear and legible in modern print and digital media. In 2019 Google Fonts approached Tiro to make an extended and updated version of the Murty Fonts to be released as open source fonts in the Tiro Indic collection, offering users traditional text styles suitable for a variety of uses. Study the classics and language structure Before designing the typefaces, it was important to research classical texts and understand the unique characteristics of the languages. \u201cWe looked at very lovely manuscripts or early Indian printed materials from the 18th or 19th Centuries,\u201d said John Hudson. To learn more, read Modern Tiro Indic collection for classical South Asian texts.", + "minisite_url": null + }, + "Tiro Gurmukhi": { + "name": "Tiro Gurmukhi", + "designer": [ + "Tiro Typeworks", + "John Hudson", + "Fiona Ross", + "Paul Hanslow" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "gurmukhi", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Guru", + "article": "Tiro Gurmukhi has its origins in a typeface designed for the Murty Classical Library of India book series, so is especially suited to traditional literary publishing but also made with the needs of today\u2019s multiple print and screen media in mind. The design reintroduces the stroke modulation of traditional Punjabi manuscript styles that is absent from the monolinear typefaces that became conventional for the script in the 20th Century. This gives Tiro Gurmukhi a strong traditional flavour while also something fresh in the context of modern typography. For the Open Font License release, Tiro Gurmukhi has been extended to support additional characters, and features a new italic companion. Each font also includes a Latin subset including diacritics for transcription of Indian languages. Tiro Gurmukhi was designed by John Hudson and Fiona Ross. The italic was adapted by Paul Hanslow. To contribute, see github.com/TiroTypeworks/Indigo. Modern Tiro Indic collection for classical South Asian texts The beauty and challenges of bridging the old and the new Two type designers separated by an eight-hour time difference, an ocean, and pandemic travel bans collaborated over video calls and email to make a cohesive set of fonts in 8 South Asian languages. In 2012, Harvard University Press commissioned Fiona Ross and John Hudson, through Tiro Typeworks, to design typefaces for the Murty Classical Library of India book series. The publisher needed to reprint ancient Indian literary, historical, and religious texts, including Vedic and early Sanskrit works. Since these old texts had been printed using traditional letterforms and early Indian typography techniques, the new fonts needed to retain some of the traditional style of the old texts, yet be clear and legible in modern print and digital media. In 2019 Google Fonts approached Tiro to make an extended and updated version of the Murty Fonts to be released as open source fonts in the Tiro Indic collection, offering users traditional text styles suitable for a variety of uses. Study the classics and language structure Before designing the typefaces, it was important to research classical texts and understand the unique characteristics of the languages. \u201cWe looked at very lovely manuscripts or early Indian printed materials from the 18th or 19th Centuries,\u201d said John Hudson. To learn more, read Modern Tiro Indic collection for classical South Asian texts.", + "minisite_url": null + }, + "Tiro Kannada": { + "name": "Tiro Kannada", + "designer": [ + "Tiro Typeworks", + "John Hudson", + "Fiona Ross", + "Kaja S\u0142ojewska" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "kannada", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Knda", + "article": "Tiro Kannada has its origins in a typeface designed for the Murty Classical Library of India book series, so is especially suited to traditional literary publishing but also made with the needs of today\u2019s multiple print and screen media in mind. The design takes inspiration from several sources: the crisp, open counters of the 19th Century types of the renowned Basel Mission Press; the styling of ligatures in types of the Gujarat Type Foundry from the 1930s; and the dynamic stroke angles of unattributed types found in a 20th Century Kannada textbook. Tiro Kannada features generously proportioned subscript letters for enhanced legibility. For the Open Font License release, Tiro Kannada has been extended to support additional characters, and features a new italic companion. Each font also includes a Latin subset including diacritics for transcription of Indian languages. Tiro Kannada was designed by John Hudson and Fiona Ross. The italic was adapted by Kaja S\u0142ojewska. To contribute, see github.com/TiroTypeworks/Indigo. Modern Tiro Indic collection for classical South Asian texts The beauty and challenges of bridging the old and the new Two type designers separated by an eight-hour time difference, an ocean, and pandemic travel bans collaborated over video calls and email to make a cohesive set of fonts in 8 South Asian languages. In 2012, Harvard University Press commissioned Fiona Ross and John Hudson, through Tiro Typeworks, to design typefaces for the Murty Classical Library of India book series. The publisher needed to reprint ancient Indian literary, historical, and religious texts, including Vedic and early Sanskrit works. Since these old texts had been printed using traditional letterforms and early Indian typography techniques, the new fonts needed to retain some of the traditional style of the old texts, yet be clear and legible in modern print and digital media. In 2019 Google Fonts approached Tiro to make an extended and updated version of the Murty Fonts to be released as open source fonts in the Tiro Indic collection, offering users traditional text styles suitable for a variety of uses. Study the classics and language structure Before designing the typefaces, it was important to research classical texts and understand the unique characteristics of the languages. \u201cWe looked at very lovely manuscripts or early Indian printed materials from the 18th or 19th Centuries,\u201d said John Hudson. To learn more, read Modern Tiro Indic collection for classical South Asian texts.", + "minisite_url": null + }, + "Tiro Tamil": { + "name": "Tiro Tamil", + "designer": [ + "Tiro Typeworks", + "Fernando Mello", + "Fiona Ross", + "Kaja S\u0142ojewska" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "tamil" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Taml", + "article": "Tiro Tamil has its origins in a typeface designed for the Murty Classical Library of India book series, so is especially suited to traditional literary publishing but also made with the needs of today\u2019s multiple print and screen media in mind. The design takes inspiration from Tamil metal types developed in Madras (Chennai) in the 19th and early 20th Century, which were influenced by both traditional palm leaf manuscripts and contemporary writing. The stroke modulation makes for a dynamic design for modern typography, while traditional forms of ligatures are accessible via OpenType Layout features. For the Open Font License release, Tiro Tamil has been extended to support additional characters, and features a new italic companion suitable for traditional slanted Tamil typography. Each font also includes a Latin subset including diacritics for transcription of Indian languages. Tiro Tamil was designed by Fernando Mello and Fiona Ross. The italic was adapted by Kaja S\u0142ojewska. To contribute, see github.com/TiroTypeworks/Indigo. Modern Tiro Indic collection for classical South Asian texts The beauty and challenges of bridging the old and the new Two type designers separated by an eight-hour time difference, an ocean, and pandemic travel bans collaborated over video calls and email to make a cohesive set of fonts in 8 South Asian languages. In 2012, Harvard University Press commissioned Fiona Ross and John Hudson, through Tiro Typeworks, to design typefaces for the Murty Classical Library of India book series. The publisher needed to reprint ancient Indian literary, historical, and religious texts, including Vedic and early Sanskrit works. Since these old texts had been printed using traditional letterforms and early Indian typography techniques, the new fonts needed to retain some of the traditional style of the old texts, yet be clear and legible in modern print and digital media. In 2019 Google Fonts approached Tiro to make an extended and updated version of the Murty Fonts to be released as open source fonts in the Tiro Indic collection, offering users traditional text styles suitable for a variety of uses. Study the classics and language structure Before designing the typefaces, it was important to research classical texts and understand the unique characteristics of the languages. \u201cWe looked at very lovely manuscripts or early Indian printed materials from the 18th or 19th Centuries,\u201d said John Hudson. To learn more, read Modern Tiro Indic collection for classical South Asian texts.", + "minisite_url": null + }, + "Tiro Telugu": { + "name": "Tiro Telugu", + "designer": [ + "Tiro Typeworks", + "John Hudson", + "Fiona Ross", + "Kaja S\u0142ojewska" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "telugu" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Tiro Telugu has its origins in a typeface designed for the Murty Classical Library of India book series, so is especially suited to traditional literary publishing but also made with the needs of today\u2019s multiple print and screen media in mind. The design combines the proportions of Telugu manuscript tradition, notably in the generous proportions of subscript letters to aid legibility with the pronounced stroke modulation and shaping of counters and finials inspired by the elegant metal types of the Swatantra Type Foundry. Tiro Telugu uses extensive contextual layout behaviour to support arbitrary conjuncts, making it suitable for Sanskrit and Pali as well as Telugu language texts. For the Open Font License release, Tiro Telugu has been extended to support additional characters, and features a new italic companion. Each font also includes a Latin subset including diacritics for transcription of Indian languages. Tiro Telugu was designed by John Hudson and Fiona Ross. The italic was adapted by Kaja S\u0142ojewska. To contribute, see github.com/TiroTypeworks/Indigo. To learn more, read Modern Tiro Indic collection for classical South Asian texts.", + "primary_script": "Telu", + "article": null, + "minisite_url": null + }, + "Titan One": { + "name": "Titan One", + "designer": [ + "Rodrigo Fuenzalida" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Titan One is a really fat display type with a happy and cheerful personality. It takes most of its essence from hand lettering with big brushes. It is designed to be used mainly on headers and short texts.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Titillium Web": { + "name": "Titillium Web", + "designer": [ + "Accademia di Belle Arti di Urbino" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Titillium is born inside the Accademia di Belle Arti di Urbino as a didactic project Course Type design of the Master of Visual Design Campi Visivi. The aim of the project is the creation of a collective fonts released under OFL. Each academic year, a dozen students work on the project, developing it further and solving problems. Any type designer interested in the amendment or revision of Titillium is invited to co-operate with us, or develop their own variants of the typeface according to the terms specified in the Open Font license. We also ask all graphic designers who use Titillium in their projects to email us some examples of the typeface family in use, in order to prepare a case histories database. Three years after the birth of Titillium, the project is still evolving, and even we don\u2019t know what it will become in the future. Special thanks go to: Prof. Luciano Perondi, design and curation Prof. Marcello Signorile, coordination Prof. Manuel Zanettin, web project supervision Diego Giusti, design of the first prototype", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Tomorrow": { + "name": "Tomorrow", + "designer": [ + "Tony de Marco", + "Monica Rizzolli" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Tomorrow is a geometric family ranging from a neutral Thin weight to a vibrant contrast-based Black. It is an excellent fit for small sizes and big headlines. Easy to read and hard to forget. The Tomorrow project is led by Just in Type, a type design foundry based in Brazil. To contribute, see github.com/MonicaRizzolli/Tomorrow", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Tourney": { + "name": "Tourney", + "designer": [ + "Tyler Finck", + "ETC" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Tourney is a collaboration of tech and sport. At least, that is where the inspiration came from. Tourney would feel at home on a space ship or in a stadium. The lightest weight of Tourney (100) is almost an outline and that \"stroke\" thickens as the weights increase. 900 is completely solid. To contribute, see github.com/Etcetera-Type-Co/Tourney.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Trade Winds": { + "name": "Trade Winds", + "designer": [ + "Sideshow" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Ahoy, matey! Prepare to set sail on the high seas! Let TradeWinds guide you to exotic ports of call where your next adventure begins. This breezy font by Squid and Sideshow will blow you away!", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Train One": { + "name": "Train One", + "designer": [ + "Fontworks Inc." + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "japanese", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Train is a gothic-style typeface made with an outer and inner line. It is open and vibrant, and its strong first impression makes it suitable for logos and titles. It is distributed under the name \"Railway\" in Japan by FontWorks. To contribute to the project, visit github.com/fontworks-fonts/Train", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "Triodion": { + "name": "Triodion", + "designer": [ + "Aleksandr Andreev" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Triodion is a contemporary Church Slavonic font that reproduces the typeface most commonly used in liturgical books published in St. Petersburg and Moscow at the end of the 19th and beginning of the 20th century and the current editions printed in Moscow by the Publishing House of the Moscow Patriarchate. To contribute, please see github.com/slavonic/Triodion.", + "primary_script": "Cyrl", + "article": null, + "minisite_url": null + }, + "Trirong": { + "name": "Trirong", + "designer": [ + "Cadson Demak" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "thai", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Trirong means \u201ctricolor flag\u201d in Thai, and represents the flag of Thailand. A serif Latin and looped Thai typeface, it is characterized by thick and thin strokes, and its narrow and tall structure echoes that of traditional Thai typefaces. It saves space while preserving readability and legibility with its oval-shape looped terminal. This looped Thai and Transitional serif Latin works well in formal contexts. The similarity between some glyphs such as \u0e01 \u0e16 \u0e20 \u0e24 \u0e26, and \u0e0e and \u0e0f is something to take into consideration because it might lead to confusion when typesetting very short texts. Trirong takes a specific approach in how it deals with the thick and thin strokes in Thai glyphs. Other type designers of Thai fonts may like to use this approach as a reference. Formal looped Thai typefaces have delicate details, so it is important for type designers to take care when extending them into heavy weights and avoid obscuring important details. The sizes and positions of vowels and tone marks need to be managed carefully too, because they are all relevant to readability, legibility, and overall texture. The Trirong project is led by Cadson Demak, a type foundry in Thailand. To contribute, see github.com/cadsondemak/trirong", + "primary_script": "Thai", + "article": null, + "minisite_url": null + }, + "Trispace": { + "name": "Trispace", + "designer": [ + "Tyler Finck", + "ETC" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Trispace is a typeface where all letters occupy one of three possible widths. Monospace inspired, but with some proportional touches. Trispace is designed by Tyler Finck (ETC). To contribute see github.com/Etcetera-Type-Co/Trispace", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Trocchi": { + "name": "Trocchi", + "designer": [ + "Vernon Adams" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Trocchi is a design derived from a number of old faces from the English typecutter Vincent Figgins (1766-1844) including Nebiolo\u2019s \u2018Egiziano\u2019, and Caslon & Co\u2019s \u2018Antique No.4\u2032 and \u2018Ionic No.2\u2032. Trocchi derivates from these earlier designs to produce a more casual slab serif. Trocchi is designed for use both as text and display type. The font is named after the Scottish novelist Alexander Trocchi. To contribute to the project contact Vernon Adams and see Trocchi on GitHub.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Trochut": { + "name": "Trochut", + "designer": [ + "Andreu Balius" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Trochut is a funny geometric typeface developed by Andreu Balius as an homage to Joan Trochut Blanchart (1920-1980) from its Bisonte type specimen. Useful for your cool magazine stuff, it also works quite well on posters, book jackets and other display uses on the web. Trochut currently includes Regular, Italic and Bold styles. More are available from TypeRepublic.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Truculenta": { + "name": "Truculenta", + "designer": [ + "Omnibus-Type" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Truculenta is an irregular sans serif typeface based on mid-century lettering works, yet with a little twist. This quirky grotesque is a variable font with three axes (weight, width and optical size), allowing a wide range of text sizes without losing readability. This vibrant typeface is highly suitable for packaging, branding, book covers, illustrated editions, and film titles. Truculenta was designed by Ivan Castro, Eva Sanz and Omnibus-Type Team. To contribute, see github.com/Omnibus-Type/Truculenta.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Trykker": { + "name": "Trykker", + "designer": [ + "Magnus Gaarde" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Trykker is a high contrast serifed text face. Trykker has a pleasant old fashioned elegance derived from on 16th century text faces. Trykker can be used from small sizes to larger display settings.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Tsukimi Rounded": { + "name": "Tsukimi Rounded", + "designer": [ + "Takashi Funayama" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Tsukimi Rounded is kana font that is based san-go(Japanese traditional go-number sized type, #3) in Tsukiji Type Foundry\u2019s specimen books. Original san-go type is Mincho style but Tsukimi Rounded is sans-serif typeface with rounded terminals. To contribute to the project, visit github.com/mt-funa/Tsukimi-Rounded", + "primary_script": "Hira", + "article": null, + "minisite_url": null + }, + "Tuffy": { + "name": "Tuffy", + "designer": [ + "Thatcher Ulrich" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext", + "phoenician" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Tuffy is a grotesque sans-serif type.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Tulpen One": { + "name": "Tulpen One", + "designer": [ + "Naima Ben Ayed" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Tulpen is a tall sans serif type, suitable for display uses in headlines and other large text.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Turret Road": { + "name": "Turret Road", + "designer": [ + "Dale Sattler" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Turret Road is a geometric sans serif typeface, with very low contrast, high x-height, high glyph height, and playful diacritics. Turret Road delves into eugenics, solar evolution, science fiction and homeward conversations. For more information, see its project overview. To contribute, see github.com/noponies/Turret-Road.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Twinkle Star": { + "name": "Twinkle Star", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Twinkle Star is a cute and fun juvenile script. It comes in two stylistic styles: A Script with a more curvy quality and a casual style with more children writing resemblance. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/twinkle-star.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ubuntu": { + "name": "Ubuntu", + "designer": [ + "Dalton Maag" + ], + "license": "ufl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "The Ubuntu Font Family are a set of matching new libre/open fonts in development during 2010-2011. The development is being funded by Canonical Ltd on behalf the wider Free Software community and the Ubuntu project. The technical font design work and implementation is being undertaken by Dalton Maag. Both the final font Truetype/OpenType files and the design files used to produce the font family are distributed under an open licence and you are expressly encouraged to experiment, modify, share and improve. The new Ubuntu Font Family was started to enable the personality of Ubuntu to be seen and felt in every menu, button and dialog. The typeface is sans-serif, uses OpenType features and is manually hinted for clarity on desktop and mobile computing screens. The scope of the Ubuntu Font Family includes all the languages used by the various Ubuntu users around the world in tune with Ubuntu's philosophy which states that every user should be able to use their software in the language of their choice. So the Ubuntu Font Family project will be extended to cover many more written languages. Ubuntu and Canonical are registered trademarks of Canonical Ltd.