From: Nathan Williams Date: Wed, 9 Nov 2022 02:12:06 +0000 (-0800) Subject: Add articles to various families (#5523) X-Git-Url: http://git.ipfire.org/cgi-bin/gitweb.cgi?a=commitdiff_plain;h=7902aa1d3935c46ee68f9f00cfad13e53ae89faa;p=thirdparty%2Fgoogle%2Ffonts.git Add articles to various families (#5523) * Add article to Brygada 1918 * Restore article contents for Brygada 1918 * Add article to Anek Bangla. * Update alt text and caption on image in Anek article * Copy Anek article to all Anek families * Add article for Atkinson Hyperlegible * Add article for Dynapuff * Add article for Expletus Sans. * Add article to Flow/Redacted families * Add article for Australian Edu fonts * Add article to Fraunces. * Add article for Lexend * Add article for Morisawa fonts * Add article to ofl/questrial * Add article for Radio Canada * Add article to ofl/robotoflex * Add article to ofl/robotoserif * Add article to ofl/spacemono * Add article for ofl/spectral * Add article to Tiro superfamily * Add article for Urbanist * Add article for Zen families --- diff --git a/ofl/anekbangla/article/ARTICLE.en_us.html b/ofl/anekbangla/article/ARTICLE.en_us.html new file mode 100644 index 0000000000..c0eabee081 --- /dev/null +++ b/ofl/anekbangla/article/ARTICLE.en_us.html @@ -0,0 +1,20 @@ +

Multiple scripts for multilingual India

+

The award-winning Anek variable font

+
+ Two rows of five examples each in all 10 Anek fonts. +
The nine scripts have base characters in the center, with vowel signs and conjuncts that come above, below or next to them.
+
+

The Anek multi-script typeface for 9 Indian languages and Latin was made through a collaboration of 12 type designers working across 8 cities in India.

+

How did Ek Type win two type design awards (the TDC Certificate of Typographic Excellence and the D&AD Graphite Pencil) for their Anek multi-script typeface?

+

There were two key factors to their success:

+
    +
  1. Teamwork: The team of 12 collaborated democratically.
    2. +
  2. Equality: Giving equal value to each of the nine Indian writing systems (scripts) and Latin, while maintaining both common visual features and script-specific characteristics.
    3. +
+
Teamwork during lockdown
+

Getting 12 people to collaborate while speaking in three languages (English, Hindi, and Marathi) and spread out in eight different Indian cities (Mumbai, Pune, Kalyan, Hinganghat, Baroda, Bengaluru, Bharampur, and Pali) is not an easy task.

+

Ek Type established a collaboration structure that fostered teamwork, while also giving designers the liberty to be creative.

+

The team consisted of Maithili Shingre, Yesha Goshar, Kailash Malviya, Aadarsh Rajan, Sulekha Rajkumar, Vaishnavi Murthy, Omkar Bhoir, Mrunmayee Ghaisas, Mahesh Sahu, Sarang Kulkarni, Noopur Datye, and Girish Dalvi.

+

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

+

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

+

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

diff --git a/ofl/anekbangla/article/Anek_Allscripts_Heights.png b/ofl/anekbangla/article/Anek_Allscripts_Heights.png new file mode 100644 index 0000000000..74dcb6664f Binary files /dev/null and b/ofl/anekbangla/article/Anek_Allscripts_Heights.png differ diff --git a/ofl/anekdevanagari/article/ARTICLE.en_us.html b/ofl/anekdevanagari/article/ARTICLE.en_us.html new file mode 100644 index 0000000000..c0eabee081 --- /dev/null +++ b/ofl/anekdevanagari/article/ARTICLE.en_us.html @@ -0,0 +1,20 @@ +

Multiple scripts for multilingual India

+

The award-winning Anek variable font

+
+ Two rows of five examples each in all 10 Anek fonts. +
The nine scripts have base characters in the center, with vowel signs and conjuncts that come above, below or next to them.
+
+

The Anek multi-script typeface for 9 Indian languages and Latin was made through a collaboration of 12 type designers working across 8 cities in India.

+

How did Ek Type win two type design awards (the TDC Certificate of Typographic Excellence and the D&AD Graphite Pencil) for their Anek multi-script typeface?

+

There were two key factors to their success:

+
    +
  1. Teamwork: The team of 12 collaborated democratically.
    2. +
  2. Equality: Giving equal value to each of the nine Indian writing systems (scripts) and Latin, while maintaining both common visual features and script-specific characteristics.
    3. +
+
Teamwork during lockdown
+

Getting 12 people to collaborate while speaking in three languages (English, Hindi, and Marathi) and spread out in eight different Indian cities (Mumbai, Pune, Kalyan, Hinganghat, Baroda, Bengaluru, Bharampur, and Pali) is not an easy task.

+

Ek Type established a collaboration structure that fostered teamwork, while also giving designers the liberty to be creative.

+

The team consisted of Maithili Shingre, Yesha Goshar, Kailash Malviya, Aadarsh Rajan, Sulekha Rajkumar, Vaishnavi Murthy, Omkar Bhoir, Mrunmayee Ghaisas, Mahesh Sahu, Sarang Kulkarni, Noopur Datye, and Girish Dalvi.

+

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

+

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

+

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

diff --git a/ofl/anekdevanagari/article/Anek_Allscripts_Heights.png b/ofl/anekdevanagari/article/Anek_Allscripts_Heights.png new file mode 100644 index 0000000000..74dcb6664f Binary files /dev/null and b/ofl/anekdevanagari/article/Anek_Allscripts_Heights.png differ diff --git a/ofl/anekgujarati/article/ARTICLE.en_us.html b/ofl/anekgujarati/article/ARTICLE.en_us.html new file mode 100644 index 0000000000..c0eabee081 --- /dev/null +++ b/ofl/anekgujarati/article/ARTICLE.en_us.html @@ -0,0 +1,20 @@ +

Multiple scripts for multilingual India

+

The award-winning Anek variable font

+
+ Two rows of five examples each in all 10 Anek fonts. +
The nine scripts have base characters in the center, with vowel signs and conjuncts that come above, below or next to them.
+
+

The Anek multi-script typeface for 9 Indian languages and Latin was made through a collaboration of 12 type designers working across 8 cities in India.

+

How did Ek Type win two type design awards (the TDC Certificate of Typographic Excellence and the D&AD Graphite Pencil) for their Anek multi-script typeface?

+

There were two key factors to their success:

+
    +
  1. Teamwork: The team of 12 collaborated democratically.
    2. +
  2. Equality: Giving equal value to each of the nine Indian writing systems (scripts) and Latin, while maintaining both common visual features and script-specific characteristics.
    3. +
+
Teamwork during lockdown
+

Getting 12 people to collaborate while speaking in three languages (English, Hindi, and Marathi) and spread out in eight different Indian cities (Mumbai, Pune, Kalyan, Hinganghat, Baroda, Bengaluru, Bharampur, and Pali) is not an easy task.

+

Ek Type established a collaboration structure that fostered teamwork, while also giving designers the liberty to be creative.

+

The team consisted of Maithili Shingre, Yesha Goshar, Kailash Malviya, Aadarsh Rajan, Sulekha Rajkumar, Vaishnavi Murthy, Omkar Bhoir, Mrunmayee Ghaisas, Mahesh Sahu, Sarang Kulkarni, Noopur Datye, and Girish Dalvi.

+

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

+

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

+

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

diff --git a/ofl/anekgujarati/article/Anek_Allscripts_Heights.png b/ofl/anekgujarati/article/Anek_Allscripts_Heights.png new file mode 100644 index 0000000000..74dcb6664f Binary files /dev/null and b/ofl/anekgujarati/article/Anek_Allscripts_Heights.png differ diff --git a/ofl/anekgurmukhi/article/ARTICLE.en_us.html b/ofl/anekgurmukhi/article/ARTICLE.en_us.html new file mode 100644 index 0000000000..c0eabee081 --- /dev/null +++ b/ofl/anekgurmukhi/article/ARTICLE.en_us.html @@ -0,0 +1,20 @@ +

Multiple scripts for multilingual India

+

The award-winning Anek variable font

+
+ Two rows of five examples each in all 10 Anek fonts. +
The nine scripts have base characters in the center, with vowel signs and conjuncts that come above, below or next to them.
+
+

The Anek multi-script typeface for 9 Indian languages and Latin was made through a collaboration of 12 type designers working across 8 cities in India.

+

How did Ek Type win two type design awards (the TDC Certificate of Typographic Excellence and the D&AD Graphite Pencil) for their Anek multi-script typeface?

+

There were two key factors to their success:

+
    +
  1. Teamwork: The team of 12 collaborated democratically.
    2. +
  2. Equality: Giving equal value to each of the nine Indian writing systems (scripts) and Latin, while maintaining both common visual features and script-specific characteristics.
    3. +
+
Teamwork during lockdown
+

Getting 12 people to collaborate while speaking in three languages (English, Hindi, and Marathi) and spread out in eight different Indian cities (Mumbai, Pune, Kalyan, Hinganghat, Baroda, Bengaluru, Bharampur, and Pali) is not an easy task.

+

Ek Type established a collaboration structure that fostered teamwork, while also giving designers the liberty to be creative.

+

The team consisted of Maithili Shingre, Yesha Goshar, Kailash Malviya, Aadarsh Rajan, Sulekha Rajkumar, Vaishnavi Murthy, Omkar Bhoir, Mrunmayee Ghaisas, Mahesh Sahu, Sarang Kulkarni, Noopur Datye, and Girish Dalvi.

+

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

+

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

+

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

diff --git a/ofl/anekgurmukhi/article/Anek_Allscripts_Heights.png b/ofl/anekgurmukhi/article/Anek_Allscripts_Heights.png new file mode 100644 index 0000000000..74dcb6664f Binary files /dev/null and b/ofl/anekgurmukhi/article/Anek_Allscripts_Heights.png differ diff --git a/ofl/anekkannada/article/ARTICLE.en_us.html b/ofl/anekkannada/article/ARTICLE.en_us.html new file mode 100644 index 0000000000..c0eabee081 --- /dev/null +++ b/ofl/anekkannada/article/ARTICLE.en_us.html @@ -0,0 +1,20 @@ +

Multiple scripts for multilingual India

+

The award-winning Anek variable font

+
+ Two rows of five examples each in all 10 Anek fonts. +
The nine scripts have base characters in the center, with vowel signs and conjuncts that come above, below or next to them.
+
+

The Anek multi-script typeface for 9 Indian languages and Latin was made through a collaboration of 12 type designers working across 8 cities in India.

+

How did Ek Type win two type design awards (the TDC Certificate of Typographic Excellence and the D&AD Graphite Pencil) for their Anek multi-script typeface?

+

There were two key factors to their success:

+
    +
  1. Teamwork: The team of 12 collaborated democratically.
    2. +
  2. Equality: Giving equal value to each of the nine Indian writing systems (scripts) and Latin, while maintaining both common visual features and script-specific characteristics.
    3. +
+
Teamwork during lockdown
+

Getting 12 people to collaborate while speaking in three languages (English, Hindi, and Marathi) and spread out in eight different Indian cities (Mumbai, Pune, Kalyan, Hinganghat, Baroda, Bengaluru, Bharampur, and Pali) is not an easy task.

+

Ek Type established a collaboration structure that fostered teamwork, while also giving designers the liberty to be creative.

+

The team consisted of Maithili Shingre, Yesha Goshar, Kailash Malviya, Aadarsh Rajan, Sulekha Rajkumar, Vaishnavi Murthy, Omkar Bhoir, Mrunmayee Ghaisas, Mahesh Sahu, Sarang Kulkarni, Noopur Datye, and Girish Dalvi.

+

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

+

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

+

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

diff --git a/ofl/anekkannada/article/Anek_Allscripts_Heights.png b/ofl/anekkannada/article/Anek_Allscripts_Heights.png new file mode 100644 index 0000000000..74dcb6664f Binary files /dev/null and b/ofl/anekkannada/article/Anek_Allscripts_Heights.png differ diff --git a/ofl/aneklatin/article/ARTICLE.en_us.html b/ofl/aneklatin/article/ARTICLE.en_us.html new file mode 100644 index 0000000000..c0eabee081 --- /dev/null +++ b/ofl/aneklatin/article/ARTICLE.en_us.html @@ -0,0 +1,20 @@ +

Multiple scripts for multilingual India

+

The award-winning Anek variable font

+
+ Two rows of five examples each in all 10 Anek fonts. +
The nine scripts have base characters in the center, with vowel signs and conjuncts that come above, below or next to them.
+
+

The Anek multi-script typeface for 9 Indian languages and Latin was made through a collaboration of 12 type designers working across 8 cities in India.

+

How did Ek Type win two type design awards (the TDC Certificate of Typographic Excellence and the D&AD Graphite Pencil) for their Anek multi-script typeface?

+

There were two key factors to their success:

+
    +
  1. Teamwork: The team of 12 collaborated democratically.
    2. +
  2. Equality: Giving equal value to each of the nine Indian writing systems (scripts) and Latin, while maintaining both common visual features and script-specific characteristics.
    3. +
+
Teamwork during lockdown
+

Getting 12 people to collaborate while speaking in three languages (English, Hindi, and Marathi) and spread out in eight different Indian cities (Mumbai, Pune, Kalyan, Hinganghat, Baroda, Bengaluru, Bharampur, and Pali) is not an easy task.

+

Ek Type established a collaboration structure that fostered teamwork, while also giving designers the liberty to be creative.

+

The team consisted of Maithili Shingre, Yesha Goshar, Kailash Malviya, Aadarsh Rajan, Sulekha Rajkumar, Vaishnavi Murthy, Omkar Bhoir, Mrunmayee Ghaisas, Mahesh Sahu, Sarang Kulkarni, Noopur Datye, and Girish Dalvi.

+

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

+

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

+

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

diff --git a/ofl/aneklatin/article/Anek_Allscripts_Heights.png b/ofl/aneklatin/article/Anek_Allscripts_Heights.png new file mode 100644 index 0000000000..74dcb6664f Binary files /dev/null and b/ofl/aneklatin/article/Anek_Allscripts_Heights.png differ diff --git a/ofl/anekmalayalam/article/ARTICLE.en_us.html b/ofl/anekmalayalam/article/ARTICLE.en_us.html new file mode 100644 index 0000000000..c0eabee081 --- /dev/null +++ b/ofl/anekmalayalam/article/ARTICLE.en_us.html @@ -0,0 +1,20 @@ +

Multiple scripts for multilingual India

+

The award-winning Anek variable font

+
+ Two rows of five examples each in all 10 Anek fonts. +
The nine scripts have base characters in the center, with vowel signs and conjuncts that come above, below or next to them.
+
+

The Anek multi-script typeface for 9 Indian languages and Latin was made through a collaboration of 12 type designers working across 8 cities in India.

+

How did Ek Type win two type design awards (the TDC Certificate of Typographic Excellence and the D&AD Graphite Pencil) for their Anek multi-script typeface?

+

There were two key factors to their success:

+
    +
  1. Teamwork: The team of 12 collaborated democratically.
    2. +
  2. Equality: Giving equal value to each of the nine Indian writing systems (scripts) and Latin, while maintaining both common visual features and script-specific characteristics.
    3. +
+
Teamwork during lockdown
+

Getting 12 people to collaborate while speaking in three languages (English, Hindi, and Marathi) and spread out in eight different Indian cities (Mumbai, Pune, Kalyan, Hinganghat, Baroda, Bengaluru, Bharampur, and Pali) is not an easy task.

+

Ek Type established a collaboration structure that fostered teamwork, while also giving designers the liberty to be creative.

+

The team consisted of Maithili Shingre, Yesha Goshar, Kailash Malviya, Aadarsh Rajan, Sulekha Rajkumar, Vaishnavi Murthy, Omkar Bhoir, Mrunmayee Ghaisas, Mahesh Sahu, Sarang Kulkarni, Noopur Datye, and Girish Dalvi.

+

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

+

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

+

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

diff --git a/ofl/anekmalayalam/article/Anek_Allscripts_Heights.png b/ofl/anekmalayalam/article/Anek_Allscripts_Heights.png new file mode 100644 index 0000000000..74dcb6664f Binary files /dev/null and b/ofl/anekmalayalam/article/Anek_Allscripts_Heights.png differ diff --git a/ofl/anekodia/article/ARTICLE.en_us.html b/ofl/anekodia/article/ARTICLE.en_us.html new file mode 100644 index 0000000000..c0eabee081 --- /dev/null +++ b/ofl/anekodia/article/ARTICLE.en_us.html @@ -0,0 +1,20 @@ +

Multiple scripts for multilingual India

+

The award-winning Anek variable font

+
+ Two rows of five examples each in all 10 Anek fonts. +
The nine scripts have base characters in the center, with vowel signs and conjuncts that come above, below or next to them.
+
+

The Anek multi-script typeface for 9 Indian languages and Latin was made through a collaboration of 12 type designers working across 8 cities in India.

+

How did Ek Type win two type design awards (the TDC Certificate of Typographic Excellence and the D&AD Graphite Pencil) for their Anek multi-script typeface?

+

There were two key factors to their success:

+
    +
  1. Teamwork: The team of 12 collaborated democratically.
    2. +
  2. Equality: Giving equal value to each of the nine Indian writing systems (scripts) and Latin, while maintaining both common visual features and script-specific characteristics.
    3. +
+
Teamwork during lockdown
+

Getting 12 people to collaborate while speaking in three languages (English, Hindi, and Marathi) and spread out in eight different Indian cities (Mumbai, Pune, Kalyan, Hinganghat, Baroda, Bengaluru, Bharampur, and Pali) is not an easy task.

+

Ek Type established a collaboration structure that fostered teamwork, while also giving designers the liberty to be creative.

+

The team consisted of Maithili Shingre, Yesha Goshar, Kailash Malviya, Aadarsh Rajan, Sulekha Rajkumar, Vaishnavi Murthy, Omkar Bhoir, Mrunmayee Ghaisas, Mahesh Sahu, Sarang Kulkarni, Noopur Datye, and Girish Dalvi.

+

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

+

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

+

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

diff --git a/ofl/anekodia/article/Anek_Allscripts_Heights.png b/ofl/anekodia/article/Anek_Allscripts_Heights.png new file mode 100644 index 0000000000..74dcb6664f Binary files /dev/null and b/ofl/anekodia/article/Anek_Allscripts_Heights.png differ diff --git a/ofl/anektamil/article/ARTICLE.en_us.html b/ofl/anektamil/article/ARTICLE.en_us.html new file mode 100644 index 0000000000..c0eabee081 --- /dev/null +++ b/ofl/anektamil/article/ARTICLE.en_us.html @@ -0,0 +1,20 @@ +

Multiple scripts for multilingual India

+

The award-winning Anek variable font

+
+ Two rows of five examples each in all 10 Anek fonts. +
The nine scripts have base characters in the center, with vowel signs and conjuncts that come above, below or next to them.
+
+

The Anek multi-script typeface for 9 Indian languages and Latin was made through a collaboration of 12 type designers working across 8 cities in India.

+

How did Ek Type win two type design awards (the TDC Certificate of Typographic Excellence and the D&AD Graphite Pencil) for their Anek multi-script typeface?

+

There were two key factors to their success:

+
    +
  1. Teamwork: The team of 12 collaborated democratically.
    2. +
  2. Equality: Giving equal value to each of the nine Indian writing systems (scripts) and Latin, while maintaining both common visual features and script-specific characteristics.
    3. +
+
Teamwork during lockdown
+

Getting 12 people to collaborate while speaking in three languages (English, Hindi, and Marathi) and spread out in eight different Indian cities (Mumbai, Pune, Kalyan, Hinganghat, Baroda, Bengaluru, Bharampur, and Pali) is not an easy task.

+

Ek Type established a collaboration structure that fostered teamwork, while also giving designers the liberty to be creative.

+

The team consisted of Maithili Shingre, Yesha Goshar, Kailash Malviya, Aadarsh Rajan, Sulekha Rajkumar, Vaishnavi Murthy, Omkar Bhoir, Mrunmayee Ghaisas, Mahesh Sahu, Sarang Kulkarni, Noopur Datye, and Girish Dalvi.

+

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

+

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

+

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

diff --git a/ofl/anektamil/article/Anek_Allscripts_Heights.png b/ofl/anektamil/article/Anek_Allscripts_Heights.png new file mode 100644 index 0000000000..74dcb6664f Binary files /dev/null and b/ofl/anektamil/article/Anek_Allscripts_Heights.png differ diff --git a/ofl/anektelugu/article/ARTICLE.en_us.html b/ofl/anektelugu/article/ARTICLE.en_us.html new file mode 100644 index 0000000000..c0eabee081 --- /dev/null +++ b/ofl/anektelugu/article/ARTICLE.en_us.html @@ -0,0 +1,20 @@ +

Multiple scripts for multilingual India

+

The award-winning Anek variable font

+
+ Two rows of five examples each in all 10 Anek fonts. +
The nine scripts have base characters in the center, with vowel signs and conjuncts that come above, below or next to them.
+
+

The Anek multi-script typeface for 9 Indian languages and Latin was made through a collaboration of 12 type designers working across 8 cities in India.