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ubuntu Condensed": { + "name": "Ubuntu Condensed", + "designer": [ + "Dalton Maag" + ], + "license": "ufl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "The Ubuntu Font Family are a set of matching new libre/open fonts in development during 2010-2011. The development is being funded by Canonical Ltd on behalf the wider Free Software community and the Ubuntu project. The technical font design work and implementation is being undertaken by Dalton Maag. Both the final font Truetype/OpenType files and the design files used to produce the font family are distributed under an open licence and you are expressly encouraged to experiment, modify, share and improve. The new Ubuntu Font Family was started to enable the personality of Ubuntu to be seen and felt in every menu, button and dialog. The typeface is sans-serif, uses OpenType features and is manually hinted for clarity on desktop and mobile computing screens. The scope of the Ubuntu Font Family includes all the languages used by the various Ubuntu users around the world in tune with Ubuntu's philosophy which states that every user should be able to use their software in the language of their choice. So the Ubuntu Font Family project will be extended to cover many more written languages. Ubuntu and Canonical are registered trademarks of Canonical Ltd. Updated August 2014: All styles were updated to 0.83 to fix a problem where some characters were not displayed as expected in some OS X applications.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ubuntu Mono": { + "name": "Ubuntu Mono", + "designer": [ + "Dalton Maag" + ], + "license": "ufl", + "category": "MONOSPACE", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "monospace" + ], + "description": "The Ubuntu Font Family are a set of matching new libre/open fonts in development during 2010-2011. The development is being funded by Canonical Ltd on behalf the wider Free Software community and the Ubuntu project. The technical font design work and implementation is being undertaken by Dalton Maag. Both the final font Truetype/OpenType files and the design files used to produce the font family are distributed under an open licence and you are expressly encouraged to experiment, modify, share and improve. The new Ubuntu Font Family was started to enable the personality of Ubuntu to be seen and felt in every menu, button and dialog. The typeface is sans-serif, uses OpenType features and is manually hinted for clarity on desktop and mobile computing screens. The scope of the Ubuntu Font Family includes all the languages used by the various Ubuntu users around the world in tune with Ubuntu's philosophy which states that every user should be able to use their software in the language of their choice. So the Ubuntu Font Family project will be extended to cover many more written languages. Ubuntu and Canonical are registered trademarks of Canonical Ltd.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ubuntu Sans": { + "name": "Ubuntu Sans", + "designer": [ + "Dalton Maag" + ], + "license": "ufl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "The Ubuntu Font Family are a set of matching new libre/open fonts in development during 2010-2011, with further expansion work and bug fixing in 2015 and 2022-2023. The development is being funded by Canonical Ltd on behalf the wider Free Software community and the Ubuntu project. The technical font design work and implementation has been undertaken by Dalton Maag, Type Network, DJR, and Dual Type. Both the final font Truetype/OpenType files and the design files used to produce the font family are distributed under an open licence and you are expressly encouraged to experiment, modify, share and improve. The new Ubuntu Font Family was started to enable the personality of Ubuntu to be seen and felt in every menu, button and dialog. The scope of the Ubuntu Font Family includes all the languages used by the various Ubuntu users around the world in tune with Ubuntu's philosophy which states that every user should be able to use their software in the language of their choice. So the Ubuntu Font Family project will be extended to cover many more written languages. Ubuntu and Canonical are registered trademarks of Canonical Ltd. To contribute, see github.com/canonical/Ubuntu-Sans-fonts.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ubuntu Sans Mono": { + "name": "Ubuntu Sans Mono", + "designer": [ + "Dalton Maag" + ], + "license": "ufl", + "category": "MONOSPACE", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "greek-ext", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "monospace" + ], + "description": "The Ubuntu Font Family are a set of matching new libre/open fonts in development during 2010-2011, with further expansion work and bug fixing in 2015 and 2022-2023. The development is being funded by Canonical Ltd on behalf the wider Free Software community and the Ubuntu project. The technical font design work and implementation has been undertaken by Dalton Maag, Type Network, DJR, and Dual Type. Both the final font Truetype/OpenType files and the design files used to produce the font family are distributed under an open licence and you are expressly encouraged to experiment, modify, share and improve. The new Ubuntu Font Family was started to enable the personality of Ubuntu to be seen and felt in every menu, button and dialog. The scope of the Ubuntu Font Family includes all the languages used by the various Ubuntu users around the world in tune with Ubuntu's philosophy which states that every user should be able to use their software in the language of their choice. So the Ubuntu Font Family project will be extended to cover many more written languages. Ubuntu and Canonical are registered trademarks of Canonical Ltd. To contribute, see github.com/canonical/Ubuntu-Sans-Mono-fonts.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Uchen": { + "name": "Uchen", + "designer": [ + "Christopher J. Fynn" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "tibetan" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Uchen is a free, Unicode compatible, Tibetan script font designed in Uchen style, it is suitable for use in desktop publishing. Created for the Dzongkha Development Commission. Uchen is also available here.", + "primary_script": "Tibt", + "article": null, + "minisite_url": null + }, + "Ultra": { + "name": "Ultra", + "designer": [ + "Astigmatic" + ], + "license": "apache2", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Ultra is an ultra bold slab typeface with nods to wood type styles like Clarendon and Egyptian. Strong and dramatic letterforms for titling, a serious, yet friendly, and easily legible typestyle. Perfect for power headlines and titling for impact.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Unbounded": { + "name": "Unbounded", + "designer": [ + "NaN" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Unbounded is possibly the first open source, freely available and on-chain funded font in the world, thanks to the Polkadot treasury. Unbounded by both name and nature, it is available in eight display weights ranging from Light to Black as a variable font. The typeface supports both Latin and Cyrillic scripts with over 1300 individual glyphs, including a collection of symbols and a unique figure building system. In addition the sizeable glyph set accommodates for hundreds of languages worldwide. Unbounded is the product of a joint collaboration between Studio Koto, NaN, Parity Technologies and Web3 Foundation for Polkadot Network. To contribute, please see github.com/googlefonts/unbounded.", + "primary_script": null, + "article": null, + "minisite_url": "https://unbounded.polkadot.network/" + }, + "Uncial Antiqua": { + "name": "Uncial Antiqua", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Uncial Antiqua is a hybrid typeface which combines the speedier penned styles of Uncial and Half Uncial letterforms together in a formal text representation. Signature letterforms to the Uncial & Half Uncial styles are not sacrificed in this compilation, yet readability is surprisingly maintained when read in context.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Underdog": { + "name": "Underdog", + "designer": [ + "Sergey Steblina", + "Jovanny Lemonad" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Underdog is an informal typeface with broken corner lines. It can serve many different purposes, in posters, magazine headlines or on food packaging. It changes its mood as the context of use changes: it can be playful in a childish design, feel punk in musical posters, unceremonious in fashion magazines or aggressive in a warning poster. The inspiration for this typeface comes from hand-made signs seen on the street, and also the lettering found in musical culture. All shapes, lines and corners look like they are improvised, yet each of them has common rules to make the whole typeface work together, in both short words and longer sentences. The typeface was designed by Sergey Steblina, and the font was technically engineered and published by Jovanny Lemonad.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Unica One": { + "name": "Unica One", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Unica One is a condensed unicase sans serif style. Good performance for composing headlines and short texts. Readbility and simplicity are some of the virtues of this unique typeface. Since Junuary 2023, the glyphset is completed and and the font has a bigger language support To contribute, see github.com/etunni/unica.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "UnifrakturCook": { + "name": "UnifrakturCook", + "designer": [ + "j. 'mach' wust" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "UnifrakturCook is a blackletter font. It is based on Peter Wiegel\u2019s font Koch fette deutsche Schrift which is in turn based on a 1910 typeface by Rudolf Koch. While the glyph design of Peter Wiegel\u2019s font has hardly been changed at all, UnifrakturCook uses smart font technologies for displaying the font\u2019s ligatures (OpenType, Apple Advanced Typography and SIL Graphite). An experimental feature is the distinction of good blackletter typography between required ligatures \u2039ch, ck, \u017ft, tz\u203a that must be kept when letterspacing is increased, and regular ligatures (for instance, \u2039fi, fl\u203a) that are broken up when letterspacing is increased. Using the ligatures: Whenever you type a sequence such as \u2039tz\u203a, it will automatically be displayed as a ligature. When you want to oppress a ligature, for instance in the German word \u00abZeitzone\u00bb \u2018time zone\u2019 that should have no tz-ligature, then you put a zero width non-joiner between the \u2039t\u203a and the \u2039z\u203a or, alternatively, you write \u00abZeit‌zone\u00bb in the HTML code. Unfortunately, this will only work on a browser that is capable of displaying ligatures. Of course, UnifrakturMaguntia provides the character \u2039\u017f\u203a (U+017F LATIN SMALL LETTER LONG S)! UnifrakturCook is optimized for @font-face linking on the internet by combining standards compliance with a permissive license. UnifrakturCook has first been published in 2010 at UnifrakturCook. It has been edited with FontForge, the libre outline font editor. OpenType features have been added with FontForge directly. AAT features have been added with ftxenhancer of the Apple Font Tools. Graphite has been added with the Graphite Compiler. For more information about AAT and Graphite, you may want to check out the Free Tengwar Font Project: Adding Graphite and AAT to a font.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "UnifrakturMaguntia": { + "name": "UnifrakturMaguntia", + "designer": [ + "j. 'mach' wust" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "UnifrakturMaguntia is based on Peter Wiegel\u2019s font Berthold Mainzer Fraktur which is in turn based on a 1901 typeface by Carl Albert Fahrenwaldt. While the glyph design of Peter Wiegel\u2019s font has hardly been changed at all, UnifrakturMaguntia uses smart font technologies for displaying the font\u2019s ligatures (OpenType, Apple Advanced Typography and SIL Graphite). An experimental feature is the distinction of good blackletter typography between required ligatures \u2039ch, ck, \u017ft, tz\u203a that must be kept when letterspacing is increased, and regular ligatures (for instance, \u2039fi, fl\u203a) that are broken up when letterspacing is increased.UnifrakturMaguntia is optimized for @font-face linking on the internet by combining standards compliance with a permissive license.UnifrakturMaguntia has first been published in 2010 at UnifrakturMaguntia. It has been edited with FontForge, the libre outline font editor. OpenType features have been added with FontForge directly. AAT features have been added with ftxenhancer of the Apple Font Tools. Graphite has been added with the Graphite Compiler. For more information about AAT and Graphite, you may want to check out the Free Tengwar Font Project: Adding Graphite and AAT to a font.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Unkempt": { + "name": "Unkempt", + "designer": [ + "Sideshow" + ], + "license": "apache2", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Unkempt is lacking in order and neatness, and began with hand-lettering. This off-kilter gem is definitely different than a traditional regimented typeface.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Unlock": { + "name": "Unlock", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Unlock is a geometric typeface with vertical stress, short descenders and a significant \"x\" height . Basic shapes from rectangles, some with rounded corners (the only presence of curves), completely rectangular counterpounchs and innovative solutions for the joints, make Unlock has a unique style. Their rough appearance, reminiscent of the old types of wood although the design of many of the signs we associate also a futuristic design. Unlock is ideal for the composition of headlines and short texts but its design provides for the possibility of using it in small sizes. The February 2023 update features a bigger glyphset, fractions and some minor aesthetic modifications. To contribute, see github.com/etunni/unlock.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Unna": { + "name": "Unna", + "designer": [ + "Omnibus-Type" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Unna has a soft look that is expressed through delicated serifs and strong stems, thus accentuating the typical neoclassical vertical texture. The type designer, Jorge de Buen, was inspired to name this design with the surname of his mother.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Updock": { + "name": "Updock", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "What's Updock? Other than a famous query by an even more famous bunny, it's a beautiful script font with a nearly upright stress. Updock is an extremely legible formal script with clean connectors and a variety of of discretionary ligatures. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/updock.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Urbanist": { + "name": "Urbanist", + "designer": [ + "Corey Hu" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "Urbanist is a low-contrast, geometric sans-serif inspired by Modernist typography and design. The project was launched by Corey Hu in 2020 with 9 weights and accompanying italics. Conceived from elementary shapes, Urbanist's neutrality makes it a versatile display font for print and digital mediums. It is currently available as a variable font with a weight axis. To contribute, see github.com/coreyhu/Urbanist. New font family: Urbanist by Corey Hu Urbanist is a low-contrast, geometric sans-serif inspired by Modernist typography and design. The project was launched by Corey Hu in 2020 with 9 weights and accompanying italics. Conceived from elementary shapes, Urbanist's neutrality makes it a versatile display font for print and digital mediums. It is currently available as a variable font with a weight axis: https://fonts.google.com/specimen/Urbanist To learn more, read New font family: Urbanist by Corey Hu.", + "minisite_url": null + }, + "VT323": { + "name": "VT323", + "designer": [ + "Peter Hull" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "monospace" + ], + "description": "This font was created from the glyphs of the DEC VT320 text terminal, which I used in college, and for which I have retained an unaccountable nostalgia. I used a variety of tools, including Gimp, Python/PIL, and of course, FontForge. The VT320 glyphs were designed with a nonrectangular pixel aspect ratio to fit the way the terminal scanned the CRT, so for this VT323 variation I had Python munge the locations and attempt to emulate the way the electron beam actually illuminated the phosphor and smeared the pixels horizontally on the terminal's CRT, so it looks more like what the actual glyph looked like on the screen. Python then drew the proper pixels into a 1:1 pixel grid as a monochrome PNG, which FontForge autoscanned into outlines. I have attempted to support most of the glyphs available on the VT320, but that is a limited set to begin with, so please don't be disappointed that I haven't supported Esperanto or Riograndenser Hunsr\u00fcckisch or whatever. There is another earlier variation called \"VT321\" that uses a more standard 1:1 pixel drawing technique, if you want to grab that as well. I personally like VT323 better, and actually use it as my terminal font when cruising on the command line.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Vampiro One": { + "name": "Vampiro One", + "designer": [ + "Riccardo De Franceschi" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Foundry: Sorkin Type Co Vampiro One is a low contrast script font. It was inspired by the 20th century Italian tradition of monoline scripts. Vampiro One is best used for display purposes at medium to large sizes. To contribute to the project contact Eben Sorkin. Updated September 2015: Internal metadata corrected.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Varela": { + "name": "Varela", + "designer": [ + "Joe Prince" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Varela is a modern sans-serif font that blends styles of many great typefaces. Its uniqueness stems from vertical cuts on lowercase letters such as \"a, c, e, g, s\" and uppercase letters such as \"C, G, J, S\". Because it is extremely clean and minimalistic in design, it is able to sit well in body text at small sizes, or be used for headlines and menu items. Varela is a great font for anything containing text or content.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Varela Round": { + "name": "Varela Round", + "designer": [ + "Joe Prince" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "hebrew", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Varela Round is based on the well known font Varela. Its rounded corners make it perfect for a soft feel and work great at any size. It is suitable for headlines and printed collateral, and maintains its distinct properties amongst other objects. Varela Round is a great font for any website.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Varta": { + "name": "Varta", + "designer": [ + "Joana Correia", + "Viktoriya Grabowska", + "Eben Sorkin" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Varta is a sans serif family that fuses warm humanity with bright clarity and professional crispness whos congenial personality emerges at larger sizes. It is a variable font that has been designed to render well down to surprisingly small sizes and on both low and high-quality screens, which provides a broad range of utility. Its features make it well suited to a variety of tasks, including sign systems, editorial design, packaging, and extended reading on screens. To contribute, see https://github.com/SorkinType/Varta Varta is published by Sorkin Type.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Vast Shadow": { + "name": "Vast Shadow", + "designer": [ + "Nicole Fally" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SLAB_SERIF", + "classifications": [ + "display" + ], + "description": "Vast is a Victorian slab serif advertising type. Vast has a feeling of sturdy solidity combined with just a little bit of refinement. Because Vast Shadow has a thin shadow that won't display well at small sizes we recommend that you use it from 32px and larger.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Vazirmatn": { + "name": "Vazirmatn", + "designer": [ + "Saber Rastikerdar" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "arabic", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Vazirmatn is a Persian/Arabic font project that started in 2015 under the name Vazir with the idea of a new simple and legible typeface suitable for web pages and applications. Thanks to DejaVu Sans font (v2.35) published in public domain there was a free software base to start the Vazir project. Although Vazir was a completely different typeface, still the original software was common. For the Latin glyphset, Vazirmatn is combined with Roboto. The last release in June 2022, fixes some bugs, improves the design, and offers a more expanded glyphset. Check out the font's website! To contribute, see github.com/rastikerdar/vazirmatn.", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Vesper Libre": { + "name": "Vesper Libre", + "designer": [ + "Mota Italic" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Vesper has a classical foundation, but with an entirely modern appearance, making reading comfortable, but never boring. Vesper's Devanagari design was started by Rob Keller in 2006 and inspired Vesper's Latin letterforms. This process was featured in a I Love Typography article in 2009. The Devanagari character set was completed in 2014 through a collaboration with Kimya Gandhi. Vesper Libre is a special web version that has been optimized for online use. Tiny details have been simplified and the character set is reduced for the perfect balance of beautiful web typography with fast page loading. Update, April 2015: A major revision was made that adjusted the character set, OpenType features and vertical merics. The Vesper Libre project is led by Mota Italic, a type design foundry based in Mumbai, India. To contribute, see github.com/motaitalic/vesper-libre", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Viaoda Libre": { + "name": "Viaoda Libre", + "designer": [ + "Gydient", + "Vi\u1ec7tAnh Nguy\u1ec5n" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "Viaoda Libre is a display family inspired by Vietnamese cultural symbolism. Its design feels traditional yet it features some modern elements. Viaoda Libre works well in large titles and subtitles. We're actively working on the family. We hope to improve the Vietnamese in future releases. Contact at gydient.com Contribute at github.com/bettergui/ViaodaLibre", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Vibes": { + "name": "Vibes", + "designer": [ + "AbdElmomen Kadhim (blueMix)" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "arabic", + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Vibes is a typeface designed for Arabic, as well as English languages. It was designed to be a mixture that radiates energy, flexibility, and cuteness. It is specially designed to be used for title texts. Acknowledgements goes to Nadine Chahine, where this work wouldn't incepted without her help. To contribute, see github.com/bluemix/vibes-typeface.", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Vibur": { + "name": "Vibur", + "designer": [ + "Johan Kallas" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Vibur is a font based on handwriting. Author of the typeface Johan Kallas set out to create a display font from his own handwriting by making it more pronounced and re-modelling the strokes - making it nicer than his actual handwriting is - that can be used for various typesetting contexts. It comes with numerous ligatures that can be activated with OpenType features. The curvy style is best combined with playful and bright designs.