+

How did Ek Type win two type design awards (the TDC Certificate of Typographic Excellence and the D&AD Graphite Pencil) for their Anek multi-script typeface?

+

There were two key factors to their success:

+
    +
  1. Teamwork: The team of 12 collaborated democratically.
    2. +
  2. Equality: Giving equal value to each of the nine Indian writing systems (scripts) and Latin, while maintaining both common visual features and script-specific characteristics.
    3. +
+
Teamwork during lockdown
+

Getting 12 people to collaborate while speaking in three languages (English, Hindi, and Marathi) and spread out in eight different Indian cities (Mumbai, Pune, Kalyan, Hinganghat, Baroda, Bengaluru, Bharampur, and Pali) is not an easy task.

+

Ek Type established a collaboration structure that fostered teamwork, while also giving designers the liberty to be creative.

+

The team consisted of Maithili Shingre, Yesha Goshar, Kailash Malviya, Aadarsh Rajan, Sulekha Rajkumar, Vaishnavi Murthy, Omkar Bhoir, Mrunmayee Ghaisas, Mahesh Sahu, Sarang Kulkarni, Noopur Datye, and Girish Dalvi.

+

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

+

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

+

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

diff --git a/ofl/anektelugu/article/Anek_Allscripts_Heights.png b/ofl/anektelugu/article/Anek_Allscripts_Heights.png new file mode 100644 index 0000000000..74dcb6664f Binary files /dev/null and b/ofl/anektelugu/article/Anek_Allscripts_Heights.png differ diff --git a/ofl/atkinsonhyperlegible/article/ARTICLE.en_us.html b/ofl/atkinsonhyperlegible/article/ARTICLE.en_us.html new file mode 100644 index 0000000000..b8ad0d1dde --- /dev/null +++ b/ofl/atkinsonhyperlegible/article/ARTICLE.en_us.html @@ -0,0 +1,10 @@ +

From Rebranding to Readability with Atkinson Hyperlegible

+

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

+ +

According to the World Health Organization (WHO), at least 2.2 billion people have a vision impairment. Major financial burdens can occur when people can’t read fluently or work to their full potential. For example, the WHO estimates that “losses associated with vision impairment from uncorrected myopia and presbyopia alone were estimated to be US$ 244 billion and US$ 25.4 billion, respectively.” Typeface design can help.

+

When Braille Institute hired Applied Design Works to create a new brand identity and branding strategy to coincide with their 2019 centennial anniversary, the firm looked for a beautiful and functional font specifically designed for improved legibility and readability. Brad Scott and Elliott Scott of Applied Design Works were concerned about typefaces that look a little like old ransom notes, where each letter and number were dramatically different from each other. They wondered if, despite designers’ intentions, these typefaces could actually be more difficult to read for some people. They decided that no existing typeface met their legibility, readability, and branding goals. So they endeavored to create a new typeface called Atkinson Hyperlegible, named after the organization’s founder J. Robert Atkinson. The work would go on to be recognized with a 2019 Fast Company ‘Innovation by Design’ Award.

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

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

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

+ +

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

+

“Having these fonts available in Japan allows Google Education to align with the most widely used fonts in education publishing in Japan,” said Stuart Miller, Head of Marketing for Google Education in Asia Pacific (APAC). “This makes it easier for partners to collaborate with Google Education. It also ensures a more consistent, inclusive, delightful experience for the millions of teachers and students that use Google tools.”

+

Drawing on extensive end-user evaluation, the BIZ UD typefaces were developed using the principles of universal design (UD) to ensure legibility (the ease of differentiating individual characters) and readability (the ease of reading text overall). BIZ UD fonts are especially suited for conveying text accurately—for example, in educational settings, corporate communication environments, and other places that use ICT.

+

To learn more, read Morisawa BIZ Universal Design (UD) Japanese fonts added to Google Fonts and Google Workspace.

diff --git a/ofl/bizudgothic/article/hero.jpg b/ofl/bizudgothic/article/hero.jpg new file mode 100644 index 0000000000..634f964b71 Binary files /dev/null and b/ofl/bizudgothic/article/hero.jpg differ diff --git a/ofl/bizudmincho/article/ARTICLE.en_us.html b/ofl/bizudmincho/article/ARTICLE.en_us.html new file mode 100644 index 0000000000..fae64e95ad --- /dev/null +++ b/ofl/bizudmincho/article/ARTICLE.en_us.html @@ -0,0 +1,6 @@ +

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

+ +

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

+

“Having these fonts available in Japan allows Google Education to align with the most widely used fonts in education publishing in Japan,” said Stuart Miller, Head of Marketing for Google Education in Asia Pacific (APAC). “This makes it easier for partners to collaborate with Google Education. It also ensures a more consistent, inclusive, delightful experience for the millions of teachers and students that use Google tools.”

+

Drawing on extensive end-user evaluation, the BIZ UD typefaces were developed using the principles of universal design (UD) to ensure legibility (the ease of differentiating individual characters) and readability (the ease of reading text overall). BIZ UD fonts are especially suited for conveying text accurately—for example, in educational settings, corporate communication environments, and other places that use ICT.

+

To learn more, read Morisawa BIZ Universal Design (UD) Japanese fonts added to Google Fonts and Google Workspace.

diff --git a/ofl/bizudmincho/article/hero.jpg b/ofl/bizudmincho/article/hero.jpg new file mode 100644 index 0000000000..634f964b71 Binary files /dev/null and b/ofl/bizudmincho/article/hero.jpg differ diff --git a/ofl/bizudpgothic/article/ARTICLE.en_us.html b/ofl/bizudpgothic/article/ARTICLE.en_us.html new file mode 100644 index 0000000000..fae64e95ad --- /dev/null +++ b/ofl/bizudpgothic/article/ARTICLE.en_us.html @@ -0,0 +1,6 @@ +

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

+ +

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

+

“Having these fonts available in Japan allows Google Education to align with the most widely used fonts in education publishing in Japan,” said Stuart Miller, Head of Marketing for Google Education in Asia Pacific (APAC). “This makes it easier for partners to collaborate with Google Education. It also ensures a more consistent, inclusive, delightful experience for the millions of teachers and students that use Google tools.”

+

Drawing on extensive end-user evaluation, the BIZ UD typefaces were developed using the principles of universal design (UD) to ensure legibility (the ease of differentiating individual characters) and readability (the ease of reading text overall). BIZ UD fonts are especially suited for conveying text accurately—for example, in educational settings, corporate communication environments, and other places that use ICT.

+

To learn more, read Morisawa BIZ Universal Design (UD) Japanese fonts added to Google Fonts and Google Workspace.

diff --git a/ofl/bizudpgothic/article/hero.jpg b/ofl/bizudpgothic/article/hero.jpg new file mode 100644 index 0000000000..634f964b71 Binary files /dev/null and b/ofl/bizudpgothic/article/hero.jpg differ diff --git a/ofl/bizudpmincho/article/ARTICLE.en_us.html b/ofl/bizudpmincho/article/ARTICLE.en_us.html new file mode 100644 index 0000000000..fae64e95ad --- /dev/null +++ b/ofl/bizudpmincho/article/ARTICLE.en_us.html @@ -0,0 +1,6 @@ +

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

+ +

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

+

“Having these fonts available in Japan allows Google Education to align with the most widely used fonts in education publishing in Japan,” said Stuart Miller, Head of Marketing for Google Education in Asia Pacific (APAC). “This makes it easier for partners to collaborate with Google Education. It also ensures a more consistent, inclusive, delightful experience for the millions of teachers and students that use Google tools.”

+

Drawing on extensive end-user evaluation, the BIZ UD typefaces were developed using the principles of universal design (UD) to ensure legibility (the ease of differentiating individual characters) and readability (the ease of reading text overall). BIZ UD fonts are especially suited for conveying text accurately—for example, in educational settings, corporate communication environments, and other places that use ICT.

+

To learn more, read Morisawa BIZ Universal Design (UD) Japanese fonts added to Google Fonts and Google Workspace.

diff --git a/ofl/bizudpmincho/article/hero.jpg b/ofl/bizudpmincho/article/hero.jpg new file mode 100644 index 0000000000..634f964b71 Binary files /dev/null and b/ofl/bizudpmincho/article/hero.jpg differ diff --git a/ofl/brygada1918/article/ARTICLE.en_us.html b/ofl/brygada1918/article/ARTICLE.en_us.html new file mode 100644 index 0000000000..d5156b203f --- /dev/null +++ b/ofl/brygada1918/article/ARTICLE.en_us.html @@ -0,0 +1,15 @@ +

Reviving a forgotten font: Type detectives give life to Brygada

+

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

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

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

+

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

+

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

+
+ 97 matrices of 28 point size Brygada typeface written on brown paper +
Handwritten note with “Brygada” name in Polish
+
+

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

+

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

diff --git a/ofl/brygada1918/article/handwritten_note.png b/ofl/brygada1918/article/handwritten_note.png new file mode 100644 index 0000000000..ad071fe2ef Binary files /dev/null and b/ofl/brygada1918/article/handwritten_note.png differ diff --git a/ofl/brygada1918/article/hero.png b/ofl/brygada1918/article/hero.png new file mode 100644 index 0000000000..081107ba9f Binary files /dev/null and b/ofl/brygada1918/article/hero.png differ diff --git a/ofl/dynapuff/article/ARTICLE.en_us.html b/ofl/dynapuff/article/ARTICLE.en_us.html new file mode 100644 index 0000000000..2aac308228 --- /dev/null +++ b/ofl/dynapuff/article/ARTICLE.en_us.html @@ -0,0 +1,7 @@ + +

Have fun making stickers with DynaPuff

+

Create custom text stickers on Android and Pixel phones

+

There’s a new way to make stickers in Android and Pixel phones, with the DynaPuff typeface.

+

Tired of writing “Good night” and “Happy birthday” in boring text-only messages? Perhaps you have fond memories of getting stickers when you were a kid and would like to send stickers as greetings to your friends... But it just takes too long to search for stickers on the keyboard when writing messages.

+

You can make custom text stickers with the DynaPuff typeface on Google’s keyboard, Gboard, running on Android and Pixel devices. Most recently, this project was recognized as a finalist in Fast Company’s Innovation Design Awards.

+

To read more, visit Have fun making stickers with DynaPuff.

diff --git a/ofl/dynapuff/article/hero.png b/ofl/dynapuff/article/hero.png new file mode 100644 index 0000000000..d3afdbc3b5 Binary files /dev/null and b/ofl/dynapuff/article/hero.png differ diff --git a/ofl/edunswactfoundation/article/ARTICLE.en_us.html b/ofl/edunswactfoundation/article/ARTICLE.en_us.html new file mode 100644 index 0000000000..8ec49b1da0 --- /dev/null +++ b/ofl/edunswactfoundation/article/ARTICLE.en_us.html @@ -0,0 +1,6 @@ +

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

+ +

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

+

Australian teachers are required to use state-mandated handwriting styles to teach reading and writing to school children from ages four to nine. Designed by Tina and Corey Anderson, the five Foundation Fonts exemplify proper handwriting for English and other languages using the Latin writing system, and include common math symbols. The regular weight of each font imitates the pencil thickness of handwriting, making the fonts easy for students to recognize as they learn how to write letter shapes.

+

The availability of these fonts on Google Docs, Sheets, and Slides is also important for the adoption of Chromebooks and Google Workspace for Education in Australian schools.

+

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

diff --git a/ofl/edunswactfoundation/article/hero.png b/ofl/edunswactfoundation/article/hero.png new file mode 100644 index 0000000000..b46fe4c6a0 Binary files /dev/null and b/ofl/edunswactfoundation/article/hero.png differ diff --git a/ofl/eduqldbeginner/article/ARTICLE.en_us.html b/ofl/eduqldbeginner/article/ARTICLE.en_us.html new file mode 100644 index 0000000000..8ec49b1da0 --- /dev/null +++ b/ofl/eduqldbeginner/article/ARTICLE.en_us.html @@ -0,0 +1,6 @@ +

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

+ +

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

+

Australian teachers are required to use state-mandated handwriting styles to teach reading and writing to school children from ages four to nine. Designed by Tina and Corey Anderson, the five Foundation Fonts exemplify proper handwriting for English and other languages using the Latin writing system, and include common math symbols. The regular weight of each font imitates the pencil thickness of handwriting, making the fonts easy for students to recognize as they learn how to write letter shapes.

+

The availability of these fonts on Google Docs, Sheets, and Slides is also important for the adoption of Chromebooks and Google Workspace for Education in Australian schools.

+

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

diff --git a/ofl/eduqldbeginner/article/hero.png b/ofl/eduqldbeginner/article/hero.png new file mode 100644 index 0000000000..b46fe4c6a0 Binary files /dev/null and b/ofl/eduqldbeginner/article/hero.png differ diff --git a/ofl/edusabeginner/article/ARTICLE.en_us.html b/ofl/edusabeginner/article/ARTICLE.en_us.html new file mode 100644 index 0000000000..8ec49b1da0 --- /dev/null +++ b/ofl/edusabeginner/article/ARTICLE.en_us.html @@ -0,0 +1,6 @@ +

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

+ +

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

+

Australian teachers are required to use state-mandated handwriting styles to teach reading and writing to school children from ages four to nine. Designed by Tina and Corey Anderson, the five Foundation Fonts exemplify proper handwriting for English and other languages using the Latin writing system, and include common math symbols. The regular weight of each font imitates the pencil thickness of handwriting, making the fonts easy for students to recognize as they learn how to write letter shapes.

+

The availability of these fonts on Google Docs, Sheets, and Slides is also important for the adoption of Chromebooks and Google Workspace for Education in Australian schools.

+

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

diff --git a/ofl/edusabeginner/article/hero.png b/ofl/edusabeginner/article/hero.png new file mode 100644 index 0000000000..b46fe4c6a0 Binary files /dev/null and b/ofl/edusabeginner/article/hero.png differ diff --git a/ofl/edutasbeginner/article/ARTICLE.en_us.html b/ofl/edutasbeginner/article/ARTICLE.en_us.html new file mode 100644 index 0000000000..8ec49b1da0 --- /dev/null +++ b/ofl/edutasbeginner/article/ARTICLE.en_us.html @@ -0,0 +1,6 @@ +

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

+ +

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

+

Australian teachers are required to use state-mandated handwriting styles to teach reading and writing to school children from ages four to nine. Designed by Tina and Corey Anderson, the five Foundation Fonts exemplify proper handwriting for English and other languages using the Latin writing system, and include common math symbols. The regular weight of each font imitates the pencil thickness of handwriting, making the fonts easy for students to recognize as they learn how to write letter shapes.

+

The availability of these fonts on Google Docs, Sheets, and Slides is also important for the adoption of Chromebooks and Google Workspace for Education in Australian schools.

+

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

diff --git a/ofl/edutasbeginner/article/hero.png b/ofl/edutasbeginner/article/hero.png new file mode 100644 index 0000000000..b46fe4c6a0 Binary files /dev/null and b/ofl/edutasbeginner/article/hero.png differ diff --git a/ofl/eduvicwantbeginner/article/ARTICLE.en_us.html b/ofl/eduvicwantbeginner/article/ARTICLE.en_us.html new file mode 100644 index 0000000000..8ec49b1da0 --- /dev/null +++ b/ofl/eduvicwantbeginner/article/ARTICLE.en_us.html @@ -0,0 +1,6 @@ +

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

+ +

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

+

Australian teachers are required to use state-mandated handwriting styles to teach reading and writing to school children from ages four to nine. Designed by Tina and Corey Anderson, the five Foundation Fonts exemplify proper handwriting for English and other languages using the Latin writing system, and include common math symbols. The regular weight of each font imitates the pencil thickness of handwriting, making the fonts easy for students to recognize as they learn how to write letter shapes.

+

The availability of these fonts on Google Docs, Sheets, and Slides is also important for the adoption of Chromebooks and Google Workspace for Education in Australian schools.

+

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

diff --git a/ofl/eduvicwantbeginner/article/hero.png b/ofl/eduvicwantbeginner/article/hero.png new file mode 100644 index 0000000000..b46fe4c6a0 Binary files /dev/null and b/ofl/eduvicwantbeginner/article/hero.png differ diff --git a/ofl/expletussans/article/ARTICLE.en_us.html b/ofl/expletussans/article/ARTICLE.en_us.html new file mode 100644 index 0000000000..6f4df075d2 --- /dev/null +++ b/ofl/expletussans/article/ARTICLE.en_us.html @@ -0,0 +1,3 @@ +

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

+

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

+

To read more, visit Introducing Expletus Sans.

diff --git a/ofl/flowblock/article/ARTICLE.en_us.html b/ofl/flowblock/article/ARTICLE.en_us.html new file mode 100644 index 0000000000..98ba1b3fd1 --- /dev/null +++ b/ofl/flowblock/article/ARTICLE.en_us.html @@ -0,0 +1,6 @@ + +

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

+

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

+

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

+

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

+

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

diff --git a/ofl/flowblock/article/hero.png b/ofl/flowblock/article/hero.png new file mode 100644 index 0000000000..12daa8a620 Binary files /dev/null and b/ofl/flowblock/article/hero.png differ diff --git a/ofl/flowcircular/article/ARTICLE.en_us.html b/ofl/flowcircular/article/ARTICLE.en_us.html new file mode 100644 index 0000000000..98ba1b3fd1 --- /dev/null +++ b/ofl/flowcircular/article/ARTICLE.en_us.html @@ -0,0 +1,6 @@ + +

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

+

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

+

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

+

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

+

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

diff --git a/ofl/flowcircular/article/hero.png b/ofl/flowcircular/article/hero.png new file mode 100644 index 0000000000..12daa8a620 Binary files /dev/null and b/ofl/flowcircular/article/hero.png differ diff --git a/ofl/flowrounded/article/ARTICLE.en_us.html b/ofl/flowrounded/article/ARTICLE.en_us.html new file mode 100644 index 0000000000..98ba1b3fd1 --- /dev/null +++ b/ofl/flowrounded/article/ARTICLE.en_us.html @@ -0,0 +1,6 @@ + +

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

+

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

+

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

+

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

+

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

diff --git a/ofl/flowrounded/article/hero.png b/ofl/flowrounded/article/hero.png new file mode 100644 index 0000000000..12daa8a620 Binary files /dev/null and b/ofl/flowrounded/article/hero.png differ diff --git a/ofl/fraunces/article/ARTICLE.en_us.html b/ofl/fraunces/article/ARTICLE.en_us.html new file mode 100644 index 0000000000..52a0b25dc6 --- /dev/null +++ b/ofl/fraunces/article/ARTICLE.en_us.html @@ -0,0 +1,12 @@ + +

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

+

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

+

In 2018, Google Fonts commissioned Flavia Zimbardi and Phaedra Charles of Undercase Type to make a new display typeface that would demonstrate the power and promise of variable fonts with a sense of humor.

+

Their solution to this challenge is inspired by the early 20th century typefaces such as Windsor, Souvenir, and the Cooper Series.

+
+ Rinse & Repeat black text on orange and light beige backgrounds +
Fraunces Black Soft Wonky at 14pt
+
+

“Fraunces probably leans a little more (pun intended) towards the mannerism in Windsor than any of the others, but they all have some qualities common with each other. Those typefaces were meant to evoke a hand-drawn quality more appropriate for display advertising. The leaning ‘n’ in Windsor is a very distinctive characteristic of this style and is probably the most direct comparison. Fraunces does something unique by creating a design space that incorporates both heavy inky qualities, as well as thinner, more refined and delicate qualities seen in the lighter weights of Windsor. The italic pairing for Fraunces is also very distinct and draws influences from Cooper Nouveau, which blends Art Nouveau influences,” said Phaedra Charles.

+

Using variable font technology gives more flexibility; “Fraunces embraces the new variable font technology with four axes–softness, weight, wonk, and optical size–making its use much more versatile and customizable than what any typeface released in the 1970’s.”

+

To learn more, read Wonky, goofy, playful, elegant and a workhorse: Meet a new breed of “Old Style” typeface.

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Clean and clear: making reading easier with Lexend

+

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

+

A child struggles to read and understand their homework assignment. An adult re-reads a news article and still doesn’t understand what it’s about. Both readers end up frustrated and feeling like there is something wrong with them. Thankfully there might be a simple answer. Dr. Bonnie Shaver-Troup thinks fonts are part of the problem and the solution to many reading problems.