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Victor Mono": { + "name": "Victor Mono", + "designer": [ + "Rune Bj\u00f8rner\u00e5s" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "monospace" + ], + "description": "Victor Mono is a monospaced font with optional semi-connected cursive italics and programming symbol ligatures. The typeface is slender, crisp and narrow, with a large x-height and clear punctuation, making it legible and ideal for code. The typeface was created to meet specific requirements for code and programming: narrow enough to fit a lot of text wide enough to be scannable strict, geometric and readable regular style more friendly and flowing italics programming symbol ligatures To contribute, see github.com/rubjo/victor-mono-font", + "primary_script": null, + "article": null, + "minisite_url": "https://rubjo.github.io/victor-mono" + }, + "Vidaloka": { + "name": "Vidaloka", + "designer": [ + "Cyreal" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Vidaloka is a Didone display typeface for headlines and short blocks of text. Because of its high contrast it will work best from 16px and above. The main features are curlified drops and sloped terminals. Tail of Q has a distinctive baroque inspired form. Vidaloka is designed by Alexei Vanyashin and Olga Karpushina.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Viga": { + "name": "Viga", + "designer": [ + "Fontstage" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Viga is a sans serif with a good performance on screen. Its anatomy gives it a great personality and also makes it useful for reading on screen.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Vina Sans": { + "name": "Vina Sans", + "designer": [ + "Nguyen Type" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Vina Sans is an open-source font inspired by the letters on street signs, flyers, and posters found throughout Vietnam. In addition, the font also incorporates an element of font errors that appear a lot on publications with a low level of perfection. To contribute, please visit github.com/nguyentype/vinasans.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Voces": { + "name": "Voces", + "designer": [ + "Ana Paula Megda", + "Pablo Ugerman" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Voces is a new graphic solution for the glyphs of the International Phonetic Alphabet (IPA), considering the specific use-case of bilingual dictionaries. For this purpose, the typeface was conceived as a sans serif with gradual strokes, generous counterforms, a large \"x\" height, and short ascenders and descenders. These features attempt to solve the problems of spatial economy and print fidelity that dictionary typesetting presents. Ink traps were applied with consideration for the aesthetic and functional requirements. Voces was selected for exhibition in Tipos Latinos 2010. Voces is designed by Ana Paula Megda and Pablo Ugerman. To contribute to the project contact them at info@ugrdesign.com.ar Updated January 2016: The non-breaking space character is now empty and set to the same width as the space character.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Volkhov": { + "name": "Volkhov", + "designer": [ + "Cyreal" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Volkhov is a low-contrast seriffed typeface with a robust character, intended for providing a motivating reading experience. As a four-weight family it is well-suited for complex text environments being economic and legible, contemporary and prominent. Many of its design solutions relate to this purpose: large open counters, rather short descenders, and brutal asymmetric serifs. Spacing in Bold is slightly increased compared to the normal weight, because the bold mass is mostly grown inwards. The Italic has a steep angle and a distinctive calligraphically reminiscent character, as a counterpart to the rigorous Regular. Designed by Ivan Petrov.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Vollkorn": { + "name": "Vollkorn", + "designer": [ + "Friedrich Althausen" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Vollkorn came into being as the first typeface design by Friedrich Althausen. First published in 2005 under a Creative Commons license, it was soon downloaded thousands of times and used in all kinds of web and print projects. It intends to be a quiet, modest and high quality text face for bread and butter use. Unlike many text typefaces from the Renaissance period until now, it has dark and meaty serifs and a bouncing and healthy look. It might be used in body copy, or just as well for headlines and titles. \u00bbVollkorn\u00ab (pronounced \u00bbFollkorn\u00ab) is German for \u00bbwholemeal\u00ab which refers to the old term \u00bbBrotschrift\u00ab. It stood for the small fonts for every day use in hand setting times. In May 2020, it was updated to be a Variable Font with a \"Weight\" axis in both Roman and Italic. The Vollkorn project is led by Friedrich Althausen, a typeface designer in Germany. To contribute, see github.com/FAlthausen/Vollkorn-Typeface", + "primary_script": null, + "article": null, + "minisite_url": "http://vollkorn-typeface.com/" + }, + "Vollkorn SC": { + "name": "Vollkorn SC", + "designer": [ + "Friedrich Althausen" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Vollkorn came into being as my first type designing attempt. I published the Regular in 2005 under a Creative-Commons-License. Until the counter finally collapsed two years later it had been downloaded thousands of times and used for web and print matters. It intends to be a quiet, modest and well working text face for bread and butter use. Unlike its examples in the book faces from the renaissance until today, it has dark and meaty serifs and a bouncing and healthy look. It might be used as body type as well as for headlines or titles. \u00bbVollkorn\u00ab (pronounced \u00bbFollkorn\u00ab) is German for \u00bbwholemeal\u00ab which refers to the old term \u00bbBrotschrift\u00ab. It stood for the small fonts for every day use in hand setting times. This is the Small Cap sister family to the main Vollkorn family.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Voltaire": { + "name": "Voltaire", + "designer": [ + "Yvonne Sch\u00fcttler" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Voltaire is a low-contrast condensed semi-geometric style sans-serif. Voltaire is highly readable and will work from medium text sizes all the way up to larger display settings. Voltaire was inspired by 20th century Swedish posters whose letters have similar forms. Latest upgrade from January 2023 expands the Latin script language coverage and kerning added. To contribute, see github.com/SorkinType/Voltaire .", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Vujahday Script": { + "name": "Vujahday Script", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Vujaday! That eerie feeling that nothing like this has ever happened before. This script font comes with both a plain and a script stylistic set. Its rough edge adds to the handwritten feel. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/vujahday.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "WDXL Lubrifont JP N": { + "name": "WDXL Lubrifont JP N", + "designer": [ + "NightFurySL2001" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "japanese", + "latin", + "latin-ext", + "symbols2" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Jpan", + "article": "WDXL Lubrifont is a Chinese display font that emphasize on a compact yet welcoming experience, expanded for daily Chinese typography with professional typesetting in mind. To contribute to the project or raise an issue, please visit the GitHub repository.", + "minisite_url": null + }, + "WDXL Lubrifont SC": { + "name": "WDXL Lubrifont SC", + "designer": [ + "NightFurySL2001" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "chinese-simplified", + "cyrillic", + "latin", + "latin-ext", + "symbols2" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Hans", + "article": "WDXL Lubrifont is a Chinese display font that emphasize on a compact yet welcoming experience, expanded for daily Chinese typography with professional typesetting in mind. To contribute to the project or raise an issue, please visit the GitHub repository.", + "minisite_url": null + }, + "WDXL Lubrifont TC": { + "name": "WDXL Lubrifont TC", + "designer": [ + "NightFurySL2001" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "chinese-traditional", + "cyrillic", + "latin", + "latin-ext", + "symbols2" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Hant", + "article": "WDXL Lubrifont is a Chinese display font that emphasize on a compact yet welcoming experience, expanded for daily Chinese typography with professional typesetting in mind. To contribute to the project or raise an issue, please visit the GitHub repository.", + "minisite_url": null + }, + "Waiting for the Sunrise": { + "name": "Waiting for the Sunrise", + "designer": [ + "Kimberly Geswein" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Waiting for the Sunrise is based on the handwriting of a high school student. The title comes from the song Lift Me Up by The Afters. Although this font was created during a time of darkness in my life, it is a cheery, perky font. It is a reminder to me of the joy that comes after mourning.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Wallpoet": { + "name": "Wallpoet", + "designer": [ + "Lars Berggren" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Wallpoet is inspired by the often political, short, sometimes provocative, sometimes funny or both, messages found on city walls, sprayed by some anonymous agent. Words, images or both! The idea behind the font is making a font with a bit of punch, but still easy to use for template graffiti. Print, cut & spray - being the key concept. That's why it has no curves and off course is a stencil font. With the font, Lars wants to pay respect to the urban guerilla scene, which has inspired him so often with it's total disrespect for the traditional and ingenious ability to break out of the traditional box.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Walter Turncoat": { + "name": "Walter Turncoat", + "designer": [ + "Sideshow" + ], + "license": "apache2", + "category": "HANDWRITING", + "subsets": [ + "latin" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Contrary to popular lore, Walter Turncoat was NOT a traitor executed during the Revolutionary War. Actually, Walter spent his days carefully executing new typefaces doing his part to help establish a free press! Ever the patriot, Squid honors old Walter with this spiffy font sure to bring out the Yankee Doodle in you. * All characters described above are fictitious with the possible exception of Squid, whose existence remains an ongoing debate. Nevertheless you should check out his other fonts.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Warnes": { + "name": "Warnes", + "designer": [ + "Eduardo Tunni" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "The retro look of this typeface reminds us of the metal badges used in the past to show car model names. The family name \u201cWarnes\u201d is the name of a street in the city of Buenos Aires where all the shops are garages selling spare parts. The February 2023 update features a bigger glyphset, fractions and some minor aesthetic modifications. To contribute, see github.com/etunni/warnes.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Water Brush": { + "name": "Water Brush", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "It's cool and refreshing. Water Brush is a contemporary script style. The dry brush texture is indicative of a camel hair brush filled with color on a watercolor textured paper. The characters are loose and expressive\u2014 perfect for casual and sophisticated situations. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/water-brush.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Waterfall": { + "name": "Waterfall", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "display", + "handwriting" + ], + "description": "Waterfall is a calligraphic script that combines elements of traditional hand lettered italic form with more formal, elegant script connecting characters. It's both beautiful and contemporary. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/waterfall.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Wavefont": { + "name": "Wavefont", + "designer": [ + "Dmitry Ivanov" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [], + "stroke": null, + "classifications": [ + "display", + "symbols" + ], + "description": "Wavefont is a variable font with Weight, Round, and Vertical Alignment axes for rendering data like waveforms, spectrums, diagrams, and bars. Wavefont bars correspond to values from 0 to 100, assigned to different characters: 0-9 chars are for simplified manual input with step 10 (bar height = number). a-z/A-Z for manual input with step 2, softened at edges a and Z (bar height = number of letter). U+0100-017F for 0..127 values with step 1. letter-spacing CSS property with ch units is useful to adjust distance between bars, 1ch === 1 bar width. To contribute, see github.com/dy/wavefont", + "primary_script": null, + "article": null, + "minisite_url": "https://dy.github.io/wavefont/scripts/" + }, + "Wellfleet": { + "name": "Wellfleet", + "designer": [ + "Riccardo De Franceschi" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SLAB_SERIF", + "classifications": [], + "description": "Foundry: Sorkin Type Co Wellfleet is a versatile low-contrast slab serif text typeface with a a bouncy and upbeat feeling. It was inspired by German poster lettering. Despite having display letters as a source of inspiration, Wellfleet is functional in a wide range of sizes. Source files are available from Google Code. To contribute to the project contact Eben Sorkin.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Wendy One": { + "name": "Wendy One", + "designer": [ + "Alejandro Inler" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Wendy is loosely inspired by the STABILO logotype, a brand that works as a conceptual and aesthetic reference. It evokes in me design values, form and style. The challenge was take a logotype consisting of seven letters as a starting point to develop an alphabet. I liked the idea of the original logo for the beauty of its forms: original and risky. I liked to continue the work of someone whose development was arrested at another time, to animate these characters, giving them new life through the design of a typeface that finds the balance between the old and new forms. The font was developed by Alejandro Inler in conjunction with Julieta Ulanovsky.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Whisper": { + "name": "Whisper", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Designed in the early nineties, it still holds up well as a contemporary calligraphic script with non-Roman script capitals. It has an a strong italic with angular strokes and a warm, flowing look. Use Whisper for situations that call for a strong elegance. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/whisper.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "WindSong": { + "name": "WindSong", + "designer": [ + "Robert Leuschke" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "WindSong is a beautiful elongated script with multiple stylistic sets that gives a powerful solution to the design needs of the graphic design professional. It comes with Latin Character sets including Western, Central, and Vietnamese language support. To contribute, see github.com/googlefonts/windsong.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Winky Rough": { + "name": "Winky Rough", + "designer": [ + "Typofactur" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "Winky Rough is the roughed variant of Winky Sans (https://github.com/typofactur/winkysans) imitating dried ink on rough paper. Winky Rough is a variable font with a weight axis that ranges from Light (300) to Black (900) and has matching italic styles. But be careful! Like flowing ink on paper the forms grows in all directions. While the slim weights might have been written with a fineliner, the black style look like ink blots from a broken pen. To contribute, see github.com/typofactur/winkyrough.", + "minisite_url": null + }, + "Winky Sans": { + "name": "Winky Sans", + "designer": [ + "Typofactur" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "Winky Sans looks like the sober, grown-up cousin of Comic Sans. Informal and personable, but not silly. Based on Aniva Sans, the letter shapes are rounded and thickened at the endings, and little irregularities were added, wich results in the impression of handwriting. Winky Sans is a variable font with a weight axis that ranges from Light (300) to Black (900). But be careful! Like flowing ink on paper the forms grows in all directions. While the slim weights might have been written with a fineliner, the black style look like ink blots from a broken pen. The Rough styles imitate dried ink on rough paper. To contribute, see github.com/typofactur/winkysans.", + "minisite_url": null + }, + "Wire One": { + "name": "Wire One", + "designer": [ + "Cyreal" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Wire One is a condensed monoline sans brought to you by Alexei Vanyashin and Gayaneh Bagdasaryan from Cyreal Type Foundry. Its modular-based characters are flavored with a sense of art nouveau. Nearly hairline thickness suggests usage for body text above 12px. While at display sizes it reveals its tiny dot terminals to create a sharp mood in headlines. It is recommended to adjust letter-spacing for sizes below 30px to 0.033em and up. For 12 px we recommend the value of 0.085em. To contribute, see github.com/cyrealtype/Wire-One.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Wittgenstein": { + "name": "Wittgenstein", + "designer": [ + "J\u00f6rg Drees" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": null, + "article": "The font interprets the serifs with clear, sharp forms. Based on the quote from Ludwig Wittgenstein that what can be said can be said clearly, it bears his name. The style consists of a normal and a bold version, which can be expanded over time. To contribute, see github.com/jrgdrs/Wittgenstein. Discover the Elegance of Wittgenstein Font Precision and Modernity in Every Stroke Introducing Wittgenstein, a typeface that redefines serif typography with clarity and sophistication. Inspired by the philosophy of Ludwig Wittgenstein, who recognized that what can be said can be said clearly, this font embodies his ethos with its sharp, well-defined form. Why Wittgenstein Stands Out Clarity in Design: Each letter is meticulously crafted with clear, sharp serifs that are more than just decorative\u2014they command attention. Versatile Styles: Available in five weights, from Regular to Black, and in italics, Wittgenstein adapts to any project. Its variable fonts with weight axis provide flexibility for diverse design needs. Historical Elegance: This modern interpretation of Georg Trump's Mediaeval Old Style font and Walter Diethelm's Antiqua from the 1950s offers a broad-nib touch with contemporary flair. Exceptional Readability: Ideal for high-volume texts and bold headlines, Wittgenstein ensures high readability and clarity, whether on digital screens or printed materials. Perfect for Your Next Project Wittgenstein is an ideal choice for editorial layouts, corporate branding, or any design requiring a sharp, professional edge. It effortlessly blends modern aesthetics with timeless elegance, making it a versatile addition to any designer's toolkit. Download and Enjoy Embrace the precision and beauty of Wittgenstein Font, and elevate your design projects with Wittgenstein's distinctive charm.", + "minisite_url": null + }, + "Wix Madefor Display": { + "name": "Wix Madefor Display", + "designer": [ + "Dalton Maag" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Wix Madefor is a compact font family of three weights for display setting, and four text weights for use in user interfaces. The text fonts also have matching italics, with shapes rooted in cursive forms, despite the typeface\u2019s geometric structure, allowing Wix to have different expressions, from functional to more playful. The typeface was designed to carry subtle features with an engaging and clean appearance. To contribute, see github.com/wix/wixmadefor.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Wix Madefor Text": { + "name": "Wix Madefor Text", + "designer": [ + "Dalton Maag" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Wix Madefor is a compact font family of five weights for display setting, and four text weights for use in user interfaces. The text fonts also have matching italics, with shapes rooted in cursive forms, despite the typeface's geometric structure, allowing Wix to have different expressions, from functional to more playful. The typeface was designed to carry subtle features with an engaging and clean appearance. To contribute, see github.com/wix/wixmadefor.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Work Sans": { + "name": "Work Sans", + "designer": [ + "Wei Huang" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Work Sans is a typeface family based loosely on early Grotesques, such as those by Stephenson Blake, Miller & Richard and Bauerschen Giesserei. The Regular weight and others in the middle of the family are optimised for on-screen text usage at medium-sizes (14px-48px) and can also be used in print design. The fonts closer to the extreme weights are designed more for display use both on the web and in print. Overall, features are simplified and optimised for screen resolutions; for example, diacritic marks are larger than how they would be in print. A version optimised for desktop applications is available from the Work Sans github project page. The Work Sans project is led by Wei Huang, a type designer from Australia. To contribute, see github.com/weiweihuanghuang/Work-Sans Updated August 2015: All styles were updated to v1.40 to change the Thin (100) style to be the same as 'HairLine' in previous versions - even thinner! This avoids the complication of a second \"Hairline\" family. The ExtraLight (200) and Light (300) styles also changed accordingly. Reflow will occur from previous versions on these weights. Updated February 2020: Family has been upgraded to a variable font family.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Workbench": { + "name": "Workbench", + "designer": [ + "Jens Kut\u00edlek" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "latin", + "math", + "symbols" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Workbench and Sixtyfour fonts are inspired by the article Raster CRT Typography (According to DEC) by Norbert Landsteiner. They are a rework of some old pixel versions of the Commodore 64 and Amiga Workbench fonts the author created years ago. The fonts now include two custom axes: Scanlines, which allows control of the height of the lines and, as a result of this, the amount of vertical space between the lines. And Bleed to change the amount of horizontal bleed of the pixels due to the phosphor latency found in CRT displays. Due to this project's specificity and the fonts' historical origin, they only support a limited set of glyphs. To contribute, see github.com/jenskutilek/homecomputer-fonts", + "primary_script": null, + "article": null, + "minisite_url": "https://jenskutilek.github.io/homecomputer-fonts/documentation/demo-workbench.html" + }, + "Xanh Mono": { + "name": "Xanh Mono", + "designer": [ + "Yellow Type", + "L\u00e2m B\u1ea3o", + "Duy Dao" + ], + "license": "ofl", + "category": "MONOSPACE", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "monospace" + ], + "description": "Xanh Mono is a mono-serif typeface, designed by Lam Bao and Duy Dao. In Vietnamese, \u201cXanh\u201d has a lot of meanings, including blue; green; young; etc. We believe that Xanh Mono will not only present a fresh and gentle look, but also a stylish and unique approach for both reading and display purposes. Xanh Mono l\u00e0 m\u1ed9t m\u1eb7t ch\u1eef mono c\u00f3 ch\u00e2n, \u0111\u01b0\u1ee3c thi\u1ebft k\u1ebf b\u1edfi L\u00e2m B\u1ea3o v\u00e0 Duy \u0110\u00e0o t\u1eeb x\u01b0\u1edfng \u0111\u00fac ch\u1eef k\u0129 thu\u1eadt s\u1ed1 \u0111\u1ea7u ti\u00ean t\u1ea1i Vi\u1ec7t Nam, c\u00f2n \u0111\u01b0\u1ee3c bi\u1ebft \u0111\u1ebfn l\u00e0 Yellow Type Foundry. Xanh Mono theo s\u1ef1 l\u1eafng \u0111\u1ecdng, nh\u1eb9 nh\u00e0ng nh\u01b0ng v\u1eabn \u0111\u1ee7 c\u00e1 t\u00ednh \u0111\u1ec3 v\u1eeba s\u1eed d\u1ee5ng cho tr\u1ea3i nghi\u1ec7m \u0111\u1ecdc v\u00e0 ti\u00eau \u0111\u1ec1 l\u1edbn.B\u1ea3o v\u00e0 Duy hy v\u1ecdng Xanh Mono s\u1ebd l\u00e0 s\u1ef1 l\u1ef1a ch\u1ecdn ph\u00f4ng ch\u1eef tuy\u1ec7t v\u1eddi d\u00e0nh cho b\u1ea1n. To contribute see https://github.com/yellow-type-foundry/xanhmono.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Yaldevi": { + "name": "Yaldevi", + "designer": [ + "Mooniak" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "latin", + "latin-ext", + "sinhala" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Yaldevi is a narrow font intended for titles and short texts in the web supporing Latin and Sinhala scripts. Condensed shapes and dimensions make it possible to fit more text in a line. The x-height of Latin and body height of Sinhala is generous, and has short ascenders and descenders, increasing the space efficiency. It has a somewhat neutral personality with a touch of soft and smooth curves that add some whimsy. Yaldevi will perform well when used in headlines, subheads and shorter text blocks such as pull quotes. Sinhala glyphs have some peculiarities and experimental shapes that were invented to perform well as a display face while belonging in the formal text typeface category. Make sure you check out all these features before using it. The project is led by Mooniak Latin set is designed by Sol Matas. Initial development and release was funded by Google Fonts in 2015. Project sources are hosted and developed on Github and Mooniak welcomes suggestions and contributions to the development.", + "primary_script": "Sinh", + "article": null, + "minisite_url": null + }, + "Yanone Kaffeesatz": { + "name": "Yanone Kaffeesatz", + "designer": [ + "Yanone", + "Cyreal" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "math", + "symbols", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "\"Yanone Kaffeesatz\" was first published in 2004 and is Yanone\u2019s first ever finished typeface. Its Bold is reminiscent of 1920s coffee house typography, while the rather thin fonts bridge the gap to present times. Lacking self confidence and knowledge about the type scene, Yanone decided to publish the family for free under a Creative Commons License. A decision that should turn out one of the best he ever made. It has been downloaded over 100,000 times to date, and you can witness Kaffeesatz use on German fresh-water gyms, Dubai mall promos and New Zealand McDonalds ads. And of course on coffee and foodstuff packaging and caf\u00e9 design around the globe. In 2009 he reworked much of the typeface and it got published in FontShop\u2019s FontFont Library under the new name FF Kava. You can read more about it in an extensive article by Yves Peters on FontFeed. Updated in December 2013 with Cyrillic, designed by Sol Matas and Juan Pablo del Peral at Huerta Tipogr\u00e1fica. To contribute, see github.com/yanone/kaffeesatz.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Yantramanav": { + "name": "Yantramanav", + "designer": [ + "Erin McLaughlin" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": "Yantramanav (\u092f\u0902\u0924\u094d\u0930\u092e\u093e\u0928\u0935) is a Devanagari typeface family designed by Erin McLaughlin. The style and weights of Yantramanav's Devanagari were designed as a compliment to Roboto, a Latin family designed by Christian Robertson. This project is led by Erin McLaughlin, an independent typeface designer, font developer, and consultant who specializes in Indic fonts. To contribute, see github.com/erinmclaughlin/Yantramanav", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Yarndings 12": { + "name": "Yarndings 12", + "designer": [ + "Sarah Cadigan-Fried" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "math", + "symbols" + ], + "stroke": null, + "classifications": [ + "display", + "symbols" + ], + "description": "The Soft Type Collection is designed for knitters to chart out their typographic projects. Yarndings is an ornamental typeface inspired by a mix of typographic ornamentation, traditional Fair Isle & Nordic knitting patterns, and dingbat fonts from the 1990's. Each typeface has a \u201cRegular\u201d and \u201cCharted\u201d version, and some include multiple scales so you can fit type on your knits, no matter the project's size. Check out the charted version Yarndings 12 Charted. In this collection, the number following the typeface's name indicates the height of the capital letters for that typeface. To contribute, see github.com/scfried/soft-type-yarndings.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Yarndings 12 Charted": { + "name": "Yarndings 12 Charted", + "designer": [ + "Sarah Cadigan-Fried" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "math", + "symbols" + ], + "stroke": null, + "classifications": [ + "display", + "symbols" + ], + "description": "The Soft Type Collection is designed for knitters to chart out their typographic projects. Yarndings is an ornamental typeface inspired by a mix of typographic ornamentation, traditional Fair Isle & Nordic knitting patterns, and dingbat fonts from the 1990's. Each typeface has a \u201cRegular\u201d and \u201cCharted\u201d version, and some include multiple scales so you can fit type on your knits, no matter the project's size. Check out the non-charted version Yarndings 12. In this collection, the number following the typeface's name indicates the height of the capital letters for that typeface. To contribute, see github.com/scfried/soft-type-yarndings.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Yarndings 20": { + "name": "Yarndings 20", + "designer": [ + "Sarah Cadigan-Fried" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "math", + "symbols" + ], + "stroke": null, + "classifications": [ + "symbols", + "display" + ], + "description": "The Soft Type Collection is designed for knitters to chart out their typographic projects. Yarndings is an ornamental typeface inspired by a mix of typographic ornamentation, traditional Fair Isle & Nordic knitting patterns, and dingbat fonts from the 1990's. Each typeface has a \u201cRegular\u201d and \u201cCharted\u201d version, and some include multiple scales so you can fit type on your knits, no matter the project's size. Check out the charted version Yarndings 20 Charted. In this collection, the number following the typeface's name indicates the height of the capital letters for that typeface. To contribute, see github.com/scfried/soft-type-yarndings.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Yarndings 20 Charted": { + "name": "Yarndings 20 Charted", + "designer": [ + "Sarah Cadigan-Fried" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "math", + "symbols" + ], + "stroke": null, + "classifications": [ + "symbols", + "display" + ], + "description": "The Soft Type Collection is designed for knitters to chart out their typographic projects. Yarndings is an ornamental typeface inspired by a mix of typographic ornamentation, traditional Fair Isle & Nordic knitting patterns, and dingbat fonts from the 1990's. Each typeface has a \u201cRegular\u201d and \u201cCharted\u201d version, and some include multiple scales so you can fit type on your knits, no matter the project's size. Check out the non-charted version Yarndings 20. In this collection, the number following the typeface's name indicates the height of the capital letters for that typeface. To contribute, see github.com/scfried/soft-type-yarndings.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Yatra One": { + "name": "Yatra One", + "designer": [ + "Catherine Leigh Schmidt" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "devanagari", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "Yatra One is a Devanagari and Latin libre font inspired by the hand-painted signage of the Mumbai local railway. This heavy weight high-contrast display face preserves the idiosyncratic character of brush-painted signage by featuring angular cuts and open knots. Notably, the Latin adopts a Devanagari brush angle. A Mumbai native, Yatra offers basic Marathi alternates. The Yatra One project is led by Catherine Leigh Schmidt, a type designer based in the USA. To contribute, see github.com/cathschmidt/yatra-one", + "primary_script": "Deva", + "article": null, + "minisite_url": null + }, + "Yellowtail": { + "name": "Yellowtail", + "designer": [ + "Astigmatic" + ], + "license": "apache2", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Yellowtail is an old school flavored flat brush script typeface of medium weight. It's mix of connecting and non-connecting letterforms lend to its unique look and legibility. Yellowtail nods to classic 1930's typestyles like Gillies Gothic & Kaufmann, yet has the loose visual cadence of sign painter scripts.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Yeon Sung": { + "name": "Yeon Sung", + "designer": [ + "Woowahan brothers" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "korean", + "latin" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": "BM YEONSUNG is a Korean and Latin font.", + "primary_script": "Kore", + "article": null, + "minisite_url": null + }, + "Yeseva One": { + "name": "Yeseva One", + "designer": [ + "Jovanny Lemonad" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [ + "display" + ], + "description": "A serif display type that is very feminine. I think that this is the only type in the world with such a feminine essence. Yeseva's name is from the phrase \"Yes, Eva.\" As a sign of complete agreement between a man and a woman. I dedicate this font to my beloved wife.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Yesteryear": { + "name": "Yesteryear", + "designer": [ + "Astigmatic" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Yesteryear is a flat nib connecting script font loosely based on the title screen from the 1942 film \"The Palm Beach Story\". Taking on a slightly sharper feel than its source, it evokes comparisons to chrome scripts of vintage automobilia.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Yomogi": { + "name": "Yomogi", + "designer": [ + "Satsuyako" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "cyrillic", + "japanese", + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "Yomogi is extra thin hand writing font that is easy to read and makes a strong impression. It includes Google Latin Plus, hiragana, katakana, JIS level 1 and 2 kanji glyphs. The design of the letters combined cuteness and readability, and it is made into a monospaced font that could also be used in the vertical writing style. To contribute to the project, visit github.com/satsuyako/YomogiFont", + "primary_script": "Hira", + "article": null, + "minisite_url": null + }, + "Young Serif": { + "name": "Young Serif", + "designer": [ + "Bastien Sozeau" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Young Serif is a heavy weight old style serif typeface, taking inspiration from Plantin Infant or ITC Italian Old Style. The lowercase b and f feature rounded curves, adding a tender and generous quality to this font. To contribute, please see github.com/noirblancrouge/YoungSerif.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Yrsa": { + "name": "Yrsa", + "designer": [ + "Rosetta", + "Anna Giedry\u015b", + "David B\u0159ezina" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext", + "vietnamese" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Intended for continuous reading on the web (longer articles in online news, magazines, blogs), Yrsa supports over 92 languages. A special consideration was given to Central and East European languages and proper shaping of their accents. A version that also supports 2 languages in the Gujarati script (Gujarati and Kachchi), is available as Rasa. In terms of glyphs included Rasa is a superset of Yrsa and includes the complete Latin, but in Rasa the Latin may be adjusted to support the primary Gujarati font. It is a deliberate experiment in remixing existing typefaces: The Latin part began with Eben Sorkin's Merriweather. The Gujarati began with David B\u0159ezina\u2019s Skolar Gujarati. To contribute, see github.com/rosettatype/yrsa.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ysabeau": { + "name": "Ysabeau", + "designer": [ + "Christian Thalmann" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "latin", + "latin-ext", + "math", + "symbols", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Ysabeau combines the familiar timeless letterforms of the Garamond legacy with the unencumbered crispness of a clean low-contrast sans serif. Unlike other humanist sans, Ysabeau retains the confident wide stride and unapologetic extenders of the world's favorite book face for unmitigated reading comfort. Try it on your e-reader and never look back! Pair it with EB Garamond or Cormorant for a perfect match, or blow it up to page-filling sizes and revel in its elegance. Ysabeau offers extensive Latin, Greek and Cyrillic. To contribute, see github.com/CatharsisFonts/Ysabeau.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ysabeau Infant": { + "name": "Ysabeau Infant", + "designer": [ + "Christian Thalmann" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "latin", + "latin-ext", + "math", + "symbols", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Ysabeau combines the familiar timeless letterforms of the Garamond legacy with the unencumbered crispness of a clean low-contrast sans serif. Unlike other humanist sans, Ysabeau retains the confident wide stride and unapologetic extenders of the world's favorite book face for unmitigated reading comfort. Try it on your e-reader and never look back! Pair it with EB Garamond or Cormorant for a perfect match, or blow it up to page-filling sizes and revel in its elegance. Ysabeau offers extensive Latin, Greek and Cyrillic. To contribute, see github.com/CatharsisFonts/Ysabeau.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ysabeau Office": { + "name": "Ysabeau Office", + "designer": [ + "Christian Thalmann" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "latin", + "latin-ext", + "math", + "symbols", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Ysabeau combines the familiar timeless letterforms of the Garamond legacy with the unencumbered crispness of a clean low-contrast sans serif. Unlike other humanist sans, Ysabeau retains the confident wide stride and unapologetic extenders of the world's favorite book face for unmitigated reading comfort. Try it on your e-reader and never look back! Pair it with EB Garamond or Cormorant for a perfect match, or blow it up to page-filling sizes and revel in its elegance. Ysabeau offers extensive Latin, Greek and Cyrillic. To contribute, see github.com/CatharsisFonts/Ysabeau.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Ysabeau SC": { + "name": "Ysabeau SC", + "designer": [ + "Christian Thalmann" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "cyrillic-ext", + "greek", + "latin", + "latin-ext", + "math", + "symbols", + "vietnamese" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Ysabeau combines the familiar timeless letterforms of the Garamond legacy with the unencumbered crispness of a clean low-contrast sans serif. Unlike other humanist sans, Ysabeau retains the confident wide stride and unapologetic extenders of the world's favorite book face for unmitigated reading comfort. Try it on your e-reader and never look back! Pair it with EB Garamond or Cormorant for a perfect match, or blow it up to page-filling sizes and revel in its elegance. Ysabeau offers extensive Latin, Greek and Cyrillic. To contribute, see github.com/CatharsisFonts/Ysabeau.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Yuji Boku": { + "name": "Yuji Boku", + "designer": [ + "Kinuta Font Factory" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "\"Yuji\" is a series of fonts digitizing handwriting by the calligrapher Yuji Kataoka. Yuji Boku is a new and joyful design. It has both simplicity and warmth. Fonts in the Yuji Family: Yuji Mai Yuji Syuku To contribute to the project, visit github.com/Kinutafontfactory/Yuji", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "Yuji Hentaigana Akari": { + "name": "Yuji Hentaigana Akari", + "designer": [ + "Kinuta Font Factory" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "japanese", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "\"Yuji\" is a series of fonts digitizing handwriting by the calligrapher Yuji Kataoka. Akari is a \"Hentaigana\" font which contains stylistic alternate versions of the standard Hiragana set that were abandoned in 1900 during a script reform. As there are no Hentaigana for Katakana, no Katakana are included. Latin is all-caps / small caps. Fonts in the Yuji Family: Yuji Hentaigana Akebono Yuji Boku Yuji Mai Yuji Syuku To contribute to the project, visit github.com/Kinutafontfactory/Yuji", + "primary_script": "Hira", + "article": null, + "minisite_url": null + }, + "Yuji Hentaigana Akebono": { + "name": "Yuji Hentaigana Akebono", + "designer": [ + "Kinuta Font Factory" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "japanese", + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "\"Yuji\" is a series of fonts digitizing handwriting by the calligrapher Yuji Kataoka. Akebono is a \"Hentaigana\" font which contains stylistic alternate versions of the standard Hiragana set that were abandoned in 1900 during a script reform. As there are no Hentaigana for Katakana, no Katakana are included. Latin is all-caps / small caps. Fonts in the Yuji Family: Yuji Hentaigana Akari Yuji Boku Yuji Mai Yuji Syuku To contribute to the project, visit github.com/Kinutafontfactory/Yuji", + "primary_script": "Hira", + "article": null, + "minisite_url": null + }, + "Yuji Mai": { + "name": "Yuji Mai", + "designer": [ + "Kinuta Font Factory" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "\"Yuji\" is a series of fonts digitizing handwriting by the calligrapher Yuji Kataoka. Yuji Mai expresses a free, unrestrained, emotional beauty. The Latin alphabets were written to match the kana strokes. Fonts in the Yuji Family: Yuji Boku Yuji Syuku To contribute to the project, visit github.com/Kinutafontfactory/Yuji", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "Yuji Syuku": { + "name": "Yuji Syuku", + "designer": [ + "Kinuta Font Factory" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "\"Yuji\" is a series of fonts digitizing handwriting by the calligrapher Yuji Kataoka. Yuji Syuku has tradition and dignity, but is also approachable. This design can be widely accepted by the general public. Fonts in the Yuji Family: Yuji Boku Yuji Mai To contribute to the project, visit github.com/Kinutafontfactory/Yuji", + "primary_script": "Jpan", + "article": null, + "minisite_url": null + }, + "Yusei Magic": { + "name": "Yusei Magic", + "designer": [ + "Tanukizamurai" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Yusei Magic is a font based on handwritten letters written with permanent marker. It has a thick vertical stroke and a thin horizontal stroke, so it is highly visible. The design of the letters has both the strength of bold lines and the softness of spaciousness. Highly recommended for handwriting on blackboards and pop art designs. To contribute to the project, visit github.com/tanukifont/YuseiMagic", + "primary_script": "Japn", + "article": null, + "minisite_url": null + }, + "ZCOOL KuaiLe": { + "name": "ZCOOL KuaiLe", + "designer": [ + "Liu Bingke", + "Yang Kang", + "Wu Shaojie" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "chinese-simplified", + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "ZCool Kuaile was created by a team of font design trainees under the leadership of typographer Liu Bingke. First, Liu created the character shape framework and design standards; then, a group of over 100 typography apprentices participated in building out the character set. Finally, Liu and other designers from his workshop, including Yang Kang and Wu Shaojie, edited and adjusted the characters to unify the design.", + "primary_script": "Hans", + "article": null, + "minisite_url": null + }, + "ZCOOL QingKe HuangYou": { + "name": "ZCOOL QingKe HuangYou", + "designer": [ + "Zheng Qingke" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "chinese-simplified", + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "ZCool QingKe HuangYou was designed and produced by