+

“We have a global reading crisis and we can change much of it by delivering fonts that are optimized for the visual field and for the individual. The answer is hidden in plain sight. It’s the font,” said Shaver-Troup.

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Change the font, change the outcome

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While working as an educational therapist in Silicon Valley, Shaver-Troup helped students with dyslexia and other reading problems to learn to read. She experimented by changing the spacing between certain letters in their reading assignments, and found that it improved their reading and comprehension. According to Shaver-Troup, the issue wasn’t in her students’ minds, it was with the letterforms they saw on the screen or paper.

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“The majority of the reading problems, including dyslexia, are not cognitive or phonological. They are visual or perceptual. Our testing has a built-in design flaw. We use fonts to deliver text for reading that are too tight for efficient or successful visual processing. Then we get poor results, suggesting the reading issue is phonological or cognitive. If we change the font to the tested optimized font fit, then we change the outcome,” she explained.

+

+ To learn more, read: +
+ Clean and clear: making reading easier with Lexend (English) +
+ Partnering to change how the world reads (English) +
+ Eine Partnerschaft mit dem Ziel, das Leseerlebnis weltweit zu verändern: Erweiterung von Lexend um verschiedene Schriftstärken (German) +

diff --git a/ofl/lexend/article/hero.jpg b/ofl/lexend/article/hero.jpg new file mode 100644 index 0000000000..d9aaef2df4 Binary files /dev/null and b/ofl/lexend/article/hero.jpg differ diff --git a/ofl/questrial/article/ARTICLE.en_us.html b/ofl/questrial/article/ARTICLE.en_us.html new file mode 100644 index 0000000000..de7c44ddbe --- /dev/null +++ b/ofl/questrial/article/ARTICLE.en_us.html @@ -0,0 +1,16 @@ +

Giving African languages more Latin font choices

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Questrial font provides pan-African Latin support

+ +

Due to the scarcity of open source fonts for African languages, Google has released Questrial, offering more font choices for digital Africa.

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During colonial times, European colonial powers in Africa made their languages (English, Dutch, French, Portuguese, Spanish, and more) the official languages in government, educational, cultural, and other state institutions in African countries. In post-colonial times, African countries aiming to maintain their native (non-colonial) languages face a major roadblock: not enough fonts with Pan-African support that provide all of the letters and diacritics (or accent) marks for the proper spelling of their languages.

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Proper spelling isn’t just for school tests and national spelling competitions, it’s vital for communication and for language survival. Educational institutions and users need fonts that can show the orthography (proper spelling) for each language, so that students can learn how to write correctly. Otherwise, if pupils see the same word written in different ways, with different kinds of punctuation marks replacing diacritics, they may never learn the proper way to spell. Without standard spelling, students could confuse words that may look similar but have different meanings.

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These are some examples of words in African languages with similar spellings and different meanings:

+ +

To learn more, read:
+ Giving African languages more Latin font choices (English)
+ Offrir plus de choix de polices latines pour les langues africaines (French) +

diff --git a/ofl/questrial/article/hero.png b/ofl/questrial/article/hero.png new file mode 100644 index 0000000000..d1b63961d7 Binary files /dev/null and b/ofl/questrial/article/hero.png differ diff --git a/ofl/radiocanada/article/ARTICLE.en_us.html b/ofl/radiocanada/article/ARTICLE.en_us.html new file mode 100644 index 0000000000..4e0dc9f0e0 --- /dev/null +++ b/ofl/radiocanada/article/ARTICLE.en_us.html @@ -0,0 +1,10 @@ +

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

+ +

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

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CBC/Radio-Canada is Canada's national public broadcaster. Its mandate is to inform, enlighten, entertain, and strengthen Canadian culture and diversity on radio, television, and digital platforms. As part of this mandate, CBC/Radio-Canada is proud to release its original typeface publicly and make it available through Google Fonts.

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The Radio-Canada typeface was created in 2017 by Montreal-based designer and typographer Charles Daoud, in collaboration with Coppers and Brasses and Alexandre Saumier Demers.

+

The humanist style stands out with distinctive angles and subtle curves. In compliance with digital accessibility standards, the font’s x-height is intended to increase legibility, making it very effective when used in continuous text.

+

To learn more, read:
+ You can now use Radio-Canada’s brand typeface: The award-winning variable font comes to Google Fonts (English)
+ Voici Radio-Canada, la police de caractères du diffuseur public canadien, plusieurs fois primée et maintenant disponible sur Google Fonts (French) +

diff --git a/ofl/radiocanada/article/hero.png b/ofl/radiocanada/article/hero.png new file mode 100644 index 0000000000..3ff0bff5a3 Binary files /dev/null and b/ofl/radiocanada/article/hero.png differ diff --git a/ofl/redacted/article/ARTICLE.en_us.html b/ofl/redacted/article/ARTICLE.en_us.html new file mode 100644 index 0000000000..98ba1b3fd1 --- /dev/null +++ b/ofl/redacted/article/ARTICLE.en_us.html @@ -0,0 +1,6 @@ + +

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

+

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

+

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

+

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

+

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

diff --git a/ofl/redacted/article/hero.png b/ofl/redacted/article/hero.png new file mode 100644 index 0000000000..12daa8a620 Binary files /dev/null and b/ofl/redacted/article/hero.png differ diff --git a/ofl/redactedscript/article/ARTICLE.en_us.html b/ofl/redactedscript/article/ARTICLE.en_us.html new file mode 100644 index 0000000000..98ba1b3fd1 --- /dev/null +++ b/ofl/redactedscript/article/ARTICLE.en_us.html @@ -0,0 +1,6 @@ + +

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

+

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

+

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

+

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

+

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

diff --git a/ofl/redactedscript/article/hero.png b/ofl/redactedscript/article/hero.png new file mode 100644 index 0000000000..12daa8a620 Binary files /dev/null and b/ofl/redactedscript/article/hero.png differ diff --git a/ofl/robotoflex/article/ARTICLE.en_us.html b/ofl/robotoflex/article/ARTICLE.en_us.html new file mode 100644 index 0000000000..bad063601d --- /dev/null +++ b/ofl/robotoflex/article/ARTICLE.en_us.html @@ -0,0 +1,8 @@ + +

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

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Get it on Google Fonts.

+

There’s no perfect typeface that works for every size, every device, every application, every style, and every mood. But as the default for Android, with over 2.5 billion active users spanning over 190 countries, Roboto needs to be as flexible as possible.

+

Roboto is Google Fonts’ most popular download (you’re reading this blog post in Roboto). It was first released all the way back in 2011, but it’s been updated over the years to improve its language support and aesthetic qualities. The Roboto superfamily has grown from the initial sans and condensed to span Roboto Slab, Roboto Mono, and—most recently—Roboto Serif.

+

Now there’s another Roboto joining the lineup: Introducing Roboto Flex—a major upgrade to Roboto and Google Fonts’ biggest project to date. With a huge range of weights and widths across optical sizes, plus additional capabilities for fine-tuning, Roboto Flex was designed by Font Bureau to be super scalable, adaptable, customizable, and optimizable.

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To learn more, read Roboto … But Make It Flex.

diff --git a/ofl/robotoflex/article/hero.jpg b/ofl/robotoflex/article/hero.jpg new file mode 100644 index 0000000000..b940883138 Binary files /dev/null and b/ofl/robotoflex/article/hero.jpg differ diff --git a/ofl/robotoserif/article/ARTICLE.en_us.html b/ofl/robotoserif/article/ARTICLE.en_us.html new file mode 100644 index 0000000000..93f2c54d87 --- /dev/null +++ b/ofl/robotoserif/article/ARTICLE.en_us.html @@ -0,0 +1,7 @@ +

Say hello to Roboto Serif

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

+ +

Get it on Google Fonts and check out the specimen: Getting Comfortable With Roboto Serif.

+

It's been almost 20 years since the introduction of Matthew Carter’s Georgia—one of the first serif typefaces designed to make reading easier on the low-resolution screens of the time. That year (1993), Americans with Internet access spent fewer than 30 minutes a month surfing the Web. Now we spend almost seven hours a day.

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Thankfully, reading on-screen has gotten a lot more comfortable since the 90’s. For one thing, you can pick up your device and move over to the sofa. Letterforms are also crisper, smoother, and more legible on today’s screens/devices—and they render more quickly. But another huge (though perhaps less obvious) factor in all of this is the advancement of font technology. Georgia was one of the first eleven “Core Fonts for the Web” that paved the way for OpenType and, eventually, variable fonts. Today, a well-designed, OpenType serif can be just as readable on-screen as it is in print. And a well-designed variable serif can give readers additional benefits on-screen. Enter: Roboto Serif.

+

To learn more, read Say Hello to Roboto Serif.

diff --git a/ofl/robotoserif/article/hero.png b/ofl/robotoserif/article/hero.png new file mode 100644 index 0000000000..8904100982 Binary files /dev/null and b/ofl/robotoserif/article/hero.png differ diff --git a/ofl/spacemono/article/ARTICLE.en_us.html b/ofl/spacemono/article/ARTICLE.en_us.html new file mode 100644 index 0000000000..2dfc5c28c5 --- /dev/null +++ b/ofl/spacemono/article/ARTICLE.en_us.html @@ -0,0 +1,4 @@ + +

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

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

+

To learn more, read Introducing Space Mono a new monospaced typeface by Colophon Foundry for Google Fonts.

diff --git a/ofl/spacemono/article/hero.jpeg b/ofl/spacemono/article/hero.jpeg new file mode 100644 index 0000000000..ddfaea8a27 Binary files /dev/null and b/ofl/spacemono/article/hero.jpeg differ diff --git a/ofl/spectral/article/ARTICLE.en_us.html b/ofl/spectral/article/ARTICLE.en_us.html new file mode 100644 index 0000000000..5972bb0538 --- /dev/null +++ b/ofl/spectral/article/ARTICLE.en_us.html @@ -0,0 +1,7 @@ + +

Spectral: A New Screen-First Typeface

+

Production Type introduces their latest commission for Google Fonts

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Spectral is a new and versatile serif face available in seven weights of roman and italic, with small caps. Intended primarily for text-rich, screen-first environments and long-form reading, Spectral is brought to you by Production Type, commissioned by Google Fonts, and free to use across Google Docs, Sheets, and Slides, or in any of your projects.