Zheng Qingke, and donated to the ZCOOL font project for public use. It features innovative character shapes and rounded lines, with right angles adjusted to a rounded 4pt corner radius. The lower right corner of the radicals are notched at a 45 degree angle, which raises the visual center of the font, effectively solving readability issues due to stroke crossing.", + "primary_script": "Hans", + "article": null, + "minisite_url": null + }, + "ZCOOL XiaoWei": { + "name": "ZCOOL XiaoWei", + "designer": [ + "Li Dawei" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "chinese-simplified", + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "ZCOOL XiaoWei was contributed to the ZCOOL font project by designer Li Dawei and the team at Zuozi, who created the typeface as a gift for David\u2019s daughter, \u201cLittle Fern\u201d, on her third birthday. It is intended to help fill the dearth of logo-ready Chinese display fonts. The brush strokes are agile and recognizable, with spacing optimized to display at small or large sizes.", + "primary_script": "Hans", + "article": null, + "minisite_url": null + }, + "Zain": { + "name": "Zain", + "designer": [ + "Boutros Fonts" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "arabic", + "latin" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": "Zain Group (zain.com) is a leading provider of innovative technologies and digital lifestyle communications operating in eight markets across the Middle East and Africa. The objectives behind the Zain range of typefaces were to create a unique modern range (8 weights: ExtraLight, Light, Regular, Italic, Bold, ExtraBold, Black and LightItalic ) that supports Arabic and Latin languages as well as Urdu, Farsi, Kurdish, Indonesian and Tagalog. It's suitable for headlines, sub-headings and body text, respecting Arabic calligraphy and cultural rules with maximum legibility. A key design objective has been the harmony between the Latin and the Arabic and its suitability for all communications needs, whether in print or on the web. To contribute, please see github.com/googlefonts/zain.", + "primary_script": "Arab", + "article": null, + "minisite_url": null + }, + "Zen Antique": { + "name": "Zen Antique", + "designer": [ + "Yoshimichi Ohira" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "greek", + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Jpan", + "article": "Zen Antique features two kinds of Antique Japanese with Kanji. The impression of the weights (thickness) of strokes are different among characters\u2014Hiragana and Latin alphabets are slightly lighter, while Katakana and Kanji are slightly heavier, which gives the unique rhythm and taste in this font. Zen Antique Soft has a slightly rounded effect on the corners. To contribute to the project, visit github.com/googlefonts/zen-antique Zen Antique \u306b\u306f\u3001\u53e4\u98a8\u306a\u96f0\u56f2\u6c17\u306e\u4e8c\u7a2e\u985e\u306e\u6f22\u5b57\u3092\u542b\u3080\u65e5\u672c\u8a9e\u66f8\u4f53\u304c\u3042\u308a\u307e\u3059\u3002 \u6587\u5b57\u306b\u3088\u3063\u3066\u753b\u7dda\u306e\u592a\u3055\u306b\u5909\u5316\u304c\u3042\u308a\u3001\u3072\u3089\u304c\u306a\u3068\u6b27\u6587\u306f\u7d30\u3081\u3001\u30ab\u30bf\u30ab\u30ca\u3068\u6f22\u5b57\u306f\u592a\u3081\u3067\u3001\u30d5\u30a9\u30f3\u30c8\u306b\u72ec\u7279\u306e\u30ea\u30ba\u30e0\u3068\u5473\u308f\u3044\u3092\u4e0e\u3048\u3066\u3044\u307e\u3059\u3002 \u307e\u305f\u3001 Zen Antique Soft \u3067\u306f\u3001\u89d2\u304c\u5c11\u3057\u4e38\u304f\u306a\u3063\u3066\u3044\u307e\u3059\u3002 \u3053\u306e\u30d7\u30ed\u30b8\u30a7\u30af\u30c8\u306b\u53c2\u52a0\u3057\u3066\u8ca2\u732e\u3057\u305f\u3044\u65b9\u306f\u3001\u6b21\u306e URL \u3092\u3054\u53c2\u7167\u304f\u3060\u3055\u3044\u3002github.com/googlefonts/zen-antique Say Hello to our big new Japanese collection with Zen Fonts: Learn about the complex beauty of Japanese fonts In 2019, Google Fonts started an ambitious project to expand its font library with a variety of typeface designs for Japanese. At that point Google Fonts had fewer than 10 Japanese families, most of which were basic Mincho (serif) and gothic (sans) designs. Since then the collection of Japanese fonts within the library has grown, now with 38 font families from 18 designers, in a variety of styles \u2013 from formal text types to fun display fonts. All these Japanese fonts are now live on Google Fonts for anyone to test out and use in any project. The Zen Fonts collection is the largest set of Japanese fonts on Google Fonts As part of this larger effort to expand Japanese offerings, Google Fonts collaborated with type designer Yoshimichi Ohira to open his prestigious collection of Zen Fonts typefaces to the public. With 23 Japanese and three Latin fonts in various styles of mincho (serif), gothic (sans serif), maru (rounded), and display styles, the Zen Fonts collection is now the largest set of Japanese fonts in Google Fonts\u2019 expansive library, and is also available in Adobe Fonts. Check out The Story of Zen Fonts - interview with Yoshimichi Ohira to learn more. To learn more, read:Say Hello to our big new Japanese collection with Zen Fonts (English)The Story of Zen Fonts - interview with Yoshimichi Ohira (English)Zen\u30d5\u30a9\u30f3\u30c8: \u65b0\u3057\u3044\u65e5\u672c\u8a9e\u30d5\u30a9\u30f3\u30c8\u30b3\u30ec\u30af\u30b7\u30e7\u30f3\u306e\u767b\u5834 - \u65e5\u672c\u8a9e\u30d5\u30a9\u30f3\u30c8\u306e\u8907\u96d1\u306a\u7f8e\u3057\u3055\u306b\u3064\u3044\u3066 - (Japanese)Zen\u30d5\u30a9\u30f3\u30c8\u306e\u304a\u306f\u306a\u3057\uff1a\u5927\u5e73\u5584\u9053\u3055\u3093\u3068\u306e\u30a4\u30f3\u30bf\u30d3\u30e5\u30fc (Japanese)", + "minisite_url": null + }, + "Zen Antique Soft": { + "name": "Zen Antique Soft", + "designer": [ + "Yoshimichi Ohira" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "greek", + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Jpan", + "article": "Zen Antique features two kinds of Antique Japanese with Kanji. The impression of the weights (thickness) of strokes are different among characters\u2014Hiragana and Latin alphabets are slightly lighter, while Katakana and Kanji are slightly heavier, which gives the unique rhythm and taste in this font. This is Zen Antique Soft, a version of Zen Antique with a slightly rounded effect on the corners. To contribute to the project, visit github.com/googlefonts/zen-antique Zen Antique \u306b\u306f\u3001\u53e4\u98a8\u306a\u96f0\u56f2\u6c17\u306e\u4e8c\u7a2e\u985e\u306e\u6f22\u5b57\u3092\u542b\u3080\u65e5\u672c\u8a9e\u66f8\u4f53\u304c\u3042\u308a\u307e\u3059\u3002 \u6587\u5b57\u306b\u3088\u3063\u3066\u753b\u7dda\u306e\u592a\u3055\u306b\u5909\u5316\u304c\u3042\u308a\u3001\u3072\u3089\u304c\u306a\u3068\u6b27\u6587\u306f\u7d30\u3081\u3001\u30ab\u30bf\u30ab\u30ca\u3068\u6f22\u5b57\u306f\u592a\u3081\u3067\u3001\u30d5\u30a9\u30f3\u30c8\u306b\u72ec\u7279\u306e\u30ea\u30ba\u30e0\u3068\u5473\u308f\u3044\u3092\u4e0e\u3048\u3066\u3044\u307e\u3059\u3002 \u307e\u305f\u3001Zen Antique Soft \u3067\u306f\u3001\u89d2\u304c\u5c11\u3057\u4e38\u304f\u306a\u3063\u3066\u3044\u307e\u3059\u3002 \u3053\u306e\u30d7\u30ed\u30b8\u30a7\u30af\u30c8\u306b\u53c2\u52a0\u3057\u3066\u8ca2\u732e\u3057\u305f\u3044\u65b9\u306f\u3001\u6b21\u306e URL \u3092\u3054\u53c2\u7167\u304f\u3060\u3055\u3044\u3002github.com/googlefonts/zen-antique Say Hello to our big new Japanese collection with Zen Fonts: Learn about the complex beauty of Japanese fonts In 2019, Google Fonts started an ambitious project to expand its font library with a variety of typeface designs for Japanese. At that point Google Fonts had fewer than 10 Japanese families, most of which were basic Mincho (serif) and gothic (sans) designs. Since then the collection of Japanese fonts within the library has grown, now with 38 font families from 18 designers, in a variety of styles \u2013 from formal text types to fun display fonts. All these Japanese fonts are now live on Google Fonts for anyone to test out and use in any project. The Zen Fonts collection is the largest set of Japanese fonts on Google Fonts As part of this larger effort to expand Japanese offerings, Google Fonts collaborated with type designer Yoshimichi Ohira to open his prestigious collection of Zen Fonts typefaces to the public. With 23 Japanese and three Latin fonts in various styles of mincho (serif), gothic (sans serif), maru (rounded), and display styles, the Zen Fonts collection is now the largest set of Japanese fonts in Google Fonts\u2019 expansive library, and is also available in Adobe Fonts. Check out The Story of Zen Fonts - interview with Yoshimichi Ohira to learn more. To learn more, read:Say Hello to our big new Japanese collection with Zen Fonts (English)The Story of Zen Fonts - interview with Yoshimichi Ohira (English)Zen\u30d5\u30a9\u30f3\u30c8: \u65b0\u3057\u3044\u65e5\u672c\u8a9e\u30d5\u30a9\u30f3\u30c8\u30b3\u30ec\u30af\u30b7\u30e7\u30f3\u306e\u767b\u5834 - \u65e5\u672c\u8a9e\u30d5\u30a9\u30f3\u30c8\u306e\u8907\u96d1\u306a\u7f8e\u3057\u3055\u306b\u3064\u3044\u3066 - (Japanese)Zen\u30d5\u30a9\u30f3\u30c8\u306e\u304a\u306f\u306a\u3057\uff1a\u5927\u5e73\u5584\u9053\u3055\u3093\u3068\u306e\u30a4\u30f3\u30bf\u30d3\u30e5\u30fc (Japanese)", + "minisite_url": null + }, + "Zen Dots": { + "name": "Zen Dots", + "designer": [ + "Yoshimichi Ohira" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "Zen Dots Family is one of three Latin fonts designed by Yoshimichi Ohira, as part of the Zen Fonts collection. Zen Dots was designed with a futuristic vision and inspired by the different eras in science fiction films. To contribute, see github.com/googlefonts/zen-dots. Say Hello to our big new Japanese collection with Zen Fonts: Learn about the complex beauty of Japanese fonts In 2019, Google Fonts started an ambitious project to expand its font library with a variety of typeface designs for Japanese. At that point Google Fonts had fewer than 10 Japanese families, most of which were basic Mincho (serif) and gothic (sans) designs. Since then the collection of Japanese fonts within the library has grown, now with 38 font families from 18 designers, in a variety of styles \u2013 from formal text types to fun display fonts. All these Japanese fonts are now live on Google Fonts for anyone to test out and use in any project. The Zen Fonts collection is the largest set of Japanese fonts on Google Fonts As part of this larger effort to expand Japanese offerings, Google Fonts collaborated with type designer Yoshimichi Ohira to open his prestigious collection of Zen Fonts typefaces to the public. With 23 Japanese and three Latin fonts in various styles of mincho (serif), gothic (sans serif), maru (rounded), and display styles, the Zen Fonts collection is now the largest set of Japanese fonts in Google Fonts\u2019 expansive library, and is also available in Adobe Fonts. Check out The Story of Zen Fonts - interview with Yoshimichi Ohira to learn more. To learn more, read:Say Hello to our big new Japanese collection with Zen Fonts (English)The Story of Zen Fonts - interview with Yoshimichi Ohira (English)Zen\u30d5\u30a9\u30f3\u30c8: \u65b0\u3057\u3044\u65e5\u672c\u8a9e\u30d5\u30a9\u30f3\u30c8\u30b3\u30ec\u30af\u30b7\u30e7\u30f3\u306e\u767b\u5834 - \u65e5\u672c\u8a9e\u30d5\u30a9\u30f3\u30c8\u306e\u8907\u96d1\u306a\u7f8e\u3057\u3055\u306b\u3064\u3044\u3066 - (Japanese)Zen\u30d5\u30a9\u30f3\u30c8\u306e\u304a\u306f\u306a\u3057\uff1a\u5927\u5e73\u5584\u9053\u3055\u3093\u3068\u306e\u30a4\u30f3\u30bf\u30d3\u30e5\u30fc (Japanese)", + "minisite_url": null + }, + "Zen Kaku Gothic Antique": { + "name": "Zen Kaku Gothic Antique", + "designer": [ + "Yoshimichi Ohira" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Jpan", + "article": "Zen Kaku Gothic New is a contemporary Japanese gothic (san serif) typeface family. With this font, you can express fine typesetting without any professional detailed arrangements. Because of the unique yet simple design, it gives naturally high legibility. Easy to use and read. Zen Kaku Gothic Antique is a classical yet simple and stylish version. Highly legible due to orthodox letterform design, and great for various usage, from title to text, and even captions. To contribute to the project, visit github.com/googlefonts/zen-kakugothic Zen Kaku Gothic New \u306f\u30d9\u30fc\u30b7\u30c3\u30af\u306a\u65e5\u672c\u8a9e\u306e\u30b5\u30f3\u30bb\u30ea\u30d5(\u30b4\u30b7\u30c3\u30af\u4f53)\u30d5\u30a1\u30df\u30ea\u30fc\u3067\u3059\u3002 \u3053\u306e\u66f8\u4f53\u3092\u7528\u3044\u308c\u3070\u3001\u7279\u306b\u5c02\u9580\u5bb6\u306e\u3088\u3046\u306a\u7d30\u304b\u3044\u4f5c\u696d\u3092\u3057\u306a\u304f\u3066\u3082\u3001\u9ad8\u54c1\u4f4d\u306a\u6587\u5b57\u7d44\u3092\u5b9f\u73fe\u3059\u308b\u3053\u3068\u304c\u3067\u304d\u307e\u3059\u3002 \u72ec\u81ea\u306e\u30b7\u30f3\u30d7\u30eb\u306a\u30c7\u30b6\u30a4\u30f3\u304c\u81ea\u7136\u306a\u8aad\u307f\u3084\u3059\u3055\u3092\u3082\u305f\u3089\u3057\u307e\u3059\u3002 \u4f7f\u3044\u3084\u3059\u304f\u8aad\u307f\u3084\u3059\u3044\u66f8\u4f53\u3067\u3059\u3002 Zen Kaku Gothic Antique \u306f\u53e4\u5178\u7684\u3067\u3001\u3057\u304b\u3082\u30b7\u30f3\u30d7\u30eb\u3067\u6d12\u843d\u305f\u30b5\u30f3\u30bb\u30ea\u30d5\u66f8\u4f53\u306e\u30d5\u30a1\u30df\u30ea\u30fc\u3067\u3059\u3002 \u6587\u5b57\u306e\u30c7\u30b6\u30a4\u30f3\u304c\u30aa\u30fc\u30bd\u30c9\u30c3\u30af\u30b9\u3067\u3001\u304d\u308f\u3081\u3066\u5224\u8aad\u3057\u3084\u3059\u3044\u66f8\u4f53\u3067\u3059\u3002 \u30bf\u30a4\u30c8\u30eb\u304b\u3089\u672c\u6587\u3001\u30ad\u30e3\u30d7\u30b7\u30e7\u30f3\u307e\u3067\u3001\u3055\u307e\u3056\u307e\u306a\u7528\u9014\u3067\u52b9\u679c\u7684\u306b\u3054\u5229\u7528\u3044\u305f\u3060\u3051\u307e\u3059\u3002 \u3053\u306e\u30d7\u30ed\u30b8\u30a7\u30af\u30c8\u306b\u53c2\u52a0\u3057\u3066\u8ca2\u732e\u3057\u305f\u3044\u65b9\u306f\u3001\u6b21\u306e URL \u3092\u3054\u53c2\u7167\u304f\u3060\u3055\u3044 github.com/googlefonts/zen-kakugothic Say Hello to our big new Japanese collection with Zen Fonts: Learn about the complex beauty of Japanese fonts In 2019, Google Fonts started an ambitious project to expand its font library with a variety of typeface designs for Japanese. At that point Google Fonts had fewer than 10 Japanese families, most of which were basic Mincho (serif) and gothic (sans) designs. Since then the collection of Japanese fonts within the library has grown, now with 38 font families from 18 designers, in a variety of styles \u2013 from formal text types to fun display fonts. All these Japanese fonts are now live on Google Fonts for anyone to test out and use in any project. The Zen Fonts collection is the largest set of Japanese fonts on Google Fonts As part of this larger effort to expand Japanese offerings, Google Fonts collaborated with type designer Yoshimichi Ohira to open his prestigious collection of Zen Fonts typefaces to the public. With 23 Japanese and three Latin fonts in various styles of mincho (serif), gothic (sans serif), maru (rounded), and display styles, the Zen Fonts collection is now the largest set of Japanese fonts in Google Fonts\u2019 expansive library, and is also available in Adobe Fonts. Check out The Story of Zen Fonts - interview with Yoshimichi Ohira to learn more. To learn more, read:Say Hello to our big new Japanese collection with Zen Fonts (English)The Story of Zen Fonts - interview with Yoshimichi Ohira (English)Zen\u30d5\u30a9\u30f3\u30c8: \u65b0\u3057\u3044\u65e5\u672c\u8a9e\u30d5\u30a9\u30f3\u30c8\u30b3\u30ec\u30af\u30b7\u30e7\u30f3\u306e\u767b\u5834 - \u65e5\u672c\u8a9e\u30d5\u30a9\u30f3\u30c8\u306e\u8907\u96d1\u306a\u7f8e\u3057\u3055\u306b\u3064\u3044\u3066 - (Japanese)Zen\u30d5\u30a9\u30f3\u30c8\u306e\u304a\u306f\u306a\u3057\uff1a\u5927\u5e73\u5584\u9053\u3055\u3093\u3068\u306e\u30a4\u30f3\u30bf\u30d3\u30e5\u30fc (Japanese)", + "minisite_url": null + }, + "Zen Kaku Gothic New": { + "name": "Zen Kaku Gothic New", + "designer": [ + "Yoshimichi Ohira" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Jpan", + "article": "Zen Kaku Gothic New is a contemporary Japanese gothic (san serif) typeface family. With this font, you can express fine typesetting without any professional detailed arrangements. Because of the unique yet simple design, it gives naturally high legibility. Easy to use and read. Zen Kaku Gothic Antique is a classical yet simple and stylish version. Highly legible due to orthodox letterform design, and great for various usage, from title to text, and even captions. To contribute to the project, visit github.com/googlefonts/zen-kakugothic Zen Kaku Gothic New \u306f\u30d9\u30fc\u30b7\u30c3\u30af\u306a\u65e5\u672c\u8a9e\u306e\u30b5\u30f3\u30bb\u30ea\u30d5(\u30b4\u30b7\u30c3\u30af\u4f53)\u30d5\u30a1\u30df\u30ea\u30fc\u3067\u3059\u3002 \u3053\u306e\u66f8\u4f53\u3092\u7528\u3044\u308c\u3070\u3001\u7279\u306b\u5c02\u9580\u5bb6\u306e\u3088\u3046\u306a\u7d30\u304b\u3044\u4f5c\u696d\u3092\u3057\u306a\u304f\u3066\u3082\u3001\u9ad8\u54c1\u4f4d\u306a\u6587\u5b57\u7d44\u3092\u5b9f\u73fe\u3059\u308b\u3053\u3068\u304c\u3067\u304d\u307e\u3059\u3002 \u72ec\u81ea\u306e\u30b7\u30f3\u30d7\u30eb\u306a\u30c7\u30b6\u30a4\u30f3\u304c\u81ea\u7136\u306a\u8aad\u307f\u3084\u3059\u3055\u3092\u3082\u305f\u3089\u3057\u307e\u3059\u3002 \u4f7f\u3044\u3084\u3059\u304f\u8aad\u307f\u3084\u3059\u3044\u66f8\u4f53\u3067\u3059\u3002 Zen Kaku Gothic Antique \u306f\u53e4\u5178\u7684\u3067\u3001\u3057\u304b\u3082\u30b7\u30f3\u30d7\u30eb\u3067\u6d12\u843d\u305f\u30b5\u30f3\u30bb\u30ea\u30d5\u66f8\u4f53\u306e\u30d5\u30a1\u30df\u30ea\u30fc\u3067\u3059\u3002 \u6587\u5b57\u306e\u30c7\u30b6\u30a4\u30f3\u304c\u30aa\u30fc\u30bd\u30c9\u30c3\u30af\u30b9\u3067\u3001\u304d\u308f\u3081\u3066\u5224\u8aad\u3057\u3084\u3059\u3044\u66f8\u4f53\u3067\u3059\u3002 \u30bf\u30a4\u30c8\u30eb\u304b\u3089\u672c\u6587\u3001\u30ad\u30e3\u30d7\u30b7\u30e7\u30f3\u307e\u3067\u3001\u3055\u307e\u3056\u307e\u306a\u7528\u9014\u3067\u52b9\u679c\u7684\u306b\u3054\u5229\u7528\u3044\u305f\u3060\u3051\u307e\u3059\u3002 \u3053\u306e\u30d7\u30ed\u30b8\u30a7\u30af\u30c8\u306b\u53c2\u52a0\u3057\u3066\u8ca2\u732e\u3057\u305f\u3044\u65b9\u306f\u3001\u6b21\u306e URL \u3092\u3054\u53c2\u7167\u304f\u3060\u3055\u3044 github.com/googlefonts/zen-kakugothic Say Hello to our big new Japanese collection with Zen Fonts: Learn about the complex beauty of Japanese fonts In 2019, Google Fonts started an ambitious project to expand its font library with a variety of typeface designs for Japanese. At that point Google Fonts had fewer than 10 Japanese families, most of which were basic Mincho (serif) and gothic (sans) designs. Since then the collection of Japanese fonts within the library has grown, now with 38 font families from 18 designers, in a variety of styles \u2013 from formal text types to fun display fonts. All these Japanese fonts are now live on Google Fonts for anyone to test out and use in any project. The Zen Fonts collection is the largest set of Japanese fonts on Google Fonts As part of this larger effort to expand Japanese offerings, Google Fonts collaborated with type designer Yoshimichi Ohira to open his prestigious collection of Zen Fonts typefaces to the public. With 23 Japanese and three Latin fonts in various styles of mincho (serif), gothic (sans serif), maru (rounded), and display styles, the Zen Fonts collection is now the largest set of Japanese fonts in Google Fonts\u2019 expansive library, and is also available in Adobe Fonts. Check out The Story of Zen Fonts - interview with Yoshimichi Ohira to learn more. To learn more, read:Say Hello to our big new Japanese collection with Zen Fonts (English)The Story of Zen Fonts - interview with Yoshimichi Ohira (English)Zen\u30d5\u30a9\u30f3\u30c8: \u65b0\u3057\u3044\u65e5\u672c\u8a9e\u30d5\u30a9\u30f3\u30c8\u30b3\u30ec\u30af\u30b7\u30e7\u30f3\u306e\u767b\u5834 - \u65e5\u672c\u8a9e\u30d5\u30a9\u30f3\u30c8\u306e\u8907\u96d1\u306a\u7f8e\u3057\u3055\u306b\u3064\u3044\u3066 - (Japanese)Zen\u30d5\u30a9\u30f3\u30c8\u306e\u304a\u306f\u306a\u3057\uff1a\u5927\u5e73\u5584\u9053\u3055\u3093\u3068\u306e\u30a4\u30f3\u30bf\u30d3\u30e5\u30fc (Japanese)", + "minisite_url": null + }, + "Zen Kurenaido": { + "name": "Zen Kurenaido", + "designer": [ + "Yoshimichi Ohira" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "greek", + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [], + "description": null, + "primary_script": "Jpan", + "article": "Zen Kurenaido is a Japanese font with a handwritten feeling. The brush-like elements are omitted from the design, leaving only the bones of the letter, resulting in an impression of ballpoint handwriting. To contribute to the project, visit github.com/googlefonts/zen-kurenaido Zen Kurenaido \u306f\u624b\u66f8\u304d\u306e\u6301\u3061\u5473\u3092\u6d3b\u304b\u3057\u305f\u65b0\u3057\u3044\u65e5\u672c\u8a9e\u66f8\u4f53\u306e\u30c7\u30b6\u30a4\u30f3\u3067\u3059 \u6bdb\u7b46\u7684\u306a\u8981\u7d20\u304c\u53d6\u308a\u9664\u304b\u308c\u3001\u6587\u5b57\u306e\u9aa8\u683c\u3060\u3051\u304c\u6b8b\u3055\u308c\u3066\u3044\u308b\u306e\u3067\u3001\u30dc\u30fc\u30eb\u30da\u30f3\u3067\u66f8\u3044\u305f\u3088\u3046\u306a\u5370\u8c61\u3092\u4e0e\u3048\u308b\u30d5\u30a9\u30f3\u30c8\u3067\u3059\u3002 \u3053\u306e\u30d7\u30ed\u30b8\u30a7\u30af\u30c8\u306b\u53c2\u52a0\u3057\u3066\u8ca2\u732e\u3057\u305f\u3044\u65b9\u306f\u3001\u6b21\u306e URL \u3092\u3054\u53c2\u7167\u304f\u3060\u3055\u3044 github.com/googlefonts/zen-kurenaido\u3002 Say Hello to our big new Japanese collection with Zen Fonts: Learn about the complex beauty of Japanese fonts In 2019, Google Fonts started an ambitious project to expand its font library with a variety of typeface designs for Japanese. At that point Google Fonts had fewer than 10 Japanese families, most of which were basic Mincho (serif) and gothic (sans) designs. Since then the collection of Japanese fonts within the library has grown, now with 38 font families from 18 designers, in a variety of styles \u2013 from formal text types to fun display fonts. All these Japanese fonts are now live on Google Fonts for anyone to test out and use in any project. The Zen Fonts collection is the largest set of Japanese fonts on Google Fonts As part of this larger effort to expand Japanese offerings, Google Fonts collaborated with type designer Yoshimichi Ohira to open his prestigious collection of Zen Fonts typefaces to the public. With 23 Japanese and three Latin fonts in various styles of mincho (serif), gothic (sans serif), maru (rounded), and display styles, the Zen Fonts collection is now the largest set of Japanese fonts in Google Fonts\u2019 expansive library, and is also available in Adobe Fonts. Check out The Story of Zen Fonts - interview with Yoshimichi Ohira to learn more. To learn more, read:Say Hello to our big new Japanese collection with Zen Fonts (English)The Story of Zen Fonts - interview with Yoshimichi Ohira (English)Zen\u30d5\u30a9\u30f3\u30c8: \u65b0\u3057\u3044\u65e5\u672c\u8a9e\u30d5\u30a9\u30f3\u30c8\u30b3\u30ec\u30af\u30b7\u30e7\u30f3\u306e\u767b\u5834 - \u65e5\u672c\u8a9e\u30d5\u30a9\u30f3\u30c8\u306e\u8907\u96d1\u306a\u7f8e\u3057\u3055\u306b\u3064\u3044\u3066 - (Japanese)Zen\u30d5\u30a9\u30f3\u30c8\u306e\u304a\u306f\u306a\u3057\uff1a\u5927\u5e73\u5584\u9053\u3055\u3093\u3068\u306e\u30a4\u30f3\u30bf\u30d3\u30e5\u30fc (Japanese)", + "minisite_url": null + }, + "Zen Loop": { + "name": "Zen Loop", + "designer": [ + "Yoshimichi Ohira" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": null, + "primary_script": null, + "article": "Zen Loop Family is one of three Latin fonts designed by Yoshimichi Ohira, as part of Zen Fonts collection. Japanese kana characters contain many loops. Zen Loop and Zen Loop Italic incorporates this visual aspect into a Latin font. The font looks as though it was shaped out of a thin wire, and almost depicts the movements of a living organism. To contribute, see github.com/googlefonts/zen-loop Say Hello to our big new Japanese collection with Zen Fonts: Learn about the complex beauty of Japanese fonts In 2019, Google Fonts started an ambitious project to expand its font library with a variety of typeface designs for Japanese. At that point Google Fonts had fewer than 10 Japanese families, most of which were basic Mincho (serif) and gothic (sans) designs. Since then the collection of Japanese fonts within the library has grown, now with 38 font families from 18 designers, in a variety of styles \u2013 from formal text types to fun display fonts. All these Japanese fonts are now live on Google Fonts for anyone to test out and use in any project. The Zen Fonts collection is the largest set of Japanese fonts on Google Fonts As part of this larger effort to expand Japanese offerings, Google Fonts collaborated with type designer Yoshimichi Ohira to open his prestigious collection of Zen Fonts typefaces to the public. With 23 Japanese and three Latin fonts in various styles of mincho (serif), gothic (sans serif), maru (rounded), and display styles, the Zen Fonts collection is now the largest set of Japanese fonts in Google Fonts\u2019 expansive library, and is also available in Adobe Fonts. Check out The Story of Zen Fonts - interview with Yoshimichi Ohira to learn more. To learn more, read:Say Hello to our big new Japanese collection with Zen Fonts (English)The Story of Zen Fonts - interview with Yoshimichi Ohira (English)Zen\u30d5\u30a9\u30f3\u30c8: \u65b0\u3057\u3044\u65e5\u672c\u8a9e\u30d5\u30a9\u30f3\u30c8\u30b3\u30ec\u30af\u30b7\u30e7\u30f3\u306e\u767b\u5834 - \u65e5\u672c\u8a9e\u30d5\u30a9\u30f3\u30c8\u306e\u8907\u96d1\u306a\u7f8e\u3057\u3055\u306b\u3064\u3044\u3066 - (Japanese)Zen\u30d5\u30a9\u30f3\u30c8\u306e\u304a\u306f\u306a\u3057\uff1a\u5927\u5e73\u5584\u9053\u3055\u3093\u3068\u306e\u30a4\u30f3\u30bf\u30d3\u30e5\u30fc (Japanese)", + "minisite_url": null + }, + "Zen Maru Gothic": { + "name": "Zen Maru Gothic", + "designer": [ + "Yoshimichi Ohira" + ], + "license": "ofl", + "category": "SANS_SERIF", + "subsets": [ + "cyrillic", + "greek", + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SANS_SERIF", + "classifications": [ + "display" + ], + "description": null, + "primary_script": "Jpan", + "article": "Zen Maru Gothic is a rounded san serif family that gives a soft and natural impression due to the deep rounds in the corners. Because of this unique soft impression the thin weight is also easy to use in any scenes. Cute and fashionable, soft and easy for any communications. To contribute to the project, visit https://github.com/googlefonts/zen-marugothic Zen Maru Gothic\u306f\u3001\u89d2\u306e\u6df1\u3044\u4e38\u307f\u306b\u3088\u3063\u3066\u30bd\u30d5\u30c8\u3067\u30ca\u30c1\u30e5\u30e9\u30eb\u306a\u5370\u8c61\u3092\u4e0e\u3048\u308b\u4e38\u30b4\u30b7\u30c3\u30af\u4f53\u3067\u3059\u3002\u3053\u306e\u7279\u6709\u306e\u30bd\u30d5\u30c8\u306a\u5370\u8c61\u306b\u3088\u308a\u3001\u7d30\u3044\u30a6\u30a8\u30a4\u30c8\u306f\u3069\u306e\u3088\u3046\u306a\u30b7\u30fc\u30f3\u306b\u3082\u4f3c\u5408\u3044\u307e\u3059\u3002\u30ad\u30e5\u30fc\u30c8\u3067\u30aa\u30b7\u30e3\u30ec\u306a\u3053\u306e\u30d5\u30a9\u30f3\u30c8\u306f\u3001\u69d8\u3005\u306a\u5834\u9762\u3067\u67d4\u3089\u304b\u304f\u3075\u3093\u308f\u308a\u3068\u3057\u305f\u30b3\u30df\u30e5\u30cb\u30b1\u30fc\u30b7\u30e7\u30f3\u306b\u6d3b\u7528\u3067\u304d\u307e\u3059\u3002 \u3053\u306e\u30d7\u30ed\u30b8\u30a7\u30af\u30c8\u306b\u53c2\u52a0\u3059\u308b\u306b\u306f\u3001\u3053\u3061\u3089\u306e\u30ea\u30f3\u30af\u3078 https://github.com/googlefonts/zen-marugothic Say Hello to our big new Japanese collection with Zen Fonts: Learn about the complex beauty of Japanese fonts In 2019, Google Fonts started an ambitious project to expand its font library with a variety of typeface designs for Japanese. At that point Google Fonts had fewer than 10 Japanese families, most of which were basic Mincho (serif) and gothic (sans) designs. Since then the collection of Japanese fonts within the library has grown, now with 38 font families from 18 designers, in a variety of styles \u2013 from formal text types to fun display fonts. All these Japanese fonts are now live on Google Fonts for anyone to test out and use in any project. The Zen Fonts collection is the largest set of Japanese fonts on Google Fonts As part of this larger effort to expand Japanese offerings, Google Fonts collaborated with type designer Yoshimichi Ohira to open his prestigious collection of Zen Fonts typefaces to the public. With 23 Japanese and three Latin fonts in various styles of mincho (serif), gothic (sans serif), maru (rounded), and display styles, the Zen Fonts collection is now the largest set of Japanese fonts in Google Fonts\u2019 expansive library, and is also available in Adobe Fonts. Check out The Story of Zen Fonts - interview with Yoshimichi Ohira to learn more. To learn more, read:Say Hello to our big new Japanese collection with Zen Fonts (English)The Story of Zen Fonts - interview with Yoshimichi Ohira (English)Zen\u30d5\u30a9\u30f3\u30c8: \u65b0\u3057\u3044\u65e5\u672c\u8a9e\u30d5\u30a9\u30f3\u30c8\u30b3\u30ec\u30af\u30b7\u30e7\u30f3\u306e\u767b\u5834 - \u65e5\u672c\u8a9e\u30d5\u30a9\u30f3\u30c8\u306e\u8907\u96d1\u306a\u7f8e\u3057\u3055\u306b\u3064\u3044\u3066 - (Japanese)Zen\u30d5\u30a9\u30f3\u30c8\u306e\u304a\u306f\u306a\u3057\uff1a\u5927\u5e73\u5584\u9053\u3055\u3093\u3068\u306e\u30a4\u30f3\u30bf\u30d3\u30e5\u30fc (Japanese)", + "minisite_url": null + }, + "Zen Old Mincho": { + "name": "Zen Old Mincho", + "designer": [ + "Yoshimichi Ohira" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "cyrillic", + "greek", + "japanese", + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": null, + "primary_script": "Jpan", + "article": "Zen Old Mincho is a Japanese mincho (serif) typeface with a classic design. This font family started with the regular (400) weight, and bold and black weights were added due to huge demand. The wide range of weights means while the design is intended for text usage, it also works well in large sizes. To contribute to the project, visit github.com/googlefonts/zen-oldmincho Zen Old Mincho \u306f\u30d9\u30fc\u30b7\u30c3\u30af\u306a\u672c\u6587\u7528\u306e\u65e5\u672c\u8a9e\u660e\u671d\u4f53\u30d5\u30a1\u30df\u30ea\u30fc\u3067\u3059 \u3053\u306e\u30d5\u30a9\u30f3\u30c8\u30d5\u30a1\u30df\u30ea\u30fc\u306b\u306f\u3001\u306f\u3058\u3081\u306f\u300cRegular\u300d\u306e\u592a\u3055\u3057\u304b\u3042\u308a\u307e\u305b\u3093\u3067\u3057\u305f\u304c\u3001\u591a\u304f\u306e\u8981\u671b\u306b\u304a\u5fdc\u3048\u3057\u3066\u3001\u4ed6\u306e\u30a6\u30a7\u30a4\u30c8\u3082\u8ffd\u52a0\u3057\u307e\u3057\u305f\u3002\u4f7f\u3048\u308b\u592a\u3055\u306e\u7bc4\u56f2\u304c\u5e83\u3044\u305f\u3081\u3001\u672c\u6587\u7528\u3060\u3051\u3067\u306a\u304f\u3001\u305d\u306e\u4ed6\u3055 \u307e\u3056\u307e\u306a\u5834\u9762\u3084\u30e1\u30c7\u30a3\u30a2\u3067\u3054\u5229\u7528\u3044\u305f\u3060\u3051\u307e\u3059\u3002 \u3053\u306e\u30d7\u30ed\u30b8\u30a7\u30af\u30c8\u306b\u53c2\u52a0\u3057\u3066\u8ca2\u732e\u3057\u305f\u3044\u65b9\u306f\u3001\u6b21\u306e URL \u3092\u3054\u53c2\u7167\u304f\u3060\u3055\u3044\u3002 github.com/googlefonts/zen-oldmincho Say Hello to our big new Japanese collection with Zen Fonts: Learn about the complex beauty of Japanese fonts In 2019, Google Fonts started an ambitious project to expand its font library with a variety of typeface designs for Japanese. At that point Google Fonts had fewer than 10 Japanese families, most of which were basic Mincho (serif) and gothic (sans) designs. Since then the collection of Japanese fonts within the library has grown, now with 38 font families from 18 designers, in a variety of styles \u2013 from formal text types to fun display fonts. All these Japanese fonts are now live on Google Fonts for anyone to test out and use in any project. The Zen Fonts collection is the largest set of Japanese fonts on Google Fonts As part of this larger effort to expand Japanese offerings, Google Fonts collaborated with type designer Yoshimichi Ohira to open his prestigious collection of Zen Fonts typefaces to the public. With 23 Japanese and three Latin fonts in various styles of mincho (serif), gothic (sans serif), maru (rounded), and display styles, the Zen Fonts collection is now the largest set of Japanese fonts in Google Fonts\u2019 expansive library, and is also available in Adobe Fonts. Check out The Story of Zen Fonts - interview with Yoshimichi Ohira to learn more. To learn more, read:Say Hello to our big new Japanese collection with Zen Fonts (English)The Story of Zen Fonts - interview with Yoshimichi Ohira (English)Zen\u30d5\u30a9\u30f3\u30c8: \u65b0\u3057\u3044\u65e5\u672c\u8a9e\u30d5\u30a9\u30f3\u30c8\u30b3\u30ec\u30af\u30b7\u30e7\u30f3\u306e\u767b\u5834 - \u65e5\u672c\u8a9e\u30d5\u30a9\u30f3\u30c8\u306e\u8907\u96d1\u306a\u7f8e\u3057\u3055\u306b\u3064\u3044\u3066 - (Japanese)Zen\u30d5\u30a9\u30f3\u30c8\u306e\u304a\u306f\u306a\u3057\uff1a\u5927\u5e73\u5584\u9053\u3055\u3093\u3068\u306e\u30a4\u30f3\u30bf\u30d3\u30e5\u30fc (Japanese)", + "minisite_url": null + }, + "Zen Tokyo Zoo": { + "name": "Zen Tokyo Zoo", + "designer": [ + "Yoshimichi Ohira" + ], + "license": "ofl", + "category": "DISPLAY", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "display" + ], + "description": null, + "primary_script": null, + "article": "Zen Loop Family is one of three Latin fonts designed by Yoshimichi Ohira, as part of the Zen Fonts collection. Tokyo Zoo was originally designed for an animal exhibition. The stripes suggest zoo cages but overall it\u2019s a fun and stylish design. To contribute, see github.com/googlefonts/zen-tokyo-zoo. Say Hello to our big new Japanese collection with Zen Fonts: Learn about the complex beauty of Japanese fonts In 2019, Google Fonts started an ambitious project to expand its font library with a variety of typeface designs for Japanese. At that point Google Fonts had fewer than 10 Japanese families, most of which were basic Mincho (serif) and gothic (sans) designs. Since then the collection of Japanese fonts within the library has grown, now with 38 font families from 18 designers, in a variety of styles \u2013 from formal text types to fun display fonts. All these Japanese fonts are now live on Google Fonts for anyone to test out and use in any project. The Zen Fonts collection is the largest set of Japanese fonts on Google Fonts As part of this larger effort to expand Japanese offerings, Google Fonts collaborated with type designer Yoshimichi Ohira to open his prestigious collection of Zen Fonts typefaces to the public. With 23 Japanese and three Latin fonts in various styles of mincho (serif), gothic (sans serif), maru (rounded), and display styles, the Zen Fonts collection is now the largest set of Japanese fonts in Google Fonts\u2019 expansive library, and is also available in Adobe Fonts. Check out The Story of Zen Fonts - interview with Yoshimichi Ohira to learn more. To learn more, read: Say Hello to our big new Japanese collection with Zen Fonts (English) The Story of Zen Fonts - interview with Yoshimichi Ohira (English) Zen\u30d5\u30a9\u30f3\u30c8: \u65b0\u3057\u3044\u65e5\u672c\u8a9e\u30d5\u30a9\u30f3\u30c8\u30b3\u30ec\u30af\u30b7\u30e7\u30f3\u306e\u767b\u5834 - \u65e5\u672c\u8a9e\u30d5\u30a9\u30f3\u30c8\u306e\u8907\u96d1\u306a\u7f8e\u3057\u3055\u306b\u3064\u3044\u3066 - (Japanese) Zen\u30d5\u30a9\u30f3\u30c8\u306e\u304a\u306f\u306a\u3057\uff1a\u5927\u5e73\u5584\u9053\u3055\u3093\u3068\u306e\u30a4\u30f3\u30bf\u30d3\u30e5\u30fc (Japanese)", + "minisite_url": null + }, + "Zeyada": { + "name": "Zeyada", + "designer": [ + "Kimberly Geswein" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": null, + "classifications": [ + "handwriting", + "display" + ], + "description": "Zeyada is based on the handwriting of a warm and generous young mom. Her family sponsors an amazing Ethiopian young woman named Zeyada and pays for her to continue to be in school. This font has curls and curves and is not a typical cursive, nor a typical print. It is slightly connected, but not a traditional script in any way.", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Zhi Mang Xing": { + "name": "Zhi Mang Xing", + "designer": [ + "Wei Zhimang" + ], + "license": "ofl", + "category": "HANDWRITING", + "subsets": [ + "chinese-simplified", + "latin" + ], + "stroke": null, + "classifications": [ + "handwriting" + ], + "description": "ZhiMang is a classic running script based on the handwritten calligraphy of Wei Zhimang. Running script is a semi-cursive style in which strokes within the character run together, but the characters themselves remain separated. In its singularity and richness, ZhiMang is reminiscent of works by celebrated calligrapher Wu Changshuo.", + "primary_script": "Hans", + "article": null, + "minisite_url": null + }, + "Zilla Slab": { + "name": "Zilla Slab", + "designer": [ + "Typotheque" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SERIF", + "classifications": [], + "description": "Zilla Slab is Mozilla's core typeface, used for the Mozilla wordmark, headlines and throughout their designs. A contemporary slab serif, based on Typotheque's Tesla, it is constructed with smooth curves and true italics, which gives text an unexpectedly sophisticated industrial look and a friendly approachability in all weights. Designed by Typotheque, this project is led by Mozilla. To contribute, see github.com/mozilla/zilla-slab", + "primary_script": null, + "article": null, + "minisite_url": null + }, + "Zilla Slab Highlight": { + "name": "Zilla Slab Highlight", + "designer": [ + "Typotheque" + ], + "license": "ofl", + "category": "SERIF", + "subsets": [ + "latin", + "latin-ext" + ], + "stroke": "SLAB_SERIF", + "classifications": [], + "description": "Zilla Slab is Mozilla's core typeface, used for the Mozilla wordmark, headlines and throughout their designs. A contemporary slab serif, based on Typotheque's Tesla, it is constructed with smooth curves and true italics, which gives text an unexpectedly sophisticated industrial look and a friendly approachability in all weights. This is the Highlight sister family. Designed by Typotheque, this project is led by Mozilla. To contribute, see github.com/mozilla/zilla-slab", + "primary_script": null, + "article": null, + "minisite_url": null + } + }, + "axisregistry": { + "SZP1": { + "tag": "SZP1", + "display_name": "Size of Paint 1", + "min_value": -100.0, + "default_value": 0.0, + "max_value": 100.0, + "precision": 0, + "fallback": [ + { + "name": "Default", + "value": 0.0 + } + ], + "fallback_only": false, + "description": "Modifies the size of a paint element going from an initial size (0) to positive values that increase the size (100%) or negative values that shrink it down (-100%). Reducing the size can create transparency." + }, + "SZP2": { + "tag": "SZP2", + "display_name": "Size of Paint 2", + "min_value": -100.0, + "default_value": 0.0, + "max_value": 100.0, + "precision": 0, + "fallback": [ + { + "name": "Default", + "value": 0.0 + } + ], + "fallback_only": false, + "description": "Modifies the size of a paint element going from an initial size (0) to positive values that increase the size (100%) or negative values that shrink it down (-100%). Reducing the size can create transparency. Paint 2 is in front of Paint 1." + }, + "XPN2": { + "tag": "XPN2", + "display_name": "Horizontal Position of Paint 2", + "min_value": -100.0, + "default_value": 0.0, + "max_value": 100.0, + "precision": 0, + "fallback": [ + { + "name": "Default", + "value": 0.0 + } + ], + "fallback_only": false, + "description": "The position of the paint moves left and right. Negative values move to the left and positive values move to the right, in the X dimension. Paint 2 is in front of Paint 1." + }, + "YELA": { + "tag": "YELA", + "display_name": "Vertical Element Alignment", + "min_value": -100.0, + "default_value": 0.0, + "max_value": 100.0, + "precision": 0, + "fallback": [ + { + "name": "Default", + "value": 0.0 + } + ], + "fallback_only": false, + "description": "Align glyphs elements from their default position (0%), usually the baseline, to an upper (100%) or lower (-100%) position." + }, + "YPN1": { + "tag": "YPN1", + "display_name": "Vertical Position of Paint 1", + "min_value": -100.0, + "default_value": 0.0, + "max_value": 100.0, + "precision": 0, + "fallback": [ + { + "name": "Default", + "value": 0.0 + } + ], + "fallback_only": false, + "description": "The position of the paint moves up and down. Negative values move down and positive values move up. Paint 1 is behind Paint 2." + }, + "YPN2": { + "tag": "YPN2", + "display_name": "Vertical Position of Paint 2", + "min_value": -100.0, + "default_value": 0.0, + "max_value": 100.0, + "precision": 0, + "fallback": [ + { + "name": "Default", + "value": 0.0 + } + ], + "fallback_only": false, + "description": "The position of the paint moves up and down. Negative values move down and positive values move up. Paint 2 is in front of Paint 1." + }, + "ARRR": { + "tag": "ARRR", + "display_name": "AR Retinal Resolution", + "min_value": 10.0, + "default_value": 10.0, + "max_value": 60.0, + "precision": 0, + "fallback": [ + { + "name": "Default", + "value": 10.0 + } + ], + "fallback_only": false, + "description": " Resolution-specific enhancements in AR/VR typefaces to optimize rendering across the different resolutions of the headsets making designs accessible and easy to read." + }, + "BLED": { + "tag": "BLED", + "display_name": "Bleed", + "min_value": 0.0, + "default_value": 0.0, + "max_value": 100.0, + "precision": 0, + "fallback": [ + { + "name": "Default", + "value": 0.0 + } + ], + "fallback_only": false, + "description": "Bleed adjusts the overall darkness in the typographic color of strokes or other forms, without any changes in overall width, line breaks, or page layout. Negative values make the font appearance lighter, while positive values make it darker, similarly to ink bleed or dot gain on paper." + }, + "BNCE": { + "tag": "BNCE", + "display_name": "Bounce", + "min_value": -100.0, + "default_value": 0.0, + "max_value": 100.0, + "precision": 0, + "fallback": [ + { + "name": "Default", + "value": 0.0 + } + ], + "fallback_only": false, + "description": "Shift glyphs up and down in the Y dimension, resulting in an uneven, bouncy baseline." + }, + "CASL": { + "tag": "CASL", + "display_name": "Casual", + "min_value": 0.0, + "default_value": 0.0, + "max_value": 1.0, + "precision": -2, + "fallback": [ + { + "name": "Linear", + "value": 0.0 + }, + { + "name": "Casual", + "value": 1.0 + } + ], + "fallback_only": false, + "description": "Adjust stroke curvature, contrast, and terminals from a sturdy, rational Linear style to a friendly, energetic Casual style." + }, + "CRSV": { + "tag": "CRSV", + "display_name": "Cursive", + "min_value": 0.0, + "default_value": 0.5, + "max_value": 1.0, + "precision": -1, + "fallback": [ + { + "name": "Roman", + "value": 0.0 + }, + { + "name": "Auto", + "value": 0.5 + }, + { + "name": "Cursive", + "value": 1.0 + } + ], + "fallback_only": true, + "description": "Control the substitution of cursive forms along the Slant axis. 