+

Screen-first typefaces

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The history of early digital typefaces, though still fairly recent, has already proven that typeface design doesn’t need to reinvent itself because of technical constraints. One only has to look back over the last 20 years to discover work that forged a viable path. Many early digital types (Trinité, Demos, Colorado, and Georgia for example) set a powerful example by being unobtrusive, transparent designs that rely on commonly accepted shapes, while remaining innovative and fit-for-purpose. These giants, on whose shoulders Spectral aspires to stand, form a solid set of accomplished, serious designs.

+

To learn more, read Spectral: A New Screen-First Typeface.

diff --git a/ofl/spectral/article/hero.png b/ofl/spectral/article/hero.png new file mode 100644 index 0000000000..306d74b3ce Binary files /dev/null and b/ofl/spectral/article/hero.png differ diff --git a/ofl/tirobangla/article/ARTICLE.en_us.html b/ofl/tirobangla/article/ARTICLE.en_us.html new file mode 100644 index 0000000000..c419231667 --- /dev/null +++ b/ofl/tirobangla/article/ARTICLE.en_us.html @@ -0,0 +1,9 @@ + +

Modern Tiro Indic collection for classical South Asian texts

+

The beauty and challenges of bridging the old and the new

+

Two type designers separated by an eight-hour time difference, an ocean, and pandemic travel bans collaborated over video calls and email to make a cohesive set of fonts in 8 South Asian languages. In 2012, Harvard University Press commissioned Fiona Ross and John Hudson, through Tiro Typeworks, to design typefaces for the Murty Classical Library of India book series. The publisher needed to reprint ancient Indian literary, historical, and religious texts, including Vedic and early Sanskrit works. Since these old texts had been printed using traditional letterforms and early Indian typography techniques, the new fonts needed to retain some of the traditional style of the old texts, yet be clear and legible in modern print and digital media.

+

In 2019 Google Fonts approached Tiro to make an extended and updated version of the Murty Fonts to be released as open source fonts in the Tiro Indic collection, offering users traditional text styles suitable for a variety of uses.

+

Study the classics and language structure

+

Before designing the typefaces, it was important to research classical texts and understand the unique characteristics of the languages.

+

“We looked at very lovely manuscripts or early Indian printed materials from the 18th or 19th Centuries,” said John Hudson.

+

To learn more, read Modern Tiro Indic collection for classical South Asian texts.

diff --git a/ofl/tirobangla/article/hero.png b/ofl/tirobangla/article/hero.png new file mode 100644 index 0000000000..6cc7f09bc8 Binary files /dev/null and b/ofl/tirobangla/article/hero.png differ diff --git a/ofl/tirodevanagarihindi/article/ARTICLE.en_us.html b/ofl/tirodevanagarihindi/article/ARTICLE.en_us.html new file mode 100644 index 0000000000..c419231667 --- /dev/null +++ b/ofl/tirodevanagarihindi/article/ARTICLE.en_us.html @@ -0,0 +1,9 @@ + +

Modern Tiro Indic collection for classical South Asian texts

+

The beauty and challenges of bridging the old and the new

+

Two type designers separated by an eight-hour time difference, an ocean, and pandemic travel bans collaborated over video calls and email to make a cohesive set of fonts in 8 South Asian languages. In 2012, Harvard University Press commissioned Fiona Ross and John Hudson, through Tiro Typeworks, to design typefaces for the Murty Classical Library of India book series. The publisher needed to reprint ancient Indian literary, historical, and religious texts, including Vedic and early Sanskrit works. Since these old texts had been printed using traditional letterforms and early Indian typography techniques, the new fonts needed to retain some of the traditional style of the old texts, yet be clear and legible in modern print and digital media.

+

In 2019 Google Fonts approached Tiro to make an extended and updated version of the Murty Fonts to be released as open source fonts in the Tiro Indic collection, offering users traditional text styles suitable for a variety of uses.

+

Study the classics and language structure

+

Before designing the typefaces, it was important to research classical texts and understand the unique characteristics of the languages.

+

“We looked at very lovely manuscripts or early Indian printed materials from the 18th or 19th Centuries,” said John Hudson.

+

To learn more, read Modern Tiro Indic collection for classical South Asian texts.

diff --git a/ofl/tirodevanagarihindi/article/hero.png b/ofl/tirodevanagarihindi/article/hero.png new file mode 100644 index 0000000000..6cc7f09bc8 Binary files /dev/null and b/ofl/tirodevanagarihindi/article/hero.png differ diff --git a/ofl/tirodevanagarimarathi/article/ARTICLE.en_us.html b/ofl/tirodevanagarimarathi/article/ARTICLE.en_us.html new file mode 100644 index 0000000000..c419231667 --- /dev/null +++ b/ofl/tirodevanagarimarathi/article/ARTICLE.en_us.html @@ -0,0 +1,9 @@ + +

Modern Tiro Indic collection for classical South Asian texts

+

The beauty and challenges of bridging the old and the new

+

Two type designers separated by an eight-hour time difference, an ocean, and pandemic travel bans collaborated over video calls and email to make a cohesive set of fonts in 8 South Asian languages. In 2012, Harvard University Press commissioned Fiona Ross and John Hudson, through Tiro Typeworks, to design typefaces for the Murty Classical Library of India book series. The publisher needed to reprint ancient Indian literary, historical, and religious texts, including Vedic and early Sanskrit works. Since these old texts had been printed using traditional letterforms and early Indian typography techniques, the new fonts needed to retain some of the traditional style of the old texts, yet be clear and legible in modern print and digital media.

+

In 2019 Google Fonts approached Tiro to make an extended and updated version of the Murty Fonts to be released as open source fonts in the Tiro Indic collection, offering users traditional text styles suitable for a variety of uses.

+

Study the classics and language structure

+

Before designing the typefaces, it was important to research classical texts and understand the unique characteristics of the languages.

+

“We looked at very lovely manuscripts or early Indian printed materials from the 18th or 19th Centuries,” said John Hudson.

+

To learn more, read Modern Tiro Indic collection for classical South Asian texts.

diff --git a/ofl/tirodevanagarimarathi/article/hero.png b/ofl/tirodevanagarimarathi/article/hero.png new file mode 100644 index 0000000000..6cc7f09bc8 Binary files /dev/null and b/ofl/tirodevanagarimarathi/article/hero.png differ diff --git a/ofl/tirodevanagarisanskrit/article/ARTICLE.en_us.html b/ofl/tirodevanagarisanskrit/article/ARTICLE.en_us.html new file mode 100644 index 0000000000..c419231667 --- /dev/null +++ b/ofl/tirodevanagarisanskrit/article/ARTICLE.en_us.html @@ -0,0 +1,9 @@ + +

Modern Tiro Indic collection for classical South Asian texts

+

The beauty and challenges of bridging the old and the new

+

Two type designers separated by an eight-hour time difference, an ocean, and pandemic travel bans collaborated over video calls and email to make a cohesive set of fonts in 8 South Asian languages. In 2012, Harvard University Press commissioned Fiona Ross and John Hudson, through Tiro Typeworks, to design typefaces for the Murty Classical Library of India book series. The publisher needed to reprint ancient Indian literary, historical, and religious texts, including Vedic and early Sanskrit works. Since these old texts had been printed using traditional letterforms and early Indian typography techniques, the new fonts needed to retain some of the traditional style of the old texts, yet be clear and legible in modern print and digital media.

+

In 2019 Google Fonts approached Tiro to make an extended and updated version of the Murty Fonts to be released as open source fonts in the Tiro Indic collection, offering users traditional text styles suitable for a variety of uses.

+

Study the classics and language structure

+

Before designing the typefaces, it was important to research classical texts and understand the unique characteristics of the languages.

+

“We looked at very lovely manuscripts or early Indian printed materials from the 18th or 19th Centuries,” said John Hudson.

+

To learn more, read Modern Tiro Indic collection for classical South Asian texts.

diff --git a/ofl/tirodevanagarisanskrit/article/hero.png b/ofl/tirodevanagarisanskrit/article/hero.png new file mode 100644 index 0000000000..6cc7f09bc8 Binary files /dev/null and b/ofl/tirodevanagarisanskrit/article/hero.png differ diff --git a/ofl/tirogurmukhi/article/ARTICLE.en_us.html b/ofl/tirogurmukhi/article/ARTICLE.en_us.html new file mode 100644 index 0000000000..c419231667 --- /dev/null +++ b/ofl/tirogurmukhi/article/ARTICLE.en_us.html @@ -0,0 +1,9 @@ + +

Modern Tiro Indic collection for classical South Asian texts

+

The beauty and challenges of bridging the old and the new

+

Two type designers separated by an eight-hour time difference, an ocean, and pandemic travel bans collaborated over video calls and email to make a cohesive set of fonts in 8 South Asian languages. In 2012, Harvard University Press commissioned Fiona Ross and John Hudson, through Tiro Typeworks, to design typefaces for the Murty Classical Library of India book series. The publisher needed to reprint ancient Indian literary, historical, and religious texts, including Vedic and early Sanskrit works. Since these old texts had been printed using traditional letterforms and early Indian typography techniques, the new fonts needed to retain some of the traditional style of the old texts, yet be clear and legible in modern print and digital media.

+

In 2019 Google Fonts approached Tiro to make an extended and updated version of the Murty Fonts to be released as open source fonts in the Tiro Indic collection, offering users traditional text styles suitable for a variety of uses.

+

Study the classics and language structure

+

Before designing the typefaces, it was important to research classical texts and understand the unique characteristics of the languages.

+

“We looked at very lovely manuscripts or early Indian printed materials from the 18th or 19th Centuries,” said John Hudson.

+

To learn more, read Modern Tiro Indic collection for classical South Asian texts.

diff --git a/ofl/tirogurmukhi/article/hero.png b/ofl/tirogurmukhi/article/hero.png new file mode 100644 index 0000000000..6cc7f09bc8 Binary files /dev/null and b/ofl/tirogurmukhi/article/hero.png differ diff --git a/ofl/tirokannada/article/ARTICLE.en_us.html b/ofl/tirokannada/article/ARTICLE.en_us.html new file mode 100644 index 0000000000..c419231667 --- /dev/null +++ b/ofl/tirokannada/article/ARTICLE.en_us.html @@ -0,0 +1,9 @@ + +

Modern Tiro Indic collection for classical South Asian texts

+

The beauty and challenges of bridging the old and the new

+

Two type designers separated by an eight-hour time difference, an ocean, and pandemic travel bans collaborated over video calls and email to make a cohesive set of fonts in 8 South Asian languages. In 2012, Harvard University Press commissioned Fiona Ross and John Hudson, through Tiro Typeworks, to design typefaces for the Murty Classical Library of India book series. The publisher needed to reprint ancient Indian literary, historical, and religious texts, including Vedic and early Sanskrit works. Since these old texts had been printed using traditional letterforms and early Indian typography techniques, the new fonts needed to retain some of the traditional style of the old texts, yet be clear and legible in modern print and digital media.