'Off' (0) maintains Roman letterforms such as a double-storey a and g, 'Auto' (0.5) allows for Cursive substitution, and 'On' (1) asserts cursive forms even in upright text with a Slant of 0." + }, + "EDPT": { + "tag": "EDPT", + "display_name": "Extrusion Depth", + "min_value": 0.0, + "default_value": 100.0, + "max_value": 1000.0, + "precision": 0, + "fallback": [ + { + "name": "Default", + "value": 100.0 + } + ], + "fallback_only": false, + "description": "Controls the 3D depth on contours." + }, + "EHLT": { + "tag": "EHLT", + "display_name": "Edge Highlight", + "min_value": 0.0, + "default_value": 12.0, + "max_value": 1000.0, + "precision": 0, + "fallback": [ + { + "name": "Default", + "value": 12.0 + } + ], + "fallback_only": false, + "description": "Controls thickness of edge highlight details." + }, + "ELGR": { + "tag": "ELGR", + "display_name": "Element Grid", + "min_value": 1.0, + "default_value": 1.0, + "max_value": 2.0, + "precision": -1, + "fallback": [ + { + "name": "Default", + "value": 1.0 + } + ], + "fallback_only": false, + "description": "In modular fonts, where glyphs are composed using multiple copies of the same element, this axis controls how many elements are used per one grid unit." + }, + "ELSH": { + "tag": "ELSH", + "display_name": "Element Shape", + "min_value": 0.0, + "default_value": 0.0, + "max_value": 100.0, + "precision": -1, + "fallback": [ + { + "name": "Default", + "value": 0.0 + } + ], + "fallback_only": false, + "description": "In modular fonts, where glyphs are composed using multiple copies of the same element, this axis controls the shape of the element" + }, + "ELXP": { + "tag": "ELXP", + "display_name": "Element Expansion", + "min_value": 0.0, + "default_value": 0.0, + "max_value": 100.0, + "precision": 0, + "fallback": [ + { + "name": "Default", + "value": 0.0 + } + ], + "fallback_only": false, + "description": "As the Element Expansion axis progresses, the elements move apart." + }, + "FILL": { + "tag": "FILL", + "display_name": "Fill", + "min_value": 0.0, + "default_value": 0.0, + "max_value": 1.0, + "precision": -2, + "fallback": [ + { + "name": "Normal", + "value": 0.0 + }, + { + "name": "Filled", + "value": 1.0 + } + ], + "fallback_only": false, + "description": "Fill in transparent forms with opaque ones. Sometimes interior opaque forms become transparent, to maintain contrasting shapes. This can be useful in animation or interaction to convey a state transition. Ranges from 0 (no treatment) to 1 (completely filled)." + }, + "FLAR": { + "tag": "FLAR", + "display_name": "Flare", + "min_value": 0.0, + "default_value": 0.0, + "max_value": 100.0, + "precision": 0, + "fallback": [ + { + "name": "Default", + "value": 0.0 + } + ], + "fallback_only": false, + "description": "As the flare axis grows, the stem terminals go from straight (0%) to develop a swelling (100%)." + }, + "GRAD": { + "tag": "GRAD", + "display_name": "Grade", + "min_value": -1000.0, + "default_value": 0.0, + "max_value": 1000.0, + "precision": 0, + "fallback": [ + { + "name": "Normal", + "value": 0.0 + } + ], + "fallback_only": false, + "description": "Finesse the style from lighter to bolder in typographic color, without any changes overall width, line breaks or page layout. Negative grade makes the style lighter, while positive grade makes it bolder. The units are the same as in the Weight axis." + }, + "HEXP": { + "tag": "HEXP", + "display_name": "Hyper Expansion", + "min_value": 0.0, + "default_value": 0.0, + "max_value": 100.0, + "precision": -1, + "fallback": [ + { + "name": "Default", + "value": 0.0 + } + ], + "fallback_only": false, + "description": "Expansion of inner and outer space of glyphs." + }, + "INFM": { + "tag": "INFM", + "display_name": "Informality", + "min_value": 0.0, + "default_value": 0.0, + "max_value": 100.0, + "precision": 0, + "fallback": [ + { + "name": "Default", + "value": 0.0 + } + ], + "fallback_only": false, + "description": "Adjusts overall design from formal and traditional (0%) to informal and unconventional (up to 100%)." + }, + "MONO": { + "tag": "MONO", + "display_name": "Monospace", + "min_value": 0.0, + "default_value": 0.0, + "max_value": 1.0, + "precision": -2, + "fallback": [ + { + "name": "Proportional", + "value": 0.0 + }, + { + "name": "Monospace", + "value": 1.0 + } + ], + "fallback_only": false, + "description": "Adjust the style from Proportional (natural widths, default) to Monospace (fixed width). With proportional spacing, each glyph takes up a unique amount of space on a line, while monospace is when all glyphs have the same total character width." + }, + "MORF": { + "tag": "MORF", + "display_name": "Morph", + "min_value": 0.0, + "default_value": 0.0, + "max_value": 60.0, + "precision": 0, + "fallback": [ + { + "name": "Default", + "value": 0.0 + } + ], + "fallback_only": false, + "description": "Letterforms morph: Changing in unconventional ways, that don't alter other attributes, like width or weight. The range from 0 to 60 can be understood as seconds." + }, + "ROND": { + "tag": "ROND", + "display_name": "Roundness", + "min_value": 0.0, + "default_value": 0.0, + "max_value": 100.0, + "precision": 0, + "fallback": [ + { + "name": "Default", + "value": 0.0 + }, + { + "name": "Rounded", + "value": 100.0 + } + ], + "fallback_only": false, + "description": "Adjust shapes from angular defaults (0%) to become increasingly rounded (up to 100%)." + }, + "SCAN": { + "tag": "SCAN", + "display_name": "Scanlines", + "min_value": -100.0, + "default_value": 0.0, + "max_value": 100.0, + "precision": 0, + "fallback": [ + { + "name": "Default", + "value": 0.0 + } + ], + "fallback_only": false, + "description": "Break up shapes into horizontal segments without any changes in overall width, letter spacing, or kerning, so there are no line breaks or page layout changes. Negative values make the scanlines thinner, and positive values make them thicker." + }, + "SHLN": { + "tag": "SHLN", + "display_name": "Shadow Length", + "min_value": 0.0, + "default_value": 50.0, + "max_value": 100.0, + "precision": -1, + "fallback": [ + { + "name": "Default", + "value": 50.0 + } + ], + "fallback_only": false, + "description": "Adjusts the font's shadow length from no shadow visible (0 %) to a maximum shadow applied (100%) relative to each family design." + }, + "SHRP": { + "tag": "SHRP", + "display_name": "Sharpness", + "min_value": 0.0, + "default_value": 0.0, + "max_value": 100.0, + "precision": 0, + "fallback": [ + { + "name": "Default", + "value": 0.0 + } + ], + "fallback_only": false, + "description": "Adjust shapes from angular or blunt default shapes (0%) to become increasingly sharped forms (up to 100%)." + }, + "SOFT": { + "tag": "SOFT", + "display_name": "Softness", + "min_value": 0.0, + "default_value": 0.0, + "max_value": 100.0, + "precision": -1, + "fallback": [ + { + "name": "Sharp", + "value": 0.0 + }, + { + "name": "Soft", + "value": 50.0 + }, + { + "name": "SuperSoft", + "value": 100.0 + } + ], + "fallback_only": false, + "description": "Adjust letterforms to become more and more soft and rounded." + }, + "SPAC": { + "tag": "SPAC", + "display_name": "Spacing", + "min_value": -100.0, + "default_value": 0.0, + "max_value": 100.0, + "precision": -1, + "fallback": [ + { + "name": "Default", + "value": 0.0 + } + ], + "fallback_only": false, + "description": "Adjusts the overall letter spacing of a font. The range is a relative percentage change from the family\u2019s default spacing, so the default value is 0." + }, + "VOLM": { + "tag": "VOLM", + "display_name": "Volume", + "min_value": 0.0, + "default_value": 0.0, + "max_value": 100.0, + "precision": 0, + "fallback": [ + { + "name": "Default", + "value": 0.0 + } + ], + "fallback_only": false, + "description": "Expands and exaggerates details of a typeface to emphasize the personality. Understood in a percentage amount, it goes from a neutral state (0%) to a maximum level (100%)." + }, + "WONK": { + "tag": "WONK", + "display_name": "Wonky", + "min_value": 0.0, + "default_value": 0.0, + "max_value": 1.0, + "precision": 0, + "fallback": [ + { + "name": "NonWonky", + "value": 0.0 + }, + { + "name": "Wonky", + "value": 1.0 + } + ], + "fallback_only": true, + "description": "Toggle the substitution of wonky forms. 'Off' (0) maintains more conventional letterforms, while 'On' (1) maintains wonky letterforms, such as leaning stems in roman, or flagged ascenders in italic. These forms are also controlled by Optical Size." + }, + "XELA": { + "tag": "XELA", + "display_name": "Horizontal Element Alignment", + "min_value": -100.0, + "default_value": 0.0, + "max_value": 100.0, + "precision": 0, + "fallback": [ + { + "name": "Default", + "value": 0.0 + } + ], + "fallback_only": false, + "description": "Align glyph elements from their default position (0%), usually the baseline, to a rightmost (100%) or leftmost (-100%) position." + }, + "XOPQ": { + "tag": "XOPQ", + "display_name": "Thick Stroke", + "min_value": -1000.0, + "default_value": 88.0, + "max_value": 2000.0, + "precision": 0, + "fallback": [ + { + "name": "Normal", + "value": 88.0 + } + ], + "fallback_only": false, + "description": "A parametric axis for varying thick stroke weights, such as stems." + }, + "XPN1": { + "tag": "XPN1", + "display_name": "Horizontal Position of Paint 1", + "min_value": -100.0, + "default_value": 0.0, + "max_value": 100.0, + "precision": 0, + "fallback": [ + { + "name": "Default", + "value": 0.0 + } + ], + "fallback_only": false, + "description": "The position of the paint moves left and right. Negative values move to the left and positive values move to the right, in the X dimension. Paint 1 is behind Paint 2." + }, + "XROT": { + "tag": "XROT", + "display_name": "Rotation in X", + "min_value": -180.0, + "default_value": 0.0, + "max_value": 180.0, + "precision": 0, + "fallback": [ + { + "name": "Default", + "value": 0.0 + } + ], + "fallback_only": false, + "description": "Glyphs rotate left and right, negative values to the left and positive values to the right, in the X dimension." + }, + "XTRA": { + "tag": "XTRA", + "display_name": "Counter Width", + "min_value": -1000.0, + "default_value": 400.0, + "max_value": 2000.0, + "precision": 0, + "fallback": [ + { + "name": "Normal", + "value": 400.0 + } + ], + "fallback_only": false, + "description": "A parametric axis for varying counter widths in the X dimension." + }, + "YEAR": { + "tag": "YEAR", + "display_name": "Year", + "min_value": -4000.0, + "default_value": 2000.0, + "max_value": 4000.0, + "precision": 0, + "fallback": [ + { + "name": "Default", + "value": 2000.0 + } + ], + "fallback_only": false, + "description": "Axis that shows in a metaphoric way the effect of time on a chosen topic." + }, + "YEXT": { + "tag": "YEXT", + "display_name": "Vertical Extension", + "min_value": 0.0, + "default_value": 0.0, + "max_value": 100.0, + "precision": 0, + "fallback": [ + { + "name": "Default", + "value": 0.0 + } + ], + "fallback_only": false, + "description": "The axis extends glyphs in the Y dimension, such as the Cap Height, Ascender and Descender lengths. This is a relative axis, starting at 0% and going to the typeface's individual maximum extent at 100%." + }, + "YOPQ": { + "tag": "YOPQ", + "display_name": "Thin Stroke", + "min_value": -1000.0, + "default_value": 116.0, + "max_value": 2000.0, + "precision": 0, + "fallback": [ + { + "name": "Normal", + "value": 116.0 + } + ], + "fallback_only": false, + "description": "A parametric axis for varying thin stroke weights, such as bars and hairlines." + }, + "YROT": { + "tag": "YROT", + "display_name": "Rotation in Y", + "min_value": -180.0, + "default_value": 0.0, + "max_value": 180.0, + "precision": 0, + "fallback": [ + { + "name": "Default", + "value": 0.0 + } + ], + "fallback_only": false, + "description": "Glyphs rotate up and down, negative values tilt down and positive values tilt up, in the Y dimension." + }, + "YTAS": { + "tag": "YTAS", + "display_name": "Ascender Height", + "min_value": 0.0, + "default_value": 750.0, + "max_value": 1000.0, + "precision": 0, + "fallback": [ + { + "name": "Normal", + "value": 750.0 + } + ], + "fallback_only": false, + "description": "A parametric axis for varying the height of lowercase ascenders." + }, + "YTDE": { + "tag": "YTDE", + "display_name": "Descender Depth", + "min_value": -1000.0, + "default_value": -250.0, + "max_value": 0.0, + "precision": 0, + "fallback": [ + { + "name": "Normal", + "value": -250.0 + } + ], + "fallback_only": false, + "description": "A parametric axis for varying the depth of lowercase descenders." + }, + "YTFI": { + "tag": "YTFI", + "display_name": "Figure Height", + "min_value": -1000.0, + "default_value": 600.0, + "max_value": 2000.0, + "precision": 0, + "fallback": [ + { + "name": "Normal", + "value": 600.0 + } + ], + "fallback_only": false, + "description": "A parametric axis for varying the height of figures." + }, + "YTLC": { + "tag": "YTLC", + "display_name": "Lowercase Height", + "min_value": 0.0, + "default_value": 500.0, + "max_value": 1000.0, + "precision": 0, + "fallback": [ + { + "name": "Normal", + "value": 500.0 + } + ], + "fallback_only": false, + "description": "A parametric axis for varying the height of the lowercase." + }, + "YTUC": { + "tag": "YTUC", + "display_name": "Uppercase Height", + "min_value": 0.0, + "default_value": 725.0, + "max_value": 1000.0, + "precision": 0, + "fallback": [ + { + "name": "Normal", + "value": 725.0 + } + ], + "fallback_only": false, + "description": "A parametric axis for varying the heights of uppercase letterforms." + }, + "ZROT": { + "tag": "ZROT", + "display_name": "Rotation in Z", + "min_value": -180.0, + "default_value": 0.0, + "max_value": 180.0, + "precision": 0, + "fallback": [ + { + "name": "Default", + "value": 0.0 + } + ], + "fallback_only": false, + "description": "Glyphs rotate left and right, negative values to the left and positive values to the right, in the Z dimension." + }, + "ital": { + "tag": "ital", + "display_name": "Italic", + "min_value": 0.0, + "default_value": 0.0, + "max_value": 1.0, + "precision": 0, + "fallback": [ + { + "name": "Roman", + "value": 0.0 + }, + { + "name": "Italic", + "value": 1.0 + } + ], + "fallback_only": true, + "description": "Adjust the style from roman to italic. This can be provided as a continuous range within a single font file, like most axes, or as a toggle between two roman and italic files that form a family as a pair." + }, + "opsz": { + "tag": "opsz", + "display_name": "Optical Size", + "min_value": 5.0, + "default_value": 14.0, + "max_value": 1200.0, + "precision": -1, + "fallback": [ + { + "name": "6pt", + "value": 6.0 + }, + { + "name": "7pt", + "value": 7.0 + }, + { + "name": "8pt", + "value": 8.0 + }, + { + "name": "9pt", + "value": 9.0 + }, + { + "name": "10pt", + "value": 10.0 + }, + { + "name": "11pt", + "value": 11.0 + }, + { + "name": "12pt", + "value": 12.0 + }, + { + "name": "14pt", + "value": 14.0 + }, + { + "name": "16pt", + "value": 16.0 + }, + { + "name": "17pt", + "value": 17.0 + }, + { + "name": "18pt", + "value": 18.0 + }, + { + "name": "20pt", + "value": 20.0 + }, + { + "name": "24pt", + "value": 24.0 + }, + { + "name": "28pt", + "value": 28.0 + }, + { + "name": "36pt", + "value": 36.0 + }, + { + "name": "48pt", + "value": 48.0 + }, + { + "name": "60pt", + "value": 60.0 + }, + { + "name": "72pt", + "value": 72.0 + }, + { + "name": "96pt", + "value": 96.0 + }, + { + "name": "120pt", + "value": 120.0 + }, + { + "name": "144pt", + "value": 144.0 + } + ], + "fallback_only": false, + "description": "Adapt the style to specific text sizes. At smaller sizes, letters typically become optimized for more legibility. At larger sizes, optimized for headlines, with more extreme weights and widths. In CSS this axis is activated automatically when it is available." + }, + "slnt": { + "tag": "slnt", + "display_name": "Slant", + "min_value": -90.0, + "default_value": 0.0, + "max_value": 90.0, + "precision": 0, + "fallback": [ + { + "name": "Default", + "value": 0.0 + } + ], + "fallback_only": false, + "description": "Adjust the style from upright to slanted. Negative values produce right-leaning forms, also known to typographers as an 'oblique' style. Positive values produce left-leaning forms, also called a 'backslanted' or 'reverse oblique' style." + }, + "wdth": { + "tag": "wdth", + "display_name": "Width", + "min_value": 25.0, + "default_value": 100.0, + "max_value": 200.0, + "precision": -1, + "fallback": [ + { + "name": "SuperCondensed", + "value": 25.0 + }, + { + "name": "UltraCondensed", + "value": 50.0 + }, + { + "name": "ExtraCondensed", + "value": 62.5 + }, + { + "name": "Condensed", + "value": 75.0 + }, + { + "name": "SemiCondensed", + "value": 87.5 + }, + { + "name": "Normal", + "value": 100.0 + }, + { + "name": "SemiExpanded", + "value": 112.5 + }, + { + "name": "Expanded", + "value": 125.0 + }, + { + "name": "ExtraExpanded", + "value": 150.0 + }, + { + "name": "UltraExpanded", + "value": 200.0 + } + ], + "fallback_only": false, + "description": "Adjust the style from narrower to wider, by varying the proportions of counters, strokes, spacing and kerning, and other aspects of the type. This typically changes the typographic color in a subtle way, and so may be used in conjunction with Weight and Grade axes." + }, + "wght": { + "tag": "wght", + "display_name": "Weight", + "min_value": 1.0, + "default_value": 400.0, + "max_value": 1000.0, + "precision": 0, + "fallback": [ + { + "name": "Thin", + "value": 100.0 + }, + { + "name": "ExtraLight", + "value": 200.0 + }, + { + "name": "Light", + "value": 300.0 + }, + { + "name": "Regular", + "value": 400.0 + }, + { + "name": "Medium", + "value": 500.0 + }, + { + "name": "SemiBold", + "value": 600.0 + }, + { + "name": "Bold", + "value": 700.0 + }, + { + "name": "ExtraBold", + "value": 800.0 + }, + { + "name": "Black", + "value": 900.0 + } + ], + "fallback_only": false, + "description": "Adjust the style from lighter to bolder in typographic color, by varying stroke weights, spacing and kerning, and other aspects of the type. This typically changes overall width, and so may be used in conjunction with Width and Grade axes." + } + } + }, + "fp": null +} \ No newline at end of file diff --git a/.ci/dashboard/src/data/versionhistory.json b/.ci/dashboard/src/data/versionhistory.json new file mode 100644 index 000000000..ac30c8f46 --- /dev/null +++ b/.ci/dashboard/src/data/versionhistory.json @@ -0,0 +1,39884 @@ +{ + "Yuji Syuku": { + "dev": [ + { + "version": "Version 3.002", + "date": "1970-01-01T00:00:00" + } + ], + "sandbox": [ + { + "version": "Version 3.002", + "date": "1970-01-01T00:00:00" + } + ], + "production": [ + { + "version": "Version 3.002", + "date": "1970-01-01T00:00:00" + } + ] + }, + "Lovers Quarrel": { + "dev": [ + { + "version": "Version 1.010; ttfautohint (v1.8.3)", + "date": "1970-01-01T00:00:00" + } + ], + "sandbox": [ + { + "version": "Version 1.010; ttfautohint (v1.8.3)", + "date": "1970-01-01T00:00:00" + } + ], + "production": [ + { + "version": "Version 1.010; ttfautohint (v1.8.3)", + "date": "1970-01-01T00:00:00" + } + ] + }, + "Carrois Gothic SC": { + "dev": [ + { + "version": "Version 1.002", + "date": "1970-01-01T00:00:00" + } + ], + "sandbox": [ + { + "version": "Version 1.002", + "date": "1970-01-01T00:00:00" + } + ], + "production": [ + { + "version": "Version 1.002", + "date": "1970-01-01T00:00:00" + } + ] + }, + "Bigshot One": { + "dev": [ + { + "version": "Version 1.001", + "date": "1970-01-01T00:00:00" + } + ], + "sandbox": [ + { + "version": "Version 1.001", + "date": "1970-01-01T00:00:00" + } + ], + "production": [ + { + "version": "Version 1.001", + "date": "1970-01-01T00:00:00" + } + ] + }, + "Lato": { + "dev": [ + { + "version": "Version 1.104; Western+Polish opensource", + "date": "1970-01-01T00:00:00" + }, + { + "version": "Version 2.015; 2015-08-06; http://www.latofonts.com/", + "date": "2024-03-01T14:37:08.349537" + } + ], + "sandbox": [ + { + "version": "Version 1.104; Western+Polish opensource", + "date": "1970-01-01T00:00:00" + } + ], + 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FileAttachment("./data/versionhistory.json").json(); +const allResults = await FileAttachment("./data/fontspector.json").json(); +const metadata = await FileAttachment("./data/metadata.json").json(); +const servers = await FileAttachment("./data/servers.json").json(); +const github = await FileAttachment("./data/github.json").json(); + +const family_to_directory = Object.fromEntries( + Object.entries(metadata).map(([k, v]) => [v.name, k]) +); +const directory_to_family = Object.fromEntries( + Object.entries(metadata).map(([k, v]) => [k, v.name]) +); +let filters = view( + Inputs.checkbox(["Version differences", "Open pull requests"], false) +); +``` + +```js +let families = Object.keys(family_to_directory); +if (filters.includes("Open pull requests")) { + families = Object.entries(metadata) + .filter(([directory, md]) => + github.pullRequests.some((pr) => pr.directories.includes(directory)) + ) + .map(([directory, md]) => md.name); +} +if (filters.includes("Version differences")) { + families = families.filter((family) => + hasVersionDifference(family, metadata, servers) + ); +} +families = families.sort(); +const searchBar = Inputs.search(families, { + placeholder: "Search families...", +}); +const search = view(searchBar); +``` + +```jsx +let render = (x) => ( + +); + +if (search.length < 100) { + let rows = search.map(render); + display(
{rows}
); +} else { + display(
); +} +``` diff --git a/.ci/dashboard/src/fontc_crater.md b/.ci/dashboard/src/fontc_crater.md new file mode 100644 index 000000000..f50e46364 --- /dev/null +++ b/.ci/dashboard/src/fontc_crater.md @@ -0,0 +1,137 @@ +--- +title: Fontc crater +--- + +```js +const fontc = await FileAttachment("./data/fontc.json").json(); +import { RenderFailures, RenderSuccesses } from "./components/Fontc.js"; +``` + +```js +const semiFlattened = fontc.summary.map((cur) => { + // Move the `stats` object to the top level + return { + date: new Date(cur.began), + rev: cur.fontc_rev, + targets: cur.stats.total_targets, + fontc_failed: cur.stats.fontc_failed, + fontmake_failed: cur.stats.fontmake_failed, + both_failed: cur.stats.both_failed, + other: cur.stats.other_failure, + identical: cur.stats.identical, + similarity: cur.stats.diff_perc_including_failures, + }; +}); + +let prev_identical = undefined; +let updown = (v) => { + if (v > 0) return html`↑${v}`; + if (v < 0) return html`↓${-v}`; + return ""; +}; + +semiFlattened.forEach((cur) => { + let identical_value = cur.identical; + if (prev_identical) { + let identical_change = cur.identical - prev_identical; + if (identical_change) { + cur.identical = html`${cur.identical} ${updown(identical_change)}`; + } else { + cur.identical = html`${cur.identical}`; + } + } else { + cur.identical = html`${cur.identical}`; + } + prev_identical = identical_value; +}); +const flattened = fontc.summary.flatMap((cur) => + Object.entries(cur.stats) + .filter(([status, count]) => + ["both_failed", "fontmake_failed", "identical", "produced_diff"].includes( + status + ) + ) + .map(([status, count]) => { + return { + began: cur.began, + status, + count, + }; + }) +); +display( + Inputs.table(semiFlattened, { + format: { + identical: (v) => v, + date: (v) => v.toLocaleDateString(), + similarity: (v) => `${v.toFixed(2)}%`, + }, + reverse: true, + width: { + date: 90, + }, + }) +); +``` + +```js +const y2 = d3.scaleLinear( + [0, 100], + [0, d3.max(fontc.summary, (d) => d.stats.total_targets)] +); + +display( + Plot.plot({ + color: { legend: true }, + y: { axis: "left", label: "targets" }, + + marks: [ + Plot.ruleY([0]), + Plot.axisY(y2.ticks(), { + anchor: "right", + label: "%", + color: "lightgreen", + y: y2, + tickFormat: y2.tickFormat(), + }), + + Plot.areaY(flattened, { + y: "count", + x: (d) => new Date(d.began), + fill: "status", + }), + Plot.lineY( + fontc.summary, + Plot.mapY((D) => D.map(y2), { + x: (d) => new Date(d.began), + y: (d) => d.stats.diff_perc_including_failures, + stroke: "green", + strokeWidth: 2, + }) + ), + Plot.lineY( + fontc.summary, + Plot.mapY((D) => D.map(y2), { + x: (d) => new Date(d.began), + y: (d) => d.stats.diff_perc_excluding_failures, + stroke: "green", + strokeOpacity: 0.2, + }) + ), + ], + width, + }) +); +``` + +## Successes + +```jsx +display(); +``` + +## Failures + +```jsx +display(); +``` diff --git a/.ci/dashboard/src/index.md b/.ci/dashboard/src/index.md new file mode 100644 index 000000000..f622e5fe0 --- /dev/null +++ b/.ci/dashboard/src/index.md @@ -0,0 +1,164 @@ +--- +toc: true +title: Push status +--- + +```js +const data = await FileAttachment("./data/gf_repo_data.json").json(); +``` + +## Pushes + +```js +import { interval, rangeInput } from "./util/range-slider.js"; +import { utcQuarter } from "./util/moretime.js"; + +const thresholds = view( + Inputs.radio( + new Map([ + ["Weekly", d3.utcDay], + ["Monthly", d3.utcMonth], + ["Quarterly", utcQuarter], + ["Yearly", d3.utcYear], + ]), + { label: "Period", value: d3.utcMonth } + ) +); +let maxEpoch = new Date(data.commits[0].date).getTime(), + minEpoch = new Date(data.commits[data.commits.length - 1].date).getTime(); + +const dateRange = view( + interval([minEpoch, maxEpoch], { + format: ([start, end]) => + `${d3.utcFormat("%Y-%m-%d")(new Date(start))} - ${d3.utcFormat( + "%Y-%m-%d" + )(new Date(end))}`, + }) +); +``` + +```js +display( + Plot.plot({ + color: { legend: true }, + marks: [ + Plot.lineY( + data.commits, + Plot.binX( + { y: "count" }, + { + x: "date", + stroke: (d) => (d.kind == "family" ? d.status + " family" : d.kind), + filter: (d) => + new Date(d.date) >= new Date(dateRange[0]) && + new Date(d.date) <= new Date(dateRange[1]), + thresholds, + } + ) + ), + ], + width, + }) +); +``` + +
+