+

In 2019 Google Fonts approached Tiro to make an extended and updated version of the Murty Fonts to be released as open source fonts in the Tiro Indic collection, offering users traditional text styles suitable for a variety of uses.

+

Study the classics and language structure

+

Before designing the typefaces, it was important to research classical texts and understand the unique characteristics of the languages.

+

“We looked at very lovely manuscripts or early Indian printed materials from the 18th or 19th Centuries,” said John Hudson.

+

To learn more, read Modern Tiro Indic collection for classical South Asian texts.

diff --git a/ofl/tirokannada/article/hero.png b/ofl/tirokannada/article/hero.png new file mode 100644 index 0000000000..6cc7f09bc8 Binary files /dev/null and b/ofl/tirokannada/article/hero.png differ diff --git a/ofl/tirotamil/article/ARTICLE.en_us.html b/ofl/tirotamil/article/ARTICLE.en_us.html new file mode 100644 index 0000000000..c419231667 --- /dev/null +++ b/ofl/tirotamil/article/ARTICLE.en_us.html @@ -0,0 +1,9 @@ + +

Modern Tiro Indic collection for classical South Asian texts

+

The beauty and challenges of bridging the old and the new

+

Two type designers separated by an eight-hour time difference, an ocean, and pandemic travel bans collaborated over video calls and email to make a cohesive set of fonts in 8 South Asian languages. In 2012, Harvard University Press commissioned Fiona Ross and John Hudson, through Tiro Typeworks, to design typefaces for the Murty Classical Library of India book series. The publisher needed to reprint ancient Indian literary, historical, and religious texts, including Vedic and early Sanskrit works. Since these old texts had been printed using traditional letterforms and early Indian typography techniques, the new fonts needed to retain some of the traditional style of the old texts, yet be clear and legible in modern print and digital media.

+

In 2019 Google Fonts approached Tiro to make an extended and updated version of the Murty Fonts to be released as open source fonts in the Tiro Indic collection, offering users traditional text styles suitable for a variety of uses.

+

Study the classics and language structure

+

Before designing the typefaces, it was important to research classical texts and understand the unique characteristics of the languages.

+

“We looked at very lovely manuscripts or early Indian printed materials from the 18th or 19th Centuries,” said John Hudson.

+

To learn more, read Modern Tiro Indic collection for classical South Asian texts.

diff --git a/ofl/tirotamil/article/hero.png b/ofl/tirotamil/article/hero.png new file mode 100644 index 0000000000..6cc7f09bc8 Binary files /dev/null and b/ofl/tirotamil/article/hero.png differ diff --git a/ofl/tirotelugu/article/ARTICLE.en_us.html b/ofl/tirotelugu/article/ARTICLE.en_us.html new file mode 100644 index 0000000000..c419231667 --- /dev/null +++ b/ofl/tirotelugu/article/ARTICLE.en_us.html @@ -0,0 +1,9 @@ + +

Modern Tiro Indic collection for classical South Asian texts

+

The beauty and challenges of bridging the old and the new

+

Two type designers separated by an eight-hour time difference, an ocean, and pandemic travel bans collaborated over video calls and email to make a cohesive set of fonts in 8 South Asian languages. In 2012, Harvard University Press commissioned Fiona Ross and John Hudson, through Tiro Typeworks, to design typefaces for the Murty Classical Library of India book series. The publisher needed to reprint ancient Indian literary, historical, and religious texts, including Vedic and early Sanskrit works. Since these old texts had been printed using traditional letterforms and early Indian typography techniques, the new fonts needed to retain some of the traditional style of the old texts, yet be clear and legible in modern print and digital media.

+

In 2019 Google Fonts approached Tiro to make an extended and updated version of the Murty Fonts to be released as open source fonts in the Tiro Indic collection, offering users traditional text styles suitable for a variety of uses.

+

Study the classics and language structure

+

Before designing the typefaces, it was important to research classical texts and understand the unique characteristics of the languages.

+

“We looked at very lovely manuscripts or early Indian printed materials from the 18th or 19th Centuries,” said John Hudson.

+

To learn more, read Modern Tiro Indic collection for classical South Asian texts.

diff --git a/ofl/tirotelugu/article/hero.png b/ofl/tirotelugu/article/hero.png new file mode 100644 index 0000000000..6cc7f09bc8 Binary files /dev/null and b/ofl/tirotelugu/article/hero.png differ diff --git a/ofl/urbanist/article/ARTICLE.en_us.html b/ofl/urbanist/article/ARTICLE.en_us.html new file mode 100644 index 0000000000..f82514b821 --- /dev/null +++ b/ofl/urbanist/article/ARTICLE.en_us.html @@ -0,0 +1,7 @@ +

New font family: Urbanist by Corey Hu

+ +

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

+

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

+

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

+ + diff --git a/ofl/urbanist/article/hero.png b/ofl/urbanist/article/hero.png new file mode 100644 index 0000000000..465ed9461f Binary files /dev/null and b/ofl/urbanist/article/hero.png differ diff --git a/ofl/zenantique/article/ARTICLE.en_us.html b/ofl/zenantique/article/ARTICLE.en_us.html new file mode 100644 index 0000000000..90cd4692d9 --- /dev/null +++ b/ofl/zenantique/article/ARTICLE.en_us.html @@ -0,0 +1,11 @@ +

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

+

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

+ +

The Zen Fonts collection is the largest set of Japanese fonts on Google Fonts

+

As part of this larger effort to expand Japanese offerings, Google Fonts collaborated with type designer Yoshimichi Ohira to open his prestigious collection of Zen Fonts typefaces to the public. With 23 Japanese and three Latin fonts in various styles of mincho (serif), gothic (sans serif), maru (rounded), and display styles, the Zen Fonts collection is now the largest set of Japanese fonts in Google Fonts’ expansive library, and is also available in Adobe Fonts. Check out The Story of Zen Fonts - interview with Yoshimichi Ohira to learn more.

+

To learn more, read:
+ Say Hello to our big new Japanese collection with Zen Fonts (English)
+ The Story of Zen Fonts - interview with Yoshimichi Ohira (English)
+ Zenフォント: 新しい日本語フォントコレクションの登場 - 日本語フォントの複雑な美しさについて - (Japanese)
+ Zenフォントのおはなし：大平善道さんとのインタビュー (Japanese) +

diff --git a/ofl/zenantique/article/hero.png b/ofl/zenantique/article/hero.png new file mode 100644 index 0000000000..063321239c Binary files /dev/null and b/ofl/zenantique/article/hero.png differ diff --git a/ofl/zenantiquesoft/article/ARTICLE.en_us.html b/ofl/zenantiquesoft/article/ARTICLE.en_us.html new file mode 100644 index 0000000000..90cd4692d9 --- /dev/null +++ b/ofl/zenantiquesoft/article/ARTICLE.en_us.html @@ -0,0 +1,11 @@ +

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

+

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

+ +

The Zen Fonts collection is the largest set of Japanese fonts on Google Fonts

+

As part of this larger effort to expand Japanese offerings, Google Fonts collaborated with type designer Yoshimichi Ohira to open his prestigious collection of Zen Fonts typefaces to the public. With 23 Japanese and three Latin fonts in various styles of mincho (serif), gothic (sans serif), maru (rounded), and display styles, the Zen Fonts collection is now the largest set of Japanese fonts in Google Fonts’ expansive library, and is also available in Adobe Fonts. Check out The Story of Zen Fonts - interview with Yoshimichi Ohira to learn more.

+

To learn more, read:
+ Say Hello to our big new Japanese collection with Zen Fonts (English)
+ The Story of Zen Fonts - interview with Yoshimichi Ohira (English)
+ Zenフォント: 新しい日本語フォントコレクションの登場 - 日本語フォントの複雑な美しさについて - (Japanese)
+ Zenフォントのおはなし：大平善道さんとのインタビュー (Japanese) +

diff --git a/ofl/zenantiquesoft/article/hero.png b/ofl/zenantiquesoft/article/hero.png new file mode 100644 index 0000000000..063321239c Binary files /dev/null and b/ofl/zenantiquesoft/article/hero.png differ diff --git a/ofl/zendots/article/ARTICLE.en_us.html b/ofl/zendots/article/ARTICLE.en_us.html new file mode 100644 index 0000000000..90cd4692d9 --- /dev/null +++ b/ofl/zendots/article/ARTICLE.en_us.html @@ -0,0 +1,11 @@ +

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

+

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

+ +

The Zen Fonts collection is the largest set of Japanese fonts on Google Fonts

+

As part of this larger effort to expand Japanese offerings, Google Fonts collaborated with type designer Yoshimichi Ohira to open his prestigious collection of Zen Fonts typefaces to the public. With 23 Japanese and three Latin fonts in various styles of mincho (serif), gothic (sans serif), maru (rounded), and display styles, the Zen Fonts collection is now the largest set of Japanese fonts in Google Fonts’ expansive library, and is also available in Adobe Fonts. Check out The Story of Zen Fonts - interview with Yoshimichi Ohira to learn more.

+

To learn more, read:
+ Say Hello to our big new Japanese collection with Zen Fonts (English)
+ The Story of Zen Fonts - interview with Yoshimichi Ohira (English)
+ Zenフォント: 新しい日本語フォントコレクションの登場 - 日本語フォントの複雑な美しさについて - (Japanese)
+ Zenフォントのおはなし：大平善道さんとのインタビュー (Japanese) +

diff --git a/ofl/zendots/article/hero.png b/ofl/zendots/article/hero.png new file mode 100644 index 0000000000..063321239c Binary files /dev/null and b/ofl/zendots/article/hero.png differ diff --git a/ofl/zenkakugothicantique/article/ARTICLE.en_us.html b/ofl/zenkakugothicantique/article/ARTICLE.en_us.html new file mode 100644 index 0000000000..90cd4692d9 --- /dev/null +++ b/ofl/zenkakugothicantique/article/ARTICLE.en_us.html @@ -0,0 +1,11 @@ +

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

+

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

+ +

The Zen Fonts collection is the largest set of Japanese fonts on Google Fonts

+

As part of this larger effort to expand Japanese offerings, Google Fonts collaborated with type designer Yoshimichi Ohira to open his prestigious collection of Zen Fonts typefaces to the public. With 23 Japanese and three Latin fonts in various styles of mincho (serif), gothic (sans serif), maru (rounded), and display styles, the Zen Fonts collection is now the largest set of Japanese fonts in Google Fonts’ expansive library, and is also available in Adobe Fonts. Check out The Story of Zen Fonts - interview with Yoshimichi Ohira to learn more.