Total commits by kind

+ +```js +display( + Plot.plot({ + y: { percent: true }, + color: { legend: true }, + marks: [ + Plot.waffleY( + data.commits, + Plot.groupX( + { y: "count" }, + { + x: 0, + fill: (d) => (d.kind == "family" ? d.status + " family" : d.kind), + offset: "normalize", + filter: (d) => + new Date(d.date) >= new Date(dateRange[0]) && + new Date(d.date) <= new Date(dateRange[1]), + } + ) + ), + ], + width: 500, + height: 400, + }) +); +``` + +
+

Total commits by contributor

+ +```js +let contributors = d3.rollup( + data.commits.filter( + (d) => + new Date(d.date) >= new Date(dateRange[0]) && + new Date(d.date) <= new Date(dateRange[1]) + ), + (v) => v.length, + (d) => d.author +); +let top_ten_authors = Array.from(contributors) + .sort((a, b) => b[1] - a[1]) + .slice(0, 9) // "top 10" but we will add "Other" + .map(([author, count]) => author); +let authorgroup = (x) => + top_ten_authors.includes(x.author) ? x.author : "Other"; +display( + Plot.plot({ + y: { percent: true }, + color: { legend: true, domain: top_ten_authors.concat(["Other"]) }, + marks: [ + Plot.waffleY( + data.commits, + Plot.groupX( + { y: "count" }, + { + x: 0, + fill: authorgroup, + order: top_ten_authors, + offset: "normalize", + filter: (d) => + new Date(d.date) >= new Date(dateRange[0]) && + new Date(d.date) <= new Date(dateRange[1]), + } + ) + ), + ], + width: 500, + height: 400, + }) +); +``` + +
+
+ +```js +display(Inputs.table(data.commits)); +``` + +## Server pushes + +### Going to sandbox server + +```js +display(Inputs.table(data.pushes.sandbox)); +``` + +### Going to production server + +```js +display(Inputs.table(data.pushes.production)); +``` + +``` + +``` diff --git a/.ci/dashboard/src/style.css b/.ci/dashboard/src/style.css new file mode 100644 index 000000000..ba7aaf9e2 --- /dev/null +++ b/.ci/dashboard/src/style.css @@ -0,0 +1,86 @@ +@import url("observablehq:default.css"); +@import url("observablehq:theme-near-midnight.css"); + +body { + font-family: var(--sans-serif); + color: var(--theme-foreground); + background-color: var(--theme-background); +} + +.card { + height: 450px; +} + +.hero { + display: flex; + flex-direction: column; + align-items: center; + font-family: var(--sans-serif); + text-wrap: balance; + text-align: center; +} + +.runslider { + height: 50px; +} + +.runslider div { display: inline-block} +.runslider div:first-child { display: inline-block; width: 50% ; } +.runslider p { display: inline-block; font-family: sans-serif; } + +.hero h1 { + margin: 1rem 0; + padding: 1rem 0; + max-width: none; + font-size: 14vw; + font-weight: 900; + line-height: 1; + background: linear-gradient(30deg, var(--theme-foreground-focus), currentColor); + -webkit-background-clip: text; + -webkit-text-fill-color: transparent; + background-clip: text; +} + +.hero h2 { + margin: 0; + max-width: 34em; + font-size: 40px; + font-style: initial; + font-weight: 500; + line-height: 1.5; + color: var(--theme-foreground-muted); + vertical-align: middle; + display: inline-block; +} + +.hero h2 .huge { + font-size: 60px; + font-weight: 700; + vertical-align: middle; +} + +.warn { color: #bdae4f; } +.fail,.down { color: #cf4f2b; } +.pass,.up { color: #4f9b2b; } +.skip { display: none; } +.error { background-color: #cf4f2b; color: white; } + +@media (min-width: 640px) { + .hero h1 { + font-size: 90px; + } +} + +.dev { color: #884EA0 } +.sandbox { color: #B9770E } +.production { color: #148F77 } + +#observablehq-sidebar { max-width: 500px !important;} + +.pre-wrap { white-space: pre-wrap; } +ul +{ + list-style-type:none; + padding:0px; + margin:0px; +} \ No newline at end of file diff --git a/.ci/dashboard/src/trends.md b/.ci/dashboard/src/trends.md new file mode 100644 index 000000000..bc71f029c --- /dev/null +++ b/.ci/dashboard/src/trends.md @@ -0,0 +1,152 @@ +--- +title: Fontspector QA trends +toc: false +--- + +```js +const allResults = await FileAttachment("./data/fontspector.json").json(); +const metadata = await FileAttachment("./data/metadata.json").json(); + +const categoricals = { + type: "categorical", + domain: ["INFO", "WARN", "FAIL", "ERROR"], + range: ["#2182bf", "#bdae4f", "#cf4f2b", "#ff0000"], + legend: true, +}; +``` + +
+

Google Fonts QA

+

WARNs last run: ${ allResults.headline.WARN }

+

FAILs last run: ${ allResults.headline.FAIL }

+
+ +
+ +## Overall failures + +```js +display( + Plot.plot({ + marks: [ + Plot.ruleY([0]), + Plot.line( + allResults.fails_by_run, + Plot.stackY2({ + y: "count", + x: (d) => new Date(d.run), + stroke: "status", + }) + ), + Plot.dot( + allResults.fails_by_run, + Plot.stackY2({ y: "count", x: "run", fill: "status", tip: true }) + ), + ], + color: categoricals, + width, + }) +); +``` + +
+ +
+ +
+ +
+

Select run:

+ +```js +const runSlider = view( + html`` +); +``` + +```js +const selectedRun = + allResults.allRuns[allResults.allRuns.length - (1 + runSlider)]; +``` + +${(new Date(selectedRun)).toISOString().replace("T", " ").replace(/\.\d+Z$/, "") } + +
+ +
+
+

Most failing checks

+ +```js +display( + Plot.plot({ + marginBottom: 90, + marginLeft: 90, + x: { + tickRotate: -30, + label: null, + }, + color: categoricals, + marks: [ + Plot.ruleY([0]), + Plot.rectY( + allResults.most_failing_checks[selectedRun], + + { + y: "count", + x: "check_id", + sort: { x: "y", reverse: "true" }, + tip: true, + fill: "status", + } + ), + ], + }) +); +``` + +
+ +
+ +## Most failing families + +```js +const family_to_directory = Object.fromEntries( + Object.entries(metadata).map(([k, v]) => [v.name, k]) +); +const directory_to_family = Object.fromEntries( + Object.entries(metadata).map(([k, v]) => [k, v.name]) +); + +display( + Plot.plot({ + x: { + tickRotate: -30, + label: null, + }, + color: categoricals, + marks: [ + Plot.ruleY([0]), + Plot.barY(allResults.most_failing_families[selectedRun], { + y: "count", + x: (d) => directory_to_family[d.family], + tip: true, + fill: "status", + order: "status", + sort: { x: "y", reverse: true }, + }), + ], + }) +); +``` + +
+
+
diff --git a/.ci/dashboard/src/updates.md b/.ci/dashboard/src/updates.md new file mode 100644 index 000000000..b77e97f03 --- /dev/null +++ b/.ci/dashboard/src/updates.md @@ -0,0 +1,47 @@ +--- +toc: true +title: Server moves +--- + +```jsx +const updates = await FileAttachment("./data/versionhistory.json").json(); + +var movesbydate = {}; +for (var [name, entries] of Object.entries(updates)) { + for (var [server, moves] of Object.entries(entries)) { + for (var move of moves) { + var date = move["date"].replace(/T.*/, ""); + if (date == "1970-01-01") { + continue; + } + if (!(date in movesbydate)) { + movesbydate[date] = []; + } + var version = move["version"] + .replace(/;.*/, "") + .replace("Version", "version"); + movesbydate[date].push([name, version, server]); + } + } +} + +display( + Object.keys(movesbydate) + .sort() + .reverse() + .slice(0, 50) + .map((date) => ( +
+

{date}

+
    + {movesbydate[date].sort().map(([name, version, server]) => ( +
  • + {name} {version} →{" "} + {server}{" "} +
    • + ))} +
+
+ )) +); +``` diff --git a/.ci/dashboard/src/util/moretime.js b/.ci/dashboard/src/util/moretime.js new file mode 100644 index 000000000..23f557991 --- /dev/null +++ b/.ci/dashboard/src/util/moretime.js @@ -0,0 +1,22 @@ +import { timeInterval } from "d3-time"; + +export const utcQuarter = timeInterval( + (date) => { + date.setUTCDate(1); + date.setUTCHours(0, 0, 0, 0); + }, + (date, step) => { + date.setUTCMonth(date.getUTCMonth() + 3 * step); + }, + (start, end) => { + return ( + (end.getUTCMonth() - + start.getUTCMonth() + + (end.getUTCFullYear() - start.getUTCFullYear()) * 12) / + 3 + ); + }, + (date) => { + return date.getUTCMonth() / 3; + } +); diff --git a/.ci/dashboard/src/util/range-slider.js b/.ci/dashboard/src/util/range-slider.js new file mode 100644 index 000000000..8883e2056 --- /dev/null +++ b/.ci/dashboard/src/util/range-slider.js @@ -0,0 +1,337 @@ +import { html } from "npm:htl"; + +export function interval(range = [], options = {}) { + const [min = 0, max = 1] = range; + const { + step = 0.001, + label = null, + value = [min, max], + format = ([start, end]) => `${start} … ${end}`, + color, + width = 360, + theme, + __ns__ = "rangeslider", + } = options; + + const css = ` +#${__ns__} { + font: 13px/1.2 var(--sans-serif); + display: flex; + align-items: baseline; + flex-wrap: wrap; + max-width: 100%; + width: auto; +} +@media only screen and (min-width: 30em) { + #${__ns__} { + flex-wrap: nowrap; + width: ${width}px; + } +} +#${__ns__} .label { + width: 120px; + padding: 5px 0 4px 0; + margin-right: 6.5px; + flex-shrink: 0; +} +#${__ns__} .form { + display: flex; + width: 100%; +} +#${__ns__} .range { + flex-shrink: 1; + width: 100%; +} +#${__ns__} .range-slider { + width: 100%; +} + `; + + const $range = rangeInput({ + min, + max, + value: [value[0], value[1]], + step, + color, + width: "100%", + theme, + }); + const $output = html``; + const $view = html`
+ ${label == null ? "" : html`
${label}
`} +
+
+ ${$range} +
${$output}
+
+
+ ${html` diff --git a/.ci/fontspector-dashboard/src/results.json.js b/.ci/fontspector-dashboard/src/results.json.js deleted file mode 100644 index 2d52f54ae..000000000 --- a/.ci/fontspector-dashboard/src/results.json.js +++ /dev/null @@ -1,102 +0,0 @@ -import { DuckDBInstance } from "@duckdb/node-api"; - -const instance = await DuckDBInstance.create("../../fontspector.db"); -const db = await instance.connect(); - -const reader = await db.runAndReadAll( - "SELECT distinct run FROM results ORDER BY run DESC" -); -const rows = reader.getRows(); -let allRuns = rows.map((c) => Number(c[0].micros) / 1000); -let latestRun = allRuns[0]; - -let headline = await db.runAndReadAll(` -select status, count(status) as count - FROM (SELECT * FROM fontspector.results WHERE epoch_ms(run) == ${latestRun}) - where status == 'WARN' or status == 'FAIL' - group by status`); -const headlineRows = headline.getRows(); - -let fails_by_run = ( - await db.runAndReadAll(` -select run, status, count(status) as count from fontspector.results -where status == 'WARN' or status == 'FAIL' -group by status, run -order by run, status; -`) -).getRows(); -fails_by_run = fails_by_run.map((c) => { - return { - run: Number(c[0].micros) / 1000, - status: c[1], - count: Number(c[2]), - }; -}); - -let most_failing_checks = ( - await db.runAndReadAll(` -select run, check_id, status, count(status) as count - FROM fontspector.results - where status == 'FAIL' or status == 'ERROR' or status == 'WARN' - group by run, check_id, status order by count desc; -`) -).getRows(); -let mfc = {}; -for (var row of most_failing_checks) { - let key = Number(row[0].micros) / 1000; - if (!mfc[key]) { - mfc[key] = []; - } - if (mfc[key].length < 10) { - mfc[key].push({ - check_id: row[1], - status: row[2], - count: Number(row[3]), - }); - } -} - -/* - -```sql id=most_failing_families -select directory as family, status, count(status) as count - FROM (SELECT * FROM fontspector.results WHERE epoch_ms(run) == ${allRuns[runSlider]}) - where (status == 'FAIL' or status == 'ERROR' or status == 'WARN') - AND family in (SELECT directory as family FROM fontspector.results WHERE status == 'FAIL' or status == 'ERROR' or status == 'WARN' group by family order by count(status) desc limit 20) - group by directory, status; -``` -*/ - - -let mff = {}; -for (var run of allRuns) { - let most_failing_families = ( - await db.runAndReadAll(` -select directory as family, status, count(status) as count - FROM (SELECT * FROM fontspector.results WHERE epoch_ms(run) == ${run}) - where (status == 'FAIL' or status == 'ERROR' or status == 'WARN') - AND family in (SELECT directory as family FROM fontspector.results WHERE status == 'FAIL' or status == 'ERROR' or status == 'WARN' group by family order by count(status) desc limit 20) - group by directory, status; - `) - ).getRows(); - mff[run] = []; - for (var row of most_failing_families) { - mff[run].push({ - family: row[0], - status: row[1], - count: Number(row[2]), - }); - } -} -const results = { - headline: { - [headlineRows[0][0]]: Number(headlineRows[0][1]), - [headlineRows[1][0]]: Number(headlineRows[1][1]), - }, - allRuns, - fails_by_run, - most_failing_checks: mfc, - most_failing_families: mff, -}; - -process.stdout.write(JSON.stringify(results));