+

To learn more, read:
+ Say Hello to our big new Japanese collection with Zen Fonts (English)
+ The Story of Zen Fonts - interview with Yoshimichi Ohira (English)
+ Zenフォント: 新しい日本語フォントコレクションの登場 - 日本語フォントの複雑な美しさについて - (Japanese)
+ Zenフォントのおはなし：大平善道さんとのインタビュー (Japanese) +

diff --git a/ofl/zenkakugothicantique/article/hero.png b/ofl/zenkakugothicantique/article/hero.png new file mode 100644 index 0000000000..063321239c Binary files /dev/null and b/ofl/zenkakugothicantique/article/hero.png differ diff --git a/ofl/zenkakugothicnew/article/ARTICLE.en_us.html b/ofl/zenkakugothicnew/article/ARTICLE.en_us.html new file mode 100644 index 0000000000..90cd4692d9 --- /dev/null +++ b/ofl/zenkakugothicnew/article/ARTICLE.en_us.html @@ -0,0 +1,11 @@ +

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

+

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

+ +

The Zen Fonts collection is the largest set of Japanese fonts on Google Fonts

+

As part of this larger effort to expand Japanese offerings, Google Fonts collaborated with type designer Yoshimichi Ohira to open his prestigious collection of Zen Fonts typefaces to the public. With 23 Japanese and three Latin fonts in various styles of mincho (serif), gothic (sans serif), maru (rounded), and display styles, the Zen Fonts collection is now the largest set of Japanese fonts in Google Fonts’ expansive library, and is also available in Adobe Fonts. Check out The Story of Zen Fonts - interview with Yoshimichi Ohira to learn more.

+

To learn more, read:
+ Say Hello to our big new Japanese collection with Zen Fonts (English)
+ The Story of Zen Fonts - interview with Yoshimichi Ohira (English)
+ Zenフォント: 新しい日本語フォントコレクションの登場 - 日本語フォントの複雑な美しさについて - (Japanese)
+ Zenフォントのおはなし：大平善道さんとのインタビュー (Japanese) +

diff --git a/ofl/zenkakugothicnew/article/hero.png b/ofl/zenkakugothicnew/article/hero.png new file mode 100644 index 0000000000..063321239c Binary files /dev/null and b/ofl/zenkakugothicnew/article/hero.png differ diff --git a/ofl/zenkurenaido/article/ARTICLE.en_us.html b/ofl/zenkurenaido/article/ARTICLE.en_us.html new file mode 100644 index 0000000000..90cd4692d9 --- /dev/null +++ b/ofl/zenkurenaido/article/ARTICLE.en_us.html @@ -0,0 +1,11 @@ +

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

+

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

+ +

The Zen Fonts collection is the largest set of Japanese fonts on Google Fonts

+

As part of this larger effort to expand Japanese offerings, Google Fonts collaborated with type designer Yoshimichi Ohira to open his prestigious collection of Zen Fonts typefaces to the public. With 23 Japanese and three Latin fonts in various styles of mincho (serif), gothic (sans serif), maru (rounded), and display styles, the Zen Fonts collection is now the largest set of Japanese fonts in Google Fonts’ expansive library, and is also available in Adobe Fonts. Check out The Story of Zen Fonts - interview with Yoshimichi Ohira to learn more.

+

To learn more, read:
+ Say Hello to our big new Japanese collection with Zen Fonts (English)
+ The Story of Zen Fonts - interview with Yoshimichi Ohira (English)
+ Zenフォント: 新しい日本語フォントコレクションの登場 - 日本語フォントの複雑な美しさについて - (Japanese)
+ Zenフォントのおはなし：大平善道さんとのインタビュー (Japanese) +

diff --git a/ofl/zenkurenaido/article/hero.png b/ofl/zenkurenaido/article/hero.png new file mode 100644 index 0000000000..063321239c Binary files /dev/null and b/ofl/zenkurenaido/article/hero.png differ diff --git a/ofl/zenloop/article/ARTICLE.en_us.html b/ofl/zenloop/article/ARTICLE.en_us.html new file mode 100644 index 0000000000..90cd4692d9 --- /dev/null +++ b/ofl/zenloop/article/ARTICLE.en_us.html @@ -0,0 +1,11 @@ +

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

+

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

+ +

The Zen Fonts collection is the largest set of Japanese fonts on Google Fonts

+

As part of this larger effort to expand Japanese offerings, Google Fonts collaborated with type designer Yoshimichi Ohira to open his prestigious collection of Zen Fonts typefaces to the public. With 23 Japanese and three Latin fonts in various styles of mincho (serif), gothic (sans serif), maru (rounded), and display styles, the Zen Fonts collection is now the largest set of Japanese fonts in Google Fonts’ expansive library, and is also available in Adobe Fonts. Check out The Story of Zen Fonts - interview with Yoshimichi Ohira to learn more.

+

To learn more, read:
+ Say Hello to our big new Japanese collection with Zen Fonts (English)
+ The Story of Zen Fonts - interview with Yoshimichi Ohira (English)
+ Zenフォント: 新しい日本語フォントコレクションの登場 - 日本語フォントの複雑な美しさについて - (Japanese)
+ Zenフォントのおはなし：大平善道さんとのインタビュー (Japanese) +

diff --git a/ofl/zenloop/article/hero.png b/ofl/zenloop/article/hero.png new file mode 100644 index 0000000000..063321239c Binary files /dev/null and b/ofl/zenloop/article/hero.png differ diff --git a/ofl/zenmarugothic/article/ARTICLE.en_us.html b/ofl/zenmarugothic/article/ARTICLE.en_us.html new file mode 100644 index 0000000000..90cd4692d9 --- /dev/null +++ b/ofl/zenmarugothic/article/ARTICLE.en_us.html @@ -0,0 +1,11 @@ +

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

+

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

+ +

The Zen Fonts collection is the largest set of Japanese fonts on Google Fonts

+

As part of this larger effort to expand Japanese offerings, Google Fonts collaborated with type designer Yoshimichi Ohira to open his prestigious collection of Zen Fonts typefaces to the public. With 23 Japanese and three Latin fonts in various styles of mincho (serif), gothic (sans serif), maru (rounded), and display styles, the Zen Fonts collection is now the largest set of Japanese fonts in Google Fonts’ expansive library, and is also available in Adobe Fonts. Check out The Story of Zen Fonts - interview with Yoshimichi Ohira to learn more.

+

To learn more, read:
+ Say Hello to our big new Japanese collection with Zen Fonts (English)
+ The Story of Zen Fonts - interview with Yoshimichi Ohira (English)
+ Zenフォント: 新しい日本語フォントコレクションの登場 - 日本語フォントの複雑な美しさについて - (Japanese)
+ Zenフォントのおはなし：大平善道さんとのインタビュー (Japanese) +

diff --git a/ofl/zenmarugothic/article/hero.png b/ofl/zenmarugothic/article/hero.png new file mode 100644 index 0000000000..063321239c Binary files /dev/null and b/ofl/zenmarugothic/article/hero.png differ diff --git a/ofl/zenoldmincho/article/ARTICLE.en_us.html b/ofl/zenoldmincho/article/ARTICLE.en_us.html new file mode 100644 index 0000000000..90cd4692d9 --- /dev/null +++ b/ofl/zenoldmincho/article/ARTICLE.en_us.html @@ -0,0 +1,11 @@ +

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

+

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

+ +

The Zen Fonts collection is the largest set of Japanese fonts on Google Fonts

+

As part of this larger effort to expand Japanese offerings, Google Fonts collaborated with type designer Yoshimichi Ohira to open his prestigious collection of Zen Fonts typefaces to the public. With 23 Japanese and three Latin fonts in various styles of mincho (serif), gothic (sans serif), maru (rounded), and display styles, the Zen Fonts collection is now the largest set of Japanese fonts in Google Fonts’ expansive library, and is also available in Adobe Fonts. Check out The Story of Zen Fonts - interview with Yoshimichi Ohira to learn more.

+

To learn more, read:
+ Say Hello to our big new Japanese collection with Zen Fonts (English)
+ The Story of Zen Fonts - interview with Yoshimichi Ohira (English)
+ Zenフォント: 新しい日本語フォントコレクションの登場 - 日本語フォントの複雑な美しさについて - (Japanese)
+ Zenフォントのおはなし：大平善道さんとのインタビュー (Japanese) +

diff --git a/ofl/zenoldmincho/article/hero.png b/ofl/zenoldmincho/article/hero.png new file mode 100644 index 0000000000..063321239c Binary files /dev/null and b/ofl/zenoldmincho/article/hero.png differ diff --git a/ofl/zentokyozoo/article/ARTICLE.en_us.html b/ofl/zentokyozoo/article/ARTICLE.en_us.html new file mode 100644 index 0000000000..90cd4692d9 --- /dev/null +++ b/ofl/zentokyozoo/article/ARTICLE.en_us.html @@ -0,0 +1,11 @@ +

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

+

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

+ +

The Zen Fonts collection is the largest set of Japanese fonts on Google Fonts

+

As part of this larger effort to expand Japanese offerings, Google Fonts collaborated with type designer Yoshimichi Ohira to open his prestigious collection of Zen Fonts typefaces to the public. With 23 Japanese and three Latin fonts in various styles of mincho (serif), gothic (sans serif), maru (rounded), and display styles, the Zen Fonts collection is now the largest set of Japanese fonts in Google Fonts’ expansive library, and is also available in Adobe Fonts. Check out The Story of Zen Fonts - interview with Yoshimichi Ohira to learn more.

+

To learn more, read:
+ Say Hello to our big new Japanese collection with Zen Fonts (English)
+ The Story of Zen Fonts - interview with Yoshimichi Ohira (English)
+ Zenフォント: 新しい日本語フォントコレクションの登場 - 日本語フォントの複雑な美しさについて - (Japanese)
+ Zenフォントのおはなし：大平善道さんとのインタビュー (Japanese) +

diff --git a/ofl/zentokyozoo/article/hero.png b/ofl/zentokyozoo/article/hero.png new file mode 100644 index 0000000000..063321239c Binary files /dev/null and b/ofl/zentokyozoo/article/hero